No description available.

This thesis proposes to investigate the influence of the Mexican muralists in the United States, from the Depression to the Cold War. This thesis begins with the origins of the Mexican mural movement, which will provide the background to understand the artists' ideologies and their relationship and conflicts with the Mexican government. Then, I will discuss the presence of Mexican artists in the United States, their repercussions, and the interaction between censorship and freedom of expression as well as the controversies that arose from their murals. This thesis will explore the influence that the Mexican mural movement had in the United States in the creation of a government-sponsored program for the arts (The New Deal, Works Progress Administration). During the 1930s, sociological factors caused that not only the art, but also the political ideologies of the Mexican artists to spread across the United States. The Depression provided the environment for a public art of social content, as well as a context that allowed some American artists to accept and follow the Marxist ideologies of the Mexican artists. This influence of radical politics will be also described. Later, I will examine the repercussions of the Mexican artists' work on the Abstract Expressionist movement of the 1940s. Finally I will also examine the iconography of certain murals by Mexican and American artists to appreciate the reaction of their audience, their acceptance among a circle of artists, and the historical context that allowed those murals to be created. / Master of Arts

My paintings are linked to a thirst for exploring new landscapes and perspectives, my interest in the extremes and subtleties of geological phenomenon and a desire to create, chase after, and teeter on a brink. Here I will discuss these topics and work to unpack my interest in avoiding comfort, my relationship to control and the creation and function of my paintings. To extract myself from my tactile and visual world of process and paint and enter the world of written language presents very different challenges than the ones fostered in the studio. The goal in both is to reveal the overlaps and complexities of the issues I am researching and to embrace any contradictions not as ambiguity, but as migrating, nutritious sediment; ever changing particles that can be examined again and again as their intersection with a historical and contemporary discourse evolves.

劉秀菁. / "2006年8月" / 論文(碩士)--香港中文大學, 2006. / 參考文獻(leaves 37-39). / 附光碟規格: CD-ROM. / "2006 nian 8 yue" / Abstracts in Chinese and English. / Liu Xiujing. / Lun wen (shuo shi)--Xianggang Zhong wen da xue, 2006. / Can kao wen xian (leaves 37-39). / Fu guang die gui ge: CD-ROM. / 引旨 --- p.5 / Chapter 第一節 --- 國畫寫生 / Chapter 一 --- 傳統國畫的寫生觀念 --- p.7 / Chapter 二 --- 寫生在二十世紀的時代意義 --- p.11 / Chapter 第二節 --- 香港山水寫生 / Chapter 一 --- 傳統蛻變 --- p.14 / Chapter 二 --- 中西融合 --- p.24 / 結語 --- p.32 / 附錄一參考資料 --- p.37 / 附錄二 圖版 --- p.40

Master of Visual Arts / The Elephant and the Journey is about what and how people see in the land and how this is expressed through art forms. The dissertation consists of three main parts. The first in the introduction explains the use of the narrative figuration form in Thai temple mural painting in my practice, and how I used it to apply to the contemporary context in Australia. The second concerns three main groups of work including Australian landscape paintings in the nineteenth century, aboriginal art works and Thai mural painting, which apply to the topic of landscape. The second part in Chapters I and II, examine how significant the perspective view in the landscape was for artists during the colonial period in Australia. At the same time I consult the practice in Aboriginal art which also concerns land, and how people communicate through the subject and how both practices apply to Thai art, with which I am dealing. Chapter III looks at works of individual artists in contemporary Australia including Tim Johnson, Judy Watson, Kathleen Petyarre Emily Kngwerreye, and then finishes with my studio work during 2004-2005. The third part, the conclusion refers to the notions of cultural geography as suggested by Mike Crang, Edward Relph and Christopher Tilley, which analyse how people relate to a location through their own experience. I describe how I used a Thai narrative verse written by my father to communicate my work to the Australian society in which I now live.

The need and longing to connect to another is a fundamental desire of the human heart, enforcing a sense of movement toward social and personal security and, moreover, the future. Yet it is paradoxical that, where people are the most closely crowded together, feelings of alienation and loneliness are often the greatest. We live in times of busy isolation, on streets where we dont know our neighbours, in societies where our lives are lived behind closed doors. As the global village grows, our personal worlds shrink, both by circumstance and by choice. Our innate, gregarious nature faces its greatest challenge, or ultimate defeat.<p> The story of my hometown, New Waterford, is a substantial element in the story of my life as well as my art. The woodcuts and many of the paintings in the exhibition, Slag, are documentations of this place, its inhabitants and their way of life. It is a town with a unique character resulting from the circumstances surrounding its relationship to coalmininga town that is withering away now that the mines are gone. Other paintings in the exhibition depict people and spaces from other places that I have lived. Though the environments change, there are similarities in the pathos of the human subjects that remain constant. In my work, whether I am depicting the inhabitants of a hollowed out town or the solitary subway commuter, they are united as those things that have been lost or left behind in the name of progressthe leftovers and waste: the slag.

The need and longing to connect to another is a fundamental desire of the human heart, enforcing a sense of movement toward social and personal security and, moreover, the future. Yet it is paradoxical that, where people are the most closely crowded together, feelings of alienation and loneliness are often the greatest. We live in times of busy isolation, on streets where we dont know our neighbours, in societies where our lives are lived behind closed doors. As the global village grows, our personal worlds shrink, both by circumstance and by choice. Our innate, gregarious nature faces its greatest challenge, or ultimate defeat.<p> The story of my hometown, New Waterford, is a substantial element in the story of my life as well as my art. The woodcuts and many of the paintings in the exhibition, Slag, are documentations of this place, its inhabitants and their way of life. It is a town with a unique character resulting from the circumstances surrounding its relationship to coalmininga town that is withering away now that the mines are gone. Other paintings in the exhibition depict people and spaces from other places that I have lived. Though the environments change, there are similarities in the pathos of the human subjects that remain constant. In my work, whether I am depicting the inhabitants of a hollowed out town or the solitary subway commuter, they are united as those things that have been lost or left behind in the name of progressthe leftovers and waste: the slag.

Thesis (Ph. D.)--New York University, 1977. / Cataloging based on CIP information. Includes bibliographical references (p).

No description available.

Master of Visual Arts / The Elephant and the Journey is about what and how people see in the land and how this is expressed through art forms. The dissertation consists of three main parts. The first in the introduction explains the use of the narrative figuration form in Thai temple mural painting in my practice, and how I used it to apply to the contemporary context in Australia. The second concerns three main groups of work including Australian landscape paintings in the nineteenth century, aboriginal art works and Thai mural painting, which apply to the topic of landscape. The second part in Chapters I and II, examine how significant the perspective view in the landscape was for artists during the colonial period in Australia. At the same time I consult the practice in Aboriginal art which also concerns land, and how people communicate through the subject and how both practices apply to Thai art, with which I am dealing. Chapter III looks at works of individual artists in contemporary Australia including Tim Johnson, Judy Watson, Kathleen Petyarre Emily Kngwerreye, and then finishes with my studio work during 2004-2005. The third part, the conclusion refers to the notions of cultural geography as suggested by Mike Crang, Edward Relph and Christopher Tilley, which analyse how people relate to a location through their own experience. I describe how I used a Thai narrative verse written by my father to communicate my work to the Australian society in which I now live.