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.

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.

No description available.

[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

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.

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.

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.

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.

[EN] SUMMARY (English) Art, industry and rural areas: The implication of art in the transformation processes of the territory. The experience of Ojos Negros mines (Teruel) This dissertation takes an intervention process through art on a natural environment altered by human action: the iron mines open pit Ojos Negros (Teruel). The hypothesis of the research is the ability of art to promote, guide and intervene in processes of transformation of the territory and so specifically, the finding that capacity through the results this mining environment. I starting from a first approach from the art world in which I developed a series of works and exhibitions around the mining stage, and after contact with the local residents, was moving towards my creative activity intervention the territory, integrating the rest of the stakeholders: residents and authorities in the search for alternatives to the cessation of mining activity. The artist becomes a dynamic agent, a mediator who proposes and promotes collaborative strategies with the mining group, generating a change in the perception of the space of intervention that is oriented towards the field of art and culture. Through organizing three meetings held in mines Ojos Negros between 2000 and 2007, the artistic action served to aggregate artists, miners, authorities and specialists from the field of art, architecture, industrial archeology, sociology, mining and local development, contrasting opinions and proposals for the construction of a new stage in the converge the industrial past with a new cultural identity. To achieve this goal have continued empirical research methods, deploying a research process based on experience. Given its application in the same space of intervention, we can talk about an experiment field, to analyze the process and the impact it has on the actors in their environment natural. In turn, the investigator is the agent responsible for conditions beginning and development of changes, both in the space field and in the community involved. Throughout the process they have been applied instruments observation has allowed to directly follow up their evolution. Has been participant observation, which besides observer, researcher also formed part of the observed object. The references that accompany this research have helped contextualize framework for action. On one side basics are addressed and heritage industrial archeology, with some national and international examples of action in disused mining and steel operations. Furthermore, it draws a tour of the presence of industrial activity in the different artistic disciplines, such as painting, sculpture, photography, film and literature and, finally, address some examples of action in industrial and social contexts They are going through conflict or are involved in processes of change. As practical results we must emphasize the Government's decision of Aragon to declare Ojos Negros mines Cultural Park, the highest figure heritage protection of the Aragonese community. Also involvement neighbors and local authorities in the activities, reaffirming its mining identity and interest in addressing the changing roles of its natural environment and industrial after the cessation of the activity. On the theoretical side it has been important the publication of minutes of meetings developed in the mines, giving interventions known artists and expert opinion participants, leaving the testimony of an experience that has helped boost change function and social revitalization of the environment. Keywords: Public art, land-art, industrial archeology, mining, Ojos Negros. / [ES] La presente tesis doctoral recoge un proceso de intervención a través del arte en un contexto natural alterado por la acción antrópica: las minas de hierro a cielo abierto de Ojos Negros (Teruel). La hipótesis de la investigación es la capacidad del arte para impulsar, orientar e intervenir en procesos de transformación del territorio y, de forma específica, la constatación de esa capacidad a través de los resultados obtenidos en este entorno minero. Partiendo de un primer acercamiento desde el ámbito artístico en el que desarrollé una serie de obras y exposiciones en torno al escenario minero, y tras el contacto con los vecinos de la localidad, fui desplazando mi actividad creativa hacia la intervención en el territorio, integrando al resto de los actores implicados: vecinos y autoridades, en la búsqueda de alternativas al cese de la actividad extractora. El artista se convierte así en un agente dinamizador, un mediador que propone e impulsa estrategias de colaboración con el colectivo minero, generando un cambio en la percepción sobre el espacio de intervención orientado hacia el ámbito del arte y la cultura. A través de la organización de tres encuentros celebrados en las minas de Ojos Negros entre los años 2000 y 2007, la acción artística sirvió para aglutinar a artistas, mineros, autoridades y especialistas pertenecientes al ámbito del arte, la arquitectura, la arqueología industrial, la sociología, la minería y el desarrollo local, contrastando opiniones y propuestas para la construcción de un nuevo escenario en el que converja el pasado industrial con una nueva identidad cultural. Para alcanzar este objetivo se han seguido métodos de investigación empírica, desplegando un proceso de investigación fundamentado en la experiencia. Dada su aplicación en el espacio mismo de intervención, podemos hablar de un experimento de campo, al analizar el proceso y la repercusión que tiene en los actores en su ambiente natural. A su vez, el investigador es el agente que provoca las condiciones para el comienzo y desarrollo de los cambios, tanto en el ámbito espacial como en el de la comunidad implicada. A lo largo del proceso se han aplicado instrumentos de observación que ha permitido hacer un seguimiento directo de su evolución. Ha sido una observación participativa, en la que, además de observador, el investigador ha formado también parte del objeto observado. Los referentes que acompañan a esta investigación ayudan a contextualizar el marco de actuación. Por un lado se abordan conceptos básicos sobre patrimonio y arqueología industrial, con algunos ejemplos nacionales e internacionales de actuación en explotaciones mineras y siderúrgicas en desuso. Por otro lado, se traza un recorrido por la presencia de la actividad industrial en las distintas disciplinas artísticas, como la pintura, la escultura, la fotografía, el cine o la literatura y, por último, se abordan algunos ejemplos de actuación en contextos industriales y sociales que atraviesan por situaciones de conflicto o están inmersos en procesos de cambio. Como resultados prácticos destacamos la decisión del Gobierno de Aragón de declarar las minas de Ojos Negros como Parque Cultural, la máxima figura de protección patrimonial de la comunidad aragonesa. También la implicación de los vecinos y las autoridades locales en las actividades desarrolladas, reafirmando su identidad minera y su interés por abordar el cambio de funciones de su entorno natural e industrial después del cese de la actividad. En el aspecto teórico ha sido importante la publicación de las actas de los encuentros desarrollados, dando a conocer las intervenciones de los artistas y la opinión de los especialistas participantes, dejando el testimonio de una experiencia que ha servido para impulsar el cambio de función y la dinamización social del entorno. / [CA] Art, indústria i medi rural: La implicació de l'art en els processos de transformació del territori. L'experiència de les mines d'Ojos Negros (Teruel) La present tesi doctoral recull un procés d'intervenció a través de l'art en un context natural alterat per l'acció antròpica: les mines de ferro a cel obert d'Ulls Negres (Terol). La hipòtesi de la investigació és la capacitat de l'art per impulsar, orientar i intervenir en processos de transformació del territori i, de forma específica, la constatació d'aquesta capacitat a través dels resultats obtinguts en aquest entorn miner. Partint d'un primer acostament des de l'àmbit artístic en el que vaig desenvolupar una sèrie d'obres i exposicions entorn de l'escenari miner, i després del contacte amb els veïns de la localitat, vaig anar desplaçant la meva activitat creativa cap a la intervenció en el territori, integrant al resta dels actors implicats: veïns i autoritats, en la recerca d'alternatives al cessament de l'activitat extractora. L'artista es converteix així en un agent dinamitzador, un mediador que proposa i impulsa estratègies de col·laboració amb el col·lectiu miner, generant un canvi en la percepció sobre l'espai d'intervenció orientat cap a l'àmbit de l'art i la cultura. A través de l'organització de tres trobades celebrades en les mines d'Ojos Negros entre els anys 2000 i 2007, l'acció artística va servir per aglutinar artistes, miners, autoritats i especialistes pertanyents a l'àmbit de l'art, l'arquitectura, l'arqueologia industrial, la sociologia, la mineria i el desenvolupament local, contrastant opinions i propostes per a la construcció d'un nou escenari en el qual convergeixi el passat industrial amb una nova identitat cultural. Per assolir aquest objectiu s'han seguit mètodes d'investigació empírica, desplegant un procés d'investigació fonamentat en l'experiència. Donada la seva aplicació en l'espai mateix d'intervenció, podem parlar d'un experiment de camp, en analitzar el procés i la repercussió que té en els actors en el seu ambient natural. Al seu torn, l'investigador és l'agent que provoca les condicions per al començament i desenvolupament dels canvis, tant en l'àmbit espacial com en el de la comunitat implicada. Al llarg del procés s'han aplicat instruments d'observació que ha permès fer un seguiment directe de la seva evolució. Ha estat una observació participativa, en què, a més d'observador, l'investigador ha format també part de l'objecte observat. Els referents que acompanyen aquesta investigació ajuden a contextualitzar el marc d'actuació. D'una banda s'aborden conceptes bàsics sobre patrimoni i arqueologia industrial, amb alguns exemples nacionals i internacionals d'actuació en explotacions mineres i siderúrgiques en desús. D'altra banda, es traça un recorregut per la presència de l'activitat industrial a les diferents disciplines artístiques, com la pintura, l'escultura, la fotografia, el cinema o la literatura i, finalment, s'aborden alguns exemples d'actuació en contextos industrials i socials que travessen per situacions de conflicte o estan immersos en processos de canvi. Com a resultats pràctics destaquem la decisió del Govern d'Aragó de declarar les mines d'Ojos Negros com a Parc Cultural, la màxima figura de protecció patrimonial de la comunitat aragonesa. També la implicació dels veïns i les autoritats locals en les activitats desenvolupades, reafirmant la seva identitat minera i el seu interès per abordar el canvi de funcions del seu entorn natural i industrial després del cessament de l'activitat. En l'aspecte teòric ha estat important la publicació de les actes de les trobades desenvolupats, donant a conèixer les intervencions dels artistes i l'opinió dels especialistes participants, deixant el testimoni d'una experiència que ha servit per impulsar el canvi de funció i la dinamització social de l'entorn. Paraules clau: Arte público; Land-art; arq / Arribas Navarro, LD. (2016). Arte, industria y medio rural: la implicación del arte en los procesos de transformación del territorio. La experiencia de las minas de Ojos Negros (Teruel) [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/61308 / Premios Extraordinarios de tesis doctorales

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