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51	( vill )( will ) : tankar i närheten av två halvcirklar thoughts near a broken circle / ( vill )( will ) : tankar i närheten av två halvcirklar thoughts near a broken circle Boman, Ida January 2022 (has links) Marken är något fundamentalt. Jag dras till att skapa hålrum och att gjuta av dem. Låta händerna leda. Det är något som attraherar mig med att inte riktigt kunna föreställa mig formen av hålrummet i tanken, att det är ett glapp i överföringen mellan händernas rörelser och tankens. Att värdera det definierade högre än det odefinierade, vill jag lägga i en parantes. Vi använder språk som materia, vi bygger betydelser, rum som skapar sammanhang, stödkonstruktioner, konstruktion som är dikt, som är en rörelse som är jord som är ett arbete som är sten som är en förflyttning som är trä som är en handling som är metall som är nära intill, att skulptera en tanke. Det är idén om att kroppen har en korrekt form som gör kroppen korrupt. Den brutna cirkeln är på ett sätt en helhet av två korrupta kroppar. Kategorier och definitioner är något verkligt, oavsett hur de är skapade eller kommit till. Vi uppmärksammar genast om något är konstigt. Två enheter som vi uppfattar som separata, är separata. Om de inte varit separata skulle vi uppfattat de som ett och inte som två. Det här ser vi omedelbart. Om vi inte är i ett främmande sammanhang med främmande definitioner, men då kommer säkerligen någon ganska snart att uppmärksamma oss på hur saker hänger ihop. Människor är hjälpsamma på sådant sätt. / My work may be described as bordering between sculpture and installation, intuitive and conceptual, it could in a way be seen as a broken circle, as one, but i will work hard to make the two entities, the two seemingly half circle shaped entities, to be separate, to be two. I will assert they are one work but also not, I will assert their indepencence, they are two. The bridge, the connection, will (or will not) happen in the thought, not by sight. There will be no side-by-side, object dialog in near space, rather association through memory and through distance. Like an object or some kind of occurence is planted early on in a movie and then reoccurs later on with the purpuse to further the understanding of course of events. We tend to read two half circles near each other as a whole circle. Robert Morris made two half circles with only a thin lit gap underlining their distinct form, but at the same time dissolving them as a broken circle. It is the idea of of a correct body that makes a body corrupt. The broken circle is in a way the whole of two corrupt bodies. art conceptual undefinable sculpture poetry clay body hole language power place identity feminism concrete minimalism land art photography performance installation passivity normalization distortion relational aesthetics colonialism postmodernism konst konceptuell odefinierbar skulptur poesi lera kropp hål språk makt plats identitet feminism betong minimalism land art fotografi performance installation passivitet normalisering skevhet relationell estetik kolonialism postmodernism Humanities and the Arts Humaniora och konst
52	Analyzing the Interconnectedness Between Space, Place, and Human Interaction with the Natural Environment: "Ecological Reawakening: Organic DNA and Evolution" Moos, Sarah 24 April 2009 (has links) I have organized this paper into four chapters: "The Environmental Situation," "Space and Place," "Art and the Natural Environment," and "Creating Work of My Own." Chapter 1 explains human beings' intrinsic interconnection to the natural environment, outlining why humans should be concerned about the current degraded state of the natural world. Chapter 2 discusses the concepts of space and place. It analyzes how human beings interact with and experience spaces, developing their sense of place - within physical, theoretical, and spiritual realms. It finally illustrates the importance that spaces and places have in humans' lives. Chapter 3 describes the Land Art phenomenon: its development, the different forms within it, and artists producing Land Artworks. The forms and artists included are those that have been inspirational for the development of my own work. It also emphasizes Land Art as a fundamental form for improving humans' relationship with the natural environment and the new realm of eco-feminism that resonates with Land Art ideals. Chapter 4 recounts the development of my art throughout my college career. It describes my work as site-specific, sculptural installations that use natural materials. It also states why this format is the most effective for my senior art thesis project. Focusing mainly on "Ecological Reawakening: organic DNA," it explains the mentality in designing, creating, installing, and completing the work. Overall, Chapter 4 emphasizes the work's two main goals: to demonstrate a new avenue for comprehending humankind's place within earth's environmental spaces, and to advocate for an environmental paradigm shift during the twenty-first century. Finally, Chapter 5 describes the transformation of "Ecological Reawakening: organic DNA" as it developed over time during the spring honors senior thesis course. It details my mentalities in adding living plant matter to the structure, incorporating a stool into the piece, and creating "Evolution," the digital photography composition that documents "Ecological Reawakening" and was included in the Scripps Senior Art Exhibition in the Ruth Chandler Williamson Gallery from May 1 – May 17, 2009. Environmental analysis Phenomenology Space Place Natural environment Land art Ecological art Earthworks Installations (Art)-United States Site-specific Sculpture Organic All-natural Plant matter DNA Biomimicry Art and Design Arts and Humanities Biology, general
53	Současná krajina a přítomnost člověka v ní / Contemporary landscape and the presence of man in it Plašilová, Barbora January 2010 (has links) The theme: \Contemporary landscape and the presence of man in it" is rather wide. The aim of the thesis is to focus on the mutual relation of man and the landscape, namely the symbolic and the manipulative relation of man towards the landscape. In the opening chapter of the theoretical part the term of landscape is de ned. The theme \New perspectives on the approach to the theme of landscape painting" is developed in the chapter about land-art as an artistic movement, comparing the European and American land-art and their di erent approaches to landscape. Further on the thesis follows the transformation of the landscape of pesky st redoho r and the re ection of it in the works of visual artists. The following chapters deal with the relation of man to urban landscape, to open landscape and to derelict landscape. The subject of the practical part of the diploma thesis is a photo documentation of an art installation in derelict urban area of Karl n. The theme is applied in teaching process by presenting artistic sets. During its creation the relation of art education and environmental education was considered.
54	Partially Buried: Land-Based Art in Ohio, 1970 to Now Talarico, Anna January 2021 (has links) No description available. Art History Museum Studies Museums Land art Earthworks Ohio Great Serpent Mound Robert Smithson Dorothy Gill Barnes Mary Lucier Brian Harnetty Tacita Dean Jimmie Durham Dick Artenz Jackie Ferrara Michelle Stuart Dawoud Bey Center for Land Use and Interpretation
55	El Paisaje Montañés. La pintura de paisaje en Cantabria desde una aproximación contextual y personal Alba Rodríguez, Víctor 19 December 2022 (has links) [ES] La presente investigación trata sobre la pintura de Paisaje en La Montaña. Así se conocía a la actual Comunidad Autónoma de Cantabria cuando en el siglo XIX varios artistas comenzaron a pintar Paisajes sin haber existido ningún precedente en la región que se adscribiera al género. Desde este hito social, artístico e histórico que supuso el surgimiento de la idea moderna del paisaje, la pintura de Paisaje ha persistido en el campo de la creación local, donde ha evolucionado influenciada por el desarrollo de las ideas artísticas modernas hasta la contemporaneidad. Por tanto, la pintura de Paisaje se ha mantenido vigente en cada una de las épocas posteriores, desechando la idea de que pudiera ser una moda decimonónica pasajera, gracias a las condiciones morfológicas de la geografía elegida. Para demostrar la hipótesis, en un primer capítulo se investiga sobre la semántica del paisaje como concepto, en un segundo capítulo se indaga sobre los orígenes del género del Paisaje en la pintura, desde un horizonte general hasta el marco geográfico definido, y, por último, se muestra la investigación artística realizada acerca de la idea del Paisaje Montañés junto con los resultados plásticos obtenidos. / [CA] La present investigació tracta sobre la pintura de Paisatge a la Muntanya. Així es coneixia a l'actual Comunitat Autònoma de Cantàbria quan en el segle XIX diversos artistes van començar a pintar Paisatges sense haver existit cap precedent a la regió que s'adscriguera al gènere. Des d'aquesta fita social, artístic i històric que va suposar el sorgiment de la idea moderna del paisatge, la pintura de Paisatge ha persistit en el camp de la creació local, on ha evolucionat influenciada pel desenvolupament de les idees artístiques modernes fins a la contemporaneïtat. Per tant, la pintura de Paisatge s'ha mantingut vigent en cadascuna de les èpoques posteriors, rebutjant la idea que poguera ser una moda huitcentista passatgera, gràcies a les condicions morfològiques de la geografia triada. Per a demostrar la hipòtesi, en un primer capítol s'investiga sobre la semàntica del paisatge com a concepte, en un segon capítol s'indaga sobre els orígens del gènere del Paisatge en la pintura, des d'un horitzó general fins al marc geogràfic definit, i, finalment, es mostra la investigació artística realitzada sobre la idea del Paisatge Muntanyés juntament amb els resultats plàstics obtinguts. / [EN] The present investigation deals with the painting of Landscape in the Mountain. This is how the current Autonomous Community of Cantabria was known when, in the 19th century, several artists began to paint Landscapes without having existed any precedent in the region that was ascribed to the genre. Since this social, artistic and historical milestone that led to the emergence of the modern idea of landscape, landscape painting has persisted in the field of local creation, where it has evolved influenced by the development of modern artistic ideas to the contemporary. Therefore, landscape painting has remained current in each of the subsequent periods, rejecting the idea that it could be a passing nineteenth-century fashion, thanks to the morphological conditions of the chosen geography. To demonstrate the hypothesis, in a first chapter the semantics of landscape as a concept is investigated, in a second chapter the origins of the Landscape genre in painting are investigated, from a general horizon to the defined geographical framework, and, finally, , the artistic research carried out on the idea of the Mountain Landscape is shown together with the plastic results obtained. / Alba Rodríguez, V. (2022). El Paisaje Montañés. La pintura de paisaje en Cantabria desde una aproximación contextual y personal [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/190827 Art and nature Mountain painters Landscape art Landscape painting 19th century painting Teoría del arte Art theory Paisaje de montaña Pintura de caballete Arte y naturaleza Land art Cantabria (Comunidad autónoma) Pintores montañeses Pintura y paisaje Pintura del siglo XIX Paisaje PINTURA
56	Atos tridimensionais: manifestações da existência: interfaces entre a arquitetura e a escultura / Three-Dimensional Acts: Manifestations of Existence - Interfaces between Architecture and Sculpture Daniel Corsi da Silva 31 May 2012 (has links) Esta dissertação propõe-se a analisar possíveis interfaces entre a Arquitetura e a Escultura, abordando suas produções realizadas a partir da segunda metade do século XX, período que se caracterizou pelo rompimento de inúmeros paradigmas teóricos e conceituais. Considerando essas manifestações a partir de suas naturezas tridimensionais, busca-se, segundo um enfoque transdisciplinar, apurar significados e novos parâmetros de análise compartilhados por ambas expressões, num processo recíproco de influências conceituais e práticas. A pesquisa divide-se em duas partes. Na primeira delas - Conceitos Tridimensionais - são estudados os fatos históricos e os conceitos filosóficos que influenciaram as concepções teóricas das produções da arquitetura e da escultura desse período. Nesta parte também são estudadas algumas transformações específicas dos universos dessas manifestações, consideradas determinantes para a constituição das obras posteriormente destacadas. Na segunda parte - Processos Tridimensionais - é realizada a leitura de algumas obras arquitetônicas e escultóricas fundamentadas sobre novas organizações produtivas estabelecidas no período estudado. Partindo do repertório transdisciplinar apresentado na primeira parte sobre os conceitos criativos de ambas as manifestações, são definidos parâmetros de análise que abrangem temas fundamentais das interfaces mencionadas. Os conceitos de Paisagem, Tempo, Estrutura, Matéria e Forma são estendidos em definições que conduzem a leitura de cada uma das obras selecionadas. Com isso, são estabelecidos novos conceitos cognitivos dessas construções, demonstrando como se influenciam mutuamente, compartilhando ou não suas intenções. Também é revelado o potencial advindo da proximidade entre Arquitetura e Escultura, oferecendo referenciais teóricos e práticos para que possam ser explorados em futuras produções. Sintetizando os procedimentos específicos destes atos tridimensionais e os conceitos filosóficos de leitura, busca-se demonstrar, a partir da densidade das obras escolhidas, atos singulares da existência humana. / This dissertation aims to analyze possible interfaces between Architecture and Sculpture, approaching their productions made from the second half of the twentieth century, a period that was characterized by disruption of numerous theoretical and conceptual paradigms. Considering these manifestations from their three-dimensional nature, according to a transdisciplinary approach, it seeks to establish new meanings and analysis parameters shared by both expressions, in a reciprocal process of conceptual and practical influences. The research is divided into two parts. The first part - Three-Dimensional Concepts - refers to the historical facts and philosophical concepts that have influenced the theoretical concepts of architectural and sculptural production of this period. In this part are also studied some transformations of the specific universes of these manifestations, which are considered crucial to the creation of the works later analyzed. In the second part - Three-Dimensional Processes - it is presented a reading of some architectural and sculptural works based on new productive organizations established in the studied period. From the transdisciplinary repertoire presented in the first part about the creative concepts of both manifestations analysis, parameters are defined to embrace fundamental themes of the mentioned interfaces. The concepts of Landscape, Time, Structure, Matter and Form are extended in definitions that lead to the reading of each of the selected works. Thus, new cognitive concepts of these constructions are established demonstrating how they influence each other, sharing their intentions or not. The potential arising from the proximity of these two expressions is also shown, offering theoretical and practical references so that they can be explored in future productions. Summarizing the specific procedures of these three-dimensional acts and the philosophical reading concepts, it is aimed to show, from the profundity of the chosen works, single acts of human existence. Abstracionismo Arquitetura Arte Criação Escultura Espaço Essência Estética Estética da ação Estrutura Existencialismo Filosofia Forma História Interface Land-art Linguagem Manifestações tridimensionais Materialidade Minimalismo Modernismo Objeto Paisagem Pós-modernismo Processo criativo Tempo Teoria Território Abstractionism Aesthetics aesthetics of action Architecture Art Creation Creative process Essence Existentialism Form History Interface Land-art Landscape Language Materiality Minimalism Modernism Object Philosophy Post-modernism Sculpture Space Sructure Territory Theory Three-dimensional manifestations Time
57	Atos tridimensionais: manifestações da existência: interfaces entre a arquitetura e a escultura / Three-Dimensional Acts: Manifestations of Existence - Interfaces between Architecture and Sculpture Silva, Daniel Corsi da 31 May 2012 (has links) Esta dissertação propõe-se a analisar possíveis interfaces entre a Arquitetura e a Escultura, abordando suas produções realizadas a partir da segunda metade do século XX, período que se caracterizou pelo rompimento de inúmeros paradigmas teóricos e conceituais. Considerando essas manifestações a partir de suas naturezas tridimensionais, busca-se, segundo um enfoque transdisciplinar, apurar significados e novos parâmetros de análise compartilhados por ambas expressões, num processo recíproco de influências conceituais e práticas. A pesquisa divide-se em duas partes. Na primeira delas - Conceitos Tridimensionais - são estudados os fatos históricos e os conceitos filosóficos que influenciaram as concepções teóricas das produções da arquitetura e da escultura desse período. Nesta parte também são estudadas algumas transformações específicas dos universos dessas manifestações, consideradas determinantes para a constituição das obras posteriormente destacadas. Na segunda parte - Processos Tridimensionais - é realizada a leitura de algumas obras arquitetônicas e escultóricas fundamentadas sobre novas organizações produtivas estabelecidas no período estudado. Partindo do repertório transdisciplinar apresentado na primeira parte sobre os conceitos criativos de ambas as manifestações, são definidos parâmetros de análise que abrangem temas fundamentais das interfaces mencionadas. Os conceitos de Paisagem, Tempo, Estrutura, Matéria e Forma são estendidos em definições que conduzem a leitura de cada uma das obras selecionadas. Com isso, são estabelecidos novos conceitos cognitivos dessas construções, demonstrando como se influenciam mutuamente, compartilhando ou não suas intenções. Também é revelado o potencial advindo da proximidade entre Arquitetura e Escultura, oferecendo referenciais teóricos e práticos para que possam ser explorados em futuras produções. Sintetizando os procedimentos específicos destes atos tridimensionais e os conceitos filosóficos de leitura, busca-se demonstrar, a partir da densidade das obras escolhidas, atos singulares da existência humana. / This dissertation aims to analyze possible interfaces between Architecture and Sculpture, approaching their productions made from the second half of the twentieth century, a period that was characterized by disruption of numerous theoretical and conceptual paradigms. Considering these manifestations from their three-dimensional nature, according to a transdisciplinary approach, it seeks to establish new meanings and analysis parameters shared by both expressions, in a reciprocal process of conceptual and practical influences. The research is divided into two parts. The first part - Three-Dimensional Concepts - refers to the historical facts and philosophical concepts that have influenced the theoretical concepts of architectural and sculptural production of this period. In this part are also studied some transformations of the specific universes of these manifestations, which are considered crucial to the creation of the works later analyzed. In the second part - Three-Dimensional Processes - it is presented a reading of some architectural and sculptural works based on new productive organizations established in the studied period. From the transdisciplinary repertoire presented in the first part about the creative concepts of both manifestations analysis, parameters are defined to embrace fundamental themes of the mentioned interfaces. The concepts of Landscape, Time, Structure, Matter and Form are extended in definitions that lead to the reading of each of the selected works. Thus, new cognitive concepts of these constructions are established demonstrating how they influence each other, sharing their intentions or not. The potential arising from the proximity of these two expressions is also shown, offering theoretical and practical references so that they can be explored in future productions. Summarizing the specific procedures of these three-dimensional acts and the philosophical reading concepts, it is aimed to show, from the profundity of the chosen works, single acts of human existence. Abstracionismo Abstractionism Aesthetics aesthetics of action Architecture Arquitetura Art Arte Creation Creative process Criação Escultura Espaço Essence Essência Estética Estética da ação Estrutura Existencialismo Existentialism Filosofia Form Forma História History Interface Interface Land-art Land-art Landscape Language Linguagem Manifestações tridimensionais Materialidade Materiality Minimalism Minimalismo Modernism Modernismo Object Objeto Paisagem Philosophy Pós-modernismo Post-modernism Processo criativo Sculpture Space Sructure Tempo Teoria Território Territory Theory Three-dimensional manifestations Time
58	Ghost Water Exhibition Sharp, Michael G. 01 March 2017 (has links) The Ghost Water exhibition of artworks by Michael Sharp was comprised of four main works titled: 30 x 60 Minute Grid Series, Suspension, History/Prehistory, and Lake Bonneville Remnants. The artwork was created as a reaction to the land that once held the prehistoric Lake Bonneville and to its current remnant Great Salt Lake. The work explores the dialogue between absence and presence. Great Salt Lake Lake Bonneville Red Rock Pass Stockton Bar Old River Bed Steep Mountain Long Divide The Threshold Utah the West Great Basin Bear River Weber River Jordan River desert salt asphalt water railroad glass book arts artist books installation archive collection kallitype collotype photography printmaking letterpress ghost climate change Geology time pigment Land Art Erdlebenbildkunst panorama ink identity place grid cartography Art Practice
59	Ecological Art: Ruth Wallen and Cultural Activism Birchler, Susan 15 May 2007 (has links) Twentieth century modernity has provoked multiple problems ranging from environmental degradation to human rights violations. Globally, diverse communities of people have organized to promote, not just reactive reforms, but a fundamental alteration of the foundational worldview underlying these issues. Radical activists committed their work to promoting an alternative ethos based on egalitarian, democratic, and ecologically-wise concepts. An array of methodologies emerged from these endeavors. More radical political groups focused on cultural tools to engage people in the construction of an alternative worldview. Radical activists utilized two forms of cultural politics: prefigurative politics, the physical presentation of an envisioned future and direct theory, the constant interaction between theory and practice. Within the artistic community, Ecological Artists centered their practice on cultural activism, creating publicly accessible, site-specific collaborative pieces that illuminate and utilize ecosystem principles to promote an eco-wise worldview. The concept of utilizing cultural production as a method for achieving social transformation has only recently been analyzed within the social movement discipline. Artists rarely utilize social movement vocabulary, or the term "activism" to describe their practices. To date, no correlation between artistic production and social movement strategies has been made. I argue in this thesis that Ecological Artists are cultural activists who simultaneously developed strategies and methods similar to those being worked out by radical social movement activists. While prefigurative politics and direct theory are terms defined within social movement discipline, the cultural activities are similar. Political activists' internal organization and external political work, prefigurative of an envisioned future and the result of constant interaction between theory and practice, correlates to the necessary collaborative organizations of Eco-Art and the physical presence of the work, a manifestation of the constant interaction between ecosystem theory and artistic practice. In this thesis I analyze the work of Ecological Artist Ruth Wallen as a form of cultural activism. I argue that the intention, execution, and content of her work are forms of prefigurative politics and direct theory. Ruth Wallen has been practicing Eco-Art for twenty years. Her work is focused on the heart of Eco-Art, its intention to produce an eco-wise future through artistic practice. art history radical art land art earth art postmodern art ecology deep ecology ecofeminism anarcha-feminist feminism cultural politics social movements New Social Movements Environmental Movement Direct Action Nonviolence Winnie Brienes Noel Sturgeon prefigurative politics direct theory American Studies Arts and Humanities
60	[Works on the Australian Aborigines by Charles P. Mountford] / Aboriginal paintings from Australia / Records of the American-Australian scientific expedition to Arnhem Land. Vol. 1, Art, myth and symbolism / Ayers Rock : its people, their beliefs and their art / Conception beliefs of the Australian Aborigines [manuscript] / Nomads of the Australian desert [manuscript] / Rainbow serpent myths of Australia / Tiwi : their art, myth and ceremony / Winbaraku and the myth of Jarapiri Mountford, Charles P. (Charles Pearcy), 1890-1976, American-Australian Scientific Expedition to Arnhem Land (1948), International Congress of Anthropological and Ethnological Sciences (9th : 1973 : Chicago, Ill.) January 1976 (has links) Collective title supplied by cataloguer. / Includes bibliographical references and indexes. / Charles Pearcy Mountford (1890-1976), OBE, Dip. Anthrop. (Cantab), MA (Adel.), D. Litt (Melbourne and Adelaide), was an ethnologist and anthropologist who advanced from amateur status to become an important figure in the field of anthropology in Australia. He was born at Hallett in 1890. His field work was conducted in South Australia, Western Australia and the Northern Territory from 1925-1963. His published works were based on the journals and photographs he made on these expeditions. Mountford was a founding member, and later president of the Anthropological Society of SA; and founder of the Australian Anthropological Society in 1936. / 8 v. : / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / A collection of monographs, created by a dedicated amateur ethnologist and anthropologist. Mountford developed his appreciation of Australian Aboriginal people and their customs, beliefs and art over many years of expeditions, making it his life's work. Although he didn't receive formal qualifications until later in life, Mountford conducted numerous expeditions to central Australia and Arnhem Land, including north east Arnhem Land. He was determined to record Aboriginal culture. / Thesis (D.Litt.)--University of Adelaide, 1976 Aboriginal Australians Religion. Pitjantjatjara (Australian people) Conception Mythology. Mythology, Aboriginal Australian. Aboriginal Australians Folklore. Serpents (in religion, folk-lore, etc.) Rainbow serpent. Tiwi (Australian people)

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