Global ETD Search

51	Dánsko - Československo 1947-1957, Umění a architektura za hranicemi funkcionalismu, surrealismu a Bauhausu / Denmark - Czechoslovakia 1947-1957, The Art and Architecture Beyond Functionalism, Surrealism and Bauhaus Ištok, Radoslav January 2014 (has links) ! The thesis is exploring art and architecture in Denmark and Czechoslovakia in the period 1947-1957. The main interest was to see how the interwar avant-garde movements such as Functionalism and Surrealism, as well as the legacy of Bauhaus, developed after the WWII. Yet, Functionalism and Surrealism can also be seen not only as mere artistic styles but as two different attitudes towards life, Rational and Romantic respectively. The latter, which is a passionate protest against the status quo, can especially in its revolutionary or utopian dimension serve as a form of engagement free of the simplifying Cold War binaries.
52	Esoterism i konst – konst för de invigda : Tolkningar av Hilma af Klint och hennes verk genom det esoteriska prismat Dallyn, Yana January 2020 (has links) Esoterismens förekomst i konst- och kulturlivet i Sverige är särskilt utmärkande under sekelskiftet. Fenomenet har tidigare funnits i samhället men genom lagstiftningar marginaliserats till det övre samhällsskiktet och därmed förbjöds allmänheten från sådana praktiker. Esoteriska praktiker och idéer om verkligheten kan däremot spåras i modernismens konstnärliga rörelser som symbolism och abstrakt konst. Hilma af Klint var en av de konstnärerna som praktiserade esoterism och förmedlade dess ideologier i sina verk. Uppsatsens syfte är att lyfta fram fenomenet i konst under sekelskiftet och studera hur det etablerades, samt vilken effekt hade det i konst-och kulturlivet? Hur kom de esoteriska influenserna till uttryck i konst? Hur kan dess effekter spåras i ett konstnärskap? Uppsatsen utgörs av två huvudkapitel, som undersöker den esoteriska kontexten, budskapsförmedlingen i konstverk samt dess effekt i af Klints konstnärskap. Undersökningen visar att esoterism spreds till följd av modernitetens innovationer. De skapade de rätta förutsättningarna för esoterismens etablering och influerande i konst-och kulturlivet under tiden. Kultursfärens transnationella resor bidrog också till approprierande av esoteriska idéer i andra europeiska länder, som inte begränsades av lagstiftningar. Sådana idéer togs med hem till Sverige och spreds. Det abstraherade bildspråket i konstverken är sprungen ur esoteriska praktiker som seanser och automatism, samt dess verklighetsföreställningar. Därför kan bildspråket anses vara symbolladdat och refererande. Sådan konst kräver en betraktare initierad i de esoteriska visdomarna för uttolkningen av det symboliska meddelandet. Den insikten resulterade i slutsatsen att marginaliseringen av esoterismen till övresamhällsskiktet var med syftet att bevara den visdomen bland invigda i de esoteriska kunskaperna. Konstnärer som af Klint etablerade inom den kontexten, bör således omvärderas från enbart abstrakta, till möjligen missionerande spirituella sådana, som sökte återge och etablera esoteriska ideologier. Esotericism art Hilma af Klint occultism turn of the century abstract art spiritual art symbolism modernism Esoterism konst Hilma af Klint ockultism sekelskiftet abstrakt konst spirituell konst symbolism modernism Art History Konstvetenskap
53	Obraz, informace, komplexita. Studium vizuální informace s využitím funkce informační entropie se zaměřením na výtvarnou abstrakci / Image, Information, Complexity. The study of visual information incorporating the function of information entropy with a focus on abstract art Malečková, Dita January 2017 (has links) This text focuses on the relation of information and image, hence Information Theory and Image Analysis, as well as visualization of information and methods of visual analytics focusing on analysis of art works. It also concentrates on evolution of digital image and related new type of perception and artificial aesthetics. We narrow the broader topic of the image and image information to the abstract art, namely the work of Czech painter Frantisek Kupka, which is used as input in the experiment presenting original method of image analysis using the function of information entropy (Rényi entropy). This approach was used for the first time for analysis of art works with the aim to obtain the comparaison of natural and artificial classification of image information. We chose the work of abstract art not only with regard to given history of grammatics of abstract forms and its relation to the digital image, but also as an emblematic example of effective gaining of information from complex environment. Work thus summarizes historical context of evolution of digital image and theoretical reflection of contemporary image analytics and others techniques relevant to the image information and emphasizes relation of abstract art to the natural and simulated complexity.
54	Vävd konst : En studie i Viveka Nygrens textila verk och den abstrakta textilkonstscenen Nilsson Polet, Maarit January 2022 (has links) The purpose has been to examine the textile artist Viveka Nygrens ́s artistry and her abstract textile expression between the years 1985 and up to 2000. This is done through an examination of Nygren ́s textile production in general and in detail through an examination of the textile expression in color, shape, and weaving techniques in two selected works. Furthermore, both the existence of the abstract expression in textile art during Nygren ́s time and the contemporary art field ́s views on and values about the relationship between art and art and craft are studied. This is done through a case study of the exhibition catalogs from the Scandinavian art triennials that were carried out within the chosen time frame. Issues is: What does Nygren ́s textile artistic look like? What choices does she make in her craft, regarding technology and materials? How does she use the hand weaving techniques in the abstract expression? What does the abstract textile art scene look like during the period 1985 – 2000? Are handwoven techniques used and what do the textile work look like? Are there actors who express opinions about the relationship between art and art and crafts? Theoretically, the essay is based on the concepts of art and art and craft and the field of tension that prevails between them. On the one hand it is about a creative relationship between art and art and craft, which is based on knowledge and creativity, in an individual and on the other hand it is about the excitement, in society and the field of art, in the question of what art is and what is art and craft. The survey showed that the non-imaginative abstract expression dominated the textile art scene and interest in weaving techniques fell sharply in the last year of 1995. The survey showed that the relationship between art and art and craft was very tense for each triennial. In the essay ́s investigation of the textile triennials, it emerged that on the textile art scene there has been a shift from an art form based on a craft tradition to one among other techniques on the art scene. Thus, it can also be stated that Viveka Nygren ́s artistic starting points were a craftmanship that served under her abstract art expression. woven art art and craft handicrafts abstract art weaving textile art scene 1985-2000 Viveka Nygren konst konsthantverk hantverk hemslöjd abstrakt konst vävnad textilkonst scenen 1985 - 2000 Art History Konstvetenskap
55	ART WITHIN:The Excavated Books of David P. Gieske Gieske, David P. 01 December 2014 (has links) No description available. Fine Arts book art altered book art manipulated books abstract art surrealism abstraction excavated art fine art art from books art made from books art made using books book art repurposed art carved books sculpted paintings
56	Dinosaurier, drakar, vapen, rymdskepp, aliens, eld, monster, farliga djur : Om att passa in i samhället eller hitta hem utanför. / Dinosaurs, dragons, weapons, spaceships, aliens, fire, monsters, dangerous animals : To fit into society or to find your home outside. Pettersson, Mattias January 2019 (has links) I denna text vill jag, som undertiteln skvallrar, prata om att passa in i samhället eller hitta hem utanför. Arbetet har den enkla strukturen att det börjar med att prata om hinder man kan ha för att ”passa in”, såsom att inte klara prestations-pressen man känner från en osynlig makt, eller helt enkelt av att bryta från normen (här med fokus på att vara bög eller queer). Vidare via min och andras historier kring att ha sitt psyke eller sina känslor som en grundläggande parameter i sitt konstnärskap, och går sen avslutningsvis ut i några andra alternativa vägar att hitta hem utanför; drag och frivillig enkelhet. Varsågod. / Dinosaurs, dragons, weapons, spaceships, aliens, fire, monsters, dangerous animals. Never interested me. That's why they interest me. Through intuitive sculpting, stories about my traumas, lusts and needs are formed, and about the society they exist in. I can see a tension towards the boy I never was/the man I never became, and a longing after to now approach him om my own terms. The sculptures are crooked, weak, broken, naive and weird, and in this becomes a vital space where that is allowed. The pieces are standing with the underdogs. In a movement upwards. fit in queer gay men feminine men drag straight acting downshifting dragons spaceship alien gender roles ceramics sculpture safe space naivism outsider art mental illness working class anxiety depression stress norms emotions straight acting scew masculinity masc for masc fantasy mcqueen rupauls dragrace blue abstract art passa in hitta hem queer bögar feminina killar drag frivillig enkelhet drakar rymdskepp aliens könsroller keramik skulptur trygga rum tryggt rum naivism outsiderart psykisk ohälsa arbetarklass ångest depression stress normer känslostyrd straightacting skevhet manlighet fantasy mcqueen rupauls dragrace blå abstrakt konst Arts Konst
57	George Tsutakawa's fountain sculptures of the 1960s: fluidity and balance in postwar public art. Cuthbert, Nancy Marie 20 August 2012 (has links) Between 1960 and 1992, American artist George Tsutakawa (1910 – 1997) created more than sixty fountain sculptures for publicly accessible sites in the U.S., Canada, and Japan. The vast majority were made by shaping sheet bronze into geometric and organically inspired abstract forms, often arranged around a vertical axis. Though postwar modernist artistic production and the issues it raises have been widely interrogated since the 1970s, and public art has been a major area of study since about 1980, Tsutakawa's fountains present a major intervention in North America's urban fabric that is not well-documented and remains almost completely untheorized. In addition to playing a key role in Seattle's development as an internationally recognized leader in public art, my dissertation argues that these works provide early evidence of a linked concern with nature and spirituality that has come to be understood as characteristic of the Pacific Northwest. Tsutakawa was born in Seattle, but raised and educated primarily in Japan prior to training as an artist at the University of Washington, then teaching in UW's Schools of Art and Architecture. His complicated personal history, which in World War II included being drafted into the U.S. army, while family members were interned and their property confiscated, led art historian Gervais Reed to declare that Tsutakawa was aligned with neither Japan nor America – that he and his art existed somewhere in-between. There is much truth in Reed's statement; however, artistically, such dualistic assessments deny the rich interplay of cultural allusions in Tsutakawa's fountains. Major inspirations included the Cubist sculpture of Alexander Archipenko, Himalayan stone cairns, Japanese heraldic emblems, First Nations carvings, and Bauhaus theory. Focusing on the early commissions, completed during the 1960s, my study examines the artist's debts to intercultural networks of artistic exchange – between North America, Asia, and Europe – operative in the early and mid-twentieth century, and in some cases before. I argue that, with his fountain sculptures, this Japanese American artist sought to integrate and balance such binaries as nature/culture, intuition/reason, and spiritual/material, which have long served to support the construction of East and West as opposed conceptual categories. / Graduate George Tsutakawa American modernism modern design silicon bronze sculpture welded sheet metal sculpture West Coast modernism Pacific Northwest Seattle public art Century 21 Fulton Mall postwar shopping center design Asian American art World War II Japanese internment Nisei Kibei machine aesthetic abstract art spirituality in art Lawrence Halprin environmentalism in art International Style architecture postwar urban planning Ala Moana Center Northgate Shopping Center Zen in America Bauhaus in America Walter Gropius Victor Gruen Mark Tobey Japanese American Henry Moore Sigfried Giedion Lewis Mumford Alexander Archipenko Paul Horiuchi Johsel Namkung Dudley Carter Freeway Park, Seattle Bentall Centre, Vancouver Seattle Public Library secondary Orientalism organicism in art modernist architecture

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