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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
1

Discourses, art and the city : reading for a theory of art

Heywood, Ian January 1990 (has links)
No description available.
2

Face to face : sociology looks at the art object : the case of portraiture

Myers, Fiona Anne January 2016 (has links)
The thesis emerged from two streams. First, from an interest in portraiture. Both the portrait as an art object and portraiture as a social process are mediated by power relations, yet, despite this, it is a genre that has been relatively underexplored by sociology. Second, as a response to calls within the sociology of art for approaches that, rather than maintaining a distance, seek to take the artwork “seriously” as a source of “social knowledge that is of its own worth” (Harrington, 2004, p.3). Explorations of the ‘affordances’ that material objects provoke in socially situated subjects reflect this interest in capturing the ‘in-itself-ness’ of the art object in ways which are “congruent with social constructionism” (De la Fuente, 2007). These two streams inform the thesis’ three aims, addressed through three case studies of five 20th Century portraits. First, to present portraiture and its relations of power to the sociological gaze. Second, to develop an empirical approach, characterised as ‘taking a line for a walk’, that seeks to keep in play: the material properties of the image and what these may afford to a situated viewer; to explore how these affordances operate to constitute the subjectivities of the individuals portrayed and the artists; and to consider how these processes play out in and through the processes of consecration of the object and artist within the cultural field. Third, to make a contribution to understanding how to capture sociologically the ‘in-itself-ness’ of the art object. The thesis suggests the value of an approach that keeps in focus the art object and the context of its circulation, helping to deepen understanding of the operation of the field. Second, it reveals portraiture as an exercise of power, including in the constitution of the subjectivities represented in and through the portrait. Third, it suggests the continued difficulties of empirically capturing the ‘in-itself-ness’ of the art object.
3

A study of colour : Wittgensteinian and ethnomethodological investigations

Armour, Lou January 1996 (has links)
No description available.
4

J18 : movements towards an ethico-aesthetic paradigm

Kirkham, Nicola January 2009 (has links)
This thesis offers a materialist account of political action from the perspective of the aesthetic, focusing on a global day of action, protest and carnival staged to coincide with the G8 Summit on June 18th 1999. An event known as J18. Part One begins with a review of contemporary literature concerning the sociologies of contemporary political movements, theories of space and locality provided by geography, analyses of public interventions by art practice as well as the tactical deployment of media and writing related specifically to the cultural politics of anti-capitalism. The theory and methods chapter surveys historic shifts in thinking about political action, through an attendant Marxist epistemology, through three key events: the Paris Commune, the Russian Revolution and May 1968. The search for a materialist understanding of political action feeds the act of drawing together empirical material from J18 by way of the data gathering process and the reciprocal development of a critical framework used as a method of interpretation. In Part Two a multi-centred account of the event is narrated by way of micro-examples that are each affectively attuned to, and constitutive of the events happening.
5

Velhas imagens, novos problemas: a redescoberta de Debret no Brasil Modernista (1930 - 1945) / Old images, new problems: the rediscovery of Debret in modernist Brazil (1930-1945)

Trevisan, Anderson Ricardo 29 April 2011 (has links)
O presente trabalho investiga como a obra do pintor francês Jean-Baptiste Debret (1768-1848) foi redescoberta no Brasil nas primeiras décadas do século XX, especialmente entre os anos de 1930 e 1945. Artista de formação neoclássica, Debret viveu no Brasil entre os anos de 1816 e 1831, época em que criou uma infinidade de imagens sobre o país, desde pinturas históricas para a monarquia até pequenas aquarelas contemplando a vida cotidiana. Tendo sido pouco lembrado pelos brasileiros durante o século XIX, Debret seria especialmente valorizado no século XX. Partindo de sua fortuna crítica oitocentista, passando pelos colecionadores e pela crítica modernista, bem como pelo mercado editorial da época (com destaque para a Revista da Semana), o trabalho pretende compreender os eventos mais significativos dessa redescoberta, bem como suas implicações. / This work investigates the rediscovery of the work of French painter Jean-Baptiste Debret (1768-1848) in Brazil in the first half of the twentieth century, especially from 1930 to 1945. A neoclassical educated artist, Debret lived in Brazil from 1816 to 1831, period in which he created a multitude of images of the country, including contemplative watercolors of its everyday life and historical paintings for the Portuguese monarchy. Rarely considered by Brazilians during the nineteenth century, Debret would be particularly appreciated in the following century. Analyzing the nineteenth-century literary criticism of Debrets work, the collectors and the modernist critics it received in the twentieth century as well as the publishing market of the time (considering especially the Revista da Semana), the thesis aims to understand the most significant events of this rediscovery and its implications.
6

Contemporary art and the exhibitionary system : China as a case study

Zhang, Linzhi January 2019 (has links)
The challenge of contemporary art, unlike in art history, has only recently been identified in sociology. Furthermore, an overly philosophical orientation, has undermined sociological expla- nations of artistic production. To remedy this, I propose a sociology of exhibitions. This entails a shift of focus from the elusive subject matter of art towards the tangible exhibition, and the construction of a new framework: the exhibitionary system, which also stands for the physical, institutional, and network environment of exhibitions. The central question in the sociology of exhibitions is to explain how the exhibitionary system shapes artistic production. The answer was sought by observing exhibition making in the Chinese exhibitionary system, from which quantitative data about 1,525 exhibitions, held in 43 exhibition spaces between 2010 and 2016, were also collected. I argue that the exhibition context shapes the physical basis of individual artworks and the construction of an artist's oeuvre. Through the contextualised creation of artworks for public viewing, artists aim to raise their visibility, which is crucial for artists' career prospects and symbolic consecration. An artist's visibility is, however, constrained by where she exhibits and with whom she co-exhibits. My method for measuring visibility reveals its binary nature, divided along a singular dimension and a collective dimension. Yet no binary division between the non- profit and for-profit is found within the exhibitionary system with regards to the selection of artists. Rather, both sectors contribute to a dual selection of marketable artists. A model of professional autonomy, which reconciles "art and the market" on the level of practices and awareness, prevails in the exhibitionary system. The sociology of exhibitions has solved persistent theoretical problems in the sociology of art. My empirical findings give rise to new research questions. Finally, I have offered a dialogue between studies of non-western and western cases within the same framework.
7

Velhas imagens, novos problemas: a redescoberta de Debret no Brasil Modernista (1930 - 1945) / Old images, new problems: the rediscovery of Debret in modernist Brazil (1930-1945)

Anderson Ricardo Trevisan 29 April 2011 (has links)
O presente trabalho investiga como a obra do pintor francês Jean-Baptiste Debret (1768-1848) foi redescoberta no Brasil nas primeiras décadas do século XX, especialmente entre os anos de 1930 e 1945. Artista de formação neoclássica, Debret viveu no Brasil entre os anos de 1816 e 1831, época em que criou uma infinidade de imagens sobre o país, desde pinturas históricas para a monarquia até pequenas aquarelas contemplando a vida cotidiana. Tendo sido pouco lembrado pelos brasileiros durante o século XIX, Debret seria especialmente valorizado no século XX. Partindo de sua fortuna crítica oitocentista, passando pelos colecionadores e pela crítica modernista, bem como pelo mercado editorial da época (com destaque para a Revista da Semana), o trabalho pretende compreender os eventos mais significativos dessa redescoberta, bem como suas implicações. / This work investigates the rediscovery of the work of French painter Jean-Baptiste Debret (1768-1848) in Brazil in the first half of the twentieth century, especially from 1930 to 1945. A neoclassical educated artist, Debret lived in Brazil from 1816 to 1831, period in which he created a multitude of images of the country, including contemplative watercolors of its everyday life and historical paintings for the Portuguese monarchy. Rarely considered by Brazilians during the nineteenth century, Debret would be particularly appreciated in the following century. Analyzing the nineteenth-century literary criticism of Debrets work, the collectors and the modernist critics it received in the twentieth century as well as the publishing market of the time (considering especially the Revista da Semana), the thesis aims to understand the most significant events of this rediscovery and its implications.
8

Performance Art : A Mode of Communication

Sandström, Edvin January 2010 (has links)
<p>This paper is a phenomenological approach to the field of performance art. It is aqualitative study based on observations and interviews. The aim is to understand how andwhy do artists use performance art. The empirical result shows that artists use performanceart to challenge what art is. The study explains how artists use performance art as a modeof communication, a communication based on using the voice in different modes. Throughusing an electronic filtered voice, the artists capture the audience's attention and at the sametime they challenge their own narrative and presence. Performance art is seen as a mode ofcommunication, which constitutes a social structure within communities. The study findsthat the artists generate an existential and political awareness for their audience.Keywords:</p>
9

Performance Art : A Mode of Communication

Sandström, Edvin January 2010 (has links)
This paper is a phenomenological approach to the field of performance art. It is aqualitative study based on observations and interviews. The aim is to understand how andwhy do artists use performance art. The empirical result shows that artists use performanceart to challenge what art is. The study explains how artists use performance art as a modeof communication, a communication based on using the voice in different modes. Throughusing an electronic filtered voice, the artists capture the audience's attention and at the sametime they challenge their own narrative and presence. Performance art is seen as a mode ofcommunication, which constitutes a social structure within communities. The study findsthat the artists generate an existential and political awareness for their audience.Keywords:
10

“Performance Art” :  A Mode of Communication

Sandström, Edvin January 2010 (has links)
This paper is a phenomenological approach to the field of performance art. It is aqualitative study based on observations and interviews. The aim is to understand how and why do artists use performance art. The empirical result shows that artists use performance art to challenge what art is. The study explains how artists use performance art as a mode of communication, a communication based on using the voice in different modes. Through using an electronic filtered voice, the artists capture the audience's attention and at the same time they challenge their own narrative and presence. Performance art is seen as a mode ofcommunication, which constitutes a social structure within communities. The study finds that the artists generate an existential and political awareness for their audience.

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