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Visual entanglement: Political and aesthetic connotations of Gladys Mgudlandlu’s workHlekiso, Bongiwe January 2019 (has links)
Magister Artium - MA / This study focuses on how we can interpret political meanings embedded in Gladys
Mgudlandlu’s work by concentrating on her landscapes, murals, and portraits during
the period of the 1960s – 1980s. The core of my thesis is to question whether the
artwork of Mgudlandlu was political. The thesis argues that Mgundlandlu’s talents
and interventions have been overlooked and undermined. Engaging with a deep
analysis of the context in which Mgudlandlu lived and worked, a visual analysis of
her paintings and a discussion on the meaning of her life and work from various
vantage points across time substantiates the above argument.
The study engages with three fundamental approaches. Firstly it approaches
Mgudlandlu’s work through how it is articulated and historicized as part of the
struggle against apartheid in South Africa before 1994. Here I disrupt the idea that her
work was out of touch with reality and that her work was of a naivety that isolated
herself from the struggles of black people. I further argue that her work transcends the
norms and expectations of black artists during this period. Her work in many ways
challenges stereotypes and broke social conventions by painting landscape: something
which was mostly associated with older white male artists. Thus I advocate for a
reconsideration of her work by revisiting her landscape painting which carries most of
the weight of my argument regarding Mgudlandlu’s political stand.
My second approach is to explore the production and process of her work by
concentrating on cultural workshops and their role in South African art during the
apartheid period. Mgudlandlu’s creation and production process was very different
from her counterparts which is explored through a careful analysis of Mgudlandlu’s
paintings.
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Watching you watching youNagura, Hideji January 1982 (has links)
Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1982. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / Bibliography: leaf 59. / This thesis consists of four parts. Part one is a written dialogue in which I respond to the words and the thoughts of the photographer, Diane Arbus. Through responding to Arbus' thoughts, I had hoped to make clear my own thoughts and feelings about photography and the reasons why I photograph. Part two is a description with drawn sketches. It describes my original plan for the public presentations of my project. Part Three consists of photographic collages with brief written descriptions. It describes the actual public presentations that took place. Part four is a written description of the public presentation project including: l. My original concept and motivation for doing the project. 2. A description of how the concept evolved into its final physical form. 3. What participation in the project meant to the participants and myself. / by Hideji Nagura. / M.S.V.S.
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Teaching language minority students -- portraits of five teachersFrazier, Mary Catherine, Linville, Malcolm E. January 2007 (has links)
Thesis (Ph. D.)--School of Education and Dept. of Sociology. University of Missouri--Kansas City, 2007. / "A dissertation in education and sociology." Advisor: Malcolm Linville. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Dec. 20, 2007. Includes bibliographical references (leaves 267-283). Online version of the print edition.
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Mapping the self-portrait navigating identity and autobiography in visual art : this thesis is submitted to the Auckland University of Technology in partial fulfilment of the degree of Master of Arts (Art and Design) in the year 2005 /Joe, Damen. January 2005 (has links)
Thesis (MA--Art and Design) -- AUT University, 2005. / Cover title. Includes bibliographical references. Also held in print (xxii, 85 leaves : col. ill. ; 30 cm.) in City Campus Collection (T 707 JOE)
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Ressemblance et détail dans le portrait photographique : De l'exactitude à la saturation : pour une réception des épreuves photographiques 1840-1860 /Parise, Maddalena. January 2003 (has links)
D.E.A.--Histoire et civilisation--EHESS, 2003. / Bibliogr. p. 86-98.
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Het Noord-Nederlandsch portret in de tweede helft van de 16e eeuw doorVries, A. B. de January 1934 (has links)
Thesis--Utrecht. / Includes index.
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Rhetoric of the author presentation: the case of Maria Sibylla MerianPick, Cecilia Mary 28 August 2008 (has links)
Not available / text
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Thomas Jefferson : image and ideologyWilson, Gaye N. S. B. January 2012 (has links)
This thesis explores the public image of Thomas Jefferson as recorded in his major life portraits. It consults the traditions that surrounded eighteenth-century portraiture and the history of the portrait as a means of expressing authority, power, and personal interest. This study contends that Jefferson worked within these traditions and fashioned and refashioned an image that promoted his vision of American republicanism. Therefore, it places each portrait within the context of the sociopolitical environment in which it was created and considers Jefferson’s political motives and actions against these recorded images. This departs from previous works that stopped with an identification of the life portraits, a discussion of the artist, and an evaluation of the merits of the portrait as a work of art. Rather it builds upon these earlier studies to approach Jefferson’s use of the portrait to manage his image and advance his political and ideological aims for the newly formed nation. The goal of this thesis is to offer an enlarged and diverse assessment of this leading founder of the American republic through the public image he created in his life portraits.
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Self-portrait and autobiography / Self portrait and autobiographyLeiserson, Emily M. January 2008 (has links)
This creative project is a series of self portraits, records of self and the stamp of culture that is placed on the physical body. In the series of prints and handmade books described in these pages, self-portrait provides a vehicle for examining creativity and humanity, self-image as a reflection on women, and autobiography as a means of cultural storytelling. / Department of Art
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The theatrical portrait in eighteenth century LondonWest, Shearer January 1986 (has links)
A theatrical portrait is an image of an actor or actors in character. This genre was widespread in eighteenth century London and was practised by a large number of painters and engravers of all levels of ability. The sources of the genre lay in a number of diverse styles of art, including the court portraits of Lely and Kneller and the fetes galantes of Watteau and Mercier. Three types of media for theatrical portraits were particularly prevalent in London, between c.1745 and 1800 : painting, print and book illustration. All three offered some form of publicity to the actor, and allowed patrons and buyers to recollect a memorable - performance of a play. Several factors governed the artist's choice of actor, character and play. Popular or unusual productions of plays were nearly always accompanied by some form of actor portrait, although there are eighteenth century portraits which do not appear to reflect any particular performance at all. Details of costume in these works usually reflected fashions of the contemporary stage, although some artists occasionally invented costumes to suit their own ends. Gesture and expression of the actors in theatrical portraits also tended to follow stage convention, and some definite parallels between gestures of actors in theatrical portraits and contemporary descriptions of those actors can be made. Theatrical portraiture on the eighteenth century model continued into the nineteenth century, but its form changed with the changing styles of acting. However the art continued to be largely commercial and ephemeral, and in its very ephemerality lies its importance as a part of the social history of the eighteenth century.
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