The development of this thesis is akin to that of a painting. It is subject to various influences that have evoked ideas and each idea has stimulated other ideas, thus the continuity could have gone beyond the bounds of this work. It is not so much an amalgamation of similar ideas but a development of diverse ideas which have, once composed, a common factor - the Multiple Image. Image refers to some paintings that have been made or part of them, a photograph, a film, a subject visualized in the mind or a complex reforms which is suggestive. Multiple refers to anything that relatively repeats itself, has facsimilies of itself, triptychs, polyptychs or is a conglomeration of ideas in a work of art. Intro., p. 1.

In the worlds of virtual reality, whole objects and bodies are created in an immaterial manner from lines, ratios and light pixels. When objects are created in this form they can easily be manipulated, edited, multiplied and deleted. In addition, technological advances in virtual reality development result in an increased merging of physical and virtual elements, creating spaces of mixed reality. This leads to interesting consequences where the physical environment and body, in a similar vein to the virtual, also becomes increasingly easier to manipulate, distort and change. Mixed realities thus enhance possibilities of a world of constantly changing landscapes and adjustable, interchangeable bodies. The notions of virtual and real coincide within this thesis, reflecting on a new version of reality that is overlapped and ever-present in its mixing of virtual and physical. These concepts are explored within my exhibition Immaterial - a creation of simulated nature encompassing a mix of natural and artificial, tangible and intangible. Within the exhibition space, I have created a scene of mixed reality, by merging elements of both a virtual and physical forest. This generates a magical space of new experiences that comes to life through the manipulated, edited, morphed and re-awakened bodies of trees.

The Neo-Orientalism of Matisse's The Blue Nude (Souvenir of Biskra), and Picasso's Les Demoiselles d'Avignon, both of 1907, exists in the similarity of the extreme distortion of the female form and defines the different meanings attached to these "ugly" women relative to distinctive notions of erotic and exotic imagery. To understand Neo-Orientalism, that is, 19th century Orientalist concepts which were filtered through Primitivism in the 20th century, the racial, sexual and class antagonisms of the period, which not only influenced attitudes towards erotic and exotic imagery, but also defined and categorized humanity, must be considered in their historical context. My introduction is an investigation of current art historical scholarship which has linked the manipulation of form by Matisse and Picasso and shifting avant-garde practice in Paris in the years 1905 - 1908, when Cubism displaced Fauvism, to the concepts of Orientalism and Primitivism. The problem of the ideological content of images of women, which I undertake to address, arises from these studies which rely upon the assumed metaphysical fascination with the exotic or the intuitive, personal concern for erotic symbolism by the artists as a solution to meaning. The absence of a rich critical discourse surrounding the paintings encourages my approach to the problem of meaning whereby in Chapter One I examine images of women produced in Paris in the specific discourses of popular and official culture in 1906. These representations of the female are identified as ideological constructions which functioned in relation to the important and broader issues of the moment affecting the dominance of French culture: class struggle and neo-colonialism. In Chapter Two the "ugly" women of Matisse's The Blue Nude (Souvenir of Biskra) and Picasso's Les Demoiselles d'Avignon are analysed as intended avant-garde transformations of images of female prostitutes and compared with the Images of women In popular and official culture and with each other, In recognition of their function within the historical context of their production. In conclusion I suggest that the difference in meaning between these paintings by Matisse and Picasso was Ideological, operating within the context of class struggle and neo-colonialism, and defined by their distinctive conscious and unconscious use of Primitivism. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

The work o f the South African artist Walter Battiss has in the existing literature been analysed and discussed in relation to his biography or in general descriptive terms. In contrast my project aims at revealing the confluence of the Modernist avant-garde notions of the “Primitive” and the anthropological project in Battiss’ work.

林曉東. / 呈交日期"一九九八年十二月". / 論文 (藝術碩士)--香港中文大學, 1999. / 參考文獻 (leaves 36-37). / 附中英文摘要. / Cheng jiao ri qi "Yi jiu jiu ba nian shi er yue". / Lin Xiaodong. / Lun wen (yi shu shuo shi)-- Xianggang Zhong wen da xue, 1999. / Can kao wen xian (leaves 36-37). / Fu Zhong Ying wen zhai yao. / 目錄 --- p.1 / 前言 --- p.3 / 提要 --- p.4 / Abstract --- p.5 / Chapter 第一章 --- 現代藝術的起始與界定 --- p.6 / 現代藝術是甚麼 --- p.6 / 現代藝術起始之歧見 --- p.7 / 現代藝術之本文界定 --- p.8 / Chapter 第二章 --- 藝術媒介的界定 --- p.11 / 傳統藝術品的功能指涉´ؤ´ؤ服務對象與之帶來的標準 --- p.11 / 藝術品的功能指涉之轉向與新媒體的出現´ؤ´ؤ媒介分劃的再界定 --- p.13 / Chapter 第三章 --- 圖像的承繼與流傳一攝影術 --- p.18 / 圖象的特質與文字的關係 --- p.18 / 攝影術中的原物與複本 --- p.24 / Chapter 第四章 --- 從一件藝術作品的完成：反思藝術媒介的本質 --- p.26 / Chapter 1. --- 社會文化 --- p.28 / Chapter 2. --- 作者 --- p.28 / Chapter 3. --- 意念 --- p.28 / Chapter 4. --- 製作 --- p.29 / Chapter 5. --- 成品 --- p.30 / Chapter 6. --- 命題 --- p.30 / Chapter 7. --- 觀眾 --- p.31 / Chapter 8. --- 觀賞 --- p.31 / Chapter 9. --- 討論 --- p.32 / Chapter 10. --- 紀錄 --- p.32 / Chapter 11. --- 流傳 --- p.32 / Chapter 12. --- 時間性 --- p.33 / Chapter 第五章 --- 總結 --- p.34 / 參考書目 --- p.36 / 附圖 --- p.38

林嵐. / 論文 (藝術碩士)--香港中文大學, 1999. / 參考文獻 (leaves [1-3] (3rd group)) / 附中英文摘要. / Lin Lan. / Lun wen (yi shu shuo shi)-- Xianggang Zhong wen da xue, 1999. / Can kao wen xian (leaves [1-3] (3rd group)) / Fu Zhong Ying wen zhai yao. / 前言 --- p.1 / Chapter 第一章 --- 中國文字的特色 --- p.2 / Chapter 第一節 --- 漢字的美學價値 --- p.3 / 漢字的形、音、義 / 豐富的靈感泉源 / 文字的特殊美學觀 / Chapter 第二節 --- 漢字的權力象徵意義 --- p.6 / Chapter 第二章 --- 中國文字與藝術 --- p.10 / Chapter 第一節 --- 文字與文人畫 --- p.10 / 文字與書法 / 書法與中國畫 / Chapter 第二節 --- 文字與現代藝術創作 --- p.12 / Chapter 第三章 --- 當代中國藝術家的文字情結 --- p.16 / Chapter 第一節 --- 借用中國書法的形式或形態爲主題的藝術家 --- p.16 / 趙無極 / 王己千 / Chapter 第二節 --- 以文字作文化符號思考的藝術家 --- p.18 / 吳山專 / 谷文達 / 徐冰 / Chapter 第三節 --- 保持文字功能性的藝術家 --- p.22 / 侯俊明 / 郭孟浩 / 結語 --- p.25 / 附錄一：參考書目及雜誌 / 附錄二：圖錄 / 附錄三：圖片來源

Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture, 1981. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / Includes bibliographical references. / Jack Tworkov began painting in the 1920s and made his reputation later as an Abstract Expressionist working in a gestural style. At the age of sixty-five Tworkov put that reputation on the line by undergoing a radical transformation in style and, within a few years, emerged as one of the innovative geometric painters of the later 1960s and the 1970s. This dissertation focuses on works from 1955, when Tworkov began to paint wholly idiosyncratic canvases, to 1979, at which time he significantly changed his brushstroke, a stylistic element that functions as a thread throughout this period. Other binding concepts include a continuing attempt to reconcile painterliness and spontaneity with premeditated structure and the combination of choice and chance in generating new ideas and compositions . This dissertation attempts to provide a complete analysis of this specific portion of Tworkov's work, which has never been done, and to avail the reader of a significant collection of artist's statements drawn from a variety of sources including Tworkov's own diary notes, the art historical literature , and personal interviews with the author. The analysis of the works is contextual, within the frame work of Tworkov's career itself, and proceeds stylistically rather than chronologically, identifying, explaining, and pursuing trends in Tworkov's works over an extended period of time. Iconographic analyses are provided where most appropriate and where most illustrative Tworkov's relationship to other artists has been discussed. The work from 1955 to 1979 has been divided into three major segments: Transitional Works, including the Painterly Abstractions and the Fields; the Structural/Geometric Works, subdivided into early geometric canvases, further experiments with geometry, and the Bisections; and the System Works, including both the Knight Moves and the Three-Five-Eight series. / by Lois Fichner-Rathus. / Ph.D.

This thesis tracks the complex relationship between visual art and the decorative in the Twentieth Century. In doing so, it makes a claim for the ongoing interest and viability of decorative practices within visual art, in the wake of their marginalisation within Modernist art and theory. The study is divided into three main sections. First, it demonstrates and questions the exclusion of the decorative within the central currents of modernism. Second, it examines the resurgence of the decorative in postmodern art and theory. This section is based on case studies of a number of postmodern artists whose work gained notice in the 1980s, and which evidences a sustained engagement with a decorative or ornamental aesthetic. The artists include Rosemarie Trockel, Lucas Samaras, Philip Taaffe, and several artists from the Pattern and Decoration Painting Movement of the 1970s. The final component of the study investigates the function and significance of the decorative in the work of a selection of Australian and international contemporary artists. The art of Louise Paramor, Simon Periton and Do-Ho Suh is examined in detail. In addition, the significance of the late work of Henri Matisse is analysed for its relevance to contemporary art practice that employs decorative procedures. The thesis put forward is that an historical reversal has occurred in recent decades, where the decorative has once again become a significant force in experimental visual art.

At the turn of the twentieth century, as Japan expanded its territory by colonizing other Asian nations, the Japan-Korea Annexation Treaty was signed in 1910 and Korea lost its sovereignty. In political turmoil, the formation of national and cultural identity was constantly challenged, and the struggle was not argued in words alone. It was also embedded in various types of visual cultures, with narratives changing under the shifting political climate. This thesis focuses on paintings exhibited in the Joseon Mijeon (조선미술전람회 The Joseon Fine Art Exhibition) (1922-1944), which was supervised by the Japanese colonial government and dominated, in the beginning, by Japanese artists and jurors. By closely examining paintings of ‘local color (향토색)’ and ‘provincial color (지방색),’ which emphasized the essence of a “Korean” culture that accentuated its Otherness based on cultural stereotypes, the thesis explores how representations of Korea both differentiated it from Japan and characterized its relationship with the West. In order to legitimize its colonial rule, politically driven ideologies of pan-Asianism (the pursuit of a unified Asia) and Japanese Orientalism (the imperialistic perception of the rest of Asia) were evident in the state-approved arts. The thesis explores how the tension of modern Japan as both promoting an egalitarian Asia and asserting its superiority within Asia was shown in the popular images that circulated in the form of postcards, manga, magazine illustrations, and more importantly in paintings. Moreover, this project examines both the artists who actively submitted works to the Joseon Mijeon and the group of artists who opposed the Joseon Mijeon and worked outside of the state-approved system to consider the complexity of responses by artists who sought to be both modern and Korean under Japanese colonial rule. / published_or_final_version / Fine Arts / Master / Master of Philosophy

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