The purpose of this thesis is to include within the year's art program more creative activities involving a variety of woods ranging in hardness and softness, textured and patterned surfaces, and natural and milled forms.

M.Tech. (Fine Art) / The Mobile City steel maquette, created by architects Lewis Levin, Paul Cawood and myself, an artist, was submitted for the 1998 Absa Bank Art Competition. My dissertation examines, through the design of a 2.5ton kinetic aluminium sculpture, three different but interrelated aspects of the work. Firstly, the practical realisation of the mobile; secondly, the gathering of research material and the maquettes; thirdly, the concept for the Mobile City sculpture. The dissertation explores the project's conceptual, collaborative and interdisciplinary nature from inception to completion. Through my investigation into corporate/art relationships I found no literature specific to corporate art projects from an artist's perspective. As an inside view of a specific public art project, this work is intended as an exploration as to how relationships between artists, corporate sponsors and professionals are mediated. It may be utilised by artists, educators and professionals. The work comprises text and a Companion CD-ROM (a Compact Disk attached to the dissertation), displaying artist's illustrations technical drawings and the methodology of structural engineers, mechanical engineers, architects, corporate officials, correspondence and contractual documents.

A renewed merging of art and design accompanied by the inflation of design in relation to art has been increasingly noted by writers since the 1990s. Some critics and artists such as Dan Graham have celebrated this phenomenon as a critical opportunity; others such as art historian and critic Hal Foster have criticized the trend as a catastrophic loss of the limits required for liberal subjectivity. In the first chapter, I consider Graham's position as outlined in "Art as Design/Design as Art" (1986) and contrast it with Hal Foster's argument as presented in "Design and Crime" (2002).While the writers share some points of reference, it becomes clear that the two texts are based on different critical models. My second and third chapters present case studies of works often considered to be part of the "design art" trend. At either end of the 1990s, Dia Center for the Arts realized large-scale projects: Dan Graham's Two-Way Mirror Cylinder Inside Cube and a Video Salon: Rooftop Urban Park Project for Dia Arts Center (1981- 1991) and Jorge Pardo's Project (1998-2000). Both works fit the profile of art projects that make use of the modes and methods of the fields of architecture and design. My study considers how each project related to its art institutional site, to the greater art historical and contemporary context and to changes in social, political and cultural conditions that unfolded during the 1990s. My third chapter considers works by Andrea Zittel, an artist also often discussed in terms of design, architecture and lifestyle. While Zittel's "critical optimism" offers promise, there are some critical failings of her project. I analyze some of the problems presented by Zittel's works in relation to comparable projects by Dan Graham and Jorge Pardo. These projects question, but also contribute to, the overvaluation of design that accompanies the contemporary phenomenon of obsession with styling self.

To discover the possibilities of children s experience with the language of Art from the very pre-school age and the purposeful application of the new educational methods also through the alternative (electro-digital) medium. To present the possibilities of Art activities in kindergarten through different Art media, especially digital photography, and above all to show a scale of those approachable instruments which could be accesible within the natural life in a pre-school collective, including electronic media. To create and implement a new Art project, based on the particular Art activities focused on work with digital photograhy. To implement personal intentions and opinion into the specific programs. To compare the final outputs of the Art activities of teachers and children. To evaluate the acquired findings as well as experience of implementation of Art activities.

The aim of this study is to understand what it is that motivates people to workwith cultural projects and how the motivation is experienced in the work. In orderto answer the purpose, two questions have been developed. What motivates peopleto work on cultural projects? and How do people experience the motivation within the work in cultural projects? The study has a qualitative focus with semi-structured interviews as the method for the data. The data has been analyzed from a thematic analysis which resulted in three themes. The developed themes arecalled "The group. The best and worst for motivation”, “What is Good enough?”and "I want to make a difference". Two conclusions have been drawn from theresults. The first conclusion shows that people are motivated to the culturalindustry and cultural projects because they feel their psychological needs satisfiedthere. The second conclusion shows that the social environment has an impact onmotivation and which direction it goes, if it is lowered or raised.

Socialiniai meno projektai Lietuvoje rengiami pakankamai neseniai, tačiau jau sulaukė visuomenės dėmesio. Šio darbo tikslas – išanalizuoti socialinių meno projektų ypatumus, pagrindinius jų vadybos principus. Pateikti realiai įgyvendinamų socialinių meno projektų „Nėra laiko“ ir „Apie Viltį“ aprašai, atskleidžiami šių projektų vadybos ypatumai. Analizuojant socialinius meno projektus buvo prieita prie išvados, kad socialiniai meno projektai iš kitų projektų išsiskiria savo sandara, paskirtimi bei poveikiu žmonių sveikatai, gerovei, socializacijai, integracijai ir pan. Svarbiausi socialinių meno projektų ypatumai – jų siekiami tikslai, paskirtis bei poveikis, susijęs su visuomenės ir žmogaus sveikata bei gerove. Meninių socialinių projektų tikslas – meninės raiškos priemonėmis kurti, reformuoti arba keisti nusistovėjusius socialinius modelius. Ne mažiau svarbus vienas pagrindinių socialinių meno projektų ypatumų – meninės raiškos forma atkreipti visuomenės dėmesį į aktualias socialines problemas. Be to, darbe atskleista, kad norint sėkmingai įgyvendinti socialinio meno projektą būtina vadyba, o vienas svarbiausių jos sėkmės pagrindų – skirtingoms sritims atstovaujančių asmenų – kultūros vadybininkų, menininkų, sveikatos priežiūros ir socialinių paslaugų teikėjų, vartotojų bei rėmėjų – kūrybiškas ir lankstus bendradarbiavimas. Remiantis tarpinstituciniu bendradarbiavimu, buvo sėkmingai įgyvendintas socialinis meno projektas „Apie Viltį“, įgyvendinti paruoštas ir socialinis... [toliau žr. visą tekstą] / Social art projects have been held in Lithuania since relatively recently, however, they have already attracted public attention. The aim of the Master Thesis is to analyse peculiarities of social art projects and the main principles of their management. This research provides detailed descriptions of the already implemented art projects “Nėra laiko” (“No Time”) and “Apie viltį” (“About the Hope”) and reveals peculiarities of the management of these projects. Analysis of the social art projects led to the conclusion that social art projects differ from other projects in their structure, aim, and effect on people’s health, welfare, socialisation, integration, and other issues. The main peculiarities of social art projects are their goals, purpose, and effect related to health and welfare of both - the public and individual. Artistic social projects are aimed at creating, reforming, or changing the already established social models by employing artistic means of expression. In addition, it is of equal importance for social art projects to attract public attention to social problems by employing these artistic means of expressions. Moreover, the research allowed for the conclusion that management plays an essential role in successful implementation of social art projects. Collaboration of representatives from different spheres, such as cultural managers, artists, providers of health care and social services, consumers, and supporters, is one of the most important key elements... [to full text]

Visuomenė tobulėja, kai jos socialinės grupės turi atviras ir lygias galimybes. Projektinis mąstymas, projektiniai metodai ir projekto veikla tampa vis populiaresnė. Socialiniai projektai – tai gera galimybė planuoti, organizuoti ir sisteminti veiklą, vertinti rezultatus ir analizuoti klaidas ir įgyti patirties. Socialinių meninių projektų veikla yra naudinga darant įtaką kultūriniam gyvenimui, vykdant socialinius meninius projektus, naudojant gatvės meną kaip metodą. Viena iš prevencinės veiklos būdų yra mokytis gatvės meno, nes ji yra artima visuomenei ir vystėsi iš gatvės kultūros. Ši veikla ypač yra artima jaunimo tarpe, nes hip hop‘o kultūra buvo kultivuojama gatvėse, kur buvo aktualios socialinės – ekonominės problemos. Kai jaunimas dalyvauja socialiniuose meniniuose prfojektuose ar propoguoja gatvės meną, jau automatiškai vykdo prevenciją. Kuo didesnis užimtumas, tuo mažiau vykdoma neigamos veiklos. Analizuojant prevencinės veiklos organizavimą ir jos tobulinimą, gatvės menas ir gatvės meno reikšmė parodo gatvės meno socializacijos aktyvinimo problemą ir yra keliamas klausimas – kaip turi būti organizuojama prevencinė veikla, taikant gatvės meną kaip metodą ar įrankį.Tyrimo tikslas: ištirti prevencinės socialinio darbo veiklos plėtotės, taikant gatvės meną, galimybes. Uždaviniai: 1. Išanalizuoti prevencinės veiklos organizavimą socialinio darbo kontekste. 2. Išnagrinėti gatvės meno socialinius ir prevencinius aspektus. 3. Atlikti gatvės meno taikymo prevencinėse... [toliau žr. visą tekstą] / Society improves, when its social groops have open and equal opportunities. Project thinking, project methods and project activities become more and more popular. Social projects – it is a good opportunitie to plan, organise and systematize an activity, to value results and analise mistakes and also to gain some eksperiense. Art and social projects activities ar useful doing influence to cultural life, forming art space and involving organization of prevention. In nonformal activitie when doing social and art projects, its might be tought street art. One of prevention activities ways is to have a look at street art , which came through street culture. This activitie is very close to young people groops – hip hop subculture was created and cultivated in the streets, between the youth whitch has social – economical problems. When youth is involved in street culture or participated in social and art projects, they automatically do prevention. The bigger is busyness, the less people do something, what is not acceptable to society. Analyzing prevention activities organizing and making updates, street art and the need of street art, it shows a problem of street art socialization activation and it is made a question – how has to be organized the prevention activitie, applying street art as method or tool. The aim of the thesis: investigate social work opportunities of prevnetion, by invoking street art. The objectives of the thesis: 1. Analyze the organisation of prevention... [to full text]

Integration of young migrants to the czech society by art practice Bc. Barbora Gallová 2012 ABSTRACT This thesis is concerned with the integration of juvenile migrants to the new host (Czech) society. The integration process is a complex phenomenon, which happens in the various levels of social life and its course is influenced by many aspects such as degree of cultural differences between immigrants and the host society, the amount of their mutual social ties, and psychological disposition of individuals to cope with the new conditions, etc. The goal of my work is to discuss a potential of art, artistic process, to have a positive effect on personal and social life of young migrants in the new society and to facilitate the coexistence of majority-minority population. At the same time, through the analysis of two selected artistic projects that are focused on working with migrants, I am trying to show, how the articstic and prague's project are using art for working with young migrants and whether their method is effective in influencing the integration process.

Documentation is usually regarded as an art project’s remain or trace that is created and used in different ways. In performance and digital art, documentation has become the focus of conservation and presentation strategies; however, there is a lack of standardized methods on how to make effective use of the different types of documentation. Using case studies from their own collections/practices, LIMA in Amsterdam, in collaboration with Tate and various artists / initiatives, in June 2020 organized a series of workshops to identify a typological framework of documentation. Specific attention was paid to performative installations, performance art in the museum, networked and research-based art projects.

The term integration became a buzzword and is omnipresent in the current European discourses. Despite its broad definitions, there is a tendency in migration studies and the political narrative to focus exclusively on migrants and their descendants while upholding the vision of  a fixed “host society”, with an established national culture, in which migrants should integrate. The present study aims to reframe the concept of integration by adopting a postmigrant approach and by analyzing the contribution of art projects in this regard. To do so, the study draws on two current theoretical approaches to integration in the social sciences, Stuart Hall’s conceptualization of national culture, the postmigration concept and the societal impact of art as theoretical framework. First, the notion of integration has been positioned theoretically in current postmigrant debates. The content analysis demonstrates that the conceptualization of postmigrant integration takes distance from the notion of assimilation and looks beyond the topic of migration. Second, eight semi-structured interviews have been conducted with project team members and project participants of the art projects “Newcomers”, “Leben, Erzählen, Schreiben”, “Hela Bilden”, and the organization “Alter &amp; Ego”. The thematic analysis of the interviews showed the necessity to address the “host population”, i.e. individuals without experience of forced migration, to overcome monolingualism and to concentrate on societal diversity which contributes to the theorization of postmigrant integration. The present thesis indicates the importance of the arts regarding their societal impact and agency to provide alternative narratives on migration and integration. It also stresses the necessity of integration policies and the European migration regime to take part in the reframing of current migration discourses by directly addressing the “host population” and acknowledging today’s context of plural societies in which everyone should integrate. / <p>This thesis has been written as part of the EuMIGS double degree programme in the field of Migration Studies. </p>