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You searched for subject:(Space Art ). Showing records 1 – 30 of 462 total matches.
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2016 – 2020 (112)
Brno University of Technology (20)
University of New South Wales (12)
Virginia Commonwealth University (11)
University of Southern California (10)
Docteur es (35)
MFA (32)
doctoral (120)
Massey University
1. Dowling, Deanna. Any order is appropriate : it's all in equal measure : an exegesis presented in partial fulfilment of the requirements for the degree of Master of Fine Arts at Massey University, Wellington, New Zealand .
Degree: 2014, Massey University
URL: http://hdl.handle.net/10179/7134
► Any order is appropriate; it's all in equal measure. Multiple entry points, separating out the parts. Even by listing them I feel uncomfortable. This research… (more)
▼ Any order is appropriate; it's all in equal measure. Multiple entry points, separating out the parts. Even by listing them I feel uncomfortable. This research enquiry takes the form of a number of different investigations over a period of two years, and within the scaffolding project there are a number of simultaneous explorations that have happened at once. It is for this reason that I have offered a document that aims to oppose a chronological order. This structure reflects how I consider each component in a project that contains objects, sites, place, people, and institutions. What has become apparent to me in this process is that the relationship between all these factors is more complex than I thought and warrants avoiding, or producing, a hierarchy. The task of translating a collection of art works from their separate periods of production has encouraged new outcomes in my own research and concerns that form around a system of interrelationships – raising questions such as what it means to be under construction or deconstruction, to be something in translation, in progress, in development? These thoughts have evolved from terms used to discuss thematic concerns in a number of my works and shift at times to a more abstract use of the words, notes and lists. I have made objects about construction in a city currently undergoing heavy urban modification.
Subjects/Keywords: Art installations; Space (Art)
Dowling, D. (2014). Any order is appropriate : it's all in equal measure : an exegesis presented in partial fulfilment of the requirements for the degree of Master of Fine Arts at Massey University, Wellington, New Zealand . (Thesis). Massey University. Retrieved from http://hdl.handle.net/10179/7134
Dowling, Deanna. "Any order is appropriate : it's all in equal measure : an exegesis presented in partial fulfilment of the requirements for the degree of Master of Fine Arts at Massey University, Wellington, New Zealand ." 2014. Thesis, Massey University. Accessed January 22, 2020. http://hdl.handle.net/10179/7134.
Dowling, Deanna. "Any order is appropriate : it's all in equal measure : an exegesis presented in partial fulfilment of the requirements for the degree of Master of Fine Arts at Massey University, Wellington, New Zealand ." 2014. Web. 22 Jan 2020.
Dowling D. Any order is appropriate : it's all in equal measure : an exegesis presented in partial fulfilment of the requirements for the degree of Master of Fine Arts at Massey University, Wellington, New Zealand . [Internet] [Thesis]. Massey University; 2014. [cited 2020 Jan 22]. Available from: http://hdl.handle.net/10179/7134.
Dowling D. Any order is appropriate : it's all in equal measure : an exegesis presented in partial fulfilment of the requirements for the degree of Master of Fine Arts at Massey University, Wellington, New Zealand . [Thesis]. Massey University; 2014. Available from: http://hdl.handle.net/10179/7134
2. Radding, Rosanna. Non-objective, two-dimensional, multi-planar space via line, form and color.
Degree: Master of Fine Arts (M.F.A.), Art, 2016, Colorado State University
► Transcendence of the inherent flat orientation of a two dimensional format and interrelation of opposites are the major objectives of my work. Visual references are… (more)
▼ Transcendence of the inherent flat orientation of a two dimensional format and interrelation of opposites are the major objectives of my work. Visual references are extended through line, color and shape enabling one's eye to negotiate through, over and around shapes, both positive and negative, and to perceive the multi-level penetration of space. Line, color washes and calligraphic motifs in relation to the unprimed canvas on which they are painted break-up, dissolve and make fixed forms transparent for other forms lying behind them. The painting surface involves a multiplicity of moving form. The entirety is in motion seldom allowing the viewer to rest on any one visual point. The longer one looks the more one sees. Advisors/Committee Members: Dietemann, David L. (advisor), Orman, Jack L. (committee member), Ellerby, David A. (committee member), Yust, Dave, 1939- (committee member), Kilmer, Rosemary (committee member).
Subjects/Keywords: Painting; Space (Art)
Radding, R. (2016). Non-objective, two-dimensional, multi-planar space via line, form and color . (Masters Thesis). Colorado State University. Retrieved from http://hdl.handle.net/10217/173132
Radding, Rosanna. "Non-objective, two-dimensional, multi-planar space via line, form and color." 2016. Masters Thesis, Colorado State University. Accessed January 22, 2020. http://hdl.handle.net/10217/173132.
Radding, Rosanna. "Non-objective, two-dimensional, multi-planar space via line, form and color." 2016. Web. 22 Jan 2020.
Radding R. Non-objective, two-dimensional, multi-planar space via line, form and color. [Internet] [Masters thesis]. Colorado State University; 2016. [cited 2020 Jan 22]. Available from: http://hdl.handle.net/10217/173132.
Radding R. Non-objective, two-dimensional, multi-planar space via line, form and color. [Masters Thesis]. Colorado State University; 2016. Available from: http://hdl.handle.net/10217/173132
3. Dewhurst, Andrew(Andrew John). Interiors from the mind : pictorial illusionism within painting.
Degree: 2004, University of Tasmania
URL: https://eprints.utas.edu.au/19794/1/whole_DewhurstAndrewJohn2004_thesis.pdf
► This project sets out to investigate spatial illusion within realist painting. Observations concerning speculative architectural constructs as a pictorial space provides the content for the… (more)
▼ This project sets out to investigate spatial illusion within realist painting. Observations concerning speculative architectural constructs as a pictorial space provides the content for the project. This research develops visual strategies with the intention of enhancing the viewers' perceptual experience of an illusionary space. The aim of this project has been to push beyond traditions of illusory pictorial spaces that have informed the research. To extend those representations, a series of methodologies were developed that fuse both the virtual architectural space of digital imaging with the pictorial illusionism of painting that reflects the techniques formulated by early fifteenth century Flemish painters. The paintings are constructed from multiple digitally captured photographs of interior architecture, reconstructed into fictional spaces through digital manipulation. The spaces feature multiple entry/exit points that are ambiguous and devoid of human presence. Extraneous details are removed from the sourced imagery and the resulting spaces are vast, labyrinthine, artificially lit passageways. Central to the project is the duplicity apparent in mirrors and reflections. These are employed as devices to lead the viewer to speculate and contemplate the ambiguities within the painting. The outcome is a group of paintings submitted for examination; the exhibition contains the original discourse of the project. The exegesis chronicles the practical and conceptual inquiries, together with an exploration of the issues significant to the project, placed in context through discussions of historical and contemporary practice.
Subjects/Keywords: Space (Art)
Dewhurst, A. J. (2004). Interiors from the mind : pictorial illusionism within painting . (Thesis). University of Tasmania. Retrieved from https://eprints.utas.edu.au/19794/1/whole_DewhurstAndrewJohn2004_thesis.pdf
Dewhurst, Andrew(Andrew John). "Interiors from the mind : pictorial illusionism within painting." 2004. Thesis, University of Tasmania. Accessed January 22, 2020. https://eprints.utas.edu.au/19794/1/whole_DewhurstAndrewJohn2004_thesis.pdf.
Dewhurst, Andrew(Andrew John). "Interiors from the mind : pictorial illusionism within painting." 2004. Web. 22 Jan 2020.
Dewhurst AJ. Interiors from the mind : pictorial illusionism within painting. [Internet] [Thesis]. University of Tasmania; 2004. [cited 2020 Jan 22]. Available from: https://eprints.utas.edu.au/19794/1/whole_DewhurstAndrewJohn2004_thesis.pdf.
Dewhurst AJ. Interiors from the mind : pictorial illusionism within painting. [Thesis]. University of Tasmania; 2004. Available from: https://eprints.utas.edu.au/19794/1/whole_DewhurstAndrewJohn2004_thesis.pdf
4. Mataraga, Francesca. The empty space.
Degree: Art, 2007, University of New South Wales
URL: http://handle.unsw.edu.au/1959.4/31945  ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:1654/SOURCE02?view=true
► The Empty Space project aims to explore the interior and exterior space ofan object through the use of Perspex. The solidity of the concrete orminimalist… (more)
▼ The Empty Space project aims to explore the interior and exterior space ofan object through the use of Perspex. The solidity of the concrete orminimalist art object and the space that it physically occupies will bechallenged by the use of visually ambiguous material.Physically solid yet visually transparent or reflective, perspex challengesour perception of solidity - what is internal and what is external. It is bynature a subversive and ambiguous material. The visual transparency of thematerial contradicts the physical presence of the object it creates. It creates aplay between presence and absence.It is this spatial contradiction that this project exploits in order to createphysical and visual tension. The solid physicality of the objects will directlydraw on the tradition of concrete art and the language of minimalism. Thevisual transparency of the material will however, subvert this language bothconceptually and literally. This will make the relationship between internaland external space more complex, challenging the physicality of the artobject and questioning the nature of solidity.
Mataraga, F. (2007). The empty space. (Masters Thesis). University of New South Wales. Retrieved from http://handle.unsw.edu.au/1959.4/31945 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:1654/SOURCE02?view=true
Mataraga, Francesca. "The empty space." 2007. Masters Thesis, University of New South Wales. Accessed January 22, 2020. http://handle.unsw.edu.au/1959.4/31945 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:1654/SOURCE02?view=true.
Mataraga, Francesca. "The empty space." 2007. Web. 22 Jan 2020.
Mataraga F. The empty space. [Internet] [Masters thesis]. University of New South Wales; 2007. [cited 2020 Jan 22]. Available from: http://handle.unsw.edu.au/1959.4/31945 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:1654/SOURCE02?view=true.
Mataraga F. The empty space. [Masters Thesis]. University of New South Wales; 2007. Available from: http://handle.unsw.edu.au/1959.4/31945 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:1654/SOURCE02?view=true
5. Bridges, Amy C. Interior event.
► My work is based on rooms I have entered, where a corner or objects on a table quicken and stimulate me visually. The way things… (more)
▼ My work is based on rooms I have entered, where a corner or objects on a table quicken and stimulate me visually. The way things are placed geometrically and the way light falls to alter and distort them becomes a phenomenon or event. That arrangement or event spells out something very personal; a culmination of reality shown as pure form. It is a unique quality found only there at that moment, which is made up of unrepeatable consequences. These forms perceived in a certain relationship are an inspiration to me, and I create an image stemming from my emotion to it. Advisors/Committee Members: Dormer, James T. (advisor), Ellerby, David A. (committee member), Berland, John C. (committee member), Orman, Jack L. (committee member).
Subjects/Keywords: Space and time in art
Bridges, A. C. (2016). Interior event . (Masters Thesis). Colorado State University. Retrieved from http://hdl.handle.net/10217/173587
Bridges, Amy C. "Interior event." 2016. Masters Thesis, Colorado State University. Accessed January 22, 2020. http://hdl.handle.net/10217/173587.
Bridges, Amy C. "Interior event." 2016. Web. 22 Jan 2020.
Bridges AC. Interior event. [Internet] [Masters thesis]. Colorado State University; 2016. [cited 2020 Jan 22]. Available from: http://hdl.handle.net/10217/173587.
Bridges AC. Interior event. [Masters Thesis]. Colorado State University; 2016. Available from: http://hdl.handle.net/10217/173587
6. Espinoza, Elizabeth. Hierophanic Architecture: The Space of Performance.
Degree: M. Arch., Architecture, 2013, Penn State University
► Antonin Artaud described theater as a way to penetrate the audience's subconscious causing a transformation within them through visceral experience of space and performance. He… (more)
▼ Antonin Artaud described theater as a way to penetrate the audience's subconscious causing a transformation within them through visceral experience of space and performance. He suggested that space should no longer be experienced rationally but rather experienced through action, senses, and emotion. This creates a chasm between the classical description of space and that of a space which is alternative. In this chasm a new description can be provided to describe the space of emotion, senses, and performance. This alternative description of space is Hierophanic architecture; a manifestation of architectural presence, although not tangible, it can be felt. As this presence is manifested, a sacred or numinous quality is associated with said presence. Mircea Eliade suggests that when sacredness is revealed, the space becomes qualitatively different from the space surrounding it. Operating in the threshold between architecture and performance allows for there to be a less descriptive notion of architecture capturing the narrative of performance, creating, not an ideal space, but a space of the 'other' able to constantly conform to our bodies and sensations. Hierophanic architecture attempts to transcend both body and matter.
Subjects/Keywords: performance; conceptual art; performance art; uncanny space; space of the other
Espinoza, E. (2013). Hierophanic Architecture: The Space of Performance . (Masters Thesis). Penn State University. Retrieved from https://etda.libraries.psu.edu/catalog/18955
Espinoza, Elizabeth. "Hierophanic Architecture: The Space of Performance." 2013. Masters Thesis, Penn State University. Accessed January 22, 2020. https://etda.libraries.psu.edu/catalog/18955.
Espinoza, Elizabeth. "Hierophanic Architecture: The Space of Performance." 2013. Web. 22 Jan 2020.
Espinoza E. Hierophanic Architecture: The Space of Performance. [Internet] [Masters thesis]. Penn State University; 2013. [cited 2020 Jan 22]. Available from: https://etda.libraries.psu.edu/catalog/18955.
Espinoza E. Hierophanic Architecture: The Space of Performance. [Masters Thesis]. Penn State University; 2013. Available from: https://etda.libraries.psu.edu/catalog/18955
NSYSU
7. Lin, Siou-Sia. Openness of Being: The Question Emptiness in Chinese Landscape as seen from Heidegger's Discourse on Art.
Degree: Master, Philosophy, 2012, NSYSU
URL: http://etd.lib.nsysu.edu.tw/ETD-db/ETD-search/view_etd?URN=etd-0613112-174754
► With respect to art, we mainly discuss the issue of 'space', and we generally believe that there exists the so-called 'art-space'. However, Heidegger considers art… (more)
▼ With respect to art, we mainly discuss the issue of 'space', and we generally believe that there exists the so-called 'art-space'. However, Heidegger considers art in a very different way which is phenomenological. With phenomenological reduction, he reinterprets how the art-space exists, and he also endows art with a brand new meaning, that is, âopeningâ , which is the way one expresses oneself. Nonetheless, Heidegger explains art in a dialectical way, that is to say, the negative way. However, that is the reason for Chinese landscape painting to be painted. In this essay, I try to yield further evidence for Heidegger 's theory, by investigating into Chinese landscape painting. The 'art-space' is hidden by the 'blank' spot of the landscape painting, so it is not emptiness, but gathering 'space', 'space itself', and 'light' into a whole; at the same time, it shows truth, which is lived truth. The 'art-space' does not come from imitating, but from a 'text-space' between likeness and unlikeness. Advisors/Committee Members: Chung-Chi Yu (chair), Mathias Obert (committee member), Shin-Yun Wang (chair).
Subjects/Keywords: space; truth; imitate; openness; text-space; art-space
Lin, S. (2012). Openness of Being: The Question Emptiness in Chinese Landscape as seen from Heidegger's Discourse on Art . (Thesis). NSYSU. Retrieved from http://etd.lib.nsysu.edu.tw/ETD-db/ETD-search/view_etd?URN=etd-0613112-174754
Lin, Siou-Sia. "Openness of Being: The Question Emptiness in Chinese Landscape as seen from Heidegger's Discourse on Art." 2012. Thesis, NSYSU. Accessed January 22, 2020. http://etd.lib.nsysu.edu.tw/ETD-db/ETD-search/view_etd?URN=etd-0613112-174754.
Lin, Siou-Sia. "Openness of Being: The Question Emptiness in Chinese Landscape as seen from Heidegger's Discourse on Art." 2012. Web. 22 Jan 2020.
Lin S. Openness of Being: The Question Emptiness in Chinese Landscape as seen from Heidegger's Discourse on Art. [Internet] [Thesis]. NSYSU; 2012. [cited 2020 Jan 22]. Available from: http://etd.lib.nsysu.edu.tw/ETD-db/ETD-search/view_etd?URN=etd-0613112-174754.
Lin S. Openness of Being: The Question Emptiness in Chinese Landscape as seen from Heidegger's Discourse on Art. [Thesis]. NSYSU; 2012. Available from: http://etd.lib.nsysu.edu.tw/ETD-db/ETD-search/view_etd?URN=etd-0613112-174754
8. Shepherd, Richard. Running-room in the mangle of practice : contemporary art in the thick of things.
Degree: MFA, 2011, Massey University
► This document and the exhibited artwork it accompanies aims to perform a positive aesthetic of exile that enacts the dislocating and shattering strategies of spatial,… (more)
▼ This document and the exhibited artwork it accompanies aims to perform a positive aesthetic of exile that enacts the dislocating and shattering strategies of spatial, temporal and imagistic montage but also attempts to open a caesura in today's relentless flow of images and thickening temporality. It joins with particular currents in engaged contemporary art to re-imagine what documentary form might be as an act of revelation not reduction. I have advocated in word and deed a structure of desire that is promiscuous without being possessive and accounts for a mode of subjectivity that temporally emerges from its material conditions in the thick of things. The corpus of experimental work has traversed a wide range of media and intentions but always with these issues in mind. I have produced small, tentative gestures in the city and ambitious proposals for affective maps in a mixed-media installation. I have gathered together an ambitious chorus of voices from across disciplines to share in common in a dialectical movement of resistance and accommodation that seeks to expand the realms of conceptual and corporeal possibility.
Subjects/Keywords: Space and time in art; Art installations; Conceptual art
Shepherd, R. (2011). Running-room in the mangle of practice : contemporary art in the thick of things . (Masters Thesis). Massey University. Retrieved from http://hdl.handle.net/10179/2347
Shepherd, Richard. "Running-room in the mangle of practice : contemporary art in the thick of things." 2011. Masters Thesis, Massey University. Accessed January 22, 2020. http://hdl.handle.net/10179/2347.
Shepherd, Richard. "Running-room in the mangle of practice : contemporary art in the thick of things." 2011. Web. 22 Jan 2020.
Shepherd R. Running-room in the mangle of practice : contemporary art in the thick of things. [Internet] [Masters thesis]. Massey University; 2011. [cited 2020 Jan 22]. Available from: http://hdl.handle.net/10179/2347.
Shepherd R. Running-room in the mangle of practice : contemporary art in the thick of things. [Masters Thesis]. Massey University; 2011. Available from: http://hdl.handle.net/10179/2347
9. Langille, Nicole. Of Measure and Material.
Degree: MFA, Art, 2009, The Ohio State University
URL: http://rave.ohiolink.edu/etdc/view?acc_num=osu1243885956
► Measure and material are both the physical and conceptual components of my work. Using the body and other substances, the intangible elements of space, time,… (more)
▼ Measure and material are both the physical and conceptual components of my work. Using the body and other substances, the intangible elements of space, time, movement and gravity are made palpable. Through objects and performances, videos and drawings, the invisible is made visible with rigorous subtlety. Advisors/Committee Members: Silver, Suzanne (Advisor).
Subjects/Keywords: Art History; visual art; performance art; conceptual art; time; movement; space; gravity
Langille, N. (2009). Of Measure and Material . (Masters Thesis). The Ohio State University. Retrieved from http://rave.ohiolink.edu/etdc/view?acc_num=osu1243885956
Langille, Nicole. "Of Measure and Material." 2009. Masters Thesis, The Ohio State University. Accessed January 22, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1243885956.
Langille, Nicole. "Of Measure and Material." 2009. Web. 22 Jan 2020.
Langille N. Of Measure and Material. [Internet] [Masters thesis]. The Ohio State University; 2009. [cited 2020 Jan 22]. Available from: http://rave.ohiolink.edu/etdc/view?acc_num=osu1243885956.
Langille N. Of Measure and Material. [Masters Thesis]. The Ohio State University; 2009. Available from: http://rave.ohiolink.edu/etdc/view?acc_num=osu1243885956
University of North Carolina – Greensboro
10. Austin, Katharine W. Home base.
Degree: 2014, University of North Carolina – Greensboro
URL: http://libres.uncg.edu/ir/listing.aspx?styp=ti&id=15821
► Through collage and three dimensional model sculptures, my work seeks to visually navigate domestic interior and exterior spaces tied to specific childhood memories. I am… (more)
▼ Through collage and three dimensional model sculptures, my work seeks to visually navigate domestic interior and exterior spaces tied to specific childhood memories. I am interested in the visual investigation and recreation of my childhood home and familiar domestic constructions. I describe specific memories by building autonomous domestic structures that include everyday items to indicate common interior and exterior surfaces. I explore both two and three-dimensional space with the use of collage and model making materials. My work employs three dimensional spaces, and the illusion of space to reveal its possibilities; I play with physical space and the illusion of space to support and challenge one another. My written thesis describes my work and process in detail. I will also examine the notion of home and childhood, the influence of my own memories, and the creative impact of artists Ann Toebbe and Paul Pfeiffer.; Collage, Painting, Sculpture Advisors/Committee Members: Mariam Stephan (advisor).
Subjects/Keywords: Home in art; Architecture, Domestic, in art; Space (Art); Mixed media (Art)
Austin, K. W. (2014). Home base . (Masters Thesis). University of North Carolina – Greensboro. Retrieved from http://libres.uncg.edu/ir/listing.aspx?styp=ti&id=15821
Austin, Katharine W. "Home base." 2014. Masters Thesis, University of North Carolina – Greensboro. Accessed January 22, 2020. http://libres.uncg.edu/ir/listing.aspx?styp=ti&id=15821.
Austin, Katharine W. "Home base." 2014. Web. 22 Jan 2020.
Austin KW. Home base. [Internet] [Masters thesis]. University of North Carolina – Greensboro; 2014. [cited 2020 Jan 22]. Available from: http://libres.uncg.edu/ir/listing.aspx?styp=ti&id=15821.
Austin KW. Home base. [Masters Thesis]. University of North Carolina – Greensboro; 2014. Available from: http://libres.uncg.edu/ir/listing.aspx?styp=ti&id=15821
11. Lidgett, Elizabeth. Art and time: temporary public art and contentious space.
Degree: Master of Public Art Studies, Public Art Studies, 2009, University of Southern California
URL: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll127/id/236467/rec/900
► Our society is always changing, always evolving and temporary public art can work hand-in-hand with the idea of an ever-changing society. Art critic Patricia Phillips… (more)
▼ Our society is always changing, always evolving and temporary public art can work hand-in-hand with the idea of an ever-changing society. Art critic Patricia Phillips has written about ephemeral works and their advantages for public art, which provides an noteworthy way to critically look at this type of art. With these ideas in mind, this thesis attempts to investigate and answer questions by analyzing Michael Asher's 'George Washington' (2005) and Creative Time's 'Freedom of Expression National Monument' (2004): Do the works discussed create contentious space? Do these ephemeral public artworks create social exchanges and public dialogue past the end of the project? Do these temporary public artworks create more of an impact on some issues than a permanent piece can? Should temporary public art occupy a portion of today's art landscape? Advisors/Committee Members: Bray, Anne (Committee Chair), Moss, Karen (Committee Member), Decter, Joshua (Committee Member).
Subjects/Keywords: public art; time; contentious; space; temporary
Lidgett, E. (2009). Art and time: temporary public art and contentious space . (Masters Thesis). University of Southern California. Retrieved from http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll127/id/236467/rec/900
Lidgett, Elizabeth. "Art and time: temporary public art and contentious space." 2009. Masters Thesis, University of Southern California. Accessed January 22, 2020. http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll127/id/236467/rec/900.
Lidgett, Elizabeth. "Art and time: temporary public art and contentious space." 2009. Web. 22 Jan 2020.
Lidgett E. Art and time: temporary public art and contentious space. [Internet] [Masters thesis]. University of Southern California; 2009. [cited 2020 Jan 22]. Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll127/id/236467/rec/900.
Lidgett E. Art and time: temporary public art and contentious space. [Masters Thesis]. University of Southern California; 2009. Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll127/id/236467/rec/900
12. Bognar, S.S. Street Art: Perpetual Alteration An essay exploring the current standing of Street art and Graffiti, how they are affected by contextual and social issues and how society and artists react to its ever-changing condition.
► An investigation into the factors which determine Graffiti and Street art as two seperate entities of the same art genre, how they are affected by… (more)
▼ An investigation into the factors which determine Graffiti and Street art as two seperate entities of the same art genre, how they are affected by contextual social issues and how society, artists, and gallery institutions react and adapt to it's ever-changing condition. Looking at various examples from different parts of the world and discussing theories of public space and societal definitions of the urban environment. Advisors/Committee Members: Van Rossem, Patrick.
Subjects/Keywords: Street art; Graffiti; Public Space; Urban; Society
Bognar, S. S. (2012). Street Art: Perpetual Alteration An essay exploring the current standing of Street art and Graffiti, how they are affected by contextual and social issues and how society and artists react to its ever-changing condition . (Masters Thesis). Universiteit Utrecht. Retrieved from http://dspace.library.uu.nl:8080/handle/1874/251886
Bognar, S S. "Street Art: Perpetual Alteration An essay exploring the current standing of Street art and Graffiti, how they are affected by contextual and social issues and how society and artists react to its ever-changing condition." 2012. Masters Thesis, Universiteit Utrecht. Accessed January 22, 2020. http://dspace.library.uu.nl:8080/handle/1874/251886.
Bognar, S S. "Street Art: Perpetual Alteration An essay exploring the current standing of Street art and Graffiti, how they are affected by contextual and social issues and how society and artists react to its ever-changing condition." 2012. Web. 22 Jan 2020.
Bognar SS. Street Art: Perpetual Alteration An essay exploring the current standing of Street art and Graffiti, how they are affected by contextual and social issues and how society and artists react to its ever-changing condition. [Internet] [Masters thesis]. Universiteit Utrecht; 2012. [cited 2020 Jan 22]. Available from: http://dspace.library.uu.nl:8080/handle/1874/251886.
Bognar SS. Street Art: Perpetual Alteration An essay exploring the current standing of Street art and Graffiti, how they are affected by contextual and social issues and how society and artists react to its ever-changing condition. [Masters Thesis]. Universiteit Utrecht; 2012. Available from: http://dspace.library.uu.nl:8080/handle/1874/251886
13. Valites, Caroline. Corporeal Thresholds.
Degree: MFA, Art, 2013, University of Massachusetts
URL: https://scholarworks.umass.edu/theses/1089
► This text is a written articulation of my MFA thesis show entitled Corporeal Thresholds. It aims to share the poignant moments that inspired the… (more)
▼ This text is a written articulation of my MFA thesis show entitled Corporeal Thresholds. It aims to share the poignant moments that inspired the work and contextualizes my practice within the framework of metaphysics and the phenomenology of perception. Specific topics include the body and the visceral, doubt and certainty, love and loss, and the defining spaces that influence our lives. Advisors/Committee Members: Susan E. Jahoda, Shona Macdonald.
Subjects/Keywords: Installation; Loss; Metaphysics; Space; Uncertainty; Art Practice
Valites, C. (2013). Corporeal Thresholds . (Masters Thesis). University of Massachusetts. Retrieved from https://scholarworks.umass.edu/theses/1089
Valites, Caroline. "Corporeal Thresholds." 2013. Masters Thesis, University of Massachusetts. Accessed January 22, 2020. https://scholarworks.umass.edu/theses/1089.
Valites, Caroline. "Corporeal Thresholds." 2013. Web. 22 Jan 2020.
Valites C. Corporeal Thresholds. [Internet] [Masters thesis]. University of Massachusetts; 2013. [cited 2020 Jan 22]. Available from: https://scholarworks.umass.edu/theses/1089.
Valites C. Corporeal Thresholds. [Masters Thesis]. University of Massachusetts; 2013. Available from: https://scholarworks.umass.edu/theses/1089
14. Powell, Haley. BEYOND THE TEMPLES AND PALACES: THE IMPORTANCE OF UNUSUAL ART SPACES IN THE TWENTY-FIRST CENTURY.
Degree: 2017, American University
URL: http://hdl.handle.net/1961/auislandora:68605
This thesis explores unusual art spaces in the twenty-first century and examines why they are important to artists and audiences. Art spaces in the United… (more)
This thesis explores unusual art spaces in the twenty-first century and examines why they are important to artists and audiences. Art spaces in the United States have evolved over the last 200 years; temples, palaces, and grand venues for arts consumption are the established norm. However, there is work being presented outside of these traditional spaces. These unusual art spaces help meet creative and logistical needs of artists and offer contemporary audiences unique, engaging experiences that are both innovative and important to examinations of art attendance.
Art, Nontraditional, Space, Theatre, Unusual, Venue
Degree Awarded: M.A. Performing Arts. American University
Advisors/Committee Members: American University (Publisher), Varela, Ximena (Thesis advisor), Gabriel, Cara (Other).
Subjects/Keywords: Art; Nontraditional; Space; Theatre; Unusual; Venue
Powell, H. (2017). BEYOND THE TEMPLES AND PALACES: THE IMPORTANCE OF UNUSUAL ART SPACES IN THE TWENTY-FIRST CENTURY . (Masters Thesis). American University. Retrieved from http://hdl.handle.net/1961/auislandora:68605
Powell, Haley. "BEYOND THE TEMPLES AND PALACES: THE IMPORTANCE OF UNUSUAL ART SPACES IN THE TWENTY-FIRST CENTURY." 2017. Masters Thesis, American University. Accessed January 22, 2020. http://hdl.handle.net/1961/auislandora:68605.
Powell, Haley. "BEYOND THE TEMPLES AND PALACES: THE IMPORTANCE OF UNUSUAL ART SPACES IN THE TWENTY-FIRST CENTURY." 2017. Web. 22 Jan 2020.
Powell H. BEYOND THE TEMPLES AND PALACES: THE IMPORTANCE OF UNUSUAL ART SPACES IN THE TWENTY-FIRST CENTURY. [Internet] [Masters thesis]. American University; 2017. [cited 2020 Jan 22]. Available from: http://hdl.handle.net/1961/auislandora:68605.
Powell H. BEYOND THE TEMPLES AND PALACES: THE IMPORTANCE OF UNUSUAL ART SPACES IN THE TWENTY-FIRST CENTURY. [Masters Thesis]. American University; 2017. Available from: http://hdl.handle.net/1961/auislandora:68605
University of Tennessee – Knoxville
15. Bowling, Ruth Marie. The Space that Art Makes: The Antagonist Art Movement and Artist Agency.
Degree: MS, Geography, 2014, University of Tennessee – Knoxville
URL: https://trace.tennessee.edu/utk_gradthes/2866
► This thesis uses literatures on art geography, community building, and the art market to explore the process of space-making for art production. In the… (more)
▼ This thesis uses literatures on art geography, community building, and the art market to explore the process of space-making for art production. In the year 2000, the Antagonist Art Movement (AAM) was established in New York City to create virtual and physical spaces that support art and artists. I contribute to an ongoing discussion about the relationship between art and geography by exploring how artists create spaces for art, and the role of artist communities in maintaining such spaces. The paper uses three documentary films created by the AAM, interviews with key Antagonist members, and observations conducted in NYC to explore the spaces that facilitate art production. My findings reveal a reciprocal relationship between spaces for art and community building. In addition, the act of art-space creation by the AAM resists the demands of the art market on artists. The demands of the art market are a direct product of neoliberalism. This paper extends the literature on art geographies by studying what Hannah Neate refers to as the "alternative geographies of the galleries," and explores the ways in which artists create spaces for art beyond the venues offered by contemporary art galleries. Thus, I contend that the processes of art production are as valuable to scholars as a finished art product, and that the AAM uses art-space creation as a means of resisting the art market and the demands of neoliberalism. The politics of art-space creation offers geographers a rich and nuanced understanding of the relationship between community building, globalization, and space. Advisors/Committee Members: Micheline F. van Riemsdijk, Derek H. Alderman, Joshua F. J. Inwood.
Subjects/Keywords: artists; qualitative methods; community; space; art
Bowling, R. M. (2014). The Space that Art Makes: The Antagonist Art Movement and Artist Agency . (Thesis). University of Tennessee – Knoxville. Retrieved from https://trace.tennessee.edu/utk_gradthes/2866
Bowling, Ruth Marie. "The Space that Art Makes: The Antagonist Art Movement and Artist Agency." 2014. Thesis, University of Tennessee – Knoxville. Accessed January 22, 2020. https://trace.tennessee.edu/utk_gradthes/2866.
Bowling, Ruth Marie. "The Space that Art Makes: The Antagonist Art Movement and Artist Agency." 2014. Web. 22 Jan 2020.
Bowling RM. The Space that Art Makes: The Antagonist Art Movement and Artist Agency. [Internet] [Thesis]. University of Tennessee – Knoxville; 2014. [cited 2020 Jan 22]. Available from: https://trace.tennessee.edu/utk_gradthes/2866.
Bowling RM. The Space that Art Makes: The Antagonist Art Movement and Artist Agency. [Thesis]. University of Tennessee – Knoxville; 2014. Available from: https://trace.tennessee.edu/utk_gradthes/2866
16. Younger , Jay Janette Ann. Critically engaged Permanent Public Art in the context of Art Built-in (1999-2006).
► Within the context of Art Built-in, the Queensland Government's integrated public art policy from 1999 to 2007, public art has been seen to be 'dumbed… (more)
▼ Within the context of Art Built-in, the Queensland Government's integrated public art policy from 1999 to 2007, public art has been seen to be 'dumbed down' with a preference for art in the public domain that is not critically engaged. The government client-commissioner within the purported democratic 'art-by-committee' process often expects the artwork to represent Government values and to be content-free and risk-free with the intention of avoiding controversy. Now that AB-i is defunct, with the benefit of hindsight, the central question is: how could critically engaged practice have been better embraced within AB-i? Topics covered to clarify the context of the question include comparative contextual analysis surrounding AB-i, confused assumptions and expectations of public art, the philosophies of public space and their impact on public art, and the limitations of public art in the practical context. Selected curatorial projects—Brisbane Powerhouse, Judith Wright Centre for Contemporary Art, and Brisbane Magistrates Courts—have been used to practically test the hypothesis of integrating critically engaged art in the context of permanent public art in Queensland, and a curatorial methodology that intends to promote critically engaged public art is provided.
Subjects/Keywords: Public art policy, Queensland; Public space, Queensland
Younger , J. J. A. (2011). Critically engaged Permanent Public Art in the context of Art Built-in (1999-2006) . (Doctoral Dissertation). University of New South Wales. Retrieved from http://handle.unsw.edu.au/1959.4/51239 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:9907/SOURCE01?view=true
Younger , Jay Janette Ann. "Critically engaged Permanent Public Art in the context of Art Built-in (1999-2006)." 2011. Doctoral Dissertation, University of New South Wales. Accessed January 22, 2020. http://handle.unsw.edu.au/1959.4/51239 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:9907/SOURCE01?view=true.
Younger , Jay Janette Ann. "Critically engaged Permanent Public Art in the context of Art Built-in (1999-2006)." 2011. Web. 22 Jan 2020.
Younger JJA. Critically engaged Permanent Public Art in the context of Art Built-in (1999-2006). [Internet] [Doctoral dissertation]. University of New South Wales; 2011. [cited 2020 Jan 22]. Available from: http://handle.unsw.edu.au/1959.4/51239 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:9907/SOURCE01?view=true.
Younger JJA. Critically engaged Permanent Public Art in the context of Art Built-in (1999-2006). [Doctoral Dissertation]. University of New South Wales; 2011. Available from: http://handle.unsw.edu.au/1959.4/51239 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:9907/SOURCE01?view=true
17. Pawlowski, Mark James. Housing and the Village Landscape in the Byzantine Mani.
Degree: Art History, 2019, UCLA
URL: http://www.escholarship.org/uc/item/4gg2954p
► This dissertation examines the form and use of space within Byzantine villages in the Mani peninsula, the southernmost point of the Greek Peloponnese. Because of… (more)
▼ This dissertation examines the form and use of space within Byzantine villages in the Mani peninsula, the southernmost point of the Greek Peloponnese. Because of the use of stone in the construction of houses, churches, threshing floors, cisterns and other agricultural features, the preservation of settlements is excellent despite centuries of abandonment. Focusing on the domestic and secular features of settlements, I document and map the built features of villages to preserve their history, even as the buildings deteriorate. I interpret the built elements through spatial analysis, social history and information provided by local residents about the histories of each settlement. I selected the two primary villages in this dissertation, Marathos and Sarania, to provide examples of settlements from the same region located in different physical settings. Central to my study is the examination of how topography affects village development. I also study the fortified settlement at Tigani, the center of government control in the region. I examined the domestic architecture from this site in order to see how it relates and differentiates itself from that of the surrounding countryside. I aggregated and examined data on house design and size as well as settlement layout in order to provide conclusions about the form of domestic architecture and the use of space within the village. I identify the importance of topography and regional characteristics as critical factors in the form and appearance of buildings. Using two well-preserved, abandoned villages in the Mani as a foundation, and including the study of the administrative center at Tigani, my dissertation examines the relationship of villages to the landscape, to each other, and to proximate urban centers, placing a micro study within a much broader context. I use the data obtained from mapping to test multiple hypotheses about use, access, and function. My project aims not only to gain an understanding of the villages of the medieval Mani, but also to construct a model for future studies on the built environment of rural settlements.
Subjects/Keywords: Art history; Archaeology; Architecture; Mani; Space; Village
Pawlowski, M. J. (2019). Housing and the Village Landscape in the Byzantine Mani . (Thesis). UCLA. Retrieved from http://www.escholarship.org/uc/item/4gg2954p
Pawlowski, Mark James. "Housing and the Village Landscape in the Byzantine Mani." 2019. Thesis, UCLA. Accessed January 22, 2020. http://www.escholarship.org/uc/item/4gg2954p.
Pawlowski, Mark James. "Housing and the Village Landscape in the Byzantine Mani." 2019. Web. 22 Jan 2020.
Pawlowski MJ. Housing and the Village Landscape in the Byzantine Mani. [Internet] [Thesis]. UCLA; 2019. [cited 2020 Jan 22]. Available from: http://www.escholarship.org/uc/item/4gg2954p.
Pawlowski MJ. Housing and the Village Landscape in the Byzantine Mani. [Thesis]. UCLA; 2019. Available from: http://www.escholarship.org/uc/item/4gg2954p
18. Varona, Jorge Luis. Artist and his model in an interior space, The.
► An exploration of visual, psychological, and atmospheric qualities of the figure in an interior space relative to other objects and figures. There is also consideration… (more)
▼ An exploration of visual, psychological, and atmospheric qualities of the figure in an interior space relative to other objects and figures. There is also consideration of the space in relationship to the canvas which the viewer occupies in observing the paintings. Advisors/Committee Members: Dietemann, David L. (advisor), Yust, Dave, 1939- (committee member), Twarogowski, Leroy A. (committee member), Williams, Ron G. (committee member), Levine, Frederick S. (committee member).
…2 The Self_-portrait (Fig. 3} investigates the space created between the… …in the mirror. between the two. I express the space I also show how the back of the… …canvas reflects on the mirror and the space created between canvases. This illusion of a… …the viewer is assuming the space taken by the artist as I worked. So, the reflec- tion… …emphasis on detail. The space between them becomes very important. The compo- sition is on a…
1 more image…
Varona, J. L. (2016). Artist and his model in an interior space, The . (Masters Thesis). Colorado State University. Retrieved from http://hdl.handle.net/10217/171398
Varona, Jorge Luis. "Artist and his model in an interior space, The." 2016. Masters Thesis, Colorado State University. Accessed January 22, 2020. http://hdl.handle.net/10217/171398.
Varona, Jorge Luis. "Artist and his model in an interior space, The." 2016. Web. 22 Jan 2020.
Varona JL. Artist and his model in an interior space, The. [Internet] [Masters thesis]. Colorado State University; 2016. [cited 2020 Jan 22]. Available from: http://hdl.handle.net/10217/171398.
Varona JL. Artist and his model in an interior space, The. [Masters Thesis]. Colorado State University; 2016. Available from: http://hdl.handle.net/10217/171398
19. Burke, EK. Unsettling space : trauma and architecture in contemporary art.
URL: https://eprints.utas.edu.au/23167/1/Burke_whole_thesis.pdf
► This thesis is an inquiry into relationships between concepts of trauma and architectural forms and spaces in contemporary art. Through critical analyses of a selection… (more)
▼ This thesis is an inquiry into relationships between concepts of trauma and architectural forms and spaces in contemporary art. Through critical analyses of a selection of the sculptural and site-‐specific works of four key artists -‐ Krzysztof Wodiczko, Rachel Whiteread, Doris Salcedo and Gregor Schneider -‐ it argues that architectural form and space provides a rich material and metaphorical framework for exploring the shifting conceptual terrain of contemporary trauma. Where the representational problem of trauma has traditionally been theorised in relation to subjective experience and the failures of language, the thesis suggests that through their engagement with architecture, all four artists present it as a problem of space and social relations. It argues that these artists utilise architectural form and space as a medium for exploring contemporary anxieties about trauma and its continued effect on both our political and personal lives and our experience and memory of past and present events. The thesis is structured in three chapters that analyse meanings of trauma in the selected works along a trajectory of different approaches to domestic, institutional, and public architectural sites and spaces. It suggests that through the sculptural strategies of displacement and the blurring of structural boundaries between interior/exterior space, the works straddle the traditional, psychologised space of private, individual experience and a broader, more political space that encompasses collective experience and public forms of commemoration and inhabitation. As such, the thesis argues that problematizing the experience of inhabitation across these spaces is an aesthetic and political strategy that has the power to unsettle the viewer and initiate affective engagements with some of the more ethical dimensions of trauma and our collective response to it in contemporary contexts. By identifying conceptual links between the works of Wodiczko, Whiteread, Salcedo and Schneider, the thesis develops a critical framework for theorising how the unsettled parameters of architectural spaces and forms can foster new approaches to trauma.
Subjects/Keywords: Sculpture; Contemporary Art; Trauma; Architectural space; Public space; Architecture
Burke, E. (2015). Unsettling space : trauma and architecture in contemporary art . (Thesis). University of Tasmania. Retrieved from https://eprints.utas.edu.au/23167/1/Burke_whole_thesis.pdf
Burke, EK. "Unsettling space : trauma and architecture in contemporary art." 2015. Thesis, University of Tasmania. Accessed January 22, 2020. https://eprints.utas.edu.au/23167/1/Burke_whole_thesis.pdf.
Burke, EK. "Unsettling space : trauma and architecture in contemporary art." 2015. Web. 22 Jan 2020.
Burke E. Unsettling space : trauma and architecture in contemporary art. [Internet] [Thesis]. University of Tasmania; 2015. [cited 2020 Jan 22]. Available from: https://eprints.utas.edu.au/23167/1/Burke_whole_thesis.pdf.
Burke E. Unsettling space : trauma and architecture in contemporary art. [Thesis]. University of Tasmania; 2015. Available from: https://eprints.utas.edu.au/23167/1/Burke_whole_thesis.pdf
20. Gao, Zengrong. Croisement entre l'espace réel et l'espace virtuel au sein des sociétés contemporaines européenne et chinoise en mutation : projet urbain à l'œuvre d'art pour réinventer les espaces publics : Overlapping between real space and virtual space within evolving contemporary societies in both Europe and China : from urban project to the artwork of reconstructing public spaces.
Degree: Docteur es, Arts Plastiques et Photographie, 2016, Paris 8
URL: http://www.theses.fr/2016PA080021
Pour leur survie, les hommes se sont créés, au fil de leur évolution, leur propre « milieu de vie » fait d'éléments pouvant les mettre… (more)
Pour leur survie, les hommes se sont créés, au fil de leur évolution, leur propre « milieu de vie » fait d'éléments pouvant les mettre à l'abri des dangers et leur faciliter l'existence. Les villes sont nées de ces besoins et au sein d'elles des espaces ludiques et de confort sont apparus. Sont venus ensuite des désirs d'expression et de partage qui distinguent les villes les unes des autres. A la Renaissance, les villes européennes nées des inspirations de la Grèce antique se sont érigées en modèle avec leurs places publiques aménagées. La volonté de leurs concepteurs et des mouvements artistiques ont donné à ces aires urbaines leurs formes diverses. Avec l'apparition des nouvelles technologies, c'est encore une autre étape qui se présente et enrichit la ville d'une dimension complémentaire : l'espace virtuel accompagne désormais l'espace réel. Le virtuel a aujourd'hui une importance capitale au sein des villes et véhicule l'art urbain. C'est l'étude de cette évolution, ce parcours depuis la ville en tant que besoin jusqu'à la ville moderne modelée par ses espaces virtuels que notre travail se propose d'analyser. Le croisement entre le réel et le virtuel nous offre une dimension nouvelle avec des contraintes mais également un champ nouveau d'expression. De l'Europe jusqu'en Chine, les espaces publics sont aujourd'hui des œuvres d'art à part entière et accordent à la ville son identité, son image, reflet de sa culture et de son patrimoine architectural et artistique.
To survive, human beings have created their own "living environment" throughout their evolution to protect themselves from dangers and facilitate their existence. Cities were formed to fulfill these needs, to perform different spacial functions and to present the comfort for living. The continuing demand and expression have distinguished cities from each other, so that we can experience the beauty of difference. During the Renaissance, Europeans were inspired by ancient Greece with their public places' structures. The will of the designers and artistic movements then have given these urban areas various forms. With the development of new tehcnologies, we have various ways to enrich cities: the virtual space is now interconnected with the real space. Nowadays, virtual spaces has become an important channel to deliver urban art.This study aims to analyze this evolution path of city spaces, from basic human needs to how virtual space have figured modern world. The cross between real space and virtual space offers and also restrains a new dimension for expression. From Europe to China, public spaces are definitely artwork itself and also give each city its identity and its image. It also reflects its culture, architectural and artistic heritage.
Advisors/Committee Members: Boissier, Jean-Louis (thesis director).
Subjects/Keywords: Ville; Art; Espace public; Espace réel; Espace virtuel; City; Art; Public space; Real space; Virtual space
Gao, Z. (2016). Croisement entre l'espace réel et l'espace virtuel au sein des sociétés contemporaines européenne et chinoise en mutation : projet urbain à l'œuvre d'art pour réinventer les espaces publics : Overlapping between real space and virtual space within evolving contemporary societies in both Europe and China : from urban project to the artwork of reconstructing public spaces . (Doctoral Dissertation). Paris 8. Retrieved from http://www.theses.fr/2016PA080021
Gao, Zengrong. "Croisement entre l'espace réel et l'espace virtuel au sein des sociétés contemporaines européenne et chinoise en mutation : projet urbain à l'œuvre d'art pour réinventer les espaces publics : Overlapping between real space and virtual space within evolving contemporary societies in both Europe and China : from urban project to the artwork of reconstructing public spaces." 2016. Doctoral Dissertation, Paris 8. Accessed January 22, 2020. http://www.theses.fr/2016PA080021.
Gao, Zengrong. "Croisement entre l'espace réel et l'espace virtuel au sein des sociétés contemporaines européenne et chinoise en mutation : projet urbain à l'œuvre d'art pour réinventer les espaces publics : Overlapping between real space and virtual space within evolving contemporary societies in both Europe and China : from urban project to the artwork of reconstructing public spaces." 2016. Web. 22 Jan 2020.
Gao Z. Croisement entre l'espace réel et l'espace virtuel au sein des sociétés contemporaines européenne et chinoise en mutation : projet urbain à l'œuvre d'art pour réinventer les espaces publics : Overlapping between real space and virtual space within evolving contemporary societies in both Europe and China : from urban project to the artwork of reconstructing public spaces. [Internet] [Doctoral dissertation]. Paris 8; 2016. [cited 2020 Jan 22]. Available from: http://www.theses.fr/2016PA080021.
Gao Z. Croisement entre l'espace réel et l'espace virtuel au sein des sociétés contemporaines européenne et chinoise en mutation : projet urbain à l'œuvre d'art pour réinventer les espaces publics : Overlapping between real space and virtual space within evolving contemporary societies in both Europe and China : from urban project to the artwork of reconstructing public spaces. [Doctoral Dissertation]. Paris 8; 2016. Available from: http://www.theses.fr/2016PA080021
21. Ramsaroop, Talisha Amanda. Murals Talk Back: An Understanding of Community Murals in Jane Finch.
Degree: MA -MA, Sociology, 2017, York University
► This thesis is based on a study of three community murals in Jane Finch, a densely populated, racially diverse, inner-city neighborhood in the northwest quadrant… (more)
▼ This thesis is based on a study of three community murals in Jane Finch, a densely populated, racially diverse, inner-city neighborhood in the northwest quadrant of Toronto, Ontario. Within Jane Finch, there are several mural projects scattered throughout various public spaces including commercial buildings, community centers, and spaces used by youth organizations. Through a series of qualitative, semi-structured interviews with residents and artists who were involved in their creation, this study extends the focus from the images on the walls to the relationship between community members and the murals. The findings show that the murals represent a form of community empowerment, both through their messages of solidarity and resistance and the collaborative creation process. I argue that community murals function as a form of free space that foster educational and critical discourses and provide residents with a sense of belonging and pride. Advisors/Committee Members: Erwin, Lorna (advisor).
Subjects/Keywords: Art education; Urban art; Space; Community; Public space; Free space; Mural; Jane and Finch; Community murals; Urban; Toronto; Marginalization; Youth
Ramsaroop, T. A. (2017). Murals Talk Back: An Understanding of Community Murals in Jane Finch . (Masters Thesis). York University. Retrieved from http://hdl.handle.net/10315/33388
Ramsaroop, Talisha Amanda. "Murals Talk Back: An Understanding of Community Murals in Jane Finch." 2017. Masters Thesis, York University. Accessed January 22, 2020. http://hdl.handle.net/10315/33388.
Ramsaroop, Talisha Amanda. "Murals Talk Back: An Understanding of Community Murals in Jane Finch." 2017. Web. 22 Jan 2020.
Ramsaroop TA. Murals Talk Back: An Understanding of Community Murals in Jane Finch. [Internet] [Masters thesis]. York University; 2017. [cited 2020 Jan 22]. Available from: http://hdl.handle.net/10315/33388.
Ramsaroop TA. Murals Talk Back: An Understanding of Community Murals in Jane Finch. [Masters Thesis]. York University; 2017. Available from: http://hdl.handle.net/10315/33388
22. Watson, SF. Silent witnesses : re-interpreting the still life tradition.
URL: https://eprints.utas.edu.au/22268/1/whole_WatsonSheilaFrances2010_thesis.pdf  ; https://eprints.utas.edu.au/22268/2/whole_WatsonSheilaFrances2010Vol2_thesis.pdf
► This research investigates how simple domestic objects can be employed as visual metaphors for vulnerability, entrapment and unfulfilled expectations experienced by many women who take… (more)
▼ This research investigates how simple domestic objects can be employed as visual metaphors for vulnerability, entrapment and unfulfilled expectations experienced by many women who take on primary domestic roles. In its use of domestic objects as visual metaphors, the project locates itself within the context of the still life genre but at the same time seeks to re-interpret this tradition in a way which makes it relevant to contemporary concerns. The exegesis contextualises the project through discussion of what the domestic object traditionally symbolised in the history of Western art, specifically looking at the still life and narrative genre painting which used the domestic object to deliver moralising and ideological messages. The discussion then focuses, on artists who in the twentieth century re-deployed domestic objects in other ways, wresting them from their traditional meanings. Of particular relevance to the project is how artists moved away from painterly depictions of domestic objects to assimilating the ephemera of daily life into their work and also how they have invested them with meanings which challenge the traditional concept of home as a safe and nurturing environment. In this regard, the artists who have been most relevant to the project have been feminist artists such as Donna Marcus, Vivienne Binns, Helen Fuller, Judy Chicago, Faith Ringgold, Miriam Schapiro and Louise Bourgeois. These artists reference domestic objects as an appropriate visual vehicle to tell their stories, seek equality and reconcile their identities as both women and artists. The outcomes of studio-based investigations are encapsulated in a suite of mixed media artworks that explore different ways of engaging with domestic objects. The materials include paper and glass to reference vulnerability and fragility, while all the objects have been made using recycled materials and collage to invoke memory of a lived experience. Everyday acts of sewing and patchwork are employed to parallel the tedium, repetition and the entrapment of domestic obligations. The use of symbolism and metaphor connect my work to the historic tradition of still life; the use of found objects, materials and process connect it to the many conceptual and material changes that have affected the genre over the last one hundred years. Whilst the project acknowledges that the still life does not hold the same cultural importance that it once had, it does, however, suggest that this tradition can be re-interpreted and re-worked to express current day concerns, particularly those pertaining to the experience of women and the domestic sphere. As such, it builds on the works of feminist artists such as Chicago and Schapiro but, at the same time, goes beyond their concerns of celebrating the female crafts.
Subjects/Keywords: Still-life painting; Domestic space in art; Women in art
Watson, S. (2010). Silent witnesses : re-interpreting the still life tradition . (Thesis). University of Tasmania. Retrieved from https://eprints.utas.edu.au/22268/1/whole_WatsonSheilaFrances2010_thesis.pdf ; https://eprints.utas.edu.au/22268/2/whole_WatsonSheilaFrances2010Vol2_thesis.pdf
Watson, SF. "Silent witnesses : re-interpreting the still life tradition." 2010. Thesis, University of Tasmania. Accessed January 22, 2020. https://eprints.utas.edu.au/22268/1/whole_WatsonSheilaFrances2010_thesis.pdf ; https://eprints.utas.edu.au/22268/2/whole_WatsonSheilaFrances2010Vol2_thesis.pdf.
Watson, SF. "Silent witnesses : re-interpreting the still life tradition." 2010. Web. 22 Jan 2020.
Watson S. Silent witnesses : re-interpreting the still life tradition. [Internet] [Thesis]. University of Tasmania; 2010. [cited 2020 Jan 22]. Available from: https://eprints.utas.edu.au/22268/1/whole_WatsonSheilaFrances2010_thesis.pdf ; https://eprints.utas.edu.au/22268/2/whole_WatsonSheilaFrances2010Vol2_thesis.pdf.
Watson S. Silent witnesses : re-interpreting the still life tradition. [Thesis]. University of Tasmania; 2010. Available from: https://eprints.utas.edu.au/22268/1/whole_WatsonSheilaFrances2010_thesis.pdf ; https://eprints.utas.edu.au/22268/2/whole_WatsonSheilaFrances2010Vol2_thesis.pdf
University of California – Berkeley
23. Harvey, Edwin Rein. The Place, Space, and Practice of Andrew Wyeth's Hay Ledge.
Degree: History of Art, 2014, University of California – Berkeley
URL: http://www.escholarship.org/uc/item/0q1403wj
► The works of the American painter Andrew Wyeth (1917-2009) have for many decades been subjects of contentious debate among historians and critics of art. The… (more)
▼ The works of the American painter Andrew Wyeth (1917-2009) have for many decades been subjects of contentious debate among historians and critics of art. The great majority of these scholars have tacitly agreed, however, that Wyeth's works are simple matters – that be they good or bad, "artistic" or "illustrative," innovative or apish, "modern" or "traditional," they are obviously or self-evidently so. Such beliefs are implied, at least, by the practice of withholding from publication the concrete observations about individual works upon which broad, totalizing claims about Wyeth and his practice have been reached.Intending to correct this mistaken belief about the simplicity and uniformity of Wyeth's work, this dissertation enacts a sustained encounter with a single painting—Hay Ledge (1957)—working at length over the course of three close-knit chapters to demonstrate 1) the formal, conceptual, and sentimental depth of this particular work, 2) the fact that Wyeth's art practice changed over time, and 3) the complexity of the cultural contexts to which that practice responded and in which Wyeth's works in general, and Hay Ledge specifically, have been received and appraised. It thereby begins to bring Wyeth's practice into a more stable, balanced light, thus enabling scholars of art and culture more broadly to reconsider an historically significant phenomenon that they might previously have found too opaque or too polarizing to engage.
Subjects/Keywords: Art history; American; Art; Hay Ledge; Place; Space; Wyeth
Harvey, E. R. (2014). The Place, Space, and Practice of Andrew Wyeth's Hay Ledge . (Thesis). University of California – Berkeley. Retrieved from http://www.escholarship.org/uc/item/0q1403wj
Harvey, Edwin Rein. "The Place, Space, and Practice of Andrew Wyeth's Hay Ledge." 2014. Thesis, University of California – Berkeley. Accessed January 22, 2020. http://www.escholarship.org/uc/item/0q1403wj.
Harvey, Edwin Rein. "The Place, Space, and Practice of Andrew Wyeth's Hay Ledge." 2014. Web. 22 Jan 2020.
Harvey ER. The Place, Space, and Practice of Andrew Wyeth's Hay Ledge. [Internet] [Thesis]. University of California – Berkeley; 2014. [cited 2020 Jan 22]. Available from: http://www.escholarship.org/uc/item/0q1403wj.
Harvey ER. The Place, Space, and Practice of Andrew Wyeth's Hay Ledge. [Thesis]. University of California – Berkeley; 2014. Available from: http://www.escholarship.org/uc/item/0q1403wj
24. Roqueplo, Anne. Rencontres de l'art et de l'architecture : le projet d'habiter des artistes : Art and architecture encounter : artistic living project.
Degree: Docteur es, Architecture, 2012, Université Paris-Est
URL: http://www.theses.fr/2012PEST1184
La recherche interroge le statut d'une production singulière apparue dans l'art contemporain des années 1990 autour du thème de l'habiter. Notre hypothèse est que cette… (more)
La recherche interroge le statut d'une production singulière apparue dans l'art contemporain des années 1990 autour du thème de l'habiter. Notre hypothèse est que cette production constitue un « projet d'habiter », formule suggérant qu'une attitude semblable rassemble ces artistes dans la volonté de s'approprier le champ de l'habiter selon une vision et des intentions directement connectées à la réalité. L'habiter est entendu dans le cadre de la recherche comme le rapport qualifié de l'homme à son lieu de résidence, que cette qualification relève d'un système, d'un courant architectural, d'un mode de vie, d'une échelle intime ou territoriale. La démonstration de l'existence d'une démarche de projet relative à l'habiter part de la description et l'analyse des actions artistiques selon deux catégories correspondant aux deux premières parties de l'étude : une stratégie de mise en vue et manipulations des propriétés de l'habiter dans ses aspects formels et spatiaux et une stratégie liée à la dimension culturelle de l'habiter. La dernière partie ouvre sur une définition du projet en explicitant la manière dont les oeuvres se situent par rapport à la réalité au travers des méthodes et savoirs convoqués. Au-delà du caractère singulier de cette production qui participe à la reconfiguration du rapport à l'art de l'architecte, une problématique majeure se dégage : celle de la limite de l'espace domestique. Ces artistes plébiscitent le maintien du rôle social de l'architecture par l'intermédiaire de l'habitation selon un rapport à la matérialité et la terre affirmée comme par les opportunités qu'offrent les nouvelles technologies, deux versants de notre réalité quotidienne
This Research questions the issues of an artistic production that emerged in the 1990s, focused on the representation of domestic architectures. The hypothesis is that this production is a "living project", formula suggesting that a same attitude brings together some artists in the will of ownership of the field of inhabit, according to a vision and intentions connected to reality inhabit is understood in this research as the qualified relationship between man and his residence, that this classification depends on a system, an architectural movement, a way of life, an intimate or territorial scale. The existence of a project approach related to the dwell is demonstrated on the basis of the description and analysis of artistic actions, divided in two categories – corresponding to the first two parts of the study : a setting and manipulation strategy of living properties in its formal and spatial aspects, and a strategy related to the cultural dimension of living. The third and final part opens on a definition of the project by explaining how the works are compared to reality through called methods and knowledge. Beyond the singular nature of this production, involved in the reconfiguration of the relationship between art and architects, a major problem emerges : that of the limit of domestic space. These artists plebiscite maintaining the social role of…
Advisors/Committee Members: Eleb, Monique (thesis director).
Subjects/Keywords: Art; Architecture; Habiter; Espace; Limite; Art; Architecture; Live; Space; Boundary
Roqueplo, A. (2012). Rencontres de l'art et de l'architecture : le projet d'habiter des artistes : Art and architecture encounter : artistic living project . (Doctoral Dissertation). Université Paris-Est. Retrieved from http://www.theses.fr/2012PEST1184
Roqueplo, Anne. "Rencontres de l'art et de l'architecture : le projet d'habiter des artistes : Art and architecture encounter : artistic living project." 2012. Doctoral Dissertation, Université Paris-Est. Accessed January 22, 2020. http://www.theses.fr/2012PEST1184.
Roqueplo, Anne. "Rencontres de l'art et de l'architecture : le projet d'habiter des artistes : Art and architecture encounter : artistic living project." 2012. Web. 22 Jan 2020.
Roqueplo A. Rencontres de l'art et de l'architecture : le projet d'habiter des artistes : Art and architecture encounter : artistic living project. [Internet] [Doctoral dissertation]. Université Paris-Est; 2012. [cited 2020 Jan 22]. Available from: http://www.theses.fr/2012PEST1184.
Roqueplo A. Rencontres de l'art et de l'architecture : le projet d'habiter des artistes : Art and architecture encounter : artistic living project. [Doctoral Dissertation]. Université Paris-Est; 2012. Available from: http://www.theses.fr/2012PEST1184
25. Polomik, Michael Richard. Envisioning balance : mapping natural, industrial, and digital space.
Degree: 2010, Western Carolina University
URL: http://libres.uncg.edu/ir/listing.aspx?styp=ti&id=7834
► In order to map a new place, people must explore and record where they are traveling. My artworks are maps of my mind and soul… (more)
▼ In order to map a new place, people must explore and record where they are traveling. My artworks are maps of my mind and soul - records of wonder, want, memory, and emotion. In this thesis investigation, I contemplate my future through recording my past, meshing valuable natural, industrial, and digital memories of space. Patterns and structures from these spaces are first extracted from their source, then altered and remixed during their translation into my work. Though still reminiscent of origin, most imagery in the final product collectively creates an abstract movement and energy to and from a central focal point. Subjects are employed in metamorphic, overlaid, and interactive ways, depicting a battle expressive of my reflections on their presence within my life. These reflections are emphasized through subtle symbols of measurement and time, such as charts, graphs, and the vortex. My thesis exhibition explores these concepts through combinations of spray paint, schematic and gestural mark making, and 16th century Italian Renaissance painting style. These media and the processes involved in their application are inherently associated with the three primary categories of space that I express. Their collaborative context provides the viewer with a unique way of analyzing modern life. Although I find our current environment dense, and at times artificial, it is in many ways beautiful. I want to look at my world in a different way through my art. Gaston Bachelard once said, "…It is in the opposite of causality, that is, in reverberation…that I think we find the real measure of the being of a poetic image" (xvi). Since my markings are intuitive interpretations of my environment, they thus provide a mapping of my psyche and what I believe to be a personal, visual poetry. Mapping my surroundings in this way opens new ways of understanding how I interpret them. Their presence in my work enables a source of reflection for the consideration of reliving past experiences to achieve a balanced future.; Paint, Spray paint, Marker, Postmodernism, Surrealism, Realism, Abstraction Advisors/Committee Members: Richard Tichich (advisor).
Subjects/Keywords: Space and time in art; Art, Modern – 21st century; Postmodernism
Polomik, M. R. (2010). Envisioning balance : mapping natural, industrial, and digital space . (Masters Thesis). Western Carolina University. Retrieved from http://libres.uncg.edu/ir/listing.aspx?styp=ti&id=7834
Polomik, Michael Richard. "Envisioning balance : mapping natural, industrial, and digital space." 2010. Masters Thesis, Western Carolina University. Accessed January 22, 2020. http://libres.uncg.edu/ir/listing.aspx?styp=ti&id=7834.
Polomik, Michael Richard. "Envisioning balance : mapping natural, industrial, and digital space." 2010. Web. 22 Jan 2020.
Polomik MR. Envisioning balance : mapping natural, industrial, and digital space. [Internet] [Masters thesis]. Western Carolina University; 2010. [cited 2020 Jan 22]. Available from: http://libres.uncg.edu/ir/listing.aspx?styp=ti&id=7834.
Polomik MR. Envisioning balance : mapping natural, industrial, and digital space. [Masters Thesis]. Western Carolina University; 2010. Available from: http://libres.uncg.edu/ir/listing.aspx?styp=ti&id=7834
26. Červeňová, Mária. Architektura a umění .
Degree: 2019, Brno University of Technology
► Práca sa zaoberá návrhom Městskej galerie Litomyšl. Ako by mala galéria vyzerať? Čo vlastne v dnešnej dobe pojem galéria znamená? Návrh reaguje na okolie a… (more)
▼ Práca sa zaoberá návrhom Městskej galerie Litomyšl. Ako by mala galéria vyzerať? Čo vlastne v dnešnej dobe pojem galéria znamená? Návrh reaguje na okolie a život v meste. Koncept zrkadlenia, ktorý môžme vidieť v meste je viditeľný v priestorovom, ale aj provoznom usporiadaní galérie.; Aim od my thesis is to propose a Gallery space in the city of Litomyšl. What is a gallery space? What is it supposed to look like? What is it supposed to feel like? The proposal is a reaction to the life in the city. Concept of refletion is visible all around the city. The gallery itself reflects the surrounding buildings and this idea is also visible in the communication of the two buildings I propose. Advisors/Committee Members: Toman, Radek (advisor).
Subjects/Keywords: galéria Litomyšl zrkadlenie umenie; art space Litomyšl reflection art
Červeňová, M. (2019). Architektura a umění . (Thesis). Brno University of Technology. Retrieved from http://hdl.handle.net/11012/173329
Červeňová, Mária. "Architektura a umění ." 2019. Thesis, Brno University of Technology. Accessed January 22, 2020. http://hdl.handle.net/11012/173329.
Červeňová, Mária. "Architektura a umění ." 2019. Web. 22 Jan 2020.
Červeňová M. Architektura a umění . [Internet] [Thesis]. Brno University of Technology; 2019. [cited 2020 Jan 22]. Available from: http://hdl.handle.net/11012/173329.
Červeňová M. Architektura a umění . [Thesis]. Brno University of Technology; 2019. Available from: http://hdl.handle.net/11012/173329
27. Björkquist, Tova. Invisible aesthetics : art as a catalyst for dialogue.
Degree: Institutionen för Bildpedagogik (BI), 2007, University College of Arts
URL: http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-523
Through an exchange partnership between Konstfack, University College of Arts, Crafts and Design and Wits University we had the opportunity to stay in Johannesburg… (more)
Through an exchange partnership between Konstfack, University College of Arts, Crafts and Design and Wits University we had the opportunity to stay in Johannesburg from July to October 2007. We arrived in this city with a prior interest in questions relating to public space and the politics of access to these spaces. In a city which continues to be segregated and in many ways difficult to access, these questions felt even more relevant. Through artistic research and the theories of Michel Foucault and Rosalyn Deutsche we address the question: How can art negotiatespace in order to alter power relationships? Our research is based on artistic practices, namely our own experiments and interviews with the two members of the Trinity Session, Stephen Hobbs and Marcus Neustetter, in which we interrogate an aspect of one of their projects. We have analysed these artistic practices through three keywords: public space, power relationships and embodied experience. Deutsche stresses the notion of public space being based in and on conflict. Foucault describes power as something we always produce through our actions. Embodied experience can be seen as a kind of lasting knowledge in the span between unspoken experience and outspoken knowledge. Some contemporary art projects have the capacity to offer people an embodied experience and through this, disturb the production of power because these mechanisms are working on the same level. Given Foucault's argument that power is not one big entity but rather a series of small practices, these disturbances can be seen as the embryo for something new. To put it simply: micro power can be fought by micro actions. In the longer term we envisage these process-based art practices as having possibilities for the kind of work taking place in schools. We propose that this kind of contemporary art practice can make the art education of today more vivid. We also argue that the notion of embodied experience enriches pedagogical possibilities in school. A CD is attached to this paper which includes documentation from our artistic research and from the final exhibition we installed at Konstfack. We didn't want to exhibit a representation of our work but rather attempted to produce an experience for people to demonstrate the notion of embodied experience. The form in which we had to work didn't allow us to initiate a happening. Therefore our exhibition became a necessary reconfiguration where we used similar strategies and artefacts to the ones we have described in the paper but we also encouraged people to participate by sending pictures to a cell phone exhibited in the gallery. In this way our exhibition was interactive at the same time as it showed strategies we have been working with in our exam thesis.
BI/Konst
Subjects/Keywords: art; space; relationships; Art; Konstvetenskap
Björkquist, T. (2007). Invisible aesthetics : art as a catalyst for dialogue . (Thesis). University College of Arts. Retrieved from http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-523
Björkquist, Tova. "Invisible aesthetics : art as a catalyst for dialogue." 2007. Thesis, University College of Arts. Accessed January 22, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-523.
Björkquist, Tova. "Invisible aesthetics : art as a catalyst for dialogue." 2007. Web. 22 Jan 2020.
Björkquist T. Invisible aesthetics : art as a catalyst for dialogue. [Internet] [Thesis]. University College of Arts; 2007. [cited 2020 Jan 22]. Available from: http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-523.
Björkquist T. Invisible aesthetics : art as a catalyst for dialogue. [Thesis]. University College of Arts; 2007. Available from: http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-523
Université Paris-Sorbonne – Paris IV
28. De Smet, Elsa. Voir pour Savoir. La visualisation technique et scientifique de l'aventure spatiale dans le monde occidental entre 1840 et 1969 : See to Know. The technical and scientifical visualization of space adventure in the western World between 1840 and 1969.
Degree: Docteur es, Histoire de l'art, 2016, Université Paris-Sorbonne – Paris IV
Entre la première photographie jamais prise de la Lune en 1840 par J.W. Draper et la première photographie prise depuis le sol de notre satellite… (more)
Entre la première photographie jamais prise de la Lune en 1840 par J.W. Draper et la première photographie prise depuis le sol de notre satellite en 1969 par la mission Apollo 11, l'aventure spatiale occidentale a donné lieu à une vaste production d'images. Toutes ont cherché à comprendre, capturer et communiquer au plus grand nombre l'aspect du cosmos. Absorbé comme une évidence par la culture collective, ce corpus hétérogène, protéiforme et aux délimitations complexes, relève d'une histoire culturelle qui reste difficile à classer, entre histoire des sciences et histoire des images. Les visualisations qui en résultent, marquées par les traditions de l'histoire de la représentation et fabriquées en parallèle des évolutions technologiques de l'astronomie et de ses moyens d'observation, ont tout autant façonné le regard de l'astronomie physique et la culture visuelle de ses observateurs néophytes. L'analyse de la formation et de l'épanouissement de l'Art spatial au XXe siècle nous ouvre ainsi les yeux sur un corpus visuel où la coalescence entre science et style est une condition nécessaire à son existence. A l'épreuve de l'histoire de l'histoire de l'art et des études visuelles, ce dernier trouve également toute sa place dans une analyse qui vise à dévoiler la puissance et la qualité performative des images. Qu'il s'agisse d'une imagerie vulgarisant le savoir savant à des fins didactiques, d'une volonté de saisir l'image du cosmos pour le découvrir ou d'une dissémination culturelle au cœur des grands mythes du siècle, l'exploration spatiale fut aussi une entreprise du regard qu'il nous incombe d'observer.
Between the first photograph taken from the moon in 1840 by J.W. Draper and the first photograph taken from our satellite's ground in 1969 by Apollo 11's mission, western space odyssey led to a wide range of images. They all had the common goal of understanding, apprehending and sharing the aspect of cosmos with as many people as possible. Evidently absorbed by a collective culture, this heterogeneous and multifaceted corpus with many complex boundaries is based on a cultural history, which remains hard to classify, between science history and images history. The resulting visualizations, heavily influenced by the traditions of the history of representation and made in parallel of the technical evolutions of astronomy and its means of observation, have equally shaped the look of physical astronomy and of the visual culture of its neophyte observers. The analysis of the creation and the fulfilment of Space Art in the twentieth century make us open our eyes on a visual corpus where the coalescence between science and style is a necessary condition to its really existence. Confronted to History of Arts and to visual studies, this corpus finds its place within an analysis, which pursues to disclose the power and the performative quality of images. Whether it be an imagery popularizing the deepest knowledge for teaching purposes, a will of grabbing the image of cosmos in order to discover it or a cultural…
Advisors/Committee Members: Pierre, Arnauld (thesis director).
Subjects/Keywords: Culture visuelle; Art-Science; Space art; Illustration; Art contemporain; Vue d'artiste; Sublime astronomique; Fiction scientifique; Visual culture; Art-Science; Space art; Illustration; Contemporary art; Artist view; Astronomical Sublime; Scientific fiction
De Smet, E. (2016). Voir pour Savoir. La visualisation technique et scientifique de l'aventure spatiale dans le monde occidental entre 1840 et 1969 : See to Know. The technical and scientifical visualization of space adventure in the western World between 1840 and 1969 . (Doctoral Dissertation). Université Paris-Sorbonne – Paris IV. Retrieved from http://www.theses.fr/2016PA040160
De Smet, Elsa. "Voir pour Savoir. La visualisation technique et scientifique de l'aventure spatiale dans le monde occidental entre 1840 et 1969 : See to Know. The technical and scientifical visualization of space adventure in the western World between 1840 and 1969." 2016. Doctoral Dissertation, Université Paris-Sorbonne – Paris IV. Accessed January 22, 2020. http://www.theses.fr/2016PA040160.
De Smet, Elsa. "Voir pour Savoir. La visualisation technique et scientifique de l'aventure spatiale dans le monde occidental entre 1840 et 1969 : See to Know. The technical and scientifical visualization of space adventure in the western World between 1840 and 1969." 2016. Web. 22 Jan 2020.
De Smet E. Voir pour Savoir. La visualisation technique et scientifique de l'aventure spatiale dans le monde occidental entre 1840 et 1969 : See to Know. The technical and scientifical visualization of space adventure in the western World between 1840 and 1969. [Internet] [Doctoral dissertation]. Université Paris-Sorbonne – Paris IV; 2016. [cited 2020 Jan 22]. Available from: http://www.theses.fr/2016PA040160.
De Smet E. Voir pour Savoir. La visualisation technique et scientifique de l'aventure spatiale dans le monde occidental entre 1840 et 1969 : See to Know. The technical and scientifical visualization of space adventure in the western World between 1840 and 1969. [Doctoral Dissertation]. Université Paris-Sorbonne – Paris IV; 2016. Available from: http://www.theses.fr/2016PA040160
29. McInneny, A. Latent space. Temporary art and suburban public space.
Degree: 2014, RMIT University
URL: http://researchbank.rmit.edu.au/view/rmit:160947
► In metropolitan Melbourne, the place of public art is charged by the growth in the commissioning of such artworks by local government and private developers… (more)
▼ In metropolitan Melbourne, the place of public art is charged by the growth in the commissioning of such artworks by local government and private developers and the tension between densification and a continuing sprawl of this Suburban City (Frost, Dingle and La Trobe 1993). Suburban Cities are those 'where capitals developed suburbs before their centres were built up" (Davison 2005). While the suburbs have been the subject of Australian art since the first suburban expansion in the late 19 th century (McAuliffe 1996) very little art about the suburbs is situated in and about its public spaces. In Melbourne's second period of sustained suburban expansion from 1947 to 1971 (Davison 2005), the introduction of three urban forms shifted the perception and spatial practice of suburban space. Based on car transport, the enclosed shopping centre became a de facto suburban city centre. Conceived to contain and mitigate urban sprawl, reserved non-urban areas known as Green Wedges spawned suburban bush parklands in the expanding outer suburbs. The freeway system as the transport solution to a doubling in the area of Metropolitan Melbourne became a way of comprehending the vast distances of the time and space through automobility (Cresswell & Merriman 2011). Through the procurement and creation of art in the public spaces of these suburban forms, site specificity (ed. Suderberg 2000) and the appropriation of space (Lefebvre, 1974/1991) manifest temporary art as analogous to the use of these particular sites. This analogy reveals the network of suburban public spaces in the practice of everyday life (de Certeau 1980/2011) as being both the literal and functional site of art (ed. Suderberg 2000). Marc Augé (1995) defines the urban spaces for the rapid movement of goods and people, such as the shopping centre and the free/tollway system, as non-places . Ignacio Solà-Morales (1995) describes as terrain vague the vacant urban spaces that he argues offer an alternative to the productive logic of the city through their continuing abandonment. In this project and in the public spaces of the three suburban forms, these two concepts of non-place and terrain vague are shifted by both the sanctioned and the surreptitious appropriation and reappropriation of use through temporary and temporal artworks. These artworks augment the place of the shopping centre and the freeway and momentarily materialise Merriman's (2004) concept of place created through the placement of infrastructure. In other sites these artworks demonstrate and maintain a distinctly suburban form of abandonment. Abandonment is found as much within the unusable landscape of a privatised tollway as in the unrestricted use of bush parkland at the suburban end of a Green Wedge. Duration and temporality become the subject and object of the artworks. Through repetition, return and the experience and image of nature within suburban space, temporary art makes evident and active the potential and…
Subjects/Keywords: Fields of Research; Temporary art; temporal art; public space; suburbs; public art; non-place; terrain vague; latent space
McInneny, A. (2014). Latent space. Temporary art and suburban public space . (Thesis). RMIT University. Retrieved from http://researchbank.rmit.edu.au/view/rmit:160947
McInneny, A. "Latent space. Temporary art and suburban public space." 2014. Thesis, RMIT University. Accessed January 22, 2020. http://researchbank.rmit.edu.au/view/rmit:160947.
McInneny, A. "Latent space. Temporary art and suburban public space." 2014. Web. 22 Jan 2020.
McInneny A. Latent space. Temporary art and suburban public space. [Internet] [Thesis]. RMIT University; 2014. [cited 2020 Jan 22]. Available from: http://researchbank.rmit.edu.au/view/rmit:160947.
McInneny A. Latent space. Temporary art and suburban public space. [Thesis]. RMIT University; 2014. Available from: http://researchbank.rmit.edu.au/view/rmit:160947
30. Djonov, Atanas. Navigating viewers: montage, space and meta-art in new media video installation.
Degree: Media Arts, 2012, University of New South Wales
URL: http://handle.unsw.edu.au/1959.4/51991  ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:10661/SOURCE01?view=true
► A significant challenge for new media installation art is how to avoid overwhelming the audience with multiple modes, media, genres and interaction options that lack… (more)
▼ A significant challenge for new media installation art is how to avoid overwhelming the audience with multiple modes, media, genres and interaction options that lack meaningful organisation and how to encourage critical engagement with social issues, with other audience members and with new media installation art itself. This project addresses these questions by extending to new media installation art montage as a principle for making meaning developed by the 1920s constructivist Soviet film directors Kuleshov, Einsenstein and Vertov and meta-art as art that draws critical attention to itself. This is achieved through Compass II, a new media installation art work, and through this thesis. Compass II (2003–2010) is an interactive multi-channel new media video installation and has a database comprising nine stand-alone video works and segments from various stages in each work's development. It shows two distinct geographic and socio-cultural environments – Australia and Bulgaria – and uses revolutionary/propaganda and traditional/folk songs. Compass II employs montage to create meta-art at all its levels of organisation (cinematic, installation and new media) and provides different opportunities for audience engagement with and within the art work, from passive to active observation, involuntary participation, and intentional navigation. It thus seeks to encourage the audience to reflect on the concept behind, construction of and assumptions built into the art work and on the issue of art's potential to stimulate social engagement which the work seeks to raise. This thesis develops a set of categories for describing physical and represented space in the cinematic, installation and new media organisation of a new media video installation, which incorporate insights from film and new media studies, semiotics, architecture and philosophy. Using these categories, it demonstrates that montage can be employed beyond film to create meta-art. This is achieved through examples from the work of a range of film, installation and new media artists and the analysis of Compass II's ability to encourage critical reflection on the issue of social engagement and on itself as an interactive new media video installation. Advisors/Committee Members: Gillies, John Douglas, Media Arts, College of Fine Arts, UNSW.
Subjects/Keywords: Montage; New media art; Video installation art; Meta-art; Space; Compass; Multimodality
Djonov, A. (2012). Navigating viewers: montage, space and meta-art in new media video installation . (Doctoral Dissertation). University of New South Wales. Retrieved from http://handle.unsw.edu.au/1959.4/51991 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:10661/SOURCE01?view=true
Djonov, Atanas. "Navigating viewers: montage, space and meta-art in new media video installation." 2012. Doctoral Dissertation, University of New South Wales. Accessed January 22, 2020. http://handle.unsw.edu.au/1959.4/51991 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:10661/SOURCE01?view=true.
Djonov, Atanas. "Navigating viewers: montage, space and meta-art in new media video installation." 2012. Web. 22 Jan 2020.
Djonov A. Navigating viewers: montage, space and meta-art in new media video installation. [Internet] [Doctoral dissertation]. University of New South Wales; 2012. [cited 2020 Jan 22]. Available from: http://handle.unsw.edu.au/1959.4/51991 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:10661/SOURCE01?view=true.
Djonov A. Navigating viewers: montage, space and meta-art in new media video installation. [Doctoral Dissertation]. University of New South Wales; 2012. Available from: http://handle.unsw.edu.au/1959.4/51991 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:10661/SOURCE01?view=true


text:
package httptest

import (
	"crypto/tls"
	"net/http"
	"testing"

	"github.com/iris-contrib/httpexpect"
	"github.com/kataras/iris"
)

type (
	// OptionSetter sets a configuration field to the configuration
	OptionSetter interface {
		// Set receives a pointer to the Configuration type and does the job of filling it
		Set(c *Configuration)
	}
	// OptionSet implements the OptionSetter
	OptionSet func(c *Configuration)
)

// Set is the func which makes the OptionSet an OptionSetter, this is used mostly
func (o OptionSet) Set(c *Configuration) {
	o(c)
}

// Configuration httptest configuration
type Configuration struct {
	// URL the base url.
	// Defaults to empty string "".
	URL string
	// Debug if true then debug messages from the httpexpect will be shown when a test runs
	// Defaults to false.
	Debug bool
	// LogLevel sets the application's log level.
	// Defaults to "disable" when testing.
	LogLevel string
}

// Set implements the OptionSetter for the Configuration itself
func (c Configuration) Set(main *Configuration) {
	main.URL = c.URL
	main.Debug = c.Debug
	if c.LogLevel != "" {
		main.LogLevel = c.LogLevel
	}
}

var (
	// URL if setted then it sets the httptest's BaseURL.
	// Defaults to empty string "".
	URL = func(schemeAndHost string) OptionSet {
		return func(c *Configuration) {
			c.URL = schemeAndHost
		}
	}
	// Debug if true then debug messages from the httpexpect will be shown when a test runs
	// Defaults to false.
	Debug = func(val bool) OptionSet {
		return func(c *Configuration) {
			c.Debug = val
		}
	}

	// LogLevel sets the application's log level "val".
	// Defaults to disabled when testing.
	LogLevel = func(val string) OptionSet {
		return func(c *Configuration) {
			c.LogLevel = val
		}
	}
)

// DefaultConfiguration returns the default configuration for the httptest.
func DefaultConfiguration() *Configuration {
	return &Configuration{URL: "", Debug: false, LogLevel: "disable"}
}

// New Prepares and returns a new test framework based on the "app".
// You can find example on the https://github.com/kataras/iris/tree/master/_examples/testing/httptest
func New(t *testing.T, app *iris.Application, setters ...OptionSetter) *httpexpect.Expect {
	conf := DefaultConfiguration()
	for _, setter := range setters {
		setter.Set(conf)
	}

	// disable the logger
	app.Logger().SetLevel(conf.LogLevel)
	app.Build()

	testConfiguration := httpexpect.Config{
		BaseURL: conf.URL,
		Client: &http.Client{
			Transport: httpexpect.NewBinder(app),
			Jar:       httpexpect.NewJar(),
		},
		Reporter: httpexpect.NewAssertReporter(t),
	}

	if conf.Debug {
		testConfiguration.Printers = []httpexpect.Printer{
			httpexpect.NewDebugPrinter(t, true),
		}
	}

	return httpexpect.WithConfig(testConfiguration)
}

// NewInsecure same as New but receives a single host instead of the whole framework.
// Useful for testing running TLS servers.
func NewInsecure(t *testing.T, setters ...OptionSetter) *httpexpect.Expect {
	conf := DefaultConfiguration()
	for _, setter := range setters {
		setter.Set(conf)
	}
	transport := &http.Transport{
		TLSClientConfig: &tls.Config{InsecureSkipVerify: true},
	}

	testConfiguration := httpexpect.Config{
		BaseURL: conf.URL,
		Client: &http.Client{
			Transport: transport,
			Jar:       httpexpect.NewJar(),
		},
		Reporter: httpexpect.NewAssertReporter(t),
	}

	if conf.Debug {
		testConfiguration.Printers = []httpexpect.Printer{
			httpexpect.NewDebugPrinter(t, true),
		}
	}

	return httpexpect.WithConfig(testConfiguration)
}

redpajama_set_name: RedPajamaGithub


text:
Golden Telecom to buy rest of Russia's Sovintel.
MOSCOW, March 18 (Reuters) - Russian telecoms firm Golden Telecom said on Monday it had signed a deal to take full control of profitable joint venture Sovintel, buying out the 50 percent owned by partner Rostelekom . The transaction - for $56 million in cash and 15 percent of Golden's shares -...
Fitch Awards B+ Foreign Currency Rating To Tyumen Oil.
LONDON. March 14 (Interfax) - International rating agency Fitch has awarded a foreign currency and unsecured local currency rating of B+ (B plus) to Russia's Tyumen Oil Company (TNK), and a secured local currency debt rating of BB. The outlook for the ratings is stable, the agency said in a...
Alfa Bank Named Best Russian Bank in 2002 by Global Finance Magazine
Alfa Bank was listed along with other top domestic banks from Central and Eastern Europe and Central Asia in the U.S. magazine's ninth annual survey of The Best Emerging Markets Banks. "Despite the difficult market conditions of the past year these banks continue to provide outstanding...
Alfa Bank takes lead with UK and Russian officials at ground-breaking London conference on Stop Money Laundering
Philip Halperin, Director of Risk Management at Alfa Bank, told the conference - the first of its kind in London - that prevention of money laundering was a serious undertaking that was ultimately good for business. "I am proud to say that Alfa Bank has taken the lead in attacking this...

redpajama_set_name: RedPajamaCommonCrawl