Formal Reductions: Experimentation in Conceptual Paintings
| dc.contributor.author | Addae, Michael | |
| dc.date.accessioned | 2013-03-14T11:02:43Z | |
| dc.date.accessioned | 2023-04-19T19:37:24Z | |
| dc.date.available | 2013-03-14T11:02:43Z | |
| dc.date.available | 2023-04-19T19:37:24Z | |
| dc.date.issued | 2011-03-14 | |
| dc.description | A Thesis submitted to the School of Graduate Studies, Kwame Nkrumah University of Science and Technology, Kumasi, in partial fulfilment of the requirements for the Degree of Master of Fine Arts. | en_US |
| dc.description.abstract | This project looked at experimentation in conceptual art through certain ideologies. These ideologies included; formalism, reductionism and conceptual art together with orphism, minimalism and neo-plasticism. The formalist theory does not encourage mere figurative expressions but rather emphasis on form and visual aspects of a painting. This research was used as a communicative tool to merge the narrative with the significant form through the paintings produced. In this research, formalism has been given a narrative face through the use of figures together with reductionism through conscious equity in the distribution of colours and movement of lines. The research highlighted the similarities of Formalism, Orphism, Neo-Plasticism, Reductionism, Minimalism and Conceptual Art. Also their relation to African Art was dealt with appropriately. This will help readers know, understand and be able to strike the balance among these styles when necessary and their relation to African art. | en_US |
| dc.description.sponsorship | KNUST | en_US |
| dc.identifier.uri | https://ir.knust.edu.gh/handle/123456789/5041 | |
| dc.language.iso | en | en_US |
| dc.title | Formal Reductions: Experimentation in Conceptual Paintings | en_US |
| dc.type | Thesis | en_US |
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