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41	Art et spatialités d'après l'œuvre in situ outdoors de Christo et Jeanne-Claude. Objet textile, objet d'art et oeuvre d'art dans l'action artistique et l'expérience esthétique. Volvey, Anne 15 December 2003 (has links) (PDF) S'inscrivant dans le champ en construction de la géographie de l'art, cette thèse traite de l'œuvre artistique de Christo et de Jeanne-Claude connue du public par The Pont-Neuf Wrapped ou Surrounded Islands, par exemple. Elle investit la dimension spatiale de la production artistique et la dimension spatiale de la réception esthétique d'un objet d'art textile in situ outdoors. Elle met en œuvre pour ce faire, d'une part, des références conceptuelles aux théories de l'action telles qu'elles se développent en géographie depuis une dizaine d'années et, d'autre part, une approche phénoménologique telle qu'elle s'est imposée en géographie depuis une trentaine d'années. En travaillant les articulations entre objet textile, objet d'art et œuvre d'art, elle montre que la dimension spatiale de l'objet-lieu d'art, sa monumentalité physique et symbolique, n'est pas pensable indépendamment de la dimension spatiale de l'œuvre d'art, celle qui est construite dans l'action artistique. Elle montre, par ailleurs, que l'objet textile est utilisé par le spectateur dans une expérience esthétique qui n'est pas seulement visuelle mais tactile et dans le cadre de l'objet-lieu d'art. Cette relation entre espace et utilisation d'objet explique la transposition et l'interprétation géographique d'un appareil théorique issu de la psychanalyse transitionnelle pour qualifier la dimension spatiale de l'expérience esthétique de l'objet d'art. Cette thèse est donc très fortement inscrite dans la pluridisciplinarité : géographie, esthétique et psychanalyse. En mettant en avant les rapports entre terrain, image et action, en replaçant cette relation dans le champ de l'expérience et en la rendant homogène à l'expérience esthétique, cette thèse est par ailleurs conçue comme le fondement d'une réflexion sur les relations entre terrain et image en géographie. Géographie Esthétique Psychanalyse Spatialité Espace Lieu Territoire Action Expérience Projet Oeuvre d'art Land Art Christo et Jeanne-Claude Terrain Carte Image du corps
42	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.
43	Archaeological methodology and art making : excavating parallels Simonis, Esther Malan 30 November 2006 (has links) See file 01 / Art History, Visual Arts and Music / (M.A. (Visual Arts)) Diggings Land art Passage of time Interwoven histories Artefacts Layering processes Introspection Allusions Archaeology and art Symbolism in art Narrative art
44	Příroda jako výtvarná dílna / Nature as art workshop Plecitá, Kateřina January 2012 (has links) This thesis deals with the possibilities of linking art with nature. The theoretical part is based on the General educational program follows the role of arts and educational resources to achieve specific goals. Particular attention is paid to project issues in connection with teaching environmental education, interdisciplinary relations and development directions of arts working with nature, with a focus on natural art. The practical part contains three methodical series of art activities with students of the first degree. The thesis has a picture documentation of the activities carried out on the enclosed CD.
45	Vliv prostředí na uměleckou tvorbu : environmentální umění jako inspirace k výtvarně ekologickým projektům s dětmi / Influence of enviroment to art creation Vondra, Mikuláš January 2011 (has links) Vondra, M. (2011). The influence of the environment on the art work, environmental art as an inspiration for the ecological and art projects with children, diploma work. Prague: Charles University, Faculty of education, art department, 104 pages. (Attachments out of the book binding - set of 12 paintings, 4 graphic lists and set of 16 photos) This thesis is dealing with the matter of infuence of environment on the art work. It is analyzing differencies in the understanding of the environmental art term, and its historical bases. The thesis is comparing two different cultures - finish and czech, concerning its way of using the term. The comparison show the problematic issue of the czech prehension of the environmental art term. Didactic section presents a project of the mountain leasure time centre focused on the ecological education through the art activities in the nature.
46	What Comes After the Blues Kurtz, Matthew B. 17 June 2021 (has links) No description available. Fine Arts Music Folklore Art History Religion American History performance art site-specificity land art video art akron blue pond spiral jetty robert smithson personal narrative creative non-fiction
47	BUNKERKUNST / BUNKER KUNST Bělica, Ondřej January 2017 (has links) Bunker Kunst is an experimental and co-working platform, exploring potential and contemporary role of formal borders, post-military landscape and Czechoslovakian fotress built before 2WW. The point is a resuscitation of post-war space, where tens thousand of concrete mementos are still present. Deadly border line is becoming an environment of freedom. The project consist of theoretical, studio and site-specific works and happenings. More than 40 volunteers, students and specialists have been participating. Live long freedom!
48	A prologue to the post coal-mining era Jonas, Lisa January 2019 (has links) The surface mine Hambach is located in the west of Germany, close to Cologne and was founded in 1978 from the electric company RWE to dig up brown coal and produce electricity. The mine measures a surface of 8.500ha and a depth of 470 m and was planned to be operated until 2045. After mining RWE plans to recultivate the area with forest, agriculture and a remaining lake of 3900ha. The mine is a site that is out of proportion. This proposal is a composition of interventions in different time and scale aiming to tell the story of soil, water, vegetation, animals and humans. The excavator is a scale figure to these dimensions and becomes the protagonist of the story. On it‘s way down to its final position at the bottom of the pit, it is sculpting the soil one last time. After that last operation nature will take over. Water will find its path and reshape the pattern of the excavator. With water, vegetation comes back and then gives space for animals to live and humans to watch the transition from a colourful desert to a flourishing oasis. This stream of interventions is connecting the pit‘s terraces to a spiral sculpture that over time will fill with water. surface coal mine land art soil water vegetation excavator reinforced embankment spiral meander pier lake landscape architecture remediation reclamation Architecture Arkitektur
49	Penser le territoire, sculpter le paysage Robert Smithson, les "Nonsites" au regard des géosciences : un modèle pour les échanges entre Arts et Sciences en résonance avec les démarches de Giuseppe Penone et Olafur Eliasson. / Decoding the land, modeling the landscape. Robert Smithson, the Nonsites and the Geosciences : a model for the relationship between Art and Science in resonance with the works of Giuseppe Penone and Olafur Eliasson. Grossmann, Ralph 07 December 2018 (has links) Construite sur une analyse approfondie des archives de Robert Smithson, cette thèse réévalue la série des Nonsites (1967-1969) dans sa relation d'inspiration avec les Géosciences. Elle rappelle le contexte culturel des années soixante comme toile de fond pour l’inspiration de l’artiste et détermine l’envergure de son expertise dans le domaine des sciences. Des documents préparatoires inédits viennent éclairer son processus de création et la manière dont il formule ses œuvres complexes, à partir des sources géologiques, de l'information scientifique et de la muséographie. La relation entre arts et sciences apparaît centrale dans l’élaboration des Nonsites. Chaque œuvre de la série est ainsi rattachée à ses sources artistiques et scientifiques et révèle le moment historique de l’émergence de la sculpture post-minimale. Le jeu de l’espace muséal avec la tridimensionnalité est alors enrichi par le déploiement de strates d’informations contextuelles et crée les prémices d’une interaction nouvelle entre œuvre et spectateur.De plus, deux perspectives ouvertes sur un choix d'œuvres de Giuseppe Penone et Olafur Eliasson démontrent comment leurs démarches artistiques sont en résonance avec les préoccupations créatives de Smithson. Il est ainsi possible de problématiser l’expédition scientifique de terrain (et la manière de penser le territoire qui lui préexiste), ainsi que les agencements muséographiques en art comme en sciences comme sources déterminantes dans la confluence de l’art et des sciences. / Based on a thorough analysis of Robert Smithson's archives, this dissertation re-evaluates the Nonsites series (1967-1969) in its inspirational relationship with the Geosciences. It recalls the cultural context of the sixties as a backdrop for the artist's inspiration and determines the scope of his expertise in the field of science. Unpublished preparatory documents enlighten his creative process and the way he formulates his complex works from geological sources, scientific information and museography. The relationship between arts and sciences is central to the development of the Nonsites. Each work in the series is thus linked to its artistic and scientific sources and reveals the spectacular historical moment of the emergence of post-minimalist sculpture. The play between the museum space and three-dimensionality is then enriched by the deployment of layers of contextual information and provides the basis for a new interaction between viewer and artwork.In addition, two perspectives are drawn towards the work of Giuseppe Penone and Olafur Eliasson and demonstrate how their artistic approaches resonate with Smithson's creative concerns. It is thus possible to problematize the scientific field expedition (and the analysis of the territory, its prerequisite), as well as the museographic arrangements, as determining sources in the confluence of art and science. Robert Smithson Art Contemporain Post-Minimalisme Sculpture Giuseppe Penone Olafur Eliasson Art & Sciences Géosciences Géologie Modelisation Muséographie Diorama Tectonique des Plaques Entropie Land Art Robert Smithson Contemporary Art Post-Minimalism Sculpture Giuseppe Penone Olafur Eliasson Fine Art & Sciences Geosciences Geology Modeling Museography Diorama Plate Tectonics Entropy Land Art
50	( 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

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