Global ETD Search

1	SUN PIECE : actions of cutting Gram, Greta January 2013 (has links) This works explores how to work with Event scores as a design method. In the search for what is real or what is reality the already existing things are being explored. The work started with investigating suitable ways to work with the moving body in the design process, with the aim to find a method that gave control but also left some parameters to the undecided and ambiguous. Convinced that this will lead to something new some parts of the process were highlighted and re-formulated. / Program: Modedesignutbildningen design conceptual art body movement design method random sketch sketch method Yoko Ono Event Scores Fluxus performance instruction film stills replica copy design process deconstruction outfit garment collection structure subtle details men’s wear archetype clothing clothes suit shirt Design Design
2	Konst och kartläggning kring 1970 : Modell, diagram och karta i konstens landskap / Art and Mapping around the year of 1970 : Maps, Models, and Diagrams in the Artistic Landscape Uggla, Karolina January 2015 (has links) The years around 1970 saw the emergence of an artistic fascination with maps and mapping. In the present thesis this fascination is conceptualised as a mapping impulse, acknowledging how the discourses of art and mapping, respectively, intertwine and merge. The aim of the study is to analyse this mapping impulse and to identify recurring themes and concepts in artworks and texts on art where maps and mapping processes are used as a visual expression and method. In order to demonstrate how the scope of the thesis is shaped by later interpretations of art from around 1970, three exhibition publications from three decades are examined to illustrate how boundaries between the discourses of art and of mapping are renegotiated from the late 1960s up until the 2010s. The representing line of the map is analysed via the concepts of diagrams, maps, and models, such as the re-appearance of Claude Shannon’s and Warren Weaver’s Communication Model in the Swedish late 1960s, Öyvind Fahlström’s World Map (1972), and Sten Eklund’s paintings on glass from 1968 where he transfers ideas from Wittgenstein’s Tractatus into visual representations. The procedural aspects of encounters between the discourses of art and of mapping from around 1970 are analysed in Hans Haacke’s Gallery-Goers’ Birthplace and Residence Profile Pt. 1 and Sten Eklund’s Kullahusets hemlighet (The Secret of Kullahuset). The latter work is interpreted in the light of the role of the mapping, surveying individual, and in a figurative sense, the individual in the system. Here, the concept of alienation is used, as the work delineates the mapping subject who itself is being subject to mapping. In this thesis the mapping impulse is identified as a way to deal with territory and truth in Western art around 1970. The map as a sign system and a practice is representative of a recent stage where art in various ways deal with a world undergoing rapid change. The mapping impulse circa 1970 can be identified as a visual regime of cartographic reason, characterized by legibility, clarity and lucidity. This also suggests alternative interpretations of the impact of the linguistic turn in the art of the 1960s and early 1970s, revealing a more ambiguous relationship between text and image. Conceptual art maps mapping art and cartography art and mapping visual culture art and science scientific images art and cybernetics alienation the linguistic turn Agnes Denes Sten Eklund Hans Haacke Öyvind Fahlström Richard Long Yoko Ono Robert Smithson
3	Way of the Butterfly: A Journey towards Transformation through Self-portraits In-Between Koshikawa, Masami 01 January 2015 (has links) It has not been easy for me to talk about myself or describe my feelings or thoughts. Coming from Japan, a collective society, we typically are not raised to do so. Throughout the MFA program at UCF, I have shared my feelings and thoughts through my work. It is important to discuss and inform others of our cultural similarities and differences so that we may gain a better understanding of each other. This process has helped me grow not only on an artistic level, but also on a personal level. My journey towards integration has led me to a meaningful studio practice, which has allowed my work to bridge the gap between Western and Eastern artistic sensibilities. At the beginning of the MFA program, my mother sent many boxes of origami from Japan. As I started incorporating my mother’s origami into my work, I found myself identifying with the origami butterfly. My realization is that the person I am now is not the person I was when I began this journey. My wish for you, the reader, is to go along with me as I tell you the story of my transformation. Self-portraits way of the butterfly a Journey towards transformation in-between burning kimono kim sooja daruma yoko ono mountain and ocean coco fusco multimedia art performance art yuken teruya marry me mail order bride japanese orphans in china painter poems arahmaiani butterfly origami tori gate butterfly woman croched ody suit installation calligraphy gutai art japanese neo-dada ushio shinohara butoh sankai juku crane wife butterfly sphere identity multiculturalism globalism feminist art. Art and Design Japanese Studies

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