Thesis (M Visual Arts) -- University of South Australia, 1992

Thesis (M Visual Arts) -- University of South Australia, 1992

Thesis (M.F.A.)--West Virginia University, 1999. / Title from document title page. Document formatted into pages; contains iii, 16 p. Includes abstract.

This thesis explores art therapy with patients experiencing psychosis who also identify as ‘artists’, and arose from encounters in a psychiatric setting. It is argued that these patients struggle with art therapy in a way that is different from other non-artist patients and they may appear to have difficulties relating to the emergence of emotional aspects in their own or others’ artwork. This poses a potential problem for the art therapist who hopes to evoke insight for the patient, based on their artwork as self-expression. This dilemma and the countertransference phenomena specific to this problem are, with one exception, unacknowledged in art therapy literature. This thesis reviews art therapy literature to explore possible defence mechanisms as used by patients experiencing psychosis who identify as artists in art therapy. Four case studies of artist patients who undertook art therapy with the author are then presented. The psychological issues contributing to the artists’ experience and the issues facing the art therapist are investigated. This is complemented by comments made by other art therapists from a questionnaire based on this area of enquiry. Finally the thesis addresses the topic with reference to art therapy practice providing strategies to work with patients experiencing psychosis who also identify as artists. The case studies revealed that patients were more receptive to using art to express emotions when art therapy was experienced as containing and the research found that art therapy was generally supportive for artists when their defences were viewed as appropriate coping strategies. / Master of Arts (Hons)

Thesis (M.A. (Fine Arts))--University of the Witwatersrand, Faculty of Humanities, School of Arts, 2016. / The early part of this dissertation is concerned with a particular period (1946-­‐1969) in sculptor Louise Bourgeois’ life when her artistry and her psychoanalysis overlapped for the first time. Within this time frame, the years 1952 – 1969 reference a particular period when she was in deep psychoanalysis with Dr. Henry Lowenfeld, a period, which profoundly affected her self understanding and associated art practice. By establishing her positioning within a story of Modernism (as a departure point) I will then go on to consider how the more traditional historical readings of her work can be used to understand her work and behavior within a more pronounced psychoanalytic frame. From this positioning I will reconsider Bourgeois’ artistic practice as being deeply linked to an unconscious need to repair early psychic ruptures with maternal and paternal caretakers. From a Kleinian position I will foreground Bourgeois’ predisposition to sculpt as a reparative enactment driven by her primary internal Object-­‐Relations. Key works and free-­‐associative written material (composed in relation to her psychoanalytic sessions from the outlined time frame) will provide evidence for her psychic shifts over the period. These will be investigated in relation to changes in her sculptural output -­‐ key signifiers of repressed psychic experience, becoming conscious. The dissertation seeks to understand the relationship between these two investigative processes (art and psychoanalysis). Similarly, with reference to Bourgeois, the latter half of this project will investigate my personal (parallel) experience as a sculptor and analysand1 . In relation to both enquiries, I will specifically consider the therapeutic relationship between the physical act of making artworks and the verbal psychoanalytic experience. In an effort to understand how the pairing of these two communicative modalities might impact artistic experience. / MT2017

Chan, Hin Sin Cindy. / Thesis (M.F.A.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts also in Chinese.

Thesis (Ph. D.)--Virginia Polytechnic Institute and State University, 1991. / Vita. Abstract. Includes bibliographical references (leaves 112-126). Also available via the Internet.

No description available.

A experiência de \"captura\" estética é apresentada nesse ensaio a partir do impacto que a autora viveu no seu encontro com a escultura Perseu e Medusa de Camille Claudel e as múltiplas questões suscitadas a partir dessa vivência. Busca outros autores que relatam um encontro similar, como por exemplo, Freud e seu impacto com a obra Moisés de Michelangelo, tentando com isso identificar os elementos mais gerais que constroem essa experiência denominada aqui de \"captura\", sem com isso deixar de considerar seu caráter singular e subjetivo. Em seguida, ao refletir sobre a obra em questão, percorre as questões biográficas, sua contextualização, passando pelo mito e pela especificidade da atividade escultórica ao longo da História, pelas leituras estéticas e pelas concepções psicanalíticas sobre arte e criação apresentando assim, uma leitura de obra de arte entendida como um produto da relação entre espectador e obra, ou seja, numa perspectiva epistemológica que não separa sujeito e objeto e que tampouco se apóia em significações externas à essa relação. O caráter dessa leitura se mostra, portanto, como uma construção que se dá no momento de sua própria feitura, e não como produto de uma ação decifradora. Ao longo do percurso, vários diálogos vão sendo estabelecidos entre a Psicanálise e a Arte, o que remete a uma reflexão sobre as possibilidades de uma \"fertilização recíproca\" entre elas. / The aesthetic capture experience is presented as of the impact undergone by the author in her encounter with Perseu and Medusa sculptured by Camille Claudel and all the issues consequent to that episode. She searches other author\'s similar encounters, such as that of Freud with Michelangelo\'s Moses aiming at identifying those more general elements composing that experience called in this paper as \"capture\". At the same time the author does not disconsider the subjective and singular aspects of encounters such as these. Reflecting over the sculpture she engages in biographic issues and their contextualization. Starting with the myth and the specificity of sculpturing through History, aesthetic readings and psychoanalytic conceptions about art and creation, the author presents an understanding of art as a product of the relation between spectator and art. In other words, this is an epistemological perspective where subject and object are not apart and the significance of the event is part of the experience. The essence of these understandings happens therefore as the experience occurs and not as the product of a deciphering act. A series of dialogs are presented in this paper between Psychoanalisis and Art, leading the reader to reflect on the possibilities of cross linking between these two expressions.

O presente trabalho pretende investigar como é feita a utilização da teoria psicanalítica no cenário da reflexão estética e da crítica de arte contemporâneas. Para tanto, o recorte se concentra em dois pensadores que se tornaram significativos na atualidade, embora não sejam os únicos: o crítico Hal Foster e o historiador da arte Georges Didi-Huberman. O objetivo da investigação é mostrar em que medida os conceitos gerados na práxis psicanalítica possibilitaram interpretações de ruptura no campo da estética tradicional. Essa modalidade de análise só se torna possível uma vez que se abandona o paradigma da psicanálise aplicada, ainda corrente no cenário extraclínico. Por fim, a proposta visa sustentar que a operação do amorfo, gerada no interior da pesquisa, pode lançar luz a certas experiências estéticas que vão da modernidade à pós-modernidade das artes / This work intends to investigate the use of psychoanalytic theory within the aesthetic and critical contemporary art field. To this purpose, this study focuses on two philosophers who have become significant in our time: the critic Hal Foster and the art historian Georges Didi-Huberman. This study aims to show how far the concepts generated in psychoanalytic praxis allowed interpretations that disrupt the field of the traditional aesthetics. This type of analysis is possible once we abandon the paradigm of applied psychoanalysis, which is still current in non-clinical setting. Finally, the proposal wants to argue that the category of the amorphous, generated in this research, may clarify certain aesthetic experiences that range from the modernity of art through the post-modernity