Power of Wrapping explores and communicates the somaesthetically inspired artistic act of wrapping as a generative force for healing. This thesis exhibition is an installation of artwork comprised of the combined forms and outcomes from two types of investigation. One, a studio practice in which my own somatic engagement, collaborates with my personal aesthetics of form, to produce two kinds of exhibited work. The first is a large traditionally wrapped Japanese temari and the second, involves twenty low-relief two dimensional wrappings on eight-inch stretcher frames and configured in a circular pattern with a larger wrapped stretcher frame in the center. Two, a social practice which embodies relationally and somaesthetically inspired art making within community groups, as generators of a large hanging form of wrapped hula hoops. In its totality, the installation is an expression of the idea that the body is essential to both making art and experiencing art. / Includes bibliography. / Thesis (M.F.A.)--Florida Atlantic University, 2018. / FAU Electronic Theses and Dissertations Collection

The leading idea of my Master project is based on my private experiences which have become an inspiration for making an artistic project and writing my master thesis.“I want to make my art personal but not private” is my main statement in creating my works. I believe talking about what touches me in my private life can be expressed through my art works and would move and become close to my audience.When I started working with this project I wanted to raise awareness of body death body-decay which is excluded from our daily lives and not quite visible in our contemporary societies until it touches us personally. Through the work I realized that the project is not just about death of the body (my first inspiration) but it is bringing a whole lot of new qualities: time, the passing of time, timeline, aging, transformation, the process of existing (making) and the process of dying. Comparing what is/can be considered as “beauty”- superficiality, external beauty, with what it is/can be “ugly” (ugliness - in the physical context) is a very important aspect of my work. In my work I use my own aesthetics to create definitions of ugly and beauty which is based on my previous inspirations. Since the process of making has become more important than expected, it shifted into this particular state.I have decided to “lock myself” (my torso) in a dead sculpture. I am keeping a particular moment of time and displaying „what” I looked like some time before and „now”. My torso is created by me and I can choose when it is “alive” and when it is “dead”. I treat my project as ongoing study, which will not end with my graduation at Konstfack. In my thesis I will communicate my inspirations and fascinations, process of making, and transformation of the project. As for inspirations and fascinations I will investigate different artistic approaches that I have chosen from the contemporary art. As I am interested in creating art based on craft I will talk about the importance and huge influence of process and transformation.

The Swedish photographer and artist Eva Klasson, based in Paris in the 1970s, gained attention for her series of black-and-white photography of her own naked body, which opened up for an international artistic career in the late 1970s. Despite a promising career she however abandoned photography and disappeared from the artistic sphere only a few years after her debut. There has been a renewed interest in Klasson’s work in Sweden the last decade where she has been exhibited at museums and galleries. Today she is represented at art museums and institutions including Moderna Museet, The Modern Museum of Art, in Stockholm. She is now presented as a pioneer and a forerunner to the later generation of Swedish women artists working with photo based art and staged photography in the 1990s. This historiographical study revisits Klasson’s work, career and reception in order to examine the prevalent understanding of the artist and her work. There is limited previous research on Klasson. This empirical study is therefore based on Klasson’s works that I have examined first hand at Moderna Museet and Borås konstmuseum. By tracing Klasson’s career and examining the contemporary reception in France and in Sweden one can see that Klasson not only enjoyed wider attention in France than in Sweden but also that she was received and understood differently in the two countries. Today’s prevalent reading of Klasson is to a large extent based on the contemporary reception, which disregards important aspects of her work. By discussing Klasson’s body of work in relation to photography of similar subject matter and aesthetics it become clear that one cannot only discuss her work in terms of photography. It is evident that Klasson’s work comprises of subtle elements that have largely been ignored so far. The prevalent understanding of Klasson also shows to be based on a narrow selection of her work. I argue that Klasson’s working method and artistic expression is formulaic. This becomes evident in the examination of her artist book, Le troisième angle (1976), which set off her artistic career. The artist’s book also forms a background against which this artistic project originally had been formulated and brings new light to Klasson and her work. Her two following series, Ombilic (1977) and Parasites (1978), are modeled on the artist’s book. Therefore these three series, following the same strategy, must be regarded in relation to one another. Furthermore I argue that one needs to pay attention to all parts of her artistic production that together comprise the works. In doing so, this essay, with its historiographical scope, suggests and opens up to new and alternative readings of Klasson’s work.

Contents: Body dissatisfaction; Discharge of emotion through art; Stigmas' consequences as captured through photography; Lauren Greenfield; The perceptions of others; This is beautiful; Psychological consequences; Thesis project: "Being There"; Artistic influences; "Being There" revisited; Past endeavors in mixed media; Artistic influences: everyday materials and structural art; Conclusion; Honors in Studio Art thesis extension; Works cited. Includes 21 images.

Vejnarová, P.: Physical action of a painter [Diploma thesis] Prague 2013 - Charles University, Faculty of Education, Department of Art Education, (Notes: DVD - The record of the realization of practical part of the thesis). Abstract The theme of the diploma thesis "Physical action of a painter" is the analysis of gesture, body, movement, sense perception, dance in relation to visual art. In the theoretical part there is dealt with the artists of action art for whom the gesture, dance and movement during the art creation is principal and dominant. The didactic part is made up of an art project where the particular art series ("Gesture", "Movement", "Body", "Sense perception") and art topics are related and mingled together. In the art project there are the mentioned terms transformed on a didactic way and most of the art topics are verified in the pedagogic practise. The theme is complemented with the own creation of action painting - visual art in conjunction with dance and music. In this thesis there are used professional publications about the given topic.

Made available in DSpace on 2014-12-17T14:00:14Z (GMT). No. of bitstreams: 1 AlanCMJ_DISSERT.pdf: 4554076 bytes, checksum: 7e3c48ac05771d7a7bf8bc3d0ad22556 (MD5) Previous issue date: 2011-06-22 / I propose with this paper a reflection on the experiences contained in the creation of the body- in-art (FERRACINI, 2006a, b) that originated the show Rosmaninhos... This process was developed within the coletivo UZUME teatro from Jo?o Pessoa PB, through recreations and resignifications of the corporeity and physicality contained in the steps, loas, aboios, songs and choreography observed in the manners that Mestre Zequinha plays in his group of Cavalo Marinho (Sea Horse), resident in the city of Bayeux - PB, and starting from the appropriation of the text Hamlet of William Shakespeare. The body-in-art is understood in this work as a vectorial body that dilates its daily functionality, recognizing a potential learning area capable to generate creative escape lines that destabilize the "subject centered in an individuality and identity" (FOUCAULT apud FERRACINI, 2006b, p.14), being open to the differentiation of itself, indicating the possible existence of an itself-other and of the exchange-in-art space. This process of construction of the body-in-art based on Master Zequinha s ways of playing the Cavalo Marinho was methodically guided by the appropriation of the coletivo UZUME teatro of the stages of Observation, Codification and Theatricalization contained in the technique of corporal mimeses proposed by the LUME Teatro (Campinas - SP). That use resulted in two phases: Active Observation and Composition of the body-in-art. Through the repetition of these aesthetic matrixes of the Cavalo Marinho, the actors discovered actions that when, codified and organized, can configure their body-in-art, which created a vectorial exchange-in-art space to what was found in the Cavalo Marinho party. This search proposed the means of potentiating the actors' work when it comes to a preparation that allowed to dilate the scenic presence and stimulated the production of actions, which culminated in the mounting of the show Rosmaninhos... / Proponho nesta disserta??o refletir sobre as experi?ncias contidas na cria??o dos corpos-em-arte (FERRACINI, 2006a, b) que originaram o espet?culo rosmaninhos.... Este processo foi desenvolvido junto ao coletivo UZUME teatro de Jo?o Pessoa PB, por meio de recria??es e resignifica??es das corporeidades e fisicidades contidas nos passos, loas, aboios, cantos e evolu??es observados nos modos como Mestre Zequinha brinca em seu grupo de Cavalo Marinho residente na cidade de Bayeux PB, e a partir da apropria??o do texto Hamlet de William Shakespeare. O corpo-em-arte ? entendido neste trabalho como um corpo vetorial que dilata sua funcionalidade cotidiana, reconhecendo uma zona potencial de aprendizado capaz de gerar linhas de fuga criativas que desestabilizem o sujeito centrado em uma individualidade e identidade (FOUCAULT apud FERRACINI, 2006b, p.14), abrindo-o a diferencia??o de si mesmo, indicando a possibilidade de exist?ncia de um si-outro e do espa?o de troca-em-arte. Este processo de constru??o do corpo-em-arte a partir das formas de Mestre Zequinha brincar o Cavalo Marinho, foi orientado metodologicamente pela apropria??o do coletivo UZUME teatro das etapas de Observa??o, Codifica??o e Teatraliza??o contidas na t?cnica de mimeses corp?rea proposta pelo LUME Teatro (Campinas SP). Esse uso resultou em duas fases: Observa??o Ativa e Composi??o do corpo-em-arte. Atrav?s da repeti??o destas matrizes est?ticas do Cavalo Marinho, os atores descobriram a??es que codificadas e organizadas configuram seus corpos-em-arte, os quais, por sua vez, deram origem a um espa?o de troca-em-arte vetorial ao encontrado no folguedo do Cavalo Marinho. Esta procura prop?s os meios de potencializar o trabalho dos atores no que diz respeito a uma prepara??o que permitisse dilatar a presen?a c?nica e estimulasse a produ??o de a??es, as quais culminaram na montagem do espet?culo rosmaninhos

Böhmová, Z.; Adam and Eve - nudity in Art and what to do with it in art education. [Diploma thesis] Prague 2015 - Charles University, Faculty of education, 106 pages. This thesis is analysing nudity by comparing religious, moral and political documents with perception of everyday reality and artistic portrayal. It follows the changes of paradigm of nudity in European culture since the start of Christianity. The objective of this thesis is to find the roots of connection between nudity and abashment. It finds the origins of finding nudity erotic and its connection with pornography. In the didactic part it tries to introduce this topic into visual arts education, defining this idea throughout artistic activities and comprehension of the changes in perception of naked body in modern painting. With the use of the medium of painting the semiotic character of nudity is being researched as well as the signs that reference nudity.

The Swedish artist Ulla Wiggen (b. 1942) started her artistic career in the early 1960s with detailed paintings of the insides of early electronic devices. In the early 2010s she turned to the interior of the body in the series Intra where organs and cells are fictionally combined. Here, she used a similar pictorial style as in the electronic paintings. This thesis seeks to analyze the relationships and tensions between body and machine that are found in Wiggen’s works. Questions are posed about the relationship between scientific and artistic imagery, as well as the role that fiction plays in knowledge-producing representation. This thesis looks to Wiggen’s use of the grid and connects it to historical and modernist images by showing its inherited paradoxical relation between rationality and spirituality. Through the anatomical picture, focusing on the Renaissance and Rationalism, this thesis explores the meanings of portraying bodies in cross-section. The role of the opened body has been oscillating between a body filled with spiritual meaning to a divided body, seen as an object for knowledge production. By using Donna Haraway’s figurations of the hybrid and the cyborg, the text proposes to re-think dualistic tensions between the human and the machine, science and fiction, realism and magic in Ulla Wiggen’s works. Through this perspective and post-humanist theory, it becomes clear that these boundaries have always been in flux. Instead of thinking either machines or bodies, the thesis suggests that we see the two series of Ulla Wiggen’s works as hybrid constructions that are both body-machines and machine-bodies.