Mais do que investigar algumas das relações possíveis entre a pintura e a fotografia, esta pesquisa tem como objetivo criar uma reflexão sobre a minha produção pictórica que estende-se desde o período da minha graduação e segue adiante, explorando os aspectos que permeiam o trabalho - as questões relativas à história da arte; os parques de diversões sob diferentes aspectos; a imagem automatizada e suas características, especialmente no contexto da tecnologia digital disponível no início do Século XXI. / Besides investigating the possible relations between painting and photography, this research work intends on creating a reflection about my pictorical production which began on my graduation years and keeps going on, exploring aspects related to the work - questions related to Art History; amusement parks through their different aspects; automated image and its characteristics, specialy on the context of digital technology available at the beginning of the 21st Century

Made available in DSpace on 2016-12-08T16:18:57Z (GMT). No. of bitstreams: 1 123673.pdf: 21799757 bytes, checksum: 0c2c0bc25088e3c78af726ec736c7f2f (MD5) Previous issue date: 2014-07-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Presented as an artist publication, this research intertwines a series of collections of objects found on the street, as well as fictions regarding the history of such items, by approaching different works of the French writer Georges Perec. / Apresentada como uma publicação de artista, esta pesquisa entrelaça uma série de coleções de objetos encontrados pelas ruas e fabulações sobre tais itens, com diversas obras do autor francês Georges Perec.

The following report documents my 480-hour internship from August 17th, 2015 to January 29th, 2016 in the Education and Public Programs Department at the Contemporary Arts Center (CAC). I worked closely with the Marketing and Visual Art Departments. I chose the organization to experience an environment that commits itself to presenting high quality performing and visual arts. This paper assesses the CAC’s history, present day status, and future outlook. It also offers suggestions on how certain aspects can be improved in order to extend the organization’s longevity. Over the course of five months I observed strengths, weaknesses, opportunities and threats to the organization. Additionally, using knowledge gained from my Arts Administration classes and personal observations, this paper offers predictions as to the organization’s future.

This dissertation examines an Indonesian-North American version of an evolving, transnational and hybrid multimedia art form which has come about through forty years of adaptations made by cross-culturally located artists in creative conversation with Indonesian performers involved in the Javanese and Balinese forms of musical theatre known as wayang. Wayang theatre employs puppets and other components including gamelan music (Indonesian percussion instruments, drums, flutes, strings and vocals). Given this complexity, there are many possibilities for variations, changes, and hybridization. In this research project, I analyze aspects of this hybrid performance by analyzing select Indonesian-North American wayang performances, as case studies. In order to isolate complex changes and various adaptations of wayang performances in the North American setting, I also analyze and contextualize a hybridization of Javanese and Balinese wayang performances. As a performance art form, wayang has always been changing historically—at some points more quickly and dramatically than at other periods of time, thus resisting firm categorization that would provide a baseline for comparison. I have developed the wahiyang theoretical framework as an analytical tool to identify the influence of North American culture on the wayang performances in my case studies. I argue that new genre of wayang is emerging, creating a hybridized form that I call wahiyang gaya NA. This process has progressed to the point that wahiyang gaya NA can be said to represent a new genre of multimedia world art, which combines elements of local and global artistic practises, making the form even more flexible and adaptable than its original forms in Indonesia. The gradual spread and popularization of wayang in North America has definite historical contexts, namely the early 19th-to-mid 20th century conjunction of decolonization and Third World nationalism, with the more recent decades’ layering of multiculturalism and push towards conscious cultural responses to economic globalization. This developing continuum of new hybrid forms spans a spectrum of cultural inclusion and expansion of wayang and new components. At times these may be seen as wayang influence upon Western performance practice; at other times an entire Indonesian wayang production with additional elements added from Western music, theater, and other disciplines may be presented. These developments signify an enhanced and expanded exchange of cultural products between the nations of the world, taking place in an expanded space for dialogue between the artists of the developed and developing countries. I will show, using case studies, how this process has produced and is producing a new branch of wayang as part of a continuum of hybridized wayang forms. By examining selected performance collaborations that have taken place over the last 40 years, I will provide a detailed analysis, which for the first time, lays out the components that constitute the variation of wayang art performance that has developed in response to geographical and cultural contexts of the Pacific Northwest of USA and Westcoast Canada. / Graduate / 2018-04-12 / 0377, 0357, 0465 / sutrisno@uvic.ca

本研究提出「紐約當代藝術家經營模式」的研究架構，其後進行個案研究，觀察蔡國強與村上隆兩位國際級的當代藝術家的創作內涵與經營事蹟，使讀者與後續研究者能夠有系統地解讀其藝術事業的具體結構。 / This study first proposes the research framework of " Business Model of New York contemporary artists ", then does a case study on two world-class contemporary artists, Cai Guo Qiang and Takashi Murakami, and observe their creation and business in order that the readers and future researchers can interpret the concrete structure of their artistic business in a systematic manner.

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Using portraiture methodology and social practice theory, this study examined the identity work of young people engaged in a teen arts internship program at a contemporary arts center in post-Katrina New Orleans. This research asked four interrelated questions. Through the lens of a teen arts internship at a contemporary arts center in post-Katrina New Orleans, 1) How do contextual figured worlds influence artist identity work? 2) How does artist identity work manifest through personal narratives? 3) How does artist identity work manifest in activities? 4) What are the consequences of artist identity work? The findings of the study highlight how sociocultural factors influence dis/identification with the visual arts in young people and provoke considerations of in/equity in the arts.