東華大學圖書館 |

語系: 繁體中文

說明(常見問題)

回圖書館首頁

手機版館藏查詢

登入

回首頁

切換: 標籤 | MARC模式 | ISBD

The Research and Teaching of Art Des...

Ridlen, Timothy Michael.

FindBook

Google Book

Amazon

博客來

The Research and Teaching of Art Despite Its Disappearance: Art in Academia, 1957-1977.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	The Research and Teaching of Art Despite Its Disappearance: Art in Academia, 1957-1977./
作者:	Ridlen, Timothy Michael.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2018,
面頁冊數:	251 p.
附註:	Source: Dissertations Abstracts International, Volume: 80-01, Section: A.
Contained By:	Dissertations Abstracts International80-01A.
標題:	Art history. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10743599
ISBN:	9780438122406

The Research and Teaching of Art Despite Its Disappearance: Art in Academia, 1957-1977.
Ridlen, Timothy Michael.

The Research and Teaching of Art Despite Its Disappearance: Art in Academia, 1957-1977. - Ann Arbor : ProQuest Dissertations & Theses, 2018 - 251 p.

Source: Dissertations Abstracts International, Volume: 80-01, Section: A.

Thesis (Ph.D.)--University of California, San Diego, 2018.

This item must not be added to any third party search indexes.

This dissertation looks at artists whose work was closely aligned with research and pedagogy in the American university from the late 1950s to the early 1970s. Four institutional projects structure the work: a collaborative research proposal at Rutgers University, a research center at the Massachusetts Institute of Technology (MIT), a series of exhibitions at Finch College, and an experimental school at the California Institute of the Arts (CalArts). My analysis begins with Gyorgy Kepes's Center for Advanced Visual Studies at MIT, a center for artistic research meant to bridge the visual arts with the tradition of science and research. The Center's model of research shared key characteristics with the scientific tradition, such as discovering fundamental principles through experimentation (emphasizing the visible experience) and creative-problem solving. Next, I look at the "Project in Multiple Dimensions," a research proposal written collaboratively by Allan Kaprow, Robert Watts and George Brecht for Rutgers University. I argue that these artists' works offer a knowledge alternative not unlike Dewey's aesthetic experience and intelligent action, or knowing through doing, and that this model worked against the dominant trends of the university. The subsequent chapters look at the Art in Process exhibitions at Finch College, and the collaborative Feminist Art Program (1971-73) at CalArts. Some instances of conceptual strategies that appeared in the exhibitions at Finch College (seriality and the use of information and language in the work of Mel Bochner, for instance) transformed the understanding of aesthetic experience-not abandoned it-by aligning it with the ability to disclose and construct consciousness or subjective experience. The final chapter looks at how this new decentralized notion of experience collided with a political notion of experience at CalArts. Key works by John Baldessari, Suzanne Lacy, and the Feminist Art Program represented the artist in society in competing ways, as either critically detached or socially engaged. A practice component also contributes to fulfilling the requirements for the degree, included here as supplemental files.

ISBN: 9780438122406Subjects--Topical Terms:

2122701
Art history.
Subjects--Index Terms:

CalArts

The Research and Teaching of Art Despite Its Disappearance: Art in Academia, 1957-1977.
LDR:03510nmm a2200385 4500 001 2274178
005 20201120093336.5
008 220629s2018 ||||||||||||||||| ||eng d
020 $a 9780438122406
035 $a (MiAaPQ)AAI10743599
035 $a (MiAaPQ)ucsd:17144
035 $a AAI10743599
040 $a MiAaPQ $c MiAaPQ
100 1 $a Ridlen, Timothy Michael. $3 3551646
245 1 4 $a The Research and Teaching of Art Despite Its Disappearance: Art in Academia, 1957-1977.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2018
300 $a 251 p.
500 $a Source: Dissertations Abstracts International, Volume: 80-01, Section: A.
500 $a Publisher info.: Dissertation/Thesis.
500 $a Includes supplementary digital materials.
500 $a Advisor: Kester, Grant;Wardwell, Mariana.
502 $a Thesis (Ph.D.)--University of California, San Diego, 2018.
506 $a This item must not be added to any third party search indexes.
506 $a This item must not be sold to any third party vendors.
520 $a This dissertation looks at artists whose work was closely aligned with research and pedagogy in the American university from the late 1950s to the early 1970s. Four institutional projects structure the work: a collaborative research proposal at Rutgers University, a research center at the Massachusetts Institute of Technology (MIT), a series of exhibitions at Finch College, and an experimental school at the California Institute of the Arts (CalArts). My analysis begins with Gyorgy Kepes's Center for Advanced Visual Studies at MIT, a center for artistic research meant to bridge the visual arts with the tradition of science and research. The Center's model of research shared key characteristics with the scientific tradition, such as discovering fundamental principles through experimentation (emphasizing the visible experience) and creative-problem solving. Next, I look at the "Project in Multiple Dimensions," a research proposal written collaboratively by Allan Kaprow, Robert Watts and George Brecht for Rutgers University. I argue that these artists' works offer a knowledge alternative not unlike Dewey's aesthetic experience and intelligent action, or knowing through doing, and that this model worked against the dominant trends of the university. The subsequent chapters look at the Art in Process exhibitions at Finch College, and the collaborative Feminist Art Program (1971-73) at CalArts. Some instances of conceptual strategies that appeared in the exhibitions at Finch College (seriality and the use of information and language in the work of Mel Bochner, for instance) transformed the understanding of aesthetic experience-not abandoned it-by aligning it with the ability to disclose and construct consciousness or subjective experience. The final chapter looks at how this new decentralized notion of experience collided with a political notion of experience at CalArts. Key works by John Baldessari, Suzanne Lacy, and the Feminist Art Program represented the artist in society in competing ways, as either critically detached or socially engaged. A practice component also contributes to fulfilling the requirements for the degree, included here as supplemental files.
590 $a School code: 0033.
650 4 $a Art history. $3 2122701
650 4 $a Film studies. $3 2122736
653 $a CalArts
653 $a MIT
653 $a Rutgers
690 $a 0377
690 $a 0900
710 2 $a University of California, San Diego. $b Art Hist,Theory,Crit w/Con Art Prct. $3 3551647
773 0 $t Dissertations Abstracts International $g 80-01A.
790 $a 0033
791 $a Ph.D.
792 $a 2018
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10743599