The Royal Academy exhibition of 1832 opened in London in the midst of a political crisis over the passage of the Great Reform Bill. An analysis of the critical response to four of the leading pictures in the exhibition: A Family Portrait by C.R. Leslie, The Preaching of Knox by David Wilkie, The Destroying Angel by William Etty, and Chiide Harold's Pilgrimage - Italy by J.M.W. Turner, provides evidence that the ongoing political conflict permeated the Academy exhibition. In an atmosphere of increasing tension caused by parliamentary deadlock and street rioting, art critics argued about the pictures' quality and meaning in highly politicized terms. This investigation focuses upon these four pictures and their critical reception, in order to probe the extent to which art and politics were connected at that specific historical moment. Documentary evidence of viewer responses is provided by anonymous reviews of the pictures which were published in ten major London newspapers and journals during the weeks following the opening of the show. The bias of each publication is carefully examined since, during the 1830's, most publications were highly partisan affairs, often receiving direct subsidies from particular interest groups. The analysis of these paintings offers a new perspective on the tensions, alignments, shifts, and ambiguities of British social classes and political parties in 1832. While the reception of Leslie's portrait points out the short-term divisions between Whigs and Tories over the issue of parliamentary reform, that of Wilkie1s history painting demonstrates that despite their differences, these two groups were united by a shared fear of the radical working class. Etty's academic sketch provides an example of how members of the conservative upper class rationalized rejecting the notion of reform, while Turner's landscape reveals how progressive middle-class reformers challenged tradition with a positive assertion of modernity. By examining the response to these pictures, one finds there is no clear separation between political and artistic spheres. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

M.Tech. / This research project explores the use of visual arts-based methodologies as tools to create exposure, increase sales of products and enhance social networks for a small craft enterprise called Kutloano Papermaking. Visual strategies of Photovoice, resource mapping and mural-making have been widely used in different contexts. This research considers the benefit of combining these three tools in a series of interventions with participants from Kutloano Papermaking and Thabong township of Welkom, Free State Province, South Africa. This project emerges out of a multi-year research activity, Cultural Action for Change: a Ford Foundation-funded project investigating the role of visual arts and social change. The partnership between the University of Johannesburg, Artist Proof Studio, Phumani Paper and sixteen papermaking enterprises across South Africa uses visual tools such as Paper Prayers, Photovoice and resource mapping to explore issues of health, economic development and creativity. My research expands on the work of Cultural Action for Change, building on the successes of Photovoice and resource mapping. Participatory Action Research (PAR) principles of collaboration, participation, action and dialogue underpin this research project. PAR as the framework of this research attempts to create an environment of horizontal knowledge creation and sharing. Findings from this research demonstrate that culture can awaken the spiritual, material and emotional well-being of individuals and communities. This research supports the role of the arts in contributing to economic action and organizing communities that are socially and economically marginalised.

This qualitative multiple case study examines how learning is elicited in three artist-led socially engaged artworks. Three contemporary artists created their process-based artworks by intentionally employing educational methods and formats to promote a learning experience with an audience group. This type of participatory artmaking is often associated with the educational turn in contemporary art. However, the majority of contemporary art literature has focused on the artist, often overlooking the audience’s experience. Hence, from the position of an art educator, I investigate not only the artists’ intentions and pedagogical frameworks in creating the artworks, but also the learning outcomes from the perspectives of the audience members. The three artworks in my study all shared a two-tier structure: first, a private working phase in which the artists collaborated with participating audience members whom I identified as “core group members”; and second, a public presentation phase in which the work was presented to “public audience members.” In order to examine the perceived learning from the three perspectives, I carried out on-site observations, and interviewed the artists, core group members, and public audience members, respectively. The findings revealed how artists created their artworks as a process and platform to promote collective knowledge-making, particularly using current affairs as themes to instill political consciousness among the core group members. The core group members shared their salient learning experiences in relation to collaboration within their groups and with the artists, and “gaining confidence” in tandem with overcoming the challenges of public engagement. Aspects of self-directed learning, social bonding, and sense of belonging promoted motivation and eventually deeper learning. The public audience members shared their learning experiences in regard to public dialogue and display of the artworks. This study supports recognizing the value of pedagogy-based artworks in relation to learning that is intrinsically motivational and meaningful. The artworks in my study serve as arts-based models for learning and teaching social justice issues and civic engagement. In conclusion, artists’ approaches can diversify educators’ pedagogical approaches, and educational outcomes can support artists in creating empowering work with participants. Ultimately, this study advocates for the value of artmaking as a collective, transformative experience.

No description available.

Thesis (doctoral)--Odense University, 1990. / Includes bibliographical references (p. 230-243) and index.

published_or_final_version / Architecture / Master / Master of Architecture

Thesis (doctoral)--Odense University, 1990. / Translated from Danish; Danish summary: p. 244-251. Includes bibliographical references (p. 230-243) and index.

Thesis (MA)--Stellenbosch University, 2000 / ENGLISH ABSTRACT: In this thesis I look at the impact of technology on the concept of sculpture. However, I am more concerned with the principles behind technological change as influence, than looking at high-technology advances. A key issue that I address is the consideration of changes in society and art, and I ask the question, to what extent does three-dimensional art remain in any traditional sense 'sculpture'? It is my objective to show these changes, indicated by the transition from an object-oriented to a systems-oriented approach in art leading to a redefinition of the concept of sculpture. Although I deal with my practical work as a separate part in the thesis, there is a close integration and mutual objectives between the practical and theoretical components. The transition occurring in sculpture can directly be traced to the technological advances in society. Scientific knowledge in any period of history reflects the way people understand their world, thus affecting human perceptions of the natural world and in turn influencing artistic creation. In Chapter One, attention is given in general to some of these scientific discoveries, for example the shift from classical science to an organismic approach with its focus on the interconnectedness of all things. Also of importance is the beginning of Chaos Theory, introducing the element of chance. In Chapter Two, more specific changes in the concept of art and sculpture are dealt with. Referring to some important predecessors earlier in the zo" century. I look at art becoming an interactive system, and find the interrelationship between sculpture and architecture useful in illustrating this, because of the foregrounding of the concept of space. In Chapter Three, I examine the different way that artists deal with the issues of urbanity', for example, the Minimalists putting emphasis on the idea of sculpture as an infinitely malleable category. Shifting definitions of urbanity were responses to specific new conditions in the environment, for example, as seen in the changing features of the city. Chapter Four deals with contemporary artists' response to these conditions, starting with examples of an object-oriented approach to sculpture, moving step by step towards a different systems-oriented approach. To conclude, I speculate on all the possibilities that the virtual environments that modern computers allow us to create may for the first time open up. We are at the beginning of a new century full of promise to artists in all fields. / AFRIKAANSE OPSOMMING: In hierdie tesis kyk ek na die impak van tegnologie op die konsep van beeldhou. Maar, ek is egter meer geintereseerd in die invloed van die beginsels agter tegnologiese verandering as in die gebruik van uiters gevorderde tegnologiese instrumente. 'n Belangrike aspek vir my is die wyse waarop die veranderinge in die samelewing afgedruk work op kuns. Derhalwe vra ek tot watter mate drie-dimensionele kuns op enige tradisionele wyse steed as 'beeldhou' beskou kan word? Dit is my doelwit om hierdie veranderinge uit te wys, soos gesien kan word in die transformasie vanaf 'n objek-gerigte benadering na 'n sisteem-gerigte benadering tot die konsep van beeldhou. Hoewel ek die praktiese werk as 'n aparte deel van die tesis hanteer, is daar in nabye integrasie met gemeenskaplike doelwitte tussen die praktiese en teoretiese komponente. Die transformasie in beeldhou kan direk verbind word met die tegnologiese vooruitgang in die samelewing. Wetenskaplike kennis van enige tydperk, is 'n indikasie van die wyse waarop die mense hulomgewing verstaan. Dus affekteer dit mense se persepsie van die natuur, en in reaksie die persepsie van die kunstenaar. In hoofstuk een, word aandag gegee in die algemeen aan sommige van hierdie wetenskaplike ontdekkings, byvoorbeeld die skuif vanaf klassieke wetenskap na 'n organismiese benadering met sy fokus op die integrasie van alle dinge. Ook belangrik is die onstaan van Chaos Teorie wat klem plaas op die onvoorspelbaarheid van dinge. In hoofstuk twee kyk ek na meer spesifieke veranderinge in die konsep van kuns in die algemeen, asook beeldbou. Daar word terugverwys na sommige belangrike kunstenaars aan die begin van die 20ste eeu. Klem word geplaas op kuns as interaktiewe sisteem, en ek vind die interverhouding tussen beeldhou en argitektuur as 'n belangrike voorbeeld, as gevolg van die benadering tot die konsep van ruimte. Hoofstuk drie ondersoek die verskeie wyses waarop beeldhouers kyk na kwessies soos verstedeliking, byvoorbeeld die Minimaliste met hul beklemtoning van die idee van beeldhou as manipuleerbare kategorie. AI hierdie veranderinge is 'n reaksie op spesifieke nuwe kondisies binne die samelewing, byvoorbeeld soos gesien in die veranderende kenmerke van stede. Hoostuk vier deel dan spesifiek met hedendaagse beeldhouers se reaksie op hierdie kondisies, met die doelom voorbeelde te bespreek van van 'n objek-gerigte benadering tot beeldhou asook 'n sisteem-gerigte benadering tot beeldhou. Om af te sluit, spekuleer ek oor al die nuwe moontlikhede wat 'virtuele realiteif, daar gestel deur die moderne rekenaars, aan beeldhou kan bied. Ons staan aan die begin van 'n nuwe eeu vol potensiaal vir kunstenaars op alle gebiede.

The notion of “you are what you buy” is an updated adage from “you are what you eat”. It makes a connection between our everyday objects and their effect on our lived experience. Looking at our relationships with our things as a type of contract, we must be intentional to shape these object contracts for our own good and health. Instead of our society’s design talents being put toward a consumerist agenda, designers must direct research and development which addresses the effects of our products holistically. Various concepts have emerged in my creative practice which demand a deeper research and development. These are concepts of little interest to the corporate product developer, as they appeal to agendas beyond profit. Just as the slow food movement responds to fast food and “Big Ag”, the concepts of time, gifts, ritual emerge as virtues which demand development in our products. These concepts are not an answer to consumerism. However, they are tastes that have fallen off of our product diet. I point to various works works of art and design, of my own and others, which seek to renew the vastness of our potential experience with everyday objects. Instead of choosing from the corporate offering, we may take a more critical view of design which looks at our holistic experience with our products.

Orientador: Carminda Mendes André / Banca: Renata Moreira Marques / Banca: Lilian do Amaral Nunes / Material acondicionado em caixa / Resumo: A pesquisa tem como foco a experiência do coletivo artístico Mapa Xilográfico em sua atuação entre 2006 e 2012 na metrópole paulistana e em outras capitais brasileiras e estrangeiras. Buscou-se relatar e analisar as ações do grupo nas diferentes localidades e especificidades junto a uma reflexão sobre a produção do espaço urbano. Diante de uma crítica aos conceitos hegemônicos de urbanização, o Coletivo faz uma espécie de residência artística em determinada localidade e propõe a criação de ―coletivos fluidos‖, que são agrupamentos com moradores locais ao redor de uma proposição poética no espaço vivido. Com o pressuposto de estabelecer aproximações que busquem a autonomia, o grupo propõe a coeducação - relações de trocas de saberes - e a coprodução - produções artísticas de autoria coletiva - no intuito de ativar a experiência e a participação no espaço urbano. O trabalho é apresentado como um livro-obra, em busca de proporcionar ao leitor diversos percursos possíveis entre as imagens, narrativas e conceitos sobre a trajetória do Coletivo / Resumen: La investigación esta centrada en la experiencia del Colectivo Artístico Mapa Xilográfico y en el desarrollo de su actividad entre los años 2006 al 2012 en la metrópoli Paulista, en otras capitales brasileras y extranjeras. Se relataron y analizaron las acciones del grupo en las diferentes regiones con sus especificidades, realizando a su vez una reflección sobre la producción del espacio urbano. Como una crítica a los conceptos hegemónicos de urbanización, el Colectivo realiza una práctica artística en determinados locales y propone la creación de‖colectivos fluídos que son la agrupación de los vecinos del lugar alrededor de una propuesta poética en el espacio de su vivencias. Procurando establecer aproximaciones que busquen la autonomía, el grupo plantea la coeducación - relaciones de intercambio de saberes y - la coproducción - producciones artísticas de autoría colectiva - con el fin de activar la experiencia y participación en el espacio urbano. El trabajo es presentado como un libro-obra, buscando proporcionar a los lectores caminos diversos y posibles entre las imágenes, narrativas y conceptos sobre la trayectoria del Colectivo / Mestre