Perception of 'border' as an intersection rather than seperatation at contemporary art practice
Başlık çevirisi mevcut değil.
- Tez No: 402574
- Danışmanlar: DR. ANNA MAZZANTI
- Tez Türü: Yüksek Lisans
- Konular: Sahne ve Görüntü Sanatları, Sanat Tarihi, Performing and Visual Arts, Art History
- Anahtar Kelimeler: Belirtilmemiş.
- Yıl: 2013
- Dil: İngilizce
- Üniversite: Polıtechnıco Dı Mılano (technıcal Unıversıty Of Mılan)
- Enstitü: Yurtdışı Enstitü
- Ana Bilim Dalı: Belirtilmemiş.
- Bilim Dalı: Belirtilmemiş.
- Sayfa Sayısı: Belirtilmemiş.
Özet
Özet yok.
Özet (Çeviri)
The main objectives of this thesis are to search the interpretation of 'border' as a limit between the meaning and perception beyond existing appearances while examining how it acts as an aesthetic figure along the history of modern arts. Since the early 1900s, artists began to experiment overlapped perspectives, abstract compositions and assemblage materials which converted two dimensional compositions into 3D installations. This differentiation at artistic representation began to force artists to expand limits of aesthetic, knowledge, and it became an origin point that started to create 'pedestrian spaces 'where audience participation began to act as an intersection between space and presence. Intention at this thesis is to emphasize these facts in three main parts. First part is the research section where 'border and boundary' terminologies are examined. After studying terminologies, there is a section which investigates different interpretations of 'border' as a geometry and semantic along history of modern arts. Second part is the exemplification chapter that works of contemporary artists: Fred Sandback, Eva Rothschild and Esther Stocker, who have similar purposes like: realigning geometries and creating 'experimental' spaces that lead spectator to see perceive facts beyond the existing environments, are represented. In this section; while giving examples from these artists, there is also an intention to expose how they push limits of space perception and integrate abstract forms into architectonical installations. And lastly, at the third chapter, there is a debate about the interaction between art-nature, and role of aesthetic experience at this relation. Representation of nature within white cube begins to blur boundaries between interiors and exterior. That is the reason why audience participation started to be interpreted as a bound between space and meaning by some contemporary artists. This section of the research also includes an exploration part which investigates some of Richard Long's and Henrique Oliveria' s works, and exposes how 'nature as a bound ' is represented like a threshold between space and perception. To sum up, this thesis' intention is to focus on: interpretation and representation of 'border' as an intersection rather than a separation along history of modern arts, and try to emphasize how audience participation acts as a 'bound' between space and meaning at installation art practice.
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