Thesis (M.A.)--Rowan University, 2009. / Typescript. Includes bibliographical references.

Thesis (Ph.D.)--Kent State University, 2008. / Title from PDF t.p. (viewed Oct. 26, 2009). Advisor: James G. Henderson. Keywords: art; social change; curriculum studies; a/r/tography; arts-based research. Includes bibliographical references (p. 266-276).

This thesis examines the trajectory of the ‘social document’ in contemporary art since 1989. Though art’s turn towards documentary modes has now been widely noted, this study establishes a longer, more complex engagement with the dialogue between the lens and the situational immediacy of artists’ social interventions. I argue that the social documents that arise through the reconfigured artwork can be connected with the demand for the circulation of social knowledge and increasingly urgent questions of realism, a methodology that divided the avant-garde and neo-avant-garde of the 20th century. Central issues broached by the thesis include the demand for the extraction and re-articulation of truth, the role of visual representation in the address to totality and the emergence of (independent) knowledge and (critical) pedagogy as key sites of struggle. My analysis begins, in Part I, with a selective mapping of the historical terrain through which I offer re-readings of prescient works produced in the 1960s and 1970s in a range of capitalist and state socialist contexts including Mary Kelly, Grupo de Artistas de Vanguardia and Sanja Iveković. I then move on to a more detailed appraisal of the ascendancy of the social document in art following the collapse of the Berlin Wall and the consolidation of global capitalism, situating its various calibrations in relation to what I call biopolitical globalisation. Part II takes a thematic approach to the material, using case studies to examine a) the curatorial narrativisation and production of social documents, b) the relevance of feminist elaborations on theories of social reproduction to analyses of the social document and art history, c) the persistent invocation of ethics in discussions of works that document the social subjects of the new economy, d) the implications of addressing the social document as a realist enterprise. Artists discussed in Part II include Anton Vidokle, Martha Rosler, WochenKlausur, Dani Marti and Pilvi Takala.

Thesis (M. Ed.)--University of Hong Kong, 1997. / Includes bibliographical references (leaf 79-81).

Thesis (M.Ed.)--University of Hong Kong, 1997. / Includes bibliographical references (leaves 79-81). Also available in print.

This research explores parallels, connections and synergies between public art, artistic practice beyond the gallery context, and Web 2.0, the Internet platform for user‐ generated content, online communication medium and host for web-based communities. I look at the impact, actual and potential, of Web 2.0 on the ways in which public art is made. Through Web 2.0 a different set of criteria and methods can be established in order to re-examine the practice of art. What can public art learn from Web 2.0? What are the possible debates that Web 2.0 can provoke in the field of public art? What novel forms of audience engagement with, and participation in, public art could be inspired by the practices of co-creation and sharing integral to Web 2.0? Has the relationship between artists and audience changed because of Web 2.0? Web 2.0 prompts us to reconsider the ways in which public art is produced. In my approach I take into consideration that Web 2.0 is useful in expanding the possibilities of public art by providing a unique opportunity for shared creativity in the public space. I call this field Public Art 2.0. This study considers the attributes of Web 2.0 as a methodological framework for public art. It offers a reconsideration of the understanding of the contentious issues surrounding the practice using Web 2.0 as a platform of shared creativity. To validate this argument further, this research investigates two case studies: the Big Art Mob (2006) and the Bubble Project (2002). Both initiatives represent an area where public art and Web 2.0 intersect. This thesis includes a report of findings from qualitative interviews with members of both projects. Public Art 2.0 is a hybrid type of practice that borrows from the digital world and applies the principles of Web 2.0 in the physical space. Public Art 2.0 is a creative space where changes are welcomed at any time. Public Art 2.0 is open source — a process of creation, encouraging multi-authorship and shared creativity. Public Art 2.0 is viral — it can be replicated and re-presented many times by anyone that wishes to do so. Public Art 2.0 is a platform that anyone can build upon and a process that enhances the ability to create together.

<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>

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:

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.

<p> The purpose of this project was to develop a program, explore potential funding sources, and complete a grant application to secure funding for an expressive arts showcase for clients at Homeboy Industries who have a criminal and gang-affiliated past, and are now attempting to re-integrate in their communities. Narrative therapy, Cognitive Behavioral Therapy, art therapy, and mindfulness may significantly ameliorate the conditions faced by this population, as well as the overall well-being of the community through a showcase of expressive arts composed and performed by the clients of Homeboy Industries. A search for potential funding sources led to The Goldhirsh Foundation as the most appropriate source for this grant. A grant proposal was written describing an expressive arts program for Homeboy Industries that will ultimately result in a showcase for community consumption. Actual submission and/or funding of the grant were not required for the successful completion of this project. </p>