This thesis describes and analyzes the symbolist artist Tyra Kleen’s life as a student and professional artist in late 1900th- and early 2000th-century, using biography as methodology, in combination with Pierre Bourdieu’s theories on Cultural Fields, and Feministic theory. A few of her Symbolistic art works will be analyzed using Ragnar Josephson’s theories on the Making of Art. The years in between 1892 – 1908 are in focus of the thesis, when the artist mainly lived, studied and worked abroad; in Germany, Paris and Rome.  Tyra Kleen (1874-1951) was born in Sweden, but lived for many years in Europe. She saw herself more as a European or a Cosmopolitan, than a Swedish person. She went to several art schools in Europe; in Dresden, Karlsruhe, Munich, Paris and Rome. She lived in Paris during the years of ”the fine de siècle”, and then moved to Rome where she lived and worked for almost ten years. During her years abroad, with influences from artists as Böcklin and Puvis de Chavannes, authors as Charles Boudelaire and Edgar Allan Poe, and from Theosophy, she picked up a continental Symbolistic style, that is unique, and is not to be found in any other Swedish artists’ styles. The thesis gives a new piece to the puzzle regarding Swedish late 1900th-early 2000th-century Art History.

Orientador: Ernesto Giovani Boccara / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-10T01:27:03Z (GMT). No. of bitstreams: 1 Labra_DanielaHochmann_M.pdf: 6655798 bytes, checksum: 5dab977beae304d91bb7fa2677ae1703 (MD5) Previous issue date: 2005 / Resumo: Esta pesquisa versa sobre obras de artes visuais onde o autor se coloca no trabalho como um personagem de ficção, e divide-se em duas partes: pesquisa teórica sobre conceitos da performance nas artes e na antropologia, e análise da prática curatorial desenvolvida para a exposição Artista-Personagem, realizada em 2004, em São Paulo / Abstract: The following thesis is about visual art works in which the author exposes himself as a fictional character. It is divided in two parts: theoretical research of performance studies and performance art practices, and the analysis of the Artista-Personagem exhibition curatorial practice presented in São Paulo, in 2004 / Mestrado / Mestre em Artes

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Hennie Potgieter, born on 1 November 1916, grew up in an Afrikaans household on the Western Transvaal platteland. He studied art at the Art School of the Johannesburg Technical College during the late thirties and early forties. During this time he completed his first public commision. After completing his art studies he opened his own studio in Johannesburg. In 1942 he was one of four salaried sculptors commissioned to do a frieze for the hall of heroes in the Voortrekker Monument, Pretoria. This assignment took them five years to complete. The plaster casts, where then taken to Italy where Potgieter supervised the sculpturing of the marble replicas. He held his first one man exhibition while he was working on the frieze. In 1949 he inditially worked independently in the Harmonie hall, Pretoria. His first public statue, "Wording" was created here. In 1951 Potgieter and his wife Bettie (née Roos) settled at Schoemansville, Hartbeespoort dam, where they are still living. They have two daughters. Over a period of thirty three years he completed numerous public as well as private commissions and also did many sculptures. He is deeply involved in community matters. From time to time he gets involved in newspaper polemics on matters of art. Directly and indirectly Potgieter contributes substantially to public awareness and appreciation of South African sculpture as well as to promoting the profession of the sculptor. Potgieter mastered the art of modelling as well as sculpture techniques and reveals in both a marked individuality. His pragmatic handling of the sculptor's technical problems is also noticeable. His compositions are noted for their simplicity and earthly quality. Stylistically his art is based on perceptual reality. The human figure (and later especially the female nude in which the erotic plays an important part) is iconographically most important to him. However, his love for the South African fauna, and then especially the antelopes, remain a chief source of inspiration. This also demonstrates his close connection to nature and that which is dear to him. In connection with action in his art, it may be adressed as the arrested moment. Iconologically the earthy quality of his work, and coupled to that the role of religion in his life and work, point to the traditional vertical and philosophical view of the Afrikaner. It also mirrors the man Potgieter. Subsequently four sculptures are discussed. They will also be critically evaluated to illustrate particular and significant aspects of his work. A variety of interpretations exists as regards the concept of "folk art". In the light of research done it is concluded that Potgieters art is indeed art of the people for the people. This art then qualifies him as a important folk artist. AFRIKAANS : Hennie Potgieter, gebore op 1 November 1916, het opgegroei in 'n gewone Afrikaanse boeregesin van die Wes-Transvaalse platteland. Sy kunsopleiding ontvang hy in die laat dertiger- begin veertigerjare aan die Kunsskool van die Johannesburgse Tegniese Kollege. In hierdie tyd voltooi hy sy eerste openbare opdrag naamlik die panele vir die Hoërskool Lichtenburg. Na sy opleiding open hy sy eerste ateljee in Johannesburg. In 1942 word hy teen 'n salaris aangestel as een van die vier beeldhouers van die fries vir die heldesaal van die Voortrekkermonument in Pretoria. Vyf jaar later was die panele in gips voltooi en moes hy in Italië gaan toesig hou oor die kopiëring daarvan in marmer. Na voltooiing hiervan moes hy ook toesig hou oor die finale installering daarvan. Sy eerste eenmanuitstalling het tydens die werkery aan die fries plaasgevind. (Junie 1945, Transvaler Boekhandel, Johannesburg) Sedert 1949 werk hy selfstandig, aanvanklik in die Harmoniesaal, Pretoria. Hier het sy eerste openbare standbeeld, Wording, die lig gesien. In 1951 vestig hy en sy eggenote, Bettie, (gebore Roos) hulle in Schoemansville by die Hartbeespoortdam en met die skrywe hiervan woon en werk hy nog daar. Hulle is intussen met twee dogters geseën. Oor 'n tydperk van drie en dertig jaar het hy hier verskeie openbare beeldhouwerke uitgevoer, talle privaatopdragte ontvang en 'n groot hoeveelheid vrye werke voltooi. Deurgaans word sy lewe gekenmerk deur 'n betrokkenheid en meelewing met sy gemeenskap asook periodieke betrokkenheid in kunspolemieke in die pers. Direk en indirek lewer Potgieter 'n belangrike bydrae om die Suid-Afrikaanse publiek beeldhoubewus te maak. In meer as een opsig lewer hy ook bydraes ter bevordering en uitbouing van die beeldhouberoep. Hennie is tuis in die boetseer- sowel as die beeldhoutegnieke. In beide openbaar hy egter 'n kenmerkende eie benadering. Tekenend is ook 'n pragmatiese hantering van die beeldhouer se tegniese probleme. Sy komposisies spreek van 'n treffende eenvoud en dit toon 'n sterk aardsgebonde neiging. Stilisties gesien is sy kuns gesetel in die herkenbare werklikheid. Ikonografies is die mensfiguur en later veral die vrouenaakfiguur die belangrikste en die erotiese speel hier ‘n rol. Die Suid-Afrikaanse Fauna en veral die wildsboksoorte bly egter van sy geliefde onderwerpe en demonstreer sy verknogtheid aan die natuur en die eie. Met betrekking tot aksie kan sy kuns 'n kuns van bevrore oomblikke genoem word. Ikonologies dui sy werk se aardsgebondheid gepaardgaande met die rol wat die religieuse speel op die tradisionele vertikale lewens-en-wêreldbeskouing van die Afrikaner. Dit weerspieël dan ook die mens, Hennie Potgieter. Vervolgens word die beeldhouwerke Ruiterbeeld van Generaal De la Rey, Andromeda, Jeug en Trapsuutjies (1980) in besonderhede en krities geëvalueer om sodoende kenmerkende tegniese en betekenisaangeleenthede te illustreer. 'n Verskeidenheid vertolkings bestaan oor die begrip "volkskuns". In die lig van 'n verantwoordbare vertolking daarvan word tot die gevolgtrekking gekom dat Potgieter se kuns van die volk vir die volk is en dat hy as volkskunstenaar van belang kwalifiseer. ‘n Katalogus van 'n groot hoeveelheid van Potgieter se beelde is saamgestel. Copyright / Dissertation (Magister Artium)--University of Pretoria, 2011. / Visual Arts / unrestricted

Hur gör man för att starta upp en lyckad artist i dagens musikbransch? Det är något jag klurat på länge men inte förstått mig på hur man ska gå tillväga. Jag har under hösten 2019 fått förmånen att arbeta som producent på ett skivbolag, där jag även fått möjligheten att starta upp ett eget artistprojekt tillsammans med dem. Utifrån detta har jag blivit intresserad av hur de har jobbat med mig som artist, vilket gjort mig nyfiken på hur hela branschen fungerar kring detta. En person som varit min mentor och vägledare på detta skivbolag är Sissi Hagald, som jag har intervjuat i denna uppsats för att få svar på mina frågor. Till en början trodde jag att jag skulle läsa mig till svaren som jag behövde, men Sissis erfarenhet från branschen gav mig mer än nog att jobba med. Arbetet har därför blivit en blandning av Sissis långa erfarenheter från musikbranschen, till mina egna observationer som ny artist. Det som visade sig vara mest intressant för mig var hennes syn på hur hon tänker sig att en ny artist ska vara, där hon jämför processen med att starta upp ett aktiebolag. Det behövs ett syfte, en plan och ett mål utöver de musikaliska alstren. Arbetet har väckt nya frågeställningar hos mig kring hur dagens musikbransch fungerar, men även gett mig en nyfunnen kärlek till varför jag jobbar med musik.

No description available.

This essay examines the art and artistry of Tyra Kleen in the years 1919-1921, when she was travelling and lived on the Indonesian islands Java and Bali. In this period of her life, she was dedicated to an artistic and culturally historical project in which she was drawing and painting Balinese ritual court and Temple dances, mudras, the empowered ritual hand poses of Buddha and Shiva priests, the Javanese theatre Wajang and the Javanese ritual court dance called Serimpi. 10 paintings with subjects deriving from these religious rites, traditions and cultural exercises are analyzed in relation to expression, content, and context with the ambition to convey knowledge about technique, proceeding, what the picture represents, and in what social cohesion these rites, dances and dramas are practiced. The paintings were often watercolor with accentuation of gouache and gold. The theoretical basis of the essay is postcolonial and genus theory. Oriental elements are depicted in her art by the forms inspired by art nouveau and the expressive choice of color. It was not only genus but also class that was important for her as a surveyor in another part of the world and in other religions. The androgyne ideal is related to the theosophic movement. Her artistry was anchored in a spiritual belief, involvement in the women´s issue and an interest in anarchism and class issues. Tyra Kleen was a well-travelled woman who was inspired from many other countries and cultures. Her education was European with a strong impact from the genres of fin-de-siecle. In her primary production there are traces from symbolism, art nouveau and spirituality. She shows another side of her artistry in her journey to Java and Bali, when she in a wealth of details paints the colorful and dynamic dances and the graceful movements of the hands and fingers. She had left the symbolic fantasy pictures and become exploring in her scientific project, even though you can see the forms from the art nouveau style and her interest of religion.

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Mitt syfte är i denna undersökning är att definiera min musikaliska identitet och hur den tar sig uttryck genom olika producentroller. I detta forskningsarbete har två låtar producerats. Ena låten är skriven och framförd av min vän och den andra låten är skriven och framförd av mig. För att jämföra arbetssättet mellan de två produktionerna har en loggbok förts. Litteratur har tagits del av som berör ämnet musikalisk identitet, samt olika typer av producentroller som sedan kopplats till det klingande arbetet. Resultatet visade att min musikaliska identitet får ta stor plats när jag skapar min egen musik, tillskillnad från min väns musik. Detta framkommer tydligt då min musikaliska identitet ger sig uttryck i min sång, kör och arrangering. Den får ta större plats när jag är min egen producent då det finns en frihet från regler och krav. Produktionen av den andra artistens låt blev däremot en utmaning då artisten hade en tydlig vision. Samt att tekniska problem uppstod som sträckte sig utanför mitt kunskapsområde. Detta gjorde det svårt för min musikaliska identitet att ta plats då inspirationen var svår att nå. Sammanfattningsvis är uttrycket av musikaliska identitet inte fast utan flytande, då den ändrar sig beroende på musiken jag möts av. Detta arbete visade även att mina producentroller ser annorlunda ut när produktionen består av min egen musik, kontra någon annans musik. Som producent till någon annan skiljer sig rollerna även här, beroende på arbetets fördelning mellan artisten och producenten. Det kan exempelvis vara vem som har skrivit låten, hur delaktig artisten är i produktionen etc.

In a busy city like Washington D.C., where people tend to work for long hours, and remain in constant fight with deadlines as they try to complete their daily tasks, such lifestyle can be very exhausting. Artists are no exception to that. A preoccupied lifestyle can keep them distant from their inner creativity and would make them lose their inspiration for art. What they really need is to take a step away from this fast society and find a place that offers them the space, time and environment to recharge and reconnect with their art. This thesis explores the role of architecture in creating moving artistic experiences that ignite the artists' inner creativity and feeds their imagination. By using design concepts that encourage their interaction with their surroundings, we can raise their curiosity to explore and observe to help them unleash their creativity. Because ,we, humans are mostly influenced by the spaces we inhabit and spend most of our time in. A proposed artist retreat in the U.S. National Arboretum, creates an architecture that enhances the way artists experience art through the use of proportions, forms, materials, light and shadow. The project consists mainly of two parts, the first part is a place that respects the artists' need for solitude, to be able to self-reflect on their inner self and art. The second part is a place for the artist community, where they socialize and exchange their knowledge and experiences. Moreover, the buildings design aims to breaks the barrier between the inside and outside worlds to help create an intimate experience between the artists and nature. On the other side, there is the relationship between the buildings and the site, where the buildings design, materials and construction respects the landscape of the site and are adaptive to the beauty of the site's seasonal changes. This is how my thesis will explore art through the lens of architecture and give these artists a deep breath of art. / Master of Architecture / In a busy city like Washington DC, where people tend to work for long hours, fight deadlines and try to complete their daily task, such a lifestyle can be very exhausting. Artists are no exception of that, as such lifestyle can keep them distant from their inner creativity and lose their inspiration for art. What they really need is to take a step away from this fast society and find a place that offers them the space, time and atmosphere to recharge and reconnect with their art. This thesis explores the role of architecture in creating moving artistic experiences that ignite the artists' inner creativity and feed their imagination. By using design concepts which encourage their interaction with their surroundings, raises their curiosity to explore, observe and unleash their creativity. Because we humans are mostly influenced by the spaces we inhabit and spend most of our time in. My thesis will be an artist retreat at the US National Arboretum, a place for these artists to practice their art in a natural environment, in places that either encourage them to socialize with the artist community or in single cabins in the forest, that isolate them into their own world. The buildings will act as thresholds that bring the outdoor natural views, sunlight and wildlife to the indoor living spaces to embrace the performance of these artists and let them experience art through the lens of architecture. The buildings also have their own language of how they represent and respect the nature of the site. This is how my thesis will give these artists a deep breath of art.