Theory and Criticism Commons^™

Holistic Approaches In A Secondary Discipline-Based Art Education Curriculum, Jennifer Hicks Limle

Theses, Dissertations and Capstones

The primary objective of this study is to examine the possible advantages of incorporating the principles and strategies of whole language to a secondary art education curriculum. Reading, or the process of decoding symbols, is an integral part of the learning process. It is particularly pertinent to the three academically oriented components of Discipline-Based Art Education: art criticism, art history, and the study of aesthetics. The holistic strategies promoted by the whole language movement, may be characterized by an emphasis on written responses and experience-oriented, student-centered curriculum. This approach is expected to enhance the DBAE curriculum.

The possibility that primary …

Remembering The Avant-Garde: Vision And Time In The Poetry Of Frank O'Hara, Graham Macphee

English Faculty Publications

No abstract provided.

French Aesthetics: Contemporary Painting Theory, Gary Shapiro

Philosophy Faculty Publications

One peculiar feature of the Anglo-American reception of French thought since about 1970 is the view that the variety of thinkers and tendencies involved reduces everything to language. One crucial place to test such a reading is with regard to a set of texts devoted to painting and the visual arts, for the latter would seem to be situated at or beyond the boundaries of language, a place that Julia Kristeva calls the semiotic. The alleged reductionism of the French is usually construed as the claim that language is a seamless whole in which all meanings are defined in terms …

Redefining The Art Experience : From Static To Temporal Art Forms, Justine Mcknight

Theses: Doctorates and Masters

This research examines an approach to art making and viewing that questions the acceptance of the autonomous object in favour of a transient experience. It focuses specifically on work and writing from the 1960s by the American artist Robert Morris that attempted to alter the then predominant Formalist understanding of the art object as autonomous and self-referential. This investigation follows the formal and conceptual development of Morris' work (and that of associated artists Richard Serra and Rafael Ferrer) with particular focus on the shift from static objects to time-based and transient an-forms including film/video and installation. I address the influence …