Thesis (Ph. D.)--University of Washington, 2001. / Vita. Includes bibliographical references (leaves 158-169).

Craft's role in its traditional sites is changing. Using Actor-network theory the thesis explores this contention in three sites of craft representation, a craft organisation, a university craft workshop and a craft exhibition. It was found that although craft remained in the operations and practices of these sites it was transformed contextually to perform roles beyond the skills of the hand and the material limits of the object. The research, summed up as The Hidden Hand and the Fluid Object, is significant for craft organisation, craft education and museum administration. The thesis also expands the applications of Actor-network theory as a research tool beyond its roots in science. / Thesis (PhDEducation)--University of South Australia, 2004.

Thesis (Ph. D.)--University of Texas at Austin, 2008. / Vita. Includes bibliographical references.

Thesis (Ph.D.)--Northwestern University, 1999. / Source: Dissertation Abstracts International, Volume: 60-12, Section: A, page: 4216. Adviser: Stephen Eisenman.

Sociopolitical artists in Yogyakarta have a long history of objection to governmental suppression in Indonesia. Yogyakarta has been Indonesia's 'city with a social conscience' and a continuous focal point for artists from all over Indonesia, particularly those with a sociopolitical agenda. / This thesis argues that the work and motives of the most influential Yogyakarta sociopolitical artists are essentially tragicomic in character. An analysis of the work and statements of artists who protested against the oppression and corruption under Suharto's New Order regime from 1966 to 1998 reveals a strong vein of protest art, disguised to avoid government reprisals. In the years immediately following Suharto's forced resignation in 1998 artists more boldly showed criticism of both previous and present corruption, collusion and nepotism. Examples of this work were more frequently and openly exhibited in Indonesia and overseas as the potential for government reprisals diminished. / Thesis (MVisualArts)--University of South Australia, 2006.

Sociopolitical artists in Yogyakarta have a long history of objection to governmental suppression in Indonesia. Yogyakarta has been Indonesia's 'city with a social conscience' and a continuous focal point for artists from all over Indonesia, particularly those with a sociopolitical agenda. This thesis argues that the work and motives of the most influential Yogyakarta sociopolitical artists are essentially tragicomic in character. An analysis of the work and statements of artists who protested against the oppression and corruption under Suharto's New Order regime from 1966 to 1998 reveals a strong vein of protest art, disguised to avoid government reprisals. In the years immediately following Suharto's forced resignation in 1998 artists more boldly showed criticism of both previous and present corruption, collusion and nepotism. Examples of this work were more frequently and openly exhibited in Indonesia and overseas as the potential for government reprisals diminished.

Thesis (Ph.D.)--Union Institute, 1998. / Includes bibliographical references (leaves 380-389).

Craft's role in its traditional sites is changing. Using Actor-network theory the thesis explores this contention in three sites of craft representation, a craft organisation, a university craft workshop and a craft exhibition. It was found that although craft remained in the operations and practices of these sites it was transformed contextually to perform roles beyond the skills of the hand and the material limits of the object. The research, summed up as The Hidden Hand and the Fluid Object, is significant for craft organisation, craft education and museum administration. The thesis also expands the applications of Actor-network theory as a research tool beyond its roots in science. / thesis (PhDEducation)--University of South Australia, 2004.

Today, a growing number of Pakistani artists have embraced the nation’s perceived visual languages and political, social, and cultural history to interrogate and unpack Pakistan’s contemporary society and identity. The fruits of this shifting and mixing are works of art that turn artistic and societal traditions, from miniature painting to matrimonial rites, on their sides even as they uphold their significance. In these works, artists present their views on life in the country and their experiences as Pakistanis. Their paintings, videos, sculptures, installations, mixed media works, prints, and drawings are not soapboxes from which they shout out their messages. Instead they present issues and concerns in a manner that means to define them uniquely as Pakistani. Unpredictable social developments and current events that require in-depth investigation appear in imagery without any direct answers to these debates. Rather, Pakistani artists offer them to incite further investigation. Through their works, artists express and examine the complicated nature of Pakistani national and cultural identities by looking at the society’s most volatile concerns. Yet they address these issues in an unexpected fashion. They examine serious concerns like the India/Pakistan divide in a humorous fashion; they explore bloody, murderous acts like “honor killings” in pristine paintings. In this multifaceted treatment, the intense issues affecting Pakistan are interrogated with ambiguity. These artists do not simply present critical issues related to society in Pakistan; they play with them. And in this way raise questions about their meanings. And they do not only look to Pakistani society for subject matter. They also turn to it for methods of approaching art by exhibiting sensitivity to traditional materials, techniques, and styles. I analyze this artwork within a context of art practices in Pakistan, pedagogical methods at art schools in the nation, and the impact of larger historical events and social processes: colonialism, the partition of India and Pakistan, and globalization. / text

The conceptual space formed by the experience of being in-between cultures is a fluid one. The boundaries of this space resist being fixed or defined, as experiences of cultural dislocation vary from person to person and alter over time. It is in this space that my project is located, and that my research seeks to explore. / Thesis (MVisualArts)--University of South Australia, 2001.