Thesis (Ph. D.)--Ohio State University, 2003. / Title from first page of PDF file. Document formatted into pages; contains xii, 260 p.: ill. (some col.). Includes abstract and vita. Advisor: Christine Ballengee Morris, Dept. of Art Education. Includes bibliographical references (p. 236-246).

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This is an exploratory case study of Creativity Explored (CE), a non-profit art center in San Francisco, California, that serves adults with intellectual and developmental disabilities (IDD). The purpose of the study is to address the following questions: How does Creativity Explored facilitate personal and professional growth in adults with intellectual and developmental disabilities? Using Creativity Explored as a model, what can we learn about best practices in community-based art programs that serve adults with disabilities? Multiple methods of data collection were utilized, including examination of pertinent literature and documents, visual documentation, observations, and interviews with administrators and staff, who were selected to provide a breadth and depth of knowledge about various aspects of the CE program. Conclusions were drawn about four major areas of the program: its “art community” model; its benefits for participating artists; the values, practices, and strategies that have contributed to its longevity and success; and the challenges that it has confronted as an organization. / text

By incorporating a material practice within an approach that is socially engaged, my research examines if and how community can be built and developed through the use of alternative economies. Through public participation, I am questioning if the act of collaboration can alter one’s relationship with and understanding of art and maker. / October 2015

Thesis (B.F.A.)--Pennsylvania State University, 2009. / Mode of access: World Wide Web. Thesis supervisor: Rosa A. Eberly.

This research identifies the negotiation of inherited understandings of the term ‘community’ as an increasingly widespread concern within the field of contemporary art since 1989, particularly in the wake of art’s communitarian turn during the 1990s. The thesis examines these artistic investigations in connection with the work of philosophers such as Maurice Blanchot, Roberto Esposito and Jean-Luc Nancy during the 1980s and 1990s, where we find the most thorough interrogation of the term ‘community’ since the nineteenth century. Contending that art has significantly contributed to a discourse long established in philosophy, the thesis reflects on what precipitated the widespread shift from an artistic interest in ‘this or that community’ to ‘community as such’ during the 1990s, and on what art has offered to the negotiation of community that philosophy has not. These dual concerns have been developed in the two sections that comprise the thesis, entitled ‘Untying the “Unique Epochal Knot”’ and ‘Collaboration, Participation, Performance and the Negotiation of Community’. An important issue the thesis broaches is whether art can (despite concerns about its co-optation within neoliberal institutions) constitute a potent site for the negotiation of community. The affirmative, if critical, answer given considers the unorthodox forms, logics and strategies that art is permitted to employ, art’s ability to enact material interventions into social relations and, overall, art’s operation as an alternative/complementary mode of articulation to that offered by philosophy. Through the analysis of pertinent case studies, the thesis examines how collaborative, participatory and performance practices have been particularly employed by artists including Tania Bruguera, Kristina Norman and Artur Żmijewski, seeking to scrutinise factors crucial to the rethinking of community. These factors include singularity, commonality, temporality and ethics. Springing from interviews, research trips to key case studies, and a thorough literature review, as well as implicating a range of work from diverse geographies and spread over the past two decades, the thesis situates the move towards the negotiation of community in art both historically and theoretically. In doing so, the analysis develops an important reconsideration of contemporary art’s widely noted attendance to the social. In privileging a conceptual framework for the discussion of this tendency in art, as opposed to the more prevalent formalist model, greater critical purchase may be gained on this urgent development in contemporary art history.

Thesis (Ph. D.)--University of California, San Diego, 2002. / Vita. Includes bibliographical references (leaves 347-362).

Kohoutovíce is my interpretation of urban district moving on the edge of village and cold war urban development. Duality who are giving into context grew old buildings and cold war development as a place with exception identity. Identity based on mutual disharmony forming a function unit when one part complements other. Action causes a reaction. Culture Social center with the Town Hall as the main bearer of the idea of mutual penetration between coexistence looking for its history and future. Instead of overlap, which aims to reflect both the present and future needs and significantly cities and boroughs, necessary for quality of living and use. The project implements existing hall located on the border of the original buildings, but also in direct contact with another typical feature of the whole territory, and panel buildings. Duality, otherness, diversity as incompatible interaction forming a single center of gravity in one place. Persona grata.

The aim of this thesis is to explore the different types of user motivation to participate in online art communities and confront them with the possibilities these communities offer. The first chapter is devoted to the issue of motivation in terms of psychology, basic concepts and their relation to the researched topic. The second chapter focuses on the basic concepts of virtual communities. These topics serve as the theoretical basis for the third chapter that focuses on online art community itself: definition of this term, recognition of the basic types of these communities, types of users and their motivation to enter and participate. The chapter concludes with the following types of motivation being confronted with the possibilities online art communities offer to their users. The last chapter deals with empirical research aimed at finding dominant forms of motivation, comparing different types of users, exploring their relationship with other users as well as habits in sharing their own creations. Based on results the partial recommendations to the creators of the community websites on which these communities grow are formulated.

My dissertation examines the interaction between transformation, development of traditional culture and modern one under the background of China's rapid modernization. Its focus is on the porcelain craftsmanship culture from the famous "porcelain capital", Jingdezhen. Although the relationship between the traditional and the modern has always been widely concerned and discussed in academia, especially in sociology and anthropology. Yet, it should be noted that in existing literature we rarely investigate the reconstruction and re-creation of traditional craftsmanship culture that has been taken for granted in former socialist countries where the spread of modernization into social development came much later than its Western counterparts. This research begins to fill the gap by extending an art anthropological and contextualized perspective on what endows the traditional craftsmanship culture with a multitude of modern values in Jingdezhen, and with what structural driving forces. It showcases that what endows the traditional porcelain industry in Jingdezhen with numerous modern characteristics are the adaptation of individualized traditional craftsmanship to modern technological society; the happy marriage of humanizing traditional craftsmanship with mass tourism, and a successful cross-border...