Global ETD Search

1	Water, sculptor, sculptural form : an interactive partnership Livsey, Julie January 2001 (has links) No description available. 709.04074
2	Between fear and fascination : the horrific in women's contemporary video installation Keane, Jenny January 2012 (has links) The female body has historically been determined as the site of the frighteningly monstrous Other in phallocentric thought, and in terms of art practice the traditional female nude was represented as either pure or debased - yet through various modes of expanding and imploding the tropes of traditional horror films, some contemporary women artists have begun to investigate the fragmentation of the female body to evoke a new process of deciphering the dichotomous emotions of fear, disgust and desire. In a dialogical relationship between practice-based and written research, this thesis explores contemporary video installation case-studies in relation to early feminist art practices, lesbian representation, and psychoanalytical studies. The issues surrounding the classic cinematic representation of femininity cannot be avoided due to the cinematic conventions that have been assimilated into all moving image practice - thus to investigate the challenge of representing femininity, the concept of horror is examined through numerous sources, including film and literary theory, feminism, queer theory, and video art. While the discourse on horror films has been important, especially in relation to feminist theory, its recent connection to video installation has not been fully explored. I question whether video installation engenders a more direct and visceral response to horror due to its spatial and temporal interrelation, and posit that video installations can utilise visualisations of the horrific in an attempt to redefine the rigidity of binaries that are constructed in phallocentric culture. Through the thesis I propose that my practice, in relation to the work of the other artists examined, explores the liminal state of the body and employs a transgressive mode of spatio-temporality through video and video installation to engender new compelling ways of pushing the boundaries surrounding the fears and fascinations of sexual difference. 709.04074
3	The great re-imagining : public art, urban space and the symbolic landscapes of a "new" Northern Ireland Hocking, Bryanna Tyece January 2013 (has links) In the nearly 15 years since the Good Friday Agreement, a range of public art initiatives, from small-scale community projects to expensive contemporary installations, have been touted by Northern Irish officials as transformative tools that can contribute to social reconciliation and economic renaissance. This thesis critiques the reimagining of public space across five 'post-conflict' urban landscapes in Belfast and Derry/Londonderry. These landscapes explore the spatialisation of discourses around globalisation, consumption, community, troubled history and culture. Each discourse sheds light on the ways the state has used symbolic elements, specifically public art, to telegraph new images (both real and conceptual) in public space as part of an effort to encourage desired social or economic outcomes. Based on interviews with a range of stakeholders, this thesis draws on a theoretical approach which sees the production of' landscape' as illustrative of broader struggles over identity and power in urban life. As such, it offers qualitative insight into the state's relationship to public space in Northern Ireland, and considers how official discourses have been materialised and contested through the public art process. It suggests that the push to create 'new ' symbolic landscapes has often resulted in civic identikit approaches to urban regeneration, tasked with addressing both post-conflict and postindustrial imperatives. The linking of peace and prosperity discourses in these re-created public spaces has profound implications for the meaning of the built environment and the potential vision of citizenship/subjectivity it foreshadows. At the same time, a relatively weak state has experienced difficulties navigating the treacherous terrain of top-down and bottom-up pressures in urban space as it seeks to attract global capital. The findings presented here indicate an often tenuous link between image production and spatial practice, and also highlight the need for future conflict transformation research to rigorously interrogate official discourses through broad-based, multifactorial approaches. 709.04074
4	Background noise : sound art and the resonance of place Labelle, Brandon January 2005 (has links) No description available. 709.04074
5	Audiencing artscapes : encounters between art and audience at Yorkshire Sculpture Park Warren, Saskia January 2011 (has links) This thesis explores the ways in which the meanings of site art are inscribed by different audiences and their spatially contingent processes of audiencing. Theoretically and empirically it suggests the importance of the verb 'audiencing' over the static noun 'audience' to activate the dynamic processes involved in the production of art's meaning. The thesis is based upon qualitative research undertaken over one year spent at Yorkshire Sculpture Park, West Yorkshire. It tailors archival, ethnographic and visual methodologies to address how examples of site art within their spatial context are audienced from a range of roles and positionalities. Audiencing is shown to occur non-linearly, with meaning inscribed variously during the processes of making, installation and exhibiting. Each chapter explores different facets of the relationship between site, art and audience, tracing the histories, discourses and situated knowledges that shape the meanings of the sculpture park and its art. Overall the thesis develops understandings of the geographies of art, suggesting how memory, environmental history and situated knowledges are essential to the embodied dimensions of interpreting site art, and exploring the ways in which audiences have read, produced and practiced the local landscape in differently scaled geographical contexts. This project also considers the ways in which the public can be convened and formed in different spaces, using the sculpture park as a case study to develop critical discussion on non-urban site art and non-urban public space. Together the chapters offer new methodological and analytic approaches to framing the cultural and social meaning of art. Mixed qualitative methods are adopted to explore the in-depth, complex meanings of site art within a range of peoples' lives, revealing the creativity, relational geography and site specificity that lie at the heart of arts' audiencing. 709.04074
6	Resonating bodies : an artist's enquiry into sympathies between the audible and the material Scarfe, Dawn January 2011 (has links) This thesis uses sounding objects to explore interactions and affinities between the audible and the material. Throughout, the emphasis is on first hand, practical engagement with resonating bodies. Antiquated acoustic instruments are re-examined, generating personal conjectures and creative explorations. The author submits herself to “therapy” with the sound of the glass harmonica, inspired by controversial physician Franz Anton Mesmer (1734-1815). Helmholtz resonators (circa 1863) are re-made and given new hearings. The proposition that sound can provoke predictable responses from both inanimate and sentient bodies is considered through these encounters. Particular attention is given to interferences, “spillings and minglings” (Connor, 2001) between the senses, and the dynamic between the senses and the imagination. Seven key artworks featuring resonating bodies are employed as case studies. These include Lenses (2008), Carillon (2008-9) and Listening Glasses (2009). The case studies are used to approach contested notions of voice, presence, absence, authorial intention, interactivity, audience participation, and other terms implicated in contemporary debates regarding the use of sound in art. The focus on resonance, in the sense of re-sounding, is carried through into the dissemination of art installations, performances and critical reflection by the author. Works are developed, then re-thought and re- formulated in relation to specific art, music and academic contexts in the UK and mainland Europe. Installations become performances and vice versa. Exhibitions, papers and presentations are regarded not as “receptacle[s] of the artist’s vision” (Bourriaud 2002) marking the end point of the creative process, but rather as opportunities to mobilise and test ideas through new frames of reference. Most significantly, the author uses this thesis to consolidate an art practice, and an orientation towards the world that is grounded in reflexivity and the impulse to remain attentive to the detail of her own sensory experiences. 709.04074 Music
7	The aesthetics of waste : investigating the role of the ephemeral in the development of the avant-garde in Western Europe and Greece and its relationship to trauma Papadopoulos, Theokritos January 2013 (has links) This research project, driven by my on-going practice, seeks to identify the role of non-traditional materials such as ephemera, debris, waste and historical archive footage in order to produce art installations for investigating trauma, especially in moments of social crisis. My art practice is informed by Sigmund Freud’s notion of the ‘death drive’ in his book Beyond the Pleasure Principle. Freud’s story about his grandson’s fort-da game provided the context in my research for examining the use of ephemeral everyday materials and historical archive footage within this psychoanalytical interpretation. Freud’s concept of the death drive provided my enquiry with a reflective methodology for addressing my own installation practice. I was able to combine this with reflection upon traumatic situations in Greek history, especially the Greek Civil War. As a result of completing the above procedure, I realised the importance of everyday ephemeral materials and archive footage in the creation of an object or installation to which artists attach their subjectivity in moments when society is in crisis. In my own installations using historical archives from Greek Civil War, through the method of cut and paste, I have tried to create new images reusing photographic archives laden with historical, social and political meaning. This action was my subjective way to deal with collective trauma and loss, to create my own version of Freud’s fort-da game by turning installations into a theatrical space in which this action was presented and communicated with the viewers. In addressing research through practice, connections between trauma, the use of heterogeneous materials and the development of the avant-garde movement, particularly in Greece, have become paramount. Despite the research undertaken by Greek academics on the Greek Civil War (1944–1949), little is known about the importance of this period in relation to the development of avant-garde in Greece. My research concludes that the study of the history of the Greek avant-garde provides a new understanding of the development of collage, assemblage and the use of found objects after the Second World War by Greek artists. During my investigation, I realised that these techniques were first used by exiled artists in 1948 during the Greek Civil War, and later developed in the mid-1950s by Greek artists to become one of their main methods of producing art. During this period, Greek artists began to produce works that reflected a fragmentary vision in contrast to the hitherto classic aesthetics of the whole. Ostensibly, this was a reflection of the impossibility of a whole that war had created; the relationship of the individual within society had crumbled as civil war raged and society’s values, which had been based on the Orthodox Christian tradition, disintegrated. The use of found objects by Greek artists during this period expressed transgression as a way to deal with the main concerns of Greek culture. 709.04074 Fine Art
8	Beyond the mirror : towards a feminised (cartographic) process of spatiality in moving-image & installation based art Maffioletti, Catherine January 2012 (has links) Going against phalloculocentrism’s situation in a hom(m)o-sexual paradigm and structuration of the male gaze and moving towards a gyneacentric perspective, the thesis explores how a feminised process of reception and interaction with artworks might arise. My installation and moving-image practice-led research is driven by a central question: How might a feminised form of spatiality, based on a gyneacentric model, deform an audience’s phalloculocentric reading of an artwork? The purpose of this thesis is to find a practice-led feminist method of producing an artwork that actively represents the feminine and de-centres an audience’s (male) gaze. By dislocating the eye from the lens of a camera, I propose to alter an audience’s usual cinematic experience of an image of the feminine through my artwork. This is developed through my proposition for composing an experience of her image through inter-relational exchanges in order to shift the register of reception from gazing to “touching”. I claim this could provide a potential for an embodied feminised process of spatiality and perception. A method of cartographically mapping the feminine through diagrams, photographs, drawings and video is developed in the preparation and installation of the central artwork that structures the thesis, (f)low visibility, in a nightclub. Feminist (installation and video) practitioners’, Martha Rosler, Louise Bourgeois, Mona Hatoum and Pipilotti Rist, approaches to representing the feminine are also investigated. The preparatory designs attempt to subvert the potential for a voyeuristic reception and/or exhibitionistic composition of the installation. This forms an investigation into how the reception and interaction with a feminised image might arise through a tactile process of exploration. I propose that although (f)low visibility produced ungraspable feminised on-screen images it afforded embodied partially locatable inter-relational exchanges in its reception of her. Luce Irigaray’s and Donna Haraway’s theories of embodiment are developed and intertwined in my conclusion. I claim that interaction with and reception of monstrous cyborg images on-screen occurred through the navigation of a fantasy of intrauterine “touching” in (f)low visibility’s installation as a feminised process of spatiality. 709.04074
9	Site-specificity in The educators new clothes by Mark Rautenbach / Mošomo ya bokgabo ya ka lefelong le itšego ka go bkogabo bjo bo bitšwago The educators new clothes ka Mark Rautenbach / Plekspesifisiteit in The educator's new clothes deur Mark Rautenbach Cloete, Zelda 12 1900 (has links) Text in English, with summaries and keywords in English, Sesotho and Afrikaans / This study is an enquiry into how The educator’s new clothes by Mark Rautenbach is an example of site-specific art. The aim is to demonstrate how boundaries in TENC become blurred between site-specific performance, other art forms, and every-day activities. The key concepts explored are: Rautenbach’s approach to the concept of site, the connections that develop between his performance and each site that he travels to; his use of the art gallery and viewer participation. Through literature study relevant theory is explored, and several arguments are applied in a selective manner to my analysis of TENC. Various International and South African site-specific artworks are discussed as an indication of how site-specificity can be applied in alternative ways. In October 2017 I installed GREENER?, a site-specific exhibition in the UNISA Art gallery. The works on the show underline the theoretical findings and highlight the flexible application of theory relating to site-specificity. / Dinyakišišo tše ke phatišišo mabapi le seo se dirago bokgabo bja The educator’s new clothes (TENC) ka Mark Rautenbach go ba mohlala wa bokgabo bja lefelong le itšego. Maikemišetšo ke go laetša ka fao ka go TENC mellwane magareng ga mošomo wa ka lefelong le mehuta ye mengwe ya bokgabo le mediro ya ka mehla di thomago go se sa bonagala gabotse. Mareo ao a šomišwago ke: mokgwa wa Rautenbach go kgopolo ya lefelo, dikgokagano tše di hlamegago magareng ga phethagatšo ya ya gagwe ya mošomo le lefelo le lengwe le le lengwe leo a yago go lona, tšhomišo ya gagwe ya kalari ya tša bokgabo le go kgatha tema ga babogedi. Ka go diriša dingwalwa teori ya maleba e a utollwa, gomme dintlha tše mmalwa di a dirišwa ka mokgwa wa go kgetha go tshekatsheko ya ka ya TENC. Mešomo ya bokgabo ya ka lefelong le itšego ya mehutahuta e a ahlaahlwa bjalo ka kutollo ya ka fao bokgabo bja ka mafelong bo ka dirišwago ka ditsela tše dingwe. Ka Oktoboro 2017 ke hlomile GREENER?, e lego pontšho ya bokgabo ya ka lefelong le itšego, ka Kalaring ya Bokgabo ya ka Unisa. Mešomo ye e bontšhitšwego e laeditše dikutollo tša teori le go laetša tirišo ye e fetogago ya teori mabapi le mešomo ya bokgabo ya ka lefelong le itšego. / Hierdie studie behels ŉ ondersoek na wat van The educator’s new clothes (TENC) deur Mark Rautenbach plekspesifieke kuns maak. Die oogmerk is om aan te toon hoe die grense tussen plekspesifieke uitvoering, ander kunsvorme en daaglikse bedrywighede vervaag. Die kernkonsepte wat verken word, is Rautenbach se beskouing van die konsep van plek, die verband tussen sy uitvoering en elke plek waarheen hy reis, sy aanwending van ŉ kunsgalery, en kykerdeelname. Die tersaaklike teorie word aan die hand van ŉ literatuurstudie verken, en ŉ aantal argumente word op selektiewe wyse op my ontleding van TENC toegepas. Verskeie internasionale en Suid-Afrikaanse plekspesifieke kunswerke word bespreek as ŉ verkenning van hoe plekspesifisiteit op ander maniere toegepas word. Ek het in Oktober 2017 ŉ plekspesifieke uitstalling met die titel GREENER? in die Unisa Kunsgalery gehou. Die werke wat uitgestal is, onderstreep die teoretiese bevindings en vestig die aandag op die buigsame toepassing van die teorie in verband met plekspesifisiteit. / Art History, Visual Arts and Musicology / M.V.A. Site-specific art Performance art Public art Viewer participation Everyday life contexts Mark Rautenbach The Educator’s New Clothes Exhibiting site-specific art Art commenting on education Connection between art and site Installation art Daydreaming Utopia Bokgabo bja ka lefelong le itšego Bokgabo bja tiragatšo Bokgabo bja setšhaba Go kgatha tema ga babogedi Kamano ya bophelo bja ka mehla Mark Rautenbach The Educator’s New Clothes Bokgabo bjo bo swayaswayago tša thuto Kgokagano magareng ga bokgabo le lefelo Bokgabo bja tlhomo Go lora Yutopia Plekspesifieke kuns Kuns-in-uitvoering Publieke kuns Kykerdeelname Daaglikse leefkontekste Mark Rautenbach The Educator’s New Clothes Uitstalling van plekspesifieke kuns Kuns wat op onderwys kommentaar lewer Verband tussen kuns en plek Installasiekuns Dagdromery Utopia 709.04074 Rautenbach, Mark Site-specific art Art, Modern -- 21st century Performance art Environmentalism in art Site-specific installations (Art)

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