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Circulating the event: the social life of performance documentation 1965-1975Santone, Jessica January 2011 (has links)
This dissertation reevaluates the relationship between performance acts and documents by considering the way documentation was understood within the time of an event. Expanding on Alain Badiou's theory of evental 'Twoness' in Being and Event, I develop an approach to performance that always takes documents and performance acts together, as corresponding producers of an art event. Looking at acts and documents together, one notices how the type of repetition enacted between them allows for variation and novelty in an event. One important implication of this approach is a stronger valuation of audiences of performance, including audiences that may not have been present to witness a live event. I investigate several cases of private or unannounced conceptual performances from the late 1960s to make my argument here. In these performances – On Kawara's I got up (1968-79), Alison Knowles's The Identical Lunch (1968-73), Adrian Piper's Concrete Infinity Documentation Piece (1970), and Mieko Shiomi's Spatial Poem (1965-75) – the artists study everyday phenomena, drawing our attention to what is otherwise unnoticed and engaging participation by encouraging repetition. As documents of these serial performances circulate, they help locate and sustain audiences. In the circulation of performance acts and documents, there is the potential as well for developing performance community, which is evident in an analysis of Fluxus performances, like Spatial Poem. The events studied here, in different ways, reveal that even seemingly private performances are fundamentally social in their orientation. / Cette thèse réévalue la relation entre les actes et les documents de performances en tenant compte de la façon dont la documentation a été comprise du temps d'un événement. En élargissant la théorie d'Alain Badiou élaborée dans L'Être et l'événement, selon laquelle l'événementiel a un « double » statut, je développe une approche qui considère les documents et les actes de performance ensemble, en tant que coproducteurs d'un événement d'art. En examinent les actes et les documents ensemble, on remarque comment leur répétition permet la variation et la nouveauté d'un événement. Une conséquence importante de cette approche est une plus grande valorisation de l'audience de la performance, y compris du public qui peut ne pas avoir été présent pour témoigner d'un événement en direct.J'enquête ici sur plusieurs cas de performances conceptuelles de la fin des années 1960, la plupart de nature privée ou non-déclarée. Dans ces performances – On Kawara, «I got up» (1968-1979), Alison Knowles, «The Identical Lunch» (1968-73), Adrian Piper, «Concrete Infinity Documentation Piece» (1970), et Mieko Shiomi, «Spatial Poem» (1965-75) – les artistes étudient les phénomènes quotidiens pour attirer notre attention sur ce qui passe autrement inaperçus et pour encourager la participation par la répétition. Comme les documents de ces performances en série circulent, ils permettent de localiser et de maintenir leur public. Dans la circulation des actes et des documents de performances, il devient possible aussi de développer une communauté de performance, fait qui devient manifeste dans une analyse des performances de Fluxus, notamment «Spatial Poem». De différentes manières, les événements étudiés ici révèlent que même les performances apparemment privées sont fondamentalement sociales dans leur orientation.
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Value and symbolic practices: objects, exchanges, and associations in the Italian courts (1450-1500)Clark, Leah Ruth January 2009 (has links)
Arguing for a reconsideration of the object's function in court life, this thesis investigates how the value of an object is tied to the role it plays in symbolic activities, which formed the basis of court relations at the end of the fifteenth century. This study thus examines the courts of Italy (particularly Ferrara and Naples) through the myriad of objects—statues, paintings, jewellery, furniture, and heraldry—that were valued for their subject matter, material forms, histories, and social functions. Such objects are considered not only as components of court life, but also as agents which activated the symbolic practices that became integral to relations within and between courts. These activities—the exchange of diplomatic gifts, the consumption of precious objects, the displaying of collectibles, and the bestowing of knightly orders—were all ways that objects acted as points of contact between individuals, giving rise to new associations and new interests. The end of the fifteenth century was a pivotal moment in the courts of Italy, fraught with alliances and counter-alliances involving not only the courts on the Italian peninsula but also abroad. The court was an important space where individuals sought to assert and legitimise their power, and this was often done through material and visual means. The court is thus examined from diverse angles, taking the object as a starting point, and tracing relationships and networks through visual, textual, material, and literary sources. Shifting the focus away from artistic intentions and patronage, this study examines how objects constitute relations, often in unpredictable ways, not only forging connections but also revealing instabilities and latent hostilities. The constant circulation of precious objects in the late fifteenth century reveals a system of value which placed importance not only on ownership, but also on the replication, copying, / En considérant la fonction de l'objet dans la vie à la cour princière, cette thèse examine comment la valeur d'un objet est liée au rôle qu'il joue dans les pratiques symboliques qui, à la fin du quinzième siècle, est à la base même des relations à la cour. Ce projet examine les cours d'Italie (en particulier celles de Ferrare et de Naples) à travers une multitude d'objet (statues, peintures, bijoux, meubles, et emblèmes héraldiques) qui étaient évalués pour leurs matériaux, leur forme, leur historique, et leurs fonctions sociales. Ces objets sont ici étudiés non seulement comme représentatifs de la vie à la cour, mais aussi comme des agents actifs des pratiques symboliques importantes aux relations entre les différents cours. Ces pratiques – l'échange de cadeaux diplomatiques, la consommation d'objets précieux, étalage d'objets de collection, et investitures dans des ordres chevaleresques – sont autant de manières par lesquelles les objets servent de point d'attache entre individus et génèrent, de la sorte, de nouvelles associations et de nouveaux intérêts.La fin du quinzième siècle était un moment clé pour les cours d'Italie, chargé des alliances et contre-alliances entre non seulement les cours de la péninsule italienne mais aussi celles de l'étranger. La cour est alors un espace important où les individus cherchent à revendiquer et à légitimer leur pouvoir par des moyens matériels et visuels. En plaçant l'objet au centre de l'investigation, ce projet, plutôt que de se préoccuper des intentions artistiques ou mécénales, redirige l'attention sur la fonction certaine, mais combien variable, des objets dans la formation de relations sociales et démontre comment elle peut révéler l'existence de tensions et d'hostilités latentes. La circulation continue d'objets précieux met en relief un système de valeurs qui est à l'œuvre à la fin du quinzièm
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Precarious occupations: the fragile figure of home in contemporary artLauzon, Claudette January 2009 (has links)
This dissertation addresses contemporary art's capacity to facilitate ethical encounters with the suffering of others. Arguing that any effort to understand how trauma marks the present must also recognize ours as an age in which "home," particularly for those vulnerable to contingency (the exile, the migrant, the asylum seeker, the homeless), can no longer accommodate its presumed status as a stable haven from the troubled world, I identify and analyze a select group of contemporary artists who seek to mediate legacies and conditions of trauma through representations or evocations of the fractured, fragile, or otherwise unsettled home. In the practices of Krzysztof Wodiczko, Santiago Sierra, Doris Salcedo, Alfredo Jaar, Emily Jacir, Ursula Biemann, Yto Barrada, Tony Labat, and Mona Hatoum, I suggest, loss is represented as an "unhomely" experience and home is imagined and remembered as a site of provisionality, a lost territory of belonging, and a tenuously sustained but tenaciously held memory. Drawing on but also challenging the assumptions of psychoanalytically-informed trauma studies, I furthermore suggest that these practices harness the constructive and creative nature of melancholic attachment to loss in order to facilitate recognition of both the material nature of loss and the universality of human vulnerability. I propose that the fragile figuration of home, which I theorize as an "unhomely" aesthetic, has a twofold function: first, to construct (literally or figuratively) a material structure around loss that preempts the cathartic resolution of unresolved situations; and second, to imagine this material structure as a liminal space of unresolved trauma that articulates the fragility of self-other relations and, in the process, transforms home into a potential site for empathetic engagements with the suffering of others. In the process, these artists provide critical insights into how we migh / Cette thèse aborde la capacité qu'a l'art contemporain de faciliter des rencontres éthiques avec la souffrance des autres. En tentant de saisir la manière dont le traumatisme marque le présent, il nous incombe de constater que le « domicile » à notre époque, particulièrement pour ceux vulnérables aux imprévus (l'exilé, le migrant, le demandeur d'asile, le sans-abri) n'a plus la stabilité nécessaire pour pouvoir soutenir son statut traditionnel de refuge au sein d'un monde perturbant. Dans cet esprit, cet ouvrage identifie et analyse le travail d'un nombre d'artistes contemporains cherchant à négocier les conditions et les héritages du traumatisme à travers de multiples représentations ou évocations d'un domicile fracturé, fragile ou autrement déstabilisé. Son corpus est donc précis, incluant le travail de Krzysztof Wodiczko, Santiago Sierra, Doris Salcedo, Alfredo Jaar, Emily Jacir, Ursula Biemann, Yto Barrada, Tony Labat, et Mona Hatoum. Je propose que la notion de perte est représentée dans ces œuvres comme expérience de « l'abri inquiet » (unhomely) et que le domicile est imag(in)é en tant que site provisoire, un territoire d'appartenance perdu, un souvenir qui persiste obstinément malgré son caractère précaire. M'appuyant (tout en les contestant) sur les théories psychanalytiques du traumatisme, je soutiens que ces pratiques artistiques exploitent l'attachement mélancolique à la perte dans sa dimension constructive et créatrice afin de mieux saisir la nature matérielle de celle-ci ainsi que l'universalité de la vulnérabilité humaine. Je propose d'examiner la figuration fragile du domicile, que je théorise en tant qu'esthétique de « l'abri inquiet », sous ses deux fonctions. D'abord, sa capacité de constituer (au sens propre ou figuré) une structure matérielle autour de la perte qui anticipe une résolution cathartique de situations irrésolues. Mais$
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With and without you: Re-visitations of art in the age of AIDSSmith, Royce W. Unknown Date (has links)
No description available.
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Pictures in motion : the cinematic art of Zheng Zhengqiu and his Shanghai contemporaries, 1910--1935 /Tseng, Li-Lin. January 2008 (has links)
Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2008. / Source: Dissertation Abstracts International, Volume: 69-05, Section: A, page: 1577. Adviser: Jonathan Fineberg. Includes bibliographical references (leaves 287-310) Available on microfilm from Pro Quest Information and Learning.
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The sacred revealed: An iconographic study of the Berndt Collection of Arnhem Land bark paintings at the American Museum of Natural History.Caglayan, Emily Rekow. Unknown Date (has links)
Thesis (Ph.D.)--City University of New York, 2005. / (UMI)AAI3287109. Source: Dissertation Abstracts International, Volume: 68-10, Section: A, page: 4108. Adviser: George A. Corbin.
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Artists' Books---Both Map and TerritoryZussman, Na'ama 20 January 2016 (has links)
<p> The field of artists' books is a realm in which a phenomenon is mapped and territorialized. This is based on the human necessity to map the world and have a better grasp of it. Additionally, it is constructed on the understanding of the history of the book’s physicality as an important emblem in civilization. An artist’s book is an isolated realm, both a map and a territory. It is closed in itself, and has its own rules and dynamics, yet carries varied affinities with the outside world.</p>
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M.C. Escher: a bridge between art and scienceBillick, Nicole J. January 2000 (has links)
Boston University. University Professors Program Senior theses. / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-02
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Ett metallskrin från 1500-talet : En studie kring proveniens och ikonografiEkborg, Malin January 2017 (has links)
The purpose with this essay is to describe, analyze and interpret a Renaissance casket. The provenience is not very clear. A great part of my investigation is therefore focused on the task to find more information about the origin of this item. The casket has been given a date, 1590 and a master of origin, a goldsmith from Hamburg in the north of Germany. I haven't been able to confirm that information. Even though the matter of my concern is a unique piece of artwork, caskets in general, during the period of my interest are not particularly uncommon. During my work period I was lucky enough to find information that suggests a totally different German goldsmith, a fact that made the research even more exciting. It has broaden the field of investigation to incorporate even Nürnberg, in the south of Germany. Typical styles of the regions have therefore been a part of this investigation. Also the fact that German goldsmiths where contracted by The Swedish Royal Court. / Syftet med denna uppsats har varit att undersöka, beskriva, analysera och tolka ett renässansskrin. Det är daterat till 1590 och tros vara tillverkat av en tysk guldsmed från Hamburg, hittills obekräftade uppgifter. En stor del av min undersökning är därför fokuserad på att försöka klarlägga fakta kring proveniensen. Även om skrinet i sig är ett unikt konsthantverksföremål, är typen inte sällan förekommande under det tidsspann uppsatsen rör sig. Under arbetets gång har nya uppgifter dykt upp som pekar mot en annan upphovsman, en guldsmed från Nürnberg, i södra Tyskland. Ett faktum som gjort undersökningen än mer spännande. Det har fört mig mellan deras respektive formspråk, som har inkluderat ett resonemang kring spridningen av antika, typiskt nordeuropeiska och framför allt tyska stilar. Viktigt för arbetet har varit att se föremålet i sin kontext, renässansen. Jag har också undersökt vilka kopplingar som fanns mellan de tyska guldsmederna och det svenska hovet.
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#Spectacular: Art in the Experience AgeJanuary 2015 (has links)
abstract: In the 1960s, Minimal Art introduced a radical insistence on the bodily immediacy of the experience. Since then, artists have increasingly focused on the creation of immersive experiences, resulting in spectacular installations that fill museums, galleries, and public spaces. In this thesis, I argue that the artistic shift toward experience-based work stems from an overall revaluation of the experience as a central component of contemporary life in Western societies. Referencing sociological and economic theories, I investigate the evolving role of the art museum in the twenty-first century, as well as the introduction of new technologies that allow for unique sensorial encounters. Finally, I situate this development in both art historical and theoretical context, examining the relationship between critical distance and immersion and challenging the notion that art must become spectacle to compete with the demands of a capitalist culture. / Dissertation/Thesis / Masters Thesis Art History 2015
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