Thesis--Stockholm. / Extra t.p. with thesis statement inserted. Summary in English. Includes bibliographical references (p. 138-147) and index.

In 1883 a group of Belgian artists wishing to challenge the hegemony of the Brussels Academy founded the organization, Les Vingt, on the principles of egalitarianism and artistic freedom and elected Octave Maus, editor of the self-proclaimed avant-garde journal, L'Art Moderne, as its secretary. Henceforth, Les Vingt assumed the identity of Belgium's leading visual exponent of modernité and L'Art Moderne became its foremost champion. In actuality, the alliance the Vingtistes formed with L'Art Moderne allowed Octave Maus and his co-editor Edmund Picard to gain control of the group's operations. The journal's editors, through their association with the Belgian social reform movement, had formulated an artistic concept they called l'art social and Les Vingt was to become the incarnation of this new doctrine of social art. During the period of 1887 to 1889, however, while the Belgian workers' movement erupted in a succession of strikes and demonstrations, Maus and Picard radically changed their strategy in marketing Les Vingt to its viewing public. They campaigned for a revised, "depoliticized" avant-garde identity for the group, and the model they chose to represent this new identity was French divisionism. The group's appropriation of divisionism, however, signified a forfeiture of many of the group's original ideals. Furthermore, it became a point of conflict for those Vingtistes who chose to remain loyal to their own styles. This conflict is evident in the case of James Ensor, one of the group's important founding members. During this period, he developed his own personal imagery that was a synthesis of Flemish and modern themes and motifs. This imagery made a bold, critical attack upon Les Vingt's capitulation to French divisionism, which signified an acqui-esence to the ardently Francophile tastes of the Brussels bourgeoisie. The focus of this thesis is an analysis of Les Vingt's avant-garde identity as it evolved out of its relationship with L'Art Moderne, and how that relationship led to the importation of divisionism. Ensor's conflict with Les Vingt and his provocative Flemish imagery is also examined as a means of assessing the significance of Les Vingt's adoption of the French art style. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

In this thesis artwork is defined, through analogy with quantum mechanics, as the conjoining of the nonsimultaneously measurable momentum (waves) of artwork-text (words within the primary sources and exhibition catalogues) with the position (particles) of artwork-objects (artist- productivity/exhibition-quantities). Such a proposition allows for the changes within the artwork of the Russian avant-garde to be charted, as such artwork-objects are juxtaposed with different artwork-texts from 1902 to 2009. The artwork of an initial period from 1902 to 1934 is examined using primary-source artwork-text produced by Russian artists and critics in relation to the contemporaneous production-levels of various types of Russian-avant-garde artwork-objects. The primary sources in this dataset are those reproduced in the artwork-text produced by the 62 exhibitions described below, and those published in John E. Bowlt's 1991 edition of Russian Art of the Avant-Garde: Theory and Criticism. The production of artwork in the latter period from 1935 to 2009 is examined through consecutive exhibitions, and the relationship between the artwork-text produced by these exhibitions and the artwork-objects exhibited at them. The exhibitions examined within this thesis are 62 containing Russian avant-garde artwork, held in Britain from 1935 to 2009. Content analysis, using an indices-and-symptom analytical construct, functions to convert the textual, unstructured data of the artwork-text words to numerical, structured data of recording-unit weighted percentages. Whilst artist-productivity and exhibition-quantities of types of artwork-object convert the individual artwork-objects to structured data. Bivariate correlation, descriptive statistics, graphs and charts are used to define and compare relationships between: The recording units of the artwork-texts; the artist-productivity/ exhibition-quantities of types of artwork-objects; the structured artwork-text data and structured artwork-object data. These various correlations between structured artwork-text data and structured artwork-object data are calculated in relationship to time (Years) to chart the changes within these relationships. The changes within these relationships are synonymous with changes within Russian avant-garde artwork as presented from 1902 to 1934 and within the 62 British exhibitions from 1935 to 2009. Bivariate correlations between structured artwork-texts data and structured artwork-objects data express numerically (quantitatively) the ineffable relationships formed over time by large sets of unstructured data in the continued (re)creation of artwork.

Thesis (MA)--University of Stellenbosch, 2000. / ENGLISH ABSTRACT: This study considers the dynamics and nature of neo-avant-garde jewellery with specific reference to contemporary South African (neoavant- garde) jewellery. In Chapter One defensible working descriptions of the terms "avant-garde" and "neo-avant-garde" are established in order to establish some manageable conclusions regarding their application to jewellery design. These descriptions are derived from a consideration of the concepts in contemporary aesthetic discourse. Chapter Two considers the role, justifications and implications of adornment with a view to isolating the development, influences and nature of neo-avant-garde jewellery. A distinction is drawn between the aesthetics, ontology and art-relevant status of such jewellery and commercial or mainstream jewellery. Chapter Three analyses specific examples of contemporary South African avant-garde jewellery in the light of the above-mentioned distinctions. Works are considered in relation to the transgression of material, the transgression of taste, the transgression of integrity of form and the integration of narrative and parochial content and attempts to demonstrate that an appropriate critical posture in regard to such jewellery is art, rather than craft-relevant. In Chapter Four general influences regarding themes and concepts apparent in the author's body of practical work are discussed. An annotated catalogue supplements the general discussion. / AFRIKAANSE OPSOMMING: CONTEMPORARY AVANT-GARDE JEWELLERY IN SOUTH AFRICA Hierdie studie ondersoek die dinamika en karaktereienskappe van neoavant- garde juweliersware, met spesifieke verwysing na kontemporêre Suid-Afrikaanse neo-avant-garde juweliersware. In Hoofstuk Een word die terme "avant-garde" en "neo-avant-garde" beskryf. Die doel hiervan is om uiteindelik die omvattende gebruike en definisies van hierdie terme (met betrekking op kontemporêre estetika) vas te lê. Hoofstuk Twee gee 'n oorsig aangaande die redes vir- en implikasies van fisieke versiering. Die ontwikkeling, invloede en aard van neo-avant-garde juweliersware word bespreek en gekontrasteer met komersiêle jeweliersware. In lig van die bogenoemde onderskeidings verwys Hoofstuk Drie na spesifieke Suid-Afrikaanse voorbeelde van neo-avant-garde juweliersware. Hierdie voorbeelde word oorweeg in terme van hul oorskryding van tradisionele grense aangaande materiaalgebruik, smaak, integriteit van vorm en die integrasie van relaas. Die studie poog om die relevansie van neo-avant-garde juweliersware as kuns eerder as kunsvlyt te demonstreer. In Hoofstuk Vier word die outeur se praktiese werke bespreek deur middel van 'n geannoteerde katalogus. Die katalogus word voorafgegaan deur 'n bespreking van invloede, temas en konsepte van die deurlopende ooreenkomste in die outeur se werke verduidelik.

This thesis is intended to disrupt society's social cruise control. The goal is to make people stop and think, even if only for a brief moment, about the social conventions that guide and control their daily lives. People become disconnected from one another and their environments through repetition, apathy, and a general obliviousness toward shared moments. Making people more attuned to these moments - essentially creating an opportunity to take a brief pause - as a step toward reconnection. Social conventions are unique in that they can exist without the consent of the involved parties; the existence of the convention is enough to demand conformity. While it is possible to find graphic design projects that offer some degree of interactivity to draw people into a relationship with a space, projects that encourage social relationships through acknowledgment between people are rare. This thesis will explore ways in which design acts as a catalyst for disruption, while also encouraging interaction and dialogue. / by Adriana Joyce de Alejo. / Thesis (M.F.A.)--Florida Atlantic University, 2011. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2011. Mode of access: World Wide Web.

Freie Univ., Habil.-Schr.--Berlin, 2003.

Thesis (Ph. D.)--University of Pittsburgh, 2006. / Title from electronic submission form. Includes bibliographical references.

Thesis (Ph. D.)--University of Delaware, 1984. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 405-437).

Thesis (M.A.)--Carleton University, 2001. / Includes bibliographical references (p. 221-225). Also available in electronic format on the Internet.

Thesis (Ph. D.)--University of California, Santa Cruz, 1994. / Typescript. Includes bibliographical references (leaves 276-284).