Thesis (M.A.)--Marshall University, 2003. / Title from document title page. Document formatted into pages; contains iv, 80 p. including illustrations. Bibliography: p. 73-78. "Works cited": p. 67-72.

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This paper will look back on the work of Equipo Cronica, who worked between 1964--1980, to reveal a production of art that centered on issues of originality and value that were grounded in attempts at social activism and a redefinition of the role of art vis-a-vis society. To achieve their goals, I will argue and describe how the two man team of artists used serialism, objectivity, hybridity, appropriation of mass media iconography and techniques, and parody to produce something that was neither an art object nor an ordinary object, but an object of criticism. The historical relevancy of such an art lies in its claims of participating in a political critique of the culture industry controlled by the oppressive Franco regime, and its wary outlook on the rapid modernization of Spain into the neo-capitalist state it is today within the multinational world order. / The relevance of such an examination lies in how their intentions to create a new relationship between art and society is still pertinent today in modern Spain. Since the death of Franco in 1975 there has been a feeling in Spain that the eyes of the world have been on its new democracy, leading to a campaign, led until recently by the Socialist government, to prove Spain is a modern state that has recuperated from 40 years of isolation. It has tried to demonstrate that it is progressive, not only economically and technologically, but culturally. Over the last twenty years a veritable culture industry has boomed in Spain which has been generously backed by its federal and regional governments. As Spain zealously and rapidly finds its place in the globalized multinational world order, I will demonstrate that the issues of identity pertinent to Equipo Cronica, and the tactics they used to address it, can still contribute a critical position to present-day discussions.

No abstract available. / Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2012.

Thesis (MA (Hons.)) -- University of Western Sydney, Nepean, 1998. / "A thesis submitted in partial fulfilment of the requirements for the degree of Master of Arts" Bibliography : leaves 39-41.

Freie Univ., Habil.-Schr.--Berlin, 2003.

Thesis (Ph.D.)--University of Western Australia, 2006.

Thesis (Ph. D.)--University of California, San Diego, 2005. / Vita. Includes bibliographical references (leaves 263-269).

Thesis (Ph. D.)--McMaster University, 2005. / Advisor: Mary O'Connor. Includes bibliographical references (leaves 203-213). Also available via World Wide Web.

Jenny Holzer's text-based projects have attracted the attention of critics, historians, and curators from Des Moines to Dresden. An understanding of the complex interplay between language, gender, power, and site within Holzer's work demonstrates how a singular interpretive approach is insufficient for discussing the multitude of meanings her projects produce. Perhaps most significantly, a fresh analysis of Holzer's work and critical reactions to it challenges the story of modernism and postmodernism and the relationship between these two terms.