Thesis (M.A.)--University of Melbourne, School of Fine Arts, Classical Studies & Archaeology, 1999. / Typescript (photocopy). Includes bibliographical references (v. 2, leaves 1-8).

Thesis (Ph.D)--Mudoch University, 2004. / Thesis submitted to the Division of Arts. Includes bibliographical references (p. 251-268).

Thesis (Ph. D.)--University of Texas at Austin, 2007. / Includes bibliographical references (p. 259-268). Also available via the World Wide Web.

Thesis (M. of Gerontological Studies)--Miami University, Dept. of Sociology and Gerontology, 2005. / Title from first page of PDF document. Document formatted into pages; contains [1], v, 60 p. Includes bibliographical references (p. 53-60).

Formal art education equips students with skills to produce artworks. A formal art education may increase the opportunity for employment, however, art-related employment is very limited. Art graduates would be better equipped to market and manage art establishments or their own careers if art education were to be supplemented with basic business skills. Artists who wish to earn unsupplemented incomes from their art should undertake to acquire business acumen. This includes being presentable to the market place in attitude and appearance. It also includes aptitude in art, marketing and management. Role models and non-models of success and failure in business should also be observed. Art graduates should adopt applicable tried and tested business methods. Good marketing is a mix of business activities which identifies and creates consumer needs and wants. Marketing activities involve research, planning, packaging, pricing, promoting and distributing products and services to the public to create exchanges that satisfy individual and organisational objectives. Art products include artworks, frames, art books and art materials. Art-related services include the undertaking of commissions, consulting, teaching, free parking, convenient shopping hours, acceptance of mail or telephone orders, exhibitions, ease of contact, approval facilities, wrapping, delivery, installations (picture hanging), quotations, discounts, credit facilities, guarantees, trade-ins, adjustments and restorations. Good management is a mix of business activities which enables a venture to meet the challenges of supply and demand. There is a blueprint for management competence. The three dimensions of organisational competence are collaboration, commitment and creativity. Self-marketing and management is an expression of an artist's most creative being. It is that which can ensure and sustain recognition and income. Artists, like other competent organisations and entrepreneurs from the private sector, should operate with efficient manufacturing, marketing, management and finance departments. They are also equally important and therefore demand equal attention. Artistic skill together with business acumen should equip the artist to successfully compete in the market place. There are no short-cuts to becoming an artist but there are short-cuts to becoming a known and financially stable artist. Understanding marketing and management could mean the difference between waiting in poverty and frustration for a "lucky break" (which may only happen after an artists's death) and taking control. Success should be perpetuated through continuous effort.

This research study focusses on how and why Carol Hofmeyr began the Keiskamma Art Project in Hamburg, Eastern Cape, as well as the development of the project’s infrastructure, history and detailed business practices and how it has evolved. A chronological detailed pictorial record has been drawn up of the major/monumental works it has produced, its achievements, awards and the accolades it has won. The recurrent narrative themes of HIV/AIDS, Nguni cattle, the Nongquawuse story, local birds, plants and fish which are also discussed. A comparable study, comparing the business practices of the Keiskamma Art Project with the research of Professor Ingrid Stevens on Morris & Co and five other successful, sustained South African Art Projects. Data has been tabulated in an effort to recognise the variances, similarities and differences in an effort to identify a “best practise” business model. Such a model may assist in the development of further art projects, so as to uplift other poverty stricken communities in South Africa. This research study focusses on how and why Carol Hofmeyr began the Keiskamma Art Project in Hamburg, Eastern Cape, as well as the development of the project’s infrastructure, history and detailed business practices and how it has evolved. A chronological detailed pictorial record has been drawn up of the major/monumental works it has produced, its achievements, awards and the accolades it has won. The recurrent narrative themes of HIV/AIDS, Nguni cattle, the Nongquawuse story, local birds, plants and fish which are also discussed. A comparable study, comparing the business practices of the Keiskamma Art Project with the research of Professor Ingrid Stevens on Morris & Co and five other successful, sustained South African Art Projects. Data has been tabulated in an effort to recognise the variances, similarities and differences in an effort to identify a “best practise” business model. Such a model may assist in the development of further art projects, so as to uplift other poverty-stricken communities in South Africa.This research study focusses on how and why Carol Hofmeyr began the Keiskamma Art Project in Hamburg, Eastern Cape, as well as the development of the project’s infrastructure, history and detailed business practices and how it has evolved. A chronological detailed pictorial record has been drawn up of the major/monumental works it has produced, its achievements, awards and the accolades it has won. The recurrent narrative themes of HIV/AIDS, Nguni cattle, the Nongquawuse story, local birds, plants and fish which are also discussed. A comparable study, comparing the business practices of the Keiskamma Art Project with the research of Professor Ingrid Stevens on Morris & Co and five other successful, sustained South African Art Projects. Data has been tabulated in an effort to recognise the variances, similarities and differences in an effort to identify a “best practise” business model. Such a model may assist in the development of further art projects, so as to uplift other poverty stricken communities in South Africa.This research study focusses on how and why Carol Hofmeyr began the Keiskamma Art Project in Hamburg, Eastern Cape, as well as the development of the project’s infrastructure, history and detailed business practices and how it has evolved. A chronological detailed pictorial record has been drawn up of the major/monumental works it has produced, its achievements, awards and the accolades it has won. The recurrent narrative themes of HIV/AIDS, Nguni cattle, the Nongquawuse story, local birds, plants and fish which are also discussed. A comparable study, comparing the business practices of the Keiskamma Art Project with the research of Professor Ingrid Stevens on Morris & Co and five other successful, sustained South African Art Projects. Data has been tabulated in an effort to recognise the variances, similarities and differences in an effort to identify a “best practise” business model. Such a model may assist in the development of further art projects, so as to uplift other poverty stricken communities in South Africa.

ABSTRACT This thesis presents case studies of five projects that use the visual arts to effect social change in post-apartheid South Africa. Artist Proof Studio, Paper Prayers, Phumani Paper, Community Engagement at the University of Johannesburg and the AIDS Action Intervention exemplify a range of approaches to social activism through the arts that parallels the political transformation to democracy. The first case study traces the history of the community printmaking studio, Artist Proof Studio, from 1991 to 2008 in three phases: redress, reconciliation and rebuilding. Artist Proof Studio was founded in 1992 to provide visual arts training to highly creative, but previously disadvantaged individuals. The Paper Prayers for AIDS Awareness initiative was implemented as a program of the studio in 1998. Originally funded by government, the campaign reached thousands of people nationwide. Phumani Paper, a national hand papermaking programme for job creation, was founded in response to a state directive to higher education institutions to implement technology transfer and poverty alleviation initiatives. The Papermaking Research and Development Unit was established at the University of Johannesburg in 1996. The principles and approaches established through these programs are analysed in the fifth case study, the AIDS Action Intervention. This three-year intervention brings all the initiatives together in a multi-disciplinary program that applies participatory action research as well as visual arts methodologies that help catalyse meaningful social action. There are common elements running through each of the case studies that derive from the fact that each intervention was based on the democratic values of human rights and equity. Further, the methodology throughout is dialogical, consultative, and designed to facilitate participants recognizing their own voices. The idea is that practice leads to understanding and stems from a fundamental ethical principle or ideal that all human beings have the capacity to realize their potential in their own way. The central argument of these case studies is that the projects continue to survive, against significant odds, because of the power of imagination, aspiration and dreaming. I interrogate the projects’ foundational premise that participants are empowered by the creative process, which promotes a sense of pride, and generates leadership as well as income. In addition, I argue that grass-roots visual arts projects, which ordinarily go un-analysed in any systematic way, can offer a model for transforming knowledge-creation through their non-hierarchical and participatory methodologies. In sum, this thesis documents and analyses eighteen years of arts activism; it assesses the actual outcomes of the interventions against the idealistic aims on which the projects were founded, and provides a resource guide for cultural activism in South Africa. It demonstrates the dynamic possibilities that exist in the domain of development and arts education.

The purpose of Non-credit community arts programs: A comparative case study of three programs within research universities is to examine the perceptions of the various stakeholders of non-credit community arts programs to determine the perceived benefits received by all stakeholders from the non-credit program, the university, and its surrounding community, the variables of a successful program, and the sustainability of these programs within their parent institution. The research methods used included a preliminary 41-question survey distributed to 76 non-credit community arts programs embedded within colleges or universities to determine the specific programs within research universities. These 76 collegiate divisional community schools of the arts belong to the 400 members of community arts schools in the National Guild of Community Schools of the Arts. The results of the survey were used to determine the three non-credit community arts programs that were selected for the case study. The case study of each of the three non-credit community arts programs was used to learn the perceptions of the various stakeholders of each of the programs and their respective parent institution. The stakeholders included research university administrators, the non-credit program's executive administrators, the program's faculty, staff, students, and parents of students that participate in the non-credit community arts programs. Site visits, interviews, either in person or via phone conversation, and review of printed materials were employed to obtain from the various stakeholders the perceived benefits of these non-credit community arts programs, the variables that contribute to a successful program and their sustainability within the research university. The diversity of the stakeholders interviewed provided a thorough observation of these programs from varying perspectives to discover their impact on the individual students as well as the university, its internal community and the community-at-large. / Educational Administration

嚴瑞芳. / "2011年8月". / "2011 nian 8 yue". / Thesis (M.F.A.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (leaves 31-32). / Abstract in Chinese and English. / Yan Ruifang. / 前言 --- p.1 / 從自律到他律 --- p.4 / 必然的創作過程 --- p.9 / 從公共空間到公共性 --- p.10 / 對話性的平台 --- p.13 / 例子一 ：Francis Alys --- p.16 / 例子二 ： Sophie Calle --- p.18 / 例子三：Gillian Wearing --- p.19 / 說故事作爲理想溝通方法 --- p.21 / 一個收買故事的故事 --- p.24 / 總結 --- p.26 / 附錄一：作品簡述 --- p.28 / 參考書目 --- p.31

Abstract not available. / Thesis (M.A.F.A.)-University of Natal, Pietermaritzburg, 1997.