Thesis (C.A.D.) -- University of Western Sydney, [ 2002]. / "This research is submitted as partial fulfillment of the requirements for the degree of Doctor of Creative Art, Contemporary Art " Includes bibliography.

Thesis (M.F.A.)--Rochester Institute of Technology, 1990. / Typescript.

Thesis--Stanford University. / "Illustrations ... not microfilmed at the request of the author. These illustrations are available for consultation at Stanford University Library." eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 240-249).

Thesis (M.A.)--University of North Texas, May, 2009. / Title from title page display. Includes bibliographical references.

The subject of this thesis is the circumstances surrounding the emigration of European modern artists to America in the late 1930's and early 1940's, and their initial reception in the city of New York. The primary vehicle of this investigation will be the Artists in Exile show, their first collective exhibition which took place at the Pierre Matisse Gallery in March of 1942. The reason why it is felt that such an investigation is warranted is that while there is a great deal of literature concerned with the Nazis vehement denunciation of modern art and their persecution of its practitioners, little has been written on how these artists actually came to arrive in America. It is I believe, too often assumed that while their voyage may have been a difficult one, they were embraced by a nation that has perpetually proclaimed itself as a defender of democratic freedom and a haven for the oppressed. Contrary to this assumption, it will be asserted that their initial presence was largely met with resistance in America due to a historical period of economic, social, political and cultural isolationism. In Chapter One, an attempt will be made to more clearly define the historical circumstances which gave rise to American isolationism and a resultant anti-alienism, sentiments which had a direct bearing upon the cool reception of the Europeans and their work. Given the existance of such attitudes, it becomes necessary as well to identify the various groups who championed the artist refugees, their motives in doing so, and the specific strategies employed to circumvent native resistance in order to bring these individuals to North American shores. It will be asserted that this support came from a small group of liberals situated within northeastern educational institutions who were alarmed by the fascist threat to freedom of scholary and artistic expression. In addition, they were motivated by what they believed to be an unprecedented opportunity to bring to America and place at its disposal, superior levels of European scholarly and artistic achievement. Chapter Two will undertake an investigation into the reception of the Europeans in New York based upon an analysis of the problematic usage of catagories employed to place them in roles reflective of their circumstances. These terms include refugee, emigré, immigrant, exile, and alien. In addition, it will hopefully be revealed how these new roles had a deleterious effect upon the self perception of the emigres, seriously affecting their critical output as exiles. Chapter Three will be devoted to the Artists in Exile show itself. Specific focus will be on the strategies employed in its manifesto and why for the most part, they were unsuccessful in winning over a viewing public largely resistant to European modern art. In addition, specific works exhibited in the show will be analysed to see how they registered the varied concerns of the artist emigrés at this time in history. Finally, the conclusion will deal with two additional shows of European modern art in that same year; the First Papers of Surrealism, and Peggy Guggenheim's Art of This Century. It will be maintained that the strategies employed in this latter show were to a high degree, largely responsible for the eventual winning over of needed patrons necessary for the acceptance and continuation of European modern art in America. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

This qualitative case study began with a question: How can interactivity be taught, in particular online interactivity? Additionally, how does the teaching artist’s practice of online interactivity inform their studio teaching of interactive related themes? As such, this study first discloses patterns of the three select digital media artists’ artistic experiences of online interactivity. Then, this study aims to explore the reciprocal relationships between their practices and studio teaching. The three participating artists include: Lynn Hershman Leeson, Rafael Lozano-Hemmer, and Martine Neddam. The three selected artists have worked with digital media, with a focus on the Internet and online web browsers since the mid to late-1990s, when the Web was in the early stages of its public access and information deployment. In order to probe into this study’s research theme through the artists’ own voices, this study conducts in-depth interviews via email and Skype meetings. This study also employs In Vivo coding for data analysis in order to closely examine the interview data. The findings present a unit of discovered key concepts in response to the central research question and its sub-questions. In response to the role of online interactivity in the artistic process, four key concepts have emerged: active participation, relationship, freedom, and artistic language. The artists believe that the creation of online interactivity has its roots in critical reflection of digital culture with humanistic views. In regard to pedagogical and instructional strategies related to the participating teaching artists’ practices of online interactivity, the three primary patterns discovered in this study are: artistic experience, problem-solving and dialogue. Surprisingly, the findings show that the artists’ responses to their pedagogies present a general view of studio art reaching, rather than an emphasis on teaching online interactivity in particular. The artists described that their pedagogies are informed by their practices, which deal with different challenges in a problem-solving process. These problems cover technological skills, practical matters, and mindsets. For the artists, their role of the artist-as-teacher is to guide their students in developing the ability to think holistically, and give them problem-solving skills in the students’ individual artistic processes.

Typescript (photocopy). / Digitized by Kansas State University Libraries

No description available.

No description available.

This research proposes and develops a critical framework - a 'matrix' to make sense of the artistic process from the practitioner's perspective. It draws from the research of de Certeau into everyday culture and the art historical discourse of Bourriaud that positions art within models of social interaction. As a critical concept the everyday has benefits for re-thinking the nature of creative activity and its reception. The term participatory relational practice is used \ 11 this thesis to define an approach that situates the artist within the everyday. The matrix is constructed reflexively through three of my art projects and by analysing two artists engaged by the On the Edge research programme to conduct two projects. Used reflectively in and on practice the matrix sensitizes the artist to judgements, values and qualities within a dynamic process of exchange and transaction. The matrix represents a core from which judgements about practice are considered and negotiated. It comprises three inter-dependent dimensions, which the artist selfconsciously models. The aesthetic may be defined as the intricacies of giving form to experience, the ethical as enabling individuals to share a freedom to think, speak or act differently, and the polemical as forming, expressing and enacting a view or position. The research proposes that a nuanced critique may be defined as the interplay between the aesthetic, the playful and resistance. It responds to the need identified in the discourse to develop a multidimensional understanding of practice. The matrix is a way of considering and representing the aesthetic as part of an interdependent whole - a system of values. The research addresses artists and critical theorists interested in collaboration and multi-disciplinary work. The matrix is both interpretive and generative. It can be used to structure and evaluate projects. It has implications for pedagogy in terms of better equipping younger artists with the skills necessary for operating within the everyday as the multi-layered fields of civic society.