Conceptual practices developed in Colombia towards the end of the 1960s and into the 1970s. Even a cursory look at surveys of Colombian conceptual art shows that the collective El Sindicato, active between 1976 and 1979, secured its space in these accounts with its 1978 work Alacena con zapatos, which won the top prize at the XXVII Salón Nacional. However, Alacena con zapatos was neither the only, nor the most significant, contribution of El Sindicato to the development of conceptual practices. The collective’s rich oeuvre, while concise, was nonetheless remarkable in its interventions on public spaces as a means for social change. A number of factors have led to the critical misunderstanding and, ultimately, the historiographical neglect of these interventions. This thesis problematizes these factors in order to reframe and expand El Sindicato’s role within the narrative of Colombian art. To elucidate El Sindicato’s contributions, and taking into account that much of Colombian conceptual art remains unknown in the United States, this thesis also registers Colombia’s artistic field as it stood in the 1970s. In all, my project situates El Sindicato’s practices within the broader narrative of Conceptualism as a means to both enrich our understanding of contemporary art in Colombia and help expand the familiar boundaries of the map of conceptual art. / text

The aim of this essay is to investigate the reconfiguration and, to some extent, the total deconstruction of the aesthetic field, such as we have know it since Baumgarten, that is promoted by Conceptual art. It is our intention to show the philosophical importance and the theoretical implications of the questions raised by this artistic movement, which somehow instigated the tumultuous debate directed to overwhelm much of the art world from the late 1960's onward. We believe that the very core of Conceptual art is philosophical and in this respect our programme is to investigate how Conceptual art not only challenges the viewer with traditional aesthetic concepts, but also with the very means used by philosophy to analyse art. This essay aims therefore to be an analysis of the philosophy of Conceptual art, which we put in relation to the aesthetic investigations of three philosophers - TheodorWiesengrundAdorno, Umberto Eco and Jacques Rancière. The ambition is to shed theoretical light on an artistic movement certainly scantly considered within the philosophical domain, while it indicates itself as the contingent successor to philosophy.

The purpose of this creative project was to represent the structure and dynamics of the emotion of grief through a visual medium. Grief, as a process that occurs over time, is usually represented sequentially and verbally as in the writings of Elisabeth Kubler-Ross. This project depicts the stages of grief by representing them both sequentially and simultaneously from a first person point of view by means of a visual medium, (i.e., videotape) in order to emotionally and personally involve the viewer in the process.The creative project is comprised of four video tapes each differing in length. of time between fifteen to thirtyfive minutes. The video tapes are presented as a documentary having a total of five participants who candidly express their experience with the death of a significant person in their lives and how they dealt with their grief. The four videos are shown all at the same time with the television monitors approximately twelve to fifteen feet apart.The video tapes are on file in the Art Department. / Department of Art

This Creative Project documents and explains the significance of the exhibition space known as the Sandbox and its members. The goal was to bring together a cohesive body of work that commemorated the people and events related to the Sandbox gallery. This was accomplished by using a variety of materials and tools including video tape, slides, bronze, paint, silk-screens, and super 8 film, to name a few. / Department of Art

Honors Project--Smith College, Northampton, Mass., 2009. / Includes bibliographical references (p. 61).

Thesis (M.A.) - Simon Fraser University, 2006. / Theses (School of Communication) / Simon Fraser University.

Thesis (M.F.A.)--Rochester Institute of Technology, 1988. / Typescript.

Thesis (M.F.A.)--West Virginia University, 2007. / Title from document title page. Document formatted into pages; contains iii, 45 p. : col. ill. + wmv video and jpeg files. Includes video files in the wmv format, and photo files in the jpeg format. Includes abstract. Includes bibliographical references (p. 24-25).

This diploma thesis treats and follows the still life in the conceptual interpretation of some selected authors in the second half of the 20th and at the beginning of the 21st century. The work has been divided into the theoretical and the practical part. The theoretical part deals with the conceptual art, its evolution, theory and its representatives. It further follows the evolution of the still life concerning mainly 20-century´s still lives and three-dimensional still lives. The practical part is made by sketch cycles, photomontages and the final art conceptual project. The work documentation is a part fo this work.

Art definitions and movements are changing just as the social paradigms they spring from. This exploration looked at paradigms in art of the past that have become the foundation for movements today. Currently the transformative powers art has to offer have been recognized. Colleges are beginning to train a major and a career. The literature review explored what role transformative art has played in artists' lives and looked at its uses in education. Conceptual art goes beyond the aesthetics of art and touches the mind and heart. I began to explore this kind of art in the nearby galleries. I found a theme I could be passionate about and began to develop it visually. For my project, I developed transformative art. Often students can master a media and create an image with it. But, unless they are told what to create, their craftsmanship skills lie mute. They need guidance to realize their visual voices. As I researched the subject matter of my show, I challenged my students in my high school art classes to look past technique and create some conceptual art of their own.