Thesis (Ph. D.)--University of Texas at Austin, 2005. / Supervisor: Richard Shiff. Vita. Includes bibliographical references.

陳世樂. / "2009年6月". / "2009 nian 6 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2009. / Includes bibliographical references. / Abstracts in Chinese and English. / Chen Shile. / Chapter 一、 --- 本論文之源起、目的及方法 --- p.1 / Chapter 二、 --- 作家與藝術家的文字與視覺藝術跨媒介合作 --- p.5 / Chapter 1、 --- 「一對一」式圖文並置形式 --- p.5 / Chapter 2、 --- 游移焦點、重組形式及重建意義與秩序 --- p.9 / Chapter 三、 --- 觀念藝術與香港藝術家作品 --- p.13 / Chapter 1、 --- 把文字放到最前線的「觀念藝術」 --- p.13 / Chapter 2、 --- 香港藝術家作品舉隅 --- p.17 / Chapter 四、 --- 小結一向外的臆測與內省的反思 --- p.21 / 圖錄 / 參考資料

Not available / text

Thesis (M.A. (Journalism and Media Studies))--Rhodes University, 2004. / Thesis submitted in partial fulfillment of the requirements of the degree of Master of Arts.

Thesis (M.F.A.)--Rochester Institute of Technology, 2005. / Typescript. Includes bibliographical references (leaves 61-62).

Jenny Holzer has not always held her present post as a reigning figure in the world of contemporary art. When juxtaposed with the simplicity of her first text series, Truisms (1977), her recent work is increasingly more complex. Yet clearly there are qualities which have remained vital to the core aspects of Holzer?s concepts regarding art, particularly that it is intended to be seen by many, pondered over, and deciphered by the general public. She has proven herself capable of exhibiting work in a wide variety of mediums so as to address more acutely an extensive array of cultural issues. In order to remain true to her ideals while adjusting to new spaces and an ever shifting social landscape, Holzer has retained, above all, a devotion to utilizing clear, direct language. Other details in Holzer?s imagery have changed: simple black and white texts printed on posters led to more complex textual displays which employed light, color, and other various mediums (such as marble, skin, and bone, to name a few). Audiences have been winnowed away to a more select group of ?art? cognoscenti who seek out her texts, rather than the original street viewers who were caught abruptly off guard by the appearance of Holzer?s texts in public places. Rather than authoring her own texts, Holzer now also culls writings from various poets or utilizes documents from government archives; installations have grown more intricate and complex as they have moved from outdoor to gallery and museum spaces. Nonetheless, Holzer still elicits reactions to her work today that are as strong as the feelings borne towards her early works. In fact, some of these newer projects may even be more emotionally difficult to bear, as they continue to engender dialogues about issues most viewers would rather ignore because of their uncomfortable nature. This paper serves to explore the ways in which Holzer?s work has successfully matured, addresses the mechanisms by which her texts achieve their potency, and enumerates the similarities and differences between the various series Holzer has created through her career up to her Redaction Paintings (2005-2007).

This study examines the graphic design industry’s call for ‘a South African design language’ in post-apartheid South Africa and how the non-commercial publication i-jusi is envisaged as a space for graphic designers to innovate a South African design language. The central premise of this research is that graphic design, as a form of cultural production, is discursive. In this respect, graphic design practice is constructed and constrained by professional discourse, which is in turn informed by social structures. However, discourse is also a site of contestation and graphic designers may challenge or negotiate professional discourse in their practice. Thus, as Wolff (1981) argues, the possibility for innovation within graphic design practice may exist at a particular historical moment, although this possibility is itself situated within social structures. In this study, the impact of professional graphic design discourse on the attempt to innovate a South African design language in i-jusi is explored. Utilising qualitative interviews and other texts selected from graphic design commentary (conference presentations and published articles), the motivations of the producers of i-jusi are examined with a view to assessing how their articulation of a South African design language is informed by professional graphic design discourse.

This study of mural painting in southern India aims to change the received narrative of painting in South Asia not only by bringing to light a body of work previously understudied and in many cases undocumented, but by showing how that corpus contributes vitally to the study of South Indian art and history. At the broadest level, this dissertation reworks our understanding of a critical moment in South Asian history that has until recently been seen as a period of decadence, setting the stage for the rise of colonial power in South Asia. Militating against the notion of decline, I demonstrate the artistic, social, and political dynamism of this period by documenting and analyzing the visual and inscriptional content of temple and palace murals donated by merchants, monastics, and political elites. The dissertation consists of two parts: documentation and formal analysis, and semantic and historical analysis. Documentation and formal analysis of these murals, which decorate the walls and ceilings of temples and palaces, are foundational for further art historical study. I establish a rubric for style and date based on figural typology, narrative structure, and the way in which text is incorporated into the murals. I clarify the kinds of narrative structures employed by the artists, and trace how these change over time. Finally, I identify the three most prevalent genres of painting: narrative, figural (as portraits and icons), and topographic. One of the outstanding features of these murals, which no previous scholarship has seriously considered, is that script is a major compositional and semantic element of the murals. By the eighteenth century, narrative inscriptions in the Tamil and Telugu languages, whose scripts are visually distinct, consistently framed narrative paintings. For all of the major sites considered in this dissertation, I have transcribed and translated these inscriptions. Establishing a rubric for analysis of the pictorial imagery alongside translations of the text integrated into the murals facilitates my analysis of the function and iconicity of script, and application of the content of the inscriptions to interpretation of the paintings. My approach to text, which considers inscriptions to be both semantically and visually meaningful, is woven into a framework of analysis that includes ritual context, patronage, and viewing practices. In this way, the dissertation builds an historical account of an understudied period, brings to light a new archive for the study of art in South Asia, and develops a new methodology for understanding Nayaka-period painting. Chapters Three, Four, and Five each elaborate on one of the major genres identified in Chapter Two: narrative, figural, and topographic painting. My study of narrative focuses on the most popular genre of text produced at this time, talapuranam (Skt. sthalapurana), as well as hagiographies of teachers and saints (guruparampara). Turning to figural depiction, I take up the subject of portraiture. My study provides new evidence of the active patronage by merchants, religious and political elites through documentation and analysis of previously unrecorded donor inscriptions and donor portraits. Under the rubric of topographic painting I analyze the representation of sacred sites joined together to create entire sacred landscapes mapped onto the walls and ceilings of the temples. Such images are closely connected to devotional (bhakti) literature that describes and praises these places and spaces. The final chapter of the dissertation proposes new ways of understanding how the images were perceived and activated by their contemporary audiences. I argue that the kinesthetic experience of the paintings is central to their concept, design, and function.

No description available.

This paper centres in and around words. I have incorporated words into my recent work in a variety of ways including drawing, Letraset, sound and fiction writing. The philosophical questions which arise through any use of language and the various ways of adopting these questions and words within a 'visual art' context is considered in a number of ways. These include The Voyager Interstellar Space Mission which was humankind's first attempt to communicate with other hypothesized populations, conceptual word-incorporating artists, writers of fiction and philosophers within whose work can readily be found an extreme vigilance towards language. Alongside this word exploration I will consider other processes through which I've made and continue to make, works of art. These processes include drawing and film/video. My drawings (which sometimes include words) will be addressed in terms of a crossover between the drawn line and words found in Raymond Carver's story Cathedral. This story made me think about what it means to 'be led' by somebody and how I'm led (by myself or perhaps those mysterious 'populations' the Voyager team of thinkers had in mind) when drawing. It also marks an interesting point in my discussion of a state of being 'without words.' In addition to words an important focus in this paper are the windows through which I've spent a lot of 'my life' looking at 'life pass by' (which are in many ways a physical reality corresponding to the metaphorical 'frame of language'). The time I've spent looking out windows over the past few years has resulted in. several film and video pieces in addition to my latest work (presented as the appendix of this paper) which comprises of a series of short stories. The paper opens with a quote by German philosopher Martin Heidegger: "Language is the house of Being. In its home man dwells." The enigmatic broadness of this statement is appropriate to the apprehensive and cautious attitude towards words found throughout the paper (also it mentions 'house' which immediately brings to my mind 'windows')