Thesis (Ph.D.)--Indiana University, Dept. of Art History, 2006. / Source: Dissertation Abstracts International, Volume: 67-03, Section: A, page: 0754. Adviser: Wolf Rudolph. "Title from dissertation home page (viewed March 16, 2007)."

<p> The Late Neolithic (defined here as the LN I of Sampson1993 and Coleman 1992) is both the culmination and the turning point of Greek Neolithic culture from the preceding phases. It lasts some 1,000 years, from approximately 5,300 to 4,300 B.C. The ceramic repertoire of the Late Neolithic period in Greece is a tremendously diverse body of material. Alongside this diversity, other aspects of the ceramic assemblage, such as Matt-painted and Black-burnished pottery, share broad similarities throughout regions, constituting a "<i> koine.</i>" The commanlities, however, are most apparent during the earlier part of the Late Neolithic (LN Ia); in the later phase (LN Ib) phase, more regional variations proliferate than before. </p><p> In the Late Neolithic, all categories of pottery&mdash;monochrome, decorated, and undecorated&mdash;are at their technological and stylistic acme in comparison with earlier periods. While some of the pottery types demonstrate unbroken continuity and development from the preceding Early and Middle Neolithic phases, new specialized shapes and painting techniques are embraced. </p><p> For the first time in the Neolithic, shapes appear that are typically thought of by archaeologists as being for food processing (strainers and "cheese-pots"), cooking (tripod cooking pots and baking pans), and storing (<i>pithoi </i>). More recent research, however, has demonstrated that these "utilitarian" vessels were more often than not used for purposes other than their hypothesized function. These new "utilitarian" vessels were to dominate the next and last phase of the Neolithic, the Final Neolithic (also called the Chalcolithic, Eneolithic, or LN II) when painted pottery disappears from most Greek assemblages just before the beginning of the Bronze Age. </p><p> During the past two decades, there has been much research into Late Neolithic Greece, particularly in Northern Greece (Macedonia). This dissertation incorporates the most up-to-date information from these recent excavations with the older material from sites in Thessaly, Central Greece, and Southern Greece. Since this study draws solely upon published material, both old and new, there are certain limitations to the type of analysis that can be performed. The approach, then, is more of an art-historical and historiographical overview than a rigorous archaeological analysis. It provides an overview of the major classes of pottery (decorated, monochrome, and undecorated) and their primary shapes, motifs, and technological aspects. While it emphasizes commonalities, regional and chronological variations are also highlighted. The technological means of production of vessels, their use, circulation, and deposition are also considered. </p><p> The structure of this paper is that each pottery chapter is devoted to a broad class (such as Matt-painted), which is broadly defined and then more closely examined at the regional level for chronological and stylistic variations. Likewise, a sub-section then discusses the technology of a particular class and its regional and or chronological similarities and differences. When necessary, outdated scholarship is addressed and rectified.</p>

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This practice-based research investigates floor-based living, focusing upon the realm of Korean everyday life. My particular concern is with the relation of the body to domestic space through memorised rituals, such as cleaning, polishing and removing shoes. The thesis asks the question: how does space determine and respond to such repetitive activity? It traces how the spatial typology of the floor, so important for Korean architecture, has been transformed by changes in such domestic activities. I present a series of design responses that draw upon everyday domestic performance, addressing a number of issues such as ritual, trace and materiality. By developing a spatial practice focusing on the ondol (traditional Korean floor heating) and the dot-jari (floor mat), this research explores territory that is un-theorised and underdeveloped as a subject in a Korean contemporary design context. The floor is a way to explore the wider role of ritual and trace in the construction of symbolic space, and is central to the Korean cultural and spatial identity. My research therefore explores floor-based living as a manifestation of a social practice: one that has spatial consequences. The Korean expression of ilsang ei eisik (everyday ritual) is defined here as a bodily-embedded activity that is inherent within the culture. A series of my spatial installations, such as Trace of Ritual Ceremony (2014), Beyond the Boundary (2015), Invisible Space (2015) and Spatial Extension (2016), deal with issues of transience, warmth, comfort and tactility, locating my everyday performance in architecture or public space. The gathering of dispersed visual research materials is a significant part of my methodology, and the research has involved compiling and editing images into the thesis in order for it to be conceived as a visual archive.

<p> Because of the lack of provenance or accompanying text, the depictions of anthropomorphized animals on ancient Egyptian New Kingdom ostraca and papyri have long puzzled Egyptologists. Attempts to understand the ostraca usually focus on the role reversals where predatory animals serve their natural prey, which is evident in some of the motifs. Some scholars have suggested that these images are satirical and served as an outlet for mocking elite society. However, their social and cultural context, which has not been thoroughly explored until this dissertation, shows that it is unlikely that the images were considered to be negatively charged social satire. Rather, it is more likely that they were envisioned as humorous parodies of primarily elite imagery that were produced by individuals who considered themselves to be elite as well. "Anthropomorphized Animal Imagery on New Kingdom Ostraca and Papyri: Their Artistic and Social Significance" is also the first time the vignettes are given a full art historical treatment in which the formal qualities of the drawings are studied and evaluated. As a result, this dissertation addresses the aesthetic value of these drawings in ancient Egypt, which will be of interest to the discipline of art history on more general terms as well. Another section of this dissertation discusses the narrative potential of the papyri and ostraca on which these anthropomorphized images are drawn. Though the narrative qualities of these images have been discussed before, this dissertation addresses the broader concerns of visual narrative construction in ancient Egyptian art, which has thus far been given little scholarly attention. The figured ostraca and papyri on which these anthropomorphized animals are drawn show that visual narrative construction in ancient Egypt is not necessarily linear and sequential, but can also embody fluid, and more open-ended narrative constructions that is evident in not only the decorative programs of elite tombs, but in written ancient Egyptian literature as well.</p>

Thesis (Ph.D.)--City University of New York, 2007. / (UMI)AAI3283178. Source: Dissertation Abstracts International, Volume: 68-09, Section: A, page: 3639. Adviser: George A. Corbin.

Much of the curatorial and anthropological literature on museology has oversimplified museum spaces as monolithic colonial entities. However, recent developments in museum practice as a process of collaborative and public cross-cultural exchange are changing the way these spaces are interpreted and used. In this thesis, I examine contemporary curatorial endeavors at a number of museums and galleries in Vancouver, British Columbia, that attempt to revitalize the ways in which the cultural expressions of Indigenous artists and their communities are represented. The artists whose works are examined in this thesis locate their traditional territories along the coastline of B.C. As both separate and similar institutions, museums and art galleries are useful venues from which one may examine and chart ongoing processes of cross-cultural exchange. A curatorial exhibition project of my own: Understanding Place in Culture: Serigraphs and the Transmission of Cultural Knowledge will explore some of the obstacles and benefits of engaging in cross-cultural conversations of cultural representation. The exhibit looks at a selection of prints by Indigenous artists from the Smyth and Rickard Collections of Northwest Coast Prints from the University of Victoria Art Collections (UVAC) chosen specifically because they concern the artists’ perspectives of place as it relates to physical locations, identity, and cultural practice. The relationship between the organization of knowledge and culturally specific attachments to space and place are central to understanding how we think about, and engage with, the world around us. The relationship between places and local knowledge connects the content of the images with the space in which they are to be exhibited: the Maltwood Prints and Drawings Gallery in the McPherson Library at the university. Through interviews with artists and curators, and a review of the literature surrounding these issues, I have attempted to create an argument for the importance of space and place in support of an agentive curatorial practice. As an attempt to decolonize the museum/gallery space, this thesis argues that diverging perspectives of place are essential to the way we understand the world and our position within it. / Graduate

DIZERTAČNÍ PRÁCE Mgr. Markéta Bauerová Ústav etnologie (původně Katedra teorie kultury) FF UK Obor: Obecná teorie a dějiny umění a kultury kombinované doktorské studium školitel: Doc.PhDr. Martin Soukup, Ph. D. ANOTACE DIZERTAČNÍ PRÁCE Antropologie umění a tetování lidského těla jako umělecké dílo Tato práce pojednává o umělecké tvorbě, lidské imaginaci a univerzálním, hluboce zakořeněném tvůrčím pudu člověka v kontextu antropologie. Autorka se ve svém výzkumu zaměřila na fenomén tetování lidského těla, jeho historii, současnost, sociologický a estetický rozměr. Výzkum se snaží prokázat, že umělecké tetování má potenciál stát se právoplatným uměleckým oborem. Anthropology of art and human body tattoos as an artwork This work deals with the artistic creation, the human imagination and universal, deeply rooted creative instinct of man in the context of anthropology. The author in her research focused on the tattoo phenomenon, its history, present, sociological and aesthetic dimension. The research seeks to demonstrate that artistic tattoo has a potential to become a recognized art discipline.

Par un corpus de bijoux allant des années 1960 à nos jours examiné selon la méthode de la théorie de la médiation, la thèse se fixe un triple objectif. Le premier ambitionne de construire une anthropologie de l’ornement par le détour de la sociologie et l’exploitation du modèle instituant/institué (première partie) qui permet de faire émerger la nature expérimentale de ces ouvrages, ainsi que leur prise de distance avec l’investiture de la personne. Le deuxième objectif vise à analyser ce matériel très spécifique selon le modèle fabriquant/fabriqué, afin de décomposer la nature des expérimentations difficiles à étudier dans un cadre traditionnel. Le troisième objectif s’attache à manifester l’unité de la recherche par la mise en lumière d’une similitude de mécanismes avec les arts contemporains (vêtement, mobilier, art), faisant état d’une communauté de projet et d’un phénomène généralisé (deuxième et troisième parties). Ce bijou importable socialement développe une invraisemblable technique, ceci en accord avec l’incommensurable de l’art contemporain. / Using a corpus of jewelry from the 1960’s to nowadays, analysed through the Theory of Mediation method, the thesis has three objectives. The first one aims at building an anthropology of jewelery through the detour of sociology, using the Instituant/Institué model (first part), which helps understanding the experimental nature of these ornaments, far away from the traditional investiture of the person. The second objective is to analyse these very specific jewels using the Fabriquant/Fabriqué model (second and third parts), as studying how the nature of these experiments is broken down is indeed too difficult to do in a traditional manner. The third objective is to show the unity of the research by highlighting a similarity with the mechanisms of contemporary arts (clothing, design, furniture, art), indicating a community of projects and therefore a global and widespread phenomenon (second and third parts). These socially unwearable jewels develop unlikely techniques, in line with the unlimited world of contemporary art.

Growing up in a bicultural household, navigating the F train as well as mountain creeks, studying culture and then participating in its production, these are some of the idiosyncrasies that I bring to my work. My investigations are rooted in combining a rediscovery of the sensuousness of the natural world and an investigation of the poetics of everyday life. Choosing materials and situations within the realm of the everyday, I'm interested in a transformation that suggests the infinite potential and worth in all things. The resulting objects have identities as complex as my own. They are ridiculous and serious, normal and magical, and confident in their awkwardness. This document was created in Microsoft Word X for mac.