Dissertations / Theses on the topic 'Art and the body'
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Lodder, Matthew C. "Body Art : Body Modification as Artistic Practice." Thesis, University of Reading, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.525734.
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This thesis is an investigation into the legitimacy and limits of the term "body art" in its vernacular sense, wherein it refers to methods of decorating or ornamenting the body, such as tattooing or piercing. Though the term is widely used and widely understood, it has rarely appeared in any writing which takes an explicitly arthistorical or art-critical approach, and has never been subjected to any sustained analysis which uses the methodologies deployed by specialists when engaging with other forms of art. If tattooing and its coincident technologies are "body art", they have not as yet been understood as such by art historians. The arguments made over the course of this work thus amount to a case for the applicability of art-historical and art-theoretical methodologies to body modification practice. The thesis first establishes the existence of a rhetorical yet broadly undefended case for the artistic status of practices which alter the form of the body. This claim is to be found amongst both the contemporary subcultural body modification community and amongst plastic surgeons. With particular reference to theories of art and aesthetics by John Dewey, Richard Shusterman, and Gilles Deleuze and Felix Guattari, the work investigates whether such claims are tenable. In light of these investigations, the thesis then presents a number of problems which immediately arise from such a claim - problems of authorship, ownership, objectivity and value - and attempts to resolve them through detailed analysis of a number of case-studies.
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Connor, Tenielle. "The body as a canvas : a non-permanent form of body art inspired by body adornment practices." Thesis, Cape Peninsula University of Technology, 2010. http://hdl.handle.net/20.500.11838/1439.
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Thesis (BTech (Surface Design))--Cape Peninsula University of Technology, 2010Forms of body adornment and scarification practices have been around since the origin of mankind. Many forms of traditional body adornment have evolved overtime and still exist within our mainstream society today, however examples of recent body adornments, show that although still very much in practice, in many cases the meaning has been lost. The motivational routes of western adornments are today based on what looks good as apposed to a ritual or right of passage that marks one's body for life. Therefore, the aim of this dissertation is to share the value of representation with the viewer - as representation has played, and continues to play, such an important role within the social aspect of mankind. Bycreating a link between traditional practices of African body adornmentl scarification and connecting these with body expression and representation within my own sub-cultural context, I hope to create awareness of body adornment throughout time. Finally the practical component of this research will consist of a portfolio of different photographs and videos documenting the process and completion of adorning different female bodies. These works of art will be traditionally inspired, nonpermanent three-dimensional body art that will also undoubtedly represent selfexpression and comment on 'trendv' sub-cultural society. As Idocument my progress and work it is hoped that I portray in a conceptual framework, a life cycle that comments on the evolution of culture from rural to urban, and from traditional to Western, and how Western lifestyle is diluting our social being with trends rather than using the method of body adornment as a cultural conversation.
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Green, Allison. "Body of Process." Ohio Dominican University Honors Theses / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=oduhonors1337213923.
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Lomofsky, Lynne. "Body of evidence." Master's thesis, University of Cape Town, 2002. http://hdl.handle.net/11427/13911.
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Includes bibliographies.This body of work is an experiential study which aims primarily to investigate the effect of the Western medical anatomisation of myself - the cancer patient - on and through my artmaking. The dissertation aims to contextualise my practice - to situate it somewhere between the different readings of cancer according to the Western theory of disease, the Eastern and New Age understandings of the body and ill health, and the work of other artists. It seeks balance between these competing discourses and looks for integration through them. The responses of other artists to their ill bodies are described, several of them exploiting medical technology, others subverting the language of the dominant discourse and the image of the 'good' patient with a 'bad' body. My own work attempts to make art around and out of the experience of cancer. The artmaking is an attempt to gather an understanding of my condition and to integrate art and life. The challenge is to visually represent this. I began the work with an ambivalence - was I an activist helping others, or was I merely immersed in my own struggle to maintain sanity, to reach a peace with my body, a calm space from which to deal with my condition? I have dismissed this ambivalence and settled on the latter position, which has the indirect effect of helping others. I have realized, like Jo Spence, that it is easy to burn yourself out when you work from a position of anger. Art and science have exploited and depicted the body throughout their history, sometimes in ways that overlap, sometimes at cross purposes that conflict, and sometimes in mutually supportive ways. When examining the binaries of revealing and concealing, visibility and invisibility, legibility and illegibility, one cannot avoid a conflict with the medical system. However, through the excavation of my body by modern medical technology, I have evolved from previously seeing only the horror of a tumour to now also seeing the hidden beauty of the other landscapes inside my body. My artmaking is thus taken up as a personal issue, not attempting to shock or to be placatory, but to externalize the cancer experience and, rather than simply reacting to it, to find the beauty inside my body.
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Torres, Alessandra Lee Michelle. "OUT OF BODY." VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/793.
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This thesis explores the evolution of Alessandra Torres's work, from her early performances and installations, to her latest work with surrogate bodies, as she challenges the relationship between artist and their creation, body and object, and audience and art. Examining the work of artists such as Cindy Sherman, Rebecca Horn and Marina Abramovic, Torres explores the transformative capabilities of interactive sculpture and live performance. Join Ms. Torres as she transforms herself into everything from a paintbrush to a serpent, in her ongoing exploration of the body's ability to adapt and evolve.
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Barry, Marie Porterfield. "Lesson 23: The Postmodern Body in Art." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/25.
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Skantze, Kristina. "Body anagram." Thesis, Konstfack, Textil, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-5779.
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BODY ANAGRAM is a number of hand stitched sculptures, a growing collection of mountable body parts that can be organized and screwed together in different ways. The process of stitching and sculpting bodies is metaphorically compared to the art of anagrams, wordplays. Their common reversibility between recognition and destruction is discussed. Psychological perspectives on intersubjective, as well as subject-object relationships are used to explain what can happen when people and sculptures meet. How can common emotional experiences of relationships be embodied through human-like textile sculptures? This question is processed in video documentations of people interacting with the sewn body parts. These meetings as well as collaborations around the making of the film, “Your hands and their hands”, are explored further in this paper.
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Takacs, Stephen R. "Sing the Body Electric." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1343344994.
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Clarke, Warwick Media Arts College of Fine Arts UNSW. "Body and soul." Publisher:University of New South Wales. Media Arts, 2008. http://handle.unsw.edu.au/1959.4/44096.
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The research component, "Body and Soul", is an interdisciplinary, comparative study of the essay form, focusing on the Weimar period. The essay is a marginal literary genre, which, like much documentary style photography, attempts "the imaginative recreation of a culture, a period or an individual". August Sander's photographic opus, People of the 20th Century and Robert Musil's essayistic novel, The Man Without Qualities invite comparison as complex and problematic portraits of their respective societies. Sander's typological portraits are well known and his legacy informs much of contemporary documentary photography. Sixty images were published in 1929 by Kurt Wolff, Transmare Verlag, Munich, as Antlitz der Zeit (Face of Our Time) with an introduction by Alfred D??blin. The rust two volumes of Robert Musil's, Der Mann ohne Eigenschaften (The Man Without Qualities), were published in 1930 and 1932 by Rowohlt Verlag, Hamburg. Recent publication of new editions of both Musil's and Sander's works prompted the attempt to reconcile two portraits of people and events of the early decades of the 20th Century in Germany and Austria. The essay form in literature and the documentary style in photography are examined with regard to the polemic associated with truth and reality. This review attempts to illustrate the inevitable inclusion of the fictional element into the fabric of both forms of investigation. The study concludes with a review of contemporary art practice in photo-documentary and some thoughts on future developments. The studio component, "Dargan", is a photographic essay of a site in the Blue Mountains West of Sydney. Focusing on relics of industrial activity in the region, and their effects on the landscape, large format colour photographs were produced to establish a documentary style body of work for exhibition as large-scale colour analogue prints. The work is the response to a need to engage with the Australian landscape and to establish a sustainable practice that recognises and takes into account an ambivalent relationship with "country".
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Fok, Siu-har Silvia. "Performance art and the body in contemporary China." Click to view the E-thesis via HKUTO, 2008. http://sunzi.lib.hku.hk/hkuto/record/b40203888.
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Fok, Siu-har Silvia, and 霍少霞. "Performance art and the body in contemporary China." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B40203888.
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Anderson, Jane E. A. "Gestures, Postures and Body Actions in Hellenistic Art." Thesis, University of Oxford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.522836.
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McGrath, John Thomas. "Body, Subject, Self: The Art of Piero Manzoni." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11623.
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Piero Manzoni (1933-1963) is one of the best-known and under-theorized artists in all of postwar Europe. His body of work includes a range of practices from monochrome painting to readymade objects, from participatory sculpture to designs for architecture. More than simply innovative in its form and media, however, Manzoni's practice articulates a politics of the body and of the self that departs radically from the belief systems at stake in the work of his contemporaries in both Europe and America. If other postwar artists still claimed access to transcendence, to nature, or to autonomous subjectivity, Manzoni responds with works that reveal the body and the self as material and discursive effects of power relations.History of Art and Architecture
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Björk, Carola. "About body-building." Thesis, Konstfack, Institutionen för Konst (K), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6828.
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Not always so remarkable but still most important. Every day. The beautiful, small, horrible and often insignificant experiences that makes us who we are, fascinates me. You see, choose and become with no interruption. The constant change inspires me. This is a text circulating around an artistic practice, it´s an illustration of a why how what. Or, maybe more an attempt to put words onto a wish to see for tracing, where an aim is being become became. Be
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Källblad, Emma Jane. "Charactered through body and art : an interpretive study from central Indian rock-art." Thesis, University of Cambridge, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.620621.
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Cosovic, Daniela. "FABRIC ARCHITECTURE: BODY IN MOTION." Master's thesis, Orlando, Fla. : University of Central Florida, 2009. http://purl.fcla.edu/fcla/etd/CFE0002606.
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Espezel, Amanda. "Working from the body : subjectivity and the artistic process." Thesis, Lethbridge, Alta. : University of Lethbridge, Dept. of Art, c2011, 2011. http://hdl.handle.net/10133/3246.
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This paper is about the subjectivity of the body, and what this means in terms of my artistic practice. Composed in two sections, the first section addresses issues of personal history as content, the use of language in relationship to visual art, and experimental language as a tool to communicate visceral knowledge. I discuss the feminist critique of cultural, artistic and academic hierarchies, and explore how these themes inform my work.
The second section examines the body of work I have developed within the MFA program. I explain the artists who have influenced my development, and give specific examples, whenever possible, of formal and conceptual influences. I use images of my own paintings, studio, and exhibitions to illustrate the progression of my practice. In conclusion, I contemplate the upcoming thesis exhibition, and explain my intentions regarding its completion.vi, 56 leaves : col. ill. ; 29 cm
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Sayer, Cherie Anne. "The body in pain." Click here to access dissertation, 2006. http://www.georgiasouthern.edu/etd/archive/summer2006/cherie%5Fa%5Fsayer/Sayer%5FCherie%5FA%5F200605-mfa.pdf.
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Thesis (M.F.A.)--Georgia Southern University, 2006."A thesis submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Master of Fine Art." ETD. Includes bibliographical references (p. 93-94).
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Kadyss, Sabine. "Annette Messager's Penetration : from having a body to being a body." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85017.
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The reference to the body is a recurring and almost obsessive theme in Annette Messager's work. However, for the first time with Penetration (1993-1994) the artist investigates the inside of the body.Anatomically descriptive and strangely symbolical the components of this hanging composition make up a huge portrait of the elements with which we are composed. With this thesis, I will demonstrate what is revealed is the body's structure: its content, its secrets, what is on the other side of the physical border and what soaks the flesh, the forces that bring us alive.
In addition, although the composition suggests a three-dimensional anatomical model, I will reveal it remains a distinctly visual and cerebral experience: a conceptualization of the body rather than the body's itself. Penetration stands for a view of ourselves that we know not from any real familiarity but from visual diagrams that have been derived from scientific research and consensus since, its separate elements and colors are taken from medical illustration.
Using artistic and historic examples, I will establish that even though the human body proposed by Messager is based on the anatomical model it is not a flattened representation reduced to an erudite enumeration but rather a three-dimensional model which can be experienced from within.
Messager stages the possibility of a face-to-face with the spectator. Inside Penetration the body recalls the very body materiality, a body where "dead" dangling internal organs "come to life" via the viewers' participation, via their penetration. The relationship of scale is upset and the spectators are invited to penetrate inside the body: to see things from up-close, to feel its elements, to touch its parts.
With Penetration Messager confronts the spectators with an intimate act as she directs them under (or rather) inside somebody's skin and forces them to confront their own sense of embodiment. Messager honours the physical body as our primary means of experiencing the world. I will ascertain that with her specific treatment of the body and without having to rely on modern technology, the artist offers an inquiry into the body as well as questions notions of embodiment. In other words, I will demonstrate Penetration exemplifies a complex set of negotiations between body and space: negotiations between the actual domain of the real body of the viewer and the three-dimensional (virtual) domain of the represented body and represented spaces.
In conclusion, I will propose that via the sense of touch Annette Messager produces a body where there is no escape between objective seeing and subjective feeling and where the human experience is formed and transformed.
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Scotece, Tanya E. "Funeral Service Employers' Perceptions of Body Art and Hireability." Scholar Commons, 2015. http://scholarcommons.usf.edu/etd/6025.
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The purpose of this research was to determine whether there were biases among funeral home and cemetery professionals with regards to hiring mortuary science graduates with tattoos.
An anonymous survey including a photograph of either a male or female with various degrees of visible body art, ranging from none to extreme, was sent to 1484 members of the International Cemetery, Cremation and Funeral Association. The primary methodology used to determine whether biases existed regarding visible body art were a semantic differential and a hireability scale. The survey was designed to gather information related to the following three research questions:
1. What are employers’ perceptions regarding hireability of individuals based on extent of visible body art?
2. Are there differences in the employers’ perceptions regarding visible body art based on the gender of the individuals in the photographs?
3. What are the differences in perceptions regarding visible body art based on respondent age, gender, and their own extent of visible body art?
Of the surveys distributed, responses totaled 151. Due to incomplete information, 74 were discarded. The number of surveys used in the analysis was 77.
Results indicated no specific biases of employers' perception towards potential hirees with body art. These results were based on multiple categories, including age and gender of respondent, extent of body art of respondent, and respondent position within their companies.
Although the responses were neutral and showed no significant bias towards hirees with body art, mortuary science students should be aware of potential biases of the families served by the funeral homes, including age of the deceased and family members, as well as the conservative nature of the funeral profession.
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Baert, Renee. "Poetics of the body in feminist art : three modalities." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape16/PQDD_0022/NQ29882.pdf.
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Steiger, Levine Gabrielle. "Deviance and disorder: the naked body in Chinese art." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21914.
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This thesis concerns the representation of nakedness in traditional Chinese art. Its objects of inquiry are representations of demons in images of Zhong Kui, the penitent in purgatory in images of the ten kings based on The Scripture on the Ten Kings, and the representation of beggars and street characters. This thesis provides initial inquiry into a motif which has not garnered much scholarly attention. It argues that the naked body signified various forms of deviance from the normative social and moral order which defined traditional China and its inhabitants such as the foreign, the marginal, and the subaltern. As such, the representation of nakedness functioned to highlight order within the imperial realm by displaying what the Chinese center and its inhabitants were not. It could also serve, however, and by virtue of the naked body's deviance from the normative human being, to suggest potential disorder within the imperial realm.Cette thèse a pour sujet la nudité dans l'art Chinois traditionnel. Les sujets d'analyse traitent de la représentation des démons dans l'imagerie de Zhong Kui, des pénitents au purgatoire dans l'iconographie des dix rois basées sur le texte « The Scripture of the Ten Kings », ainsi que la représentation des mendiants et les artistes de la rue. Cette thèse se penchera pour la première fois sur un thème qui n'a pas encore suscité l'intérêt de la communauté académique; celui de la nudité vue sous forme de non-conformisme, de non-appartenance à l'ordre moral et social qui définissait la Chine traditionnelle et ses habitants. Lorsque présente la nudité peut a la fois mettre en évidence l'ordre au sein de l'empire en affichant l'image contraire de ses sujets, mais égalment demontrer le désordre potentiellement présent.
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Evans, Walter Nicholas Adrian. "Representing vision : mannerist art and the body of Christ." Master's thesis, University of Cape Town, 1987. http://hdl.handle.net/11427/17659.
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Bibliography: pages 67-70.The essay departs from the iconographical and interpretative studies of the Warburg Institute in the field of art history, seeking to define pictorial context in a way that avoids the notion of a fixed content behind works of art. Specific paintings are contextualised according to the psychological/physiological accidents of vision. A theoretical precedent for this approach within "art history" has been established by Norman Bryson, and the methods of Bryson, of J. Derrida and of J. Lacan are applied to specific works. The essay defines a motif common in Florentine and Roman mannerist religious paintings: the central significance given to Christ's torso in many works. This motif is related to its sources (Michelangelo and antique sculpture), and developed through an analysis of three paintings, J. Pontormo's Descent from the Cross, Rosso's Dead Christ with Angels and the Deposition by the Roman artist D. Ricciarelli da Volterra. The paintings are analysed according to their status as fictions, as devotional images and as representations of the human body. Various definitions of maniera are offered. The essay concludes with an appeal that visual ambiguity be recognised as central to the understanding of pictorial representations.
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Wehri, Jonathan. "Implacing the body." This title; PDF viewer required. Home page for entire collection, 2005. http://archives.udmercy.edu:8080/dspace/handle/10429/9.
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Dees, Janet. "Rewriting the body Carl and Karen Pope's 'Palimpsest' /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file 0.49Mb, 73 p, 2005. http://wwwlib.umi.com/dissertations/fullcit/1428201.
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Rovee, Christopher Kent. "Imagining the gallery : the social body of British Romanticism /." Stanford : Stanford university press, 2006. http://catalogue.bnf.fr/ark:/12148/cb40161689c.
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Chirakranont, Ada. "Tactility and the body experience." Thesis, Konstfack, Textil, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-70.
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The ongoing project discusses how we as a society perceive and communicate through bodily experiences. The primary aim is to apply textile into a space and also to encourage people to use their senses when experiencing at design objects and spaces. The approach in this project is not meant to lead to a finish commercial product but rather to build up a spatial environment with textile materials and open up possibilities to use it. The challenge is for people to learn to let go of the stereotypes and think in an alternative way. This essay documents my journey from the starting point, describes the way I think and the process of work. This paper starts by giving the background to where it all began. Then it explores the tool I use to communicate, in this time is craft. There was a turning point during the experimental project I did which intended to apply textile to interior space. The upshot was how we as a society perceive and communicate through tactility. As time went by I learnt to narrow down my ideas and the work itself into one main consistent theme. As well as the work itself, the procedure is equally as important and was introduced into this essay. The forth chapter represents one illustration of how the concept can be applied. Finally is the summary of this journey.40,5 Högskolepoäng.
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Cohn, Susan Art College of Fine Arts UNSW. "Recoding jewellery: identity, body, survival." Publisher:University of New South Wales. Art, 2009. http://handle.unsw.edu.au/1959.4/43809.
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RECODING JEWELLERY: identity, body, survival addresses a central problem facing contemporary jewellery practice: through the course of the Contemporary Jewellery Movement, the potential of the jewellery-object to mediate intricate social relationships has become constrained. This is in part due to a singular focus of ideas in the field, and in part due to the developmental trajectory of contemporary jewellery networks. Caught up in the art-craft debate, contemporary jewellery missed the potentials in theory for developing a critical voice. This was not helped by the fact that academic discourse (philosophical, social, sexual, political) has largely neglected the significances of jewellery. The aim in this thesis is to negotiate this mutual neglect - or 'double gap' - by finding connections between theory and jewellery in practice. Jewellery involves complex interactions between makers, objects, wearers and audiences within social networks. Possessing a distinct set of codes enlivened by its relationship to the body, jewellery is a way of thinking and connecting which is strongly embedded in the activities of managing identity that define cultures and epochs. In the process, the instinct for adornment becomes an integral means of survival. This thesis draws on modern and postmodern theory, as well as art and jewellery practices, to examine contemporary shifts in thinking about identity, the body and reproduction. Through the three main chapters of this thesis I endeavour to: (i) provide an informed interpretation of the internal and external pressures that have defined contemporary jewellery practice over time; (ii) introduce relevant examples of my own work, and seek ways to move beyond the limitations of my own practice; and (iii) advocate new ways of thinking about contemporary jewellery that might lead it to a different voice. Reflected in this approach are three fundamental influences to my practice: the Contemporary Jewellery Movement; non-jewellery practices such as art, architecture, street culture, technology and performance; and academic writing across a number of fields. The thesis concludes with a discussion of how these interests came together in a single show, Black Intentions. However, the span of work covered extends through my career in jewellery to provide a basis for future directions.
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Taylor, Gretel. "Locating place and the moving body /." full-text, 2008. http://eprints.vu.edu.au/2050/1/Gretel_Taylor.pdf.
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This research project physically and theoretically investigates a relationship between body and place, via site-specific performance-making processes in diverse Australian sites. It encompasses the creation of two live performances and a video installation, the development of which are documented and elucidated in a written exegesis. The exegesis and associated performance processes explore the proposition that movement/ dance—as a spatial practice—can be a mode of locating, or an attempt to locate. ‘Locating’ implies an endless process that is always heading towards location, place, total presence—but may never arrive. Using practice-based, embodied research as its methodology, environmental information from the specific site is gathered via sensory perception tasks, some derived from Body Weather (a movement philosophy developed by Japanese dancer Min Tanaka), generating an improvisational exchange of perception and response. This ‘locating dance’ is the relationship between body and the place: it is simultaneously the seeking of relationship and the expression, enactment or illustration of it. In seeking location in relation to Australian sites from the perspective of a body that is white, the research also interrogates white Australian identity in relationship to this country, with the knowledge of the genocide and dispossession that its history entails. The work of theorists of place and space, as well as local historical and ecological sources, provide the framework for this series of excavations. Via traveling in Europe and to Aboriginal Land in the Northern Territory, insights develop into the cultural and corporeal residue of colonisation. Thus, the specific geographical site of each of the performance works acts also as a microcosm for, or reference point to, the broader site of contemporary Australia and the non-Aboriginal postcolonial experience of place. Representation of the body in performance is constructed in various ways to acknowledge the implications of its whiteness. The locating dances and performance works that comprise Locating: Place and the Moving Body engage in a multi-sensory listening to the country that aspires towards (white Australian) location—that elusive and longed-for ‘belonging’ or true ‘settlement’—yet they do not purport to have found, or even anticipate finding, an endpoint to this dance.
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Biederman, Angela L. "Body in the Landscape of the Mind." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1461593111.
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Nelson, Hilary. "Let our mind go and your body will follow." Thesis, University of Iowa, 2017. https://ir.uiowa.edu/etd/5580.
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This is a body of work produced at the University of Iowa. With these pieces I am interested in things that do not follow, that hold emotion but don't have a narrative. In the unknown being more real than the known, because there is life in the not understanding. And in lying about something there is no way you can pull off. There is a river of lava flowing below the surface, but there are no volcanoes.
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Astfalck, Jivan. "Narrative structures in body-related craft objects." Thesis, University of the Arts London, 2007. http://ualresearchonline.arts.ac.uk/7411/.
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In a largely under-theorised subject area as the crafts, this practice-based research contributes to the knowledge and understanding of the body related crafts object at PhD level. It conceptualises the narrative methodology necessary to make the creative work and theoretically examines its intention. Because the theoretical work on narrative structures has been largely done outside the crafts/art context, the research adopts and adapts existing procedures and concepts from hermeneutic philosophy and literary theory to expand on the understanding of the body related crafts object in this new context. The research project investigates narrative structures in body related crafts objects to further the understanding of these objects and to make a contribution to the theory of studio crafts practice. The dialogical and dynamic relationship between the surveying of relevant literature and the creative development of the practical work enabled the development of the narrative context of the work itself and the advancement of a studio methodology that emphasizes reflexivity and is conscious of its own need for understanding. Drawing on historical and autobiographical material, fiction and fairy tales, a series of body-related crafts objects have been produced that tell hybrid, fantastical stories. These objects are enigmatic, yet suggestive of the wounds of history and of the trauma and healing processes that are part of our relationships with others. The work is understood as a mnemonic device created to evoke the complexities and webs of relationships, which exist between the various levels of interpretative investments that would otherwise be un-containable. The exploration of the notion of metaphor within a semantic context is here adapted to facilitate new understanding of the metaphorical qualities found in creative and narrative craft objects. Metaphoricity can be regarded as a way of cross-mapping the conceptual system of one area of experience and terminology with another, suggesting a coherent system created for understanding knowledge in terms of critical reflection, and being conducive to new creative articulation and representation. In the work theory emerges as a dynamic encounter, a continuous re-figuration within a tradition of commentary and interpretation. Researched ideas, practical work and developing studio methodology have been explored further and tested in exhibitions, written publications, conference contributions, teaching projects and artists residencies. A large body of practical work has been generated over the period of the research. Some of the objects are pieces of jewellery, using precious metals and other more idiosyncratic materials. Other objects, even though still wearable, extend the boundaries of the traditional piece of jewellery towards what has become a fine art practice, which uses a multi-media approach together with traditional handcraft goldsmithing skills. Assemblage, installation, video and relational interactive projects have been developed to investigate narrative structures invested in those objects.
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Nogues, Rosa. "The body of sexuation : feminist art practice in the 1990s." Thesis, Kingston University, 2013. http://eprints.kingston.ac.uk/27842/.
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The representation of the female body at the centre of a number of art practices of the 1990s reveals a radical problematisation of sex. What constitutes the body as sexed? What is the sex of the female body? Is the female body the body of 'woman'? This thesis argues that these are some of the questions raised by the work of a loose group of artists who came to prominence in the 1990s, such as Rist, McCarty, Yuskavage and Beecroft, and whose work was largely excluded from the field of feminist art. Our claim is that the work of these artists requires that it be critically understood as a specific intervention within the field of feminist art and criticism. The fundamental question at the root of the thesis concerns the precise nature of the female body and its relation to sex and sexual difference. Our discussion is positioned outside both biology - where sexual difference is determined by the function in reproduction - and sociology, where the highlighting of the inequality of the social manifestations of sexual difference leaves the principle of the binary organisation of sex unexamined. Our argument is located within the field of feminist art criticism, and more specifically, the feminist critique of representation, and so, it is in terms of the psychoanalytic theory of Jacques Lacan, which provided the conceptual tools for this critique, that the specific problematic as regards the nature of the female body, which the practices discussed pinpoint, is addressed. The thesis investigates Lacan's conceptualisation of sexuatian as neither a biological nor a sociological category and argues that it provides an articulation of sex, based on the fundamental principle that 'there is no sexual relation', which leads not to a theory of sexual differentiation, but to an articulation of two possibilities of 'jouissance', the latter being that in terms of which the sexed body is produced. In engaging with the representation of the female body in the relevant art practices from the 1990s in terms of this conception of the body produced by sexuation, this thesis argues that these practices present a radical problematisation of sex. It is in terms of this fundamental feminist exercise of critically engaging with the meaning and nature of sex that their intervention within the field of feminist art and criticism must be understood.
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Grau, Janet. "long since familiar: sculpture, performance, video, art, body, and life." The Ohio State University, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=osu1391609110.
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Le, Roux Leandré. "New media art : immersion and the sacrifice of the body." Diss., University of Pretoria, 2016. http://hdl.handle.net/2263/60375.
Full textAbstract:
New technologies, such as virtual reality, often draw to itself myths from other fields of interest and discourses. One such myth that has attached itself to virtual reality is the notion that virtual reality can provide a utopia for the mind, or true self, if the body can be cast off. It is this discarding of the body that my thesis aims to investigate in terms of Girardian sacrifice. Girard?s notion of sacrifice is built upon the observation of various cultures throughout history. It stands to reason that in our contemporary, digitally influenced, society, sacrifice, in some form, still persists. I argue that the body, when viewed as disposable, through the use of virtual reality, exhibits the same traits as the selected sacrificial victim. As the myth of a utopia for the mind, or true self, exists prior to the advent of virtual reality, traces of it, as well as the sacrifice I argue it entails, can be found in other texts as well. One such a text is The Chrysalids (Wyndham 1955). This text presents the reader with characters which I argue represent both the mind and body separately. The Chrysalids culminates in the characters representing the mind leaving for a utopian city whilst the character who, I argue, is most strongly associated with the body, Sophie Wender, is killed. It is also argued here in that the notion of abandoning the body is simply a myth since the inability to abandon the body is also discussed in terms of phenomenology, pointing out that the body can ultimately not be completely removed from the making of meaning. This phenomenological acknowledgement of the body, along with a critique The Chrysalids and cyber-utopia?s view of the body, forms the basis of my practical body of work.Dissertation (MA)--University of Pretoria, 2016.
Visual Arts
MA
Unrestricted
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Cross, David Anthony. "Some kind of beautiful : the grotesque body in contemporary art." Thesis, Queensland University of Technology, 2006. https://eprints.qut.edu.au/16277/1/David_Cross_Thesis.pdf.
Full textAbstract:
This thesis investigates, through a body of interdisciplinary artwork, the representation of the grotesque body. It examines how it might be possible to manipulate the iconography of attraction and repulsion in contemporary art with the aim of confusing the binary opposition of what signifies pleasure and disgust. Each of the three artworks function to draw the audience into a powerful and affective relationship with representations that are simultaneously appealing and revolting. Using a number of modes and techniques to disrupt the dyad, including audience interaction and the use of seductive visual forms, the work focuses on my body as a site for the development of new knowledge about the representation of the non-preferred body. By bringing together otherwise unrelated discourses such as horror and formalist abstract painting, the artwork in this study attempts to call into doubt received wisdom about the nature of beauty and ugliness. There are a lexicon of different artistic mediums explored in this project including performance, installation, video and photography. The engagement with these disciplines represents an attempt to speculate on how we know and experience the body in an increasingly mediatised world. This research is also a key means of highlighting how our understanding of the body is informed by the differing effects of timebased, photographic and performative media. By creating a series of dialogues between the live and the virtual, timebased and static imagery, and the fragmentary body and its relationship to the holistic body, this project seeks to activate in the viewer/participant, a critical self-reflexivity. I ask how it is possible to know and experience corporeality in a virtual world of digitally manipulated bodies.
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Cross, David Anthony. "Some kind of beautiful : the grotesque body in contemporary art." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16277/.
Full textAbstract:
This thesis investigates, through a body of interdisciplinary artwork, the representation of the grotesque body. It examines how it might be possible to manipulate the iconography of attraction and repulsion in contemporary art with the aim of confusing the binary opposition of what signifies pleasure and disgust. Each of the three artworks function to draw the audience into a powerful and affective relationship with representations that are simultaneously appealing and revolting. Using a number of modes and techniques to disrupt the dyad, including audience interaction and the use of seductive visual forms, the work focuses on my body as a site for the development of new knowledge about the representation of the non-preferred body. By bringing together otherwise unrelated discourses such as horror and formalist abstract painting, the artwork in this study attempts to call into doubt received wisdom about the nature of beauty and ugliness. There are a lexicon of different artistic mediums explored in this project including performance, installation, video and photography. The engagement with these disciplines represents an attempt to speculate on how we know and experience the body in an increasingly mediatised world. This research is also a key means of highlighting how our understanding of the body is informed by the differing effects of timebased, photographic and performative media. By creating a series of dialogues between the live and the virtual, timebased and static imagery, and the fragmentary body and its relationship to the holistic body, this project seeks to activate in the viewer/participant, a critical self-reflexivity. I ask how it is possible to know and experience corporeality in a virtual world of digitally manipulated bodies.
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Lookman, Mariah. "Looking to draw : picturing the molecular body in art and science." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:58d026b1-457c-412a-a339-ca25eaa9ab19.
Full textAbstract:
As a practice-led thesis comprised of drawing, sculpture, video, notebooks, and a written dissertation, this study by way of art making argues against the provocation that life sciences aided by the advances in visualizing techniques will hegemonise much of what there is to see and know about biological life. Historian James Elkins argued that non-art informational images were historically relevant considering the strategies scientists use for visualizing phenomena and W. J. T. Mitchell noted the impact of proliferation in image production together with computer technology as the epistemological shift from word to image and coined the phrase pictorial turn. Concurrently philosopher Gottfried Boehm deployed the term iconic turn to discuss the problematics associated with the power of images. I incorporate these insights to examine the affects of biomedical imaging as seen in artworks formed out of biologically sourced organic materials and techniques. Especially once grouped as Bio Art (Kac 1997) or organic media art (Hauser 2006) these artworks further accentuate the problem of representation and its relationship to knowledge and power underscored by the phenomena that biotechnology is changing perceptions of what the body is and can become. The written component of the thesis addresses these problems. It does this by critiquing visualization through the example fluorescent tagging as this technique exemplifies the most innovative and transgressive procedure for imaging biology in-vivo. I argue the following: the visualization of biology, like the mathematization of the surface of reflection pioneered by Ibn al-Haytham is not a problem because it shows Man’s technological prowess but rather because mathematization brings with it the legacy of ontological uneasiness with images in Western philosophical tradition. This tension persists and gets exacerbated especially in contexts where molecular scale visualizing aids the invention of novel life forms as art or laboratory creatures. To reconcile the paradoxes that emerge from critical analysis of the effects of biotechnology that have been discussed in binary terms such as natural or artificial, mimetic or real, I introduce to the lexicon of new media art and theory the concept of non-duality from Arabic philosophy formalized by Ibn ‘Arabi through the analogy of barzakh. In Ibn ‘Arabi’s scheme images are a part of the imaginal sphere and are not perceived as mimetic. Neither is the image given primacy in the formation of knowledge nor is the image given an absolute position of certainty. Instead, images are the intermediary and dynamic part of cognitive process that brings with reason knowledge and with knowledge, responsibility. Thus theorized, imaginal are able to facilitate the possibility to actualise the fullest comprehension of wujud that in translation is also the pursuit for knowledge that guides action. In this way informed by practice, this thesis dissolves the distrust of vision and proposes that scientific images are like art that can embolden the intellectual capacity for creativity and abstract thought.
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Cameron, Erin Marie. "The Body in Print." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1343775047.
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West, Stephanie Brooke. "Mimicking the Body, Mimicking the Sculpture." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1308083690.
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Horrex, Peta. "Art and body image : A journey through anorexia nervosa and the implications for art therapy rituals." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1999. https://ro.ecu.edu.au/theses/1265.
Full textAbstract:
This thesis examines the experience of body image and self image are for a sufferer with the eating disorder anorexia nervosa. Themes and symbols are explored and interpreted in art work that was produced in six session of individual art therapy. The sessions were designed to deal with issues and problems that had been discussed previously, or that became relevant during each session. The study is conducted from an interpretive perspective. It concentrates on the transference of the internal unconscious in the artwork created by, Michelle, who suffers from anorexia nervosa. The interpretation is from a western art therapy and self psychology perspective. The study explores how the repetition of depiction of self through creative expression in art work, can lead to greater awareness about body image, control issues and self image in a client with the eating disorder anorexia nervosa. It is shown that relatedness to art work and creative expression gives positive reinforcement to the client, Michelle, in her sense of awareness regarding prevalent issues in her life. Repeated symbols and visual metaphors are discussed in relation to both Michelle’s life and her struggle with her eating disorder, and to the construction of anorexia nervosa.
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Rosenblum, Lauren. "The Protesting Body: Suzanne Lacy, Leslie Labowitz-Starus, and Sharon Hayes." Master's thesis, Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/196443.
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Art HistoryM.A.
Suzanne Lacy, Leslie Labowitz-Starus and Sharon Hayes have created public performances that respond to the socio-political conditions of their time and place, and extend the boundaries of the traditional public sphere to include feminist concerns. In their collaborative performance In Mourning and In Rage (1977), Lacy and Labowitz-Starus utilized the private, feminist practice of consciousness-raising to bring widespread visibility to the politics of the female body. Hayes' works In the Near Future (2007-09) and Everything Else Has Failed! Don't You Think It's Time for Love? (2007), draw attention to issues concerning counterpublics through obliquely referential personal and political narratives. These works all mobilize a performing, protesting body whose corporeality mediates the audience's political realizations, past memories and current subjecthood.
Temple University--Theses
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Brown, Katrina. "Intersect/surface/body : a choreographic view of drawing." Thesis, University of the Arts London, 2017. http://ualresearchonline.arts.ac.uk/13394/.
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This practice-based research project explores how a choreographic view of a physicallyinformed drawing practice can serve to articulate and generate new understandings of material relations between moving bodies and static, receptor surfaces. Using task-based studies and other systematic structures of working that activate the horizontal plane of the floor, the research reveals how different configurations of relations between bodies, surfaces, and materials such as charcoal and paper, can mediate and extend a reciprocal touch between body and surface. Rather than on the production of finished artwork, emphasis is placed on processual activity and the working conditions from which material and visual residues emerge as evidential remains of reciprocal touch. The research is organised around the key terms intersect, surface, and body that operate as working concepts and facilitate a way of organising the observations and findings of the practical investigation into distinct areas of enquiry while recognising that these areas increasingly overlap and complicate one another. The thesis is extended through a critical engagement with ideas of non-human agency and materiality developed in the work of Harman (2013), Bennet (2010) and Barad (2013) and a reconsideration of horizontality through Steinberg’s notion of the ‘flatbed picture plane’ (1972) which informs a choreographic view of drawing in relation to orientation and surface distribution. The thesis is further contextualised through a consideration of the choreographic conditions presenting in performance works of choreographers Trisha Brown, La Ribot and Janine Antoni that extend across choreography and visual art contexts. The thesis aims to contribute to recent discourse in the field of choreography concerned with how a co-presence of human and non-human forces can be incorporated into choreographic processes and how drawing can present as choreographic knowledge through a consideration of material agency in approaches to performance-making.
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Ling, Yuen Fong. "A body of relations : reconfiguring the life class." Thesis, University of Lincoln, 2016. http://eprints.lincoln.ac.uk/25420/.
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The established practice of drawing from the life model elides the complexity of the life model in relation to gender, race, social status, sexuality, and identity. As a pedagogical methodology, the assumptions and protocols of the life class enforce separation and silence between the life model, artist and tutor, and uphold a framework of oppression1. Further, this form of education is widely viewed as outmoded, neglected and of little relevance to contemporary art practice. As a practicing artist, I want to re-examine the relationship between the life class and the theoretical positions of participatory and performance art practice. Theoretically, the challenge of this research, to the established practice of the life class is premised upon several concepts. Firstly, the “dematerializing of the art object”2 the process rather than art object as the primary site of the artist’s creative output. Secondly, the concept of ‘performance’ art is explored where the artist’s body becomes the potential primary site of the artwork. Thirdly, Bourriaud’s ‘relational aesthetic’, which posits other people’s participation and engagement with the artwork’s “interhuman relations”3 as the principle by which an artwork is mediated. In this practice-led research, I examine the notion of the artwork as ‘event’, and the subsequent ‘art object’ as document, artifact, or ‘trace’4 of the artist’s and other participant’s performativity; whether invited, co-opted or usurped into the artwork. The research is undertaken through the production of a portfolio of original new artworks and their reflection and written analysis. I examine the following lines of inquiry5: 1 Freire, Paulo, Pedagogy of the Oppressed, translated by Bergman-Ramos, Myra, Penguin Books, edition 1996 2 Lippard, Lucy. Six Years: The Dematerialization of The Art Object from 1966 to 1972. University of California Press Ltd, London, 1997 3 Bourriaud, Nicolas, Relational Aesthetics, Translated by Pleasance, Simon & Woods, Fronza, with the participation of Copeland, Mathieu, Les Presses Du Reel, 2002 4 Benjamin, Walter, The Work of Art in the Age of Mechanical Reproduction in Illuminations, Pimlico, London 1999 5 Nelson, Robin, Practice as Research in the Arts, Principals, Protocols, Pedagogies, Resistances, Palgrave Macmillan, Basingstoke, New York, 2013, p.26 - 4 - 1) To understand the implication of a process-orientated ‘performance’ and ‘participatory’ art practice to challenge the conventions of the life class 2) To explore the subsequent effects of this reconfiguration of the life class on our understandings of the role of the life model, and their subjectivity that the conventional life class elides 3) To examine the role and status of performance and participatory art’s documentation process on the life class, and the life drawing 4) To reconsider the educational possibilities of performance and participatory art practice on the teaching of the life class. I adopt a recognized multi-mode approach to evidencing this inquiry using videos and photographs, qualitative interview, historical research and strategies of display6. My research develops a theoretical trajectory to assert that contemporary art practice enables a return to the life class, but to a reconfigured life class that has learnt from the issues of power, play and subjectivity examined in this practice and commentary. The reconfigured life class provides a performative, discursive, social space to empower the life model to actively engage in the production of his/her own self-image. In addition the research re-frames the life class as a site in which the discourses of contemporary art as ‘relational’ and ‘performative’ can reach its apotheosis as a de-materialized performance event, whose trace exists in the dispersed materiality of the artist’s body and whose silenced subject, the life model, becomes a full individual subject.
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Maxon, Wendy S. "The body disassembled : world war I and the depiction of the body in German art, 1914-1933 /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2002. http://wwwlib.umi.com/cr/ucsd/fullcit?p3044795.
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Ibrahim, Ferwa. "Navigating the Space of My Body." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/2492.
Full textAbstract:
This paper explores my process of orienting myself within spaces and inhabiting them. It focuses on how I use my own body as an instrument for developing a relationship between the two. A ritual is a social conditioning of the body and Authentic Movement is discovering body’s own route. This paper reviews my process of situating myself within a space by using both of them as the language of my body. It also discusses the development of some of my recent work through understanding the language of my own body.
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Cook, R. C. "Corporealities : masculine domination and the development of American male performance art." Thesis, University of Reading, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.252219.
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Cronje, Karen. "The female body as spectacle in nineteenth- and twentieth-century Western art." Thesis, Stellenbosch : Stellenbosch University, 2001. http://hdl.handle.net/10019.1/52528.
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Thesis (MA)--University of Stellenbosch, 2001.ENGLISH ABSTRACT: A spectacle denotes an impressive or deplorable sight, and necessarily involves the power and politics of viewing. The female body exists as a sexualised object of these processes of looking within Western culture, not only in high art, but also in discourses such as medicine and science. In both art and medicine the female body has been treated as a passive object to be studied, analysed and classified. Power relations and patriarchal ideologies have played a great part in the resulting objectifying representations, firmly locating images of the female body within the realm of the spectacle. Bodily perceptions, in terms of the female body, have changed much, particularly through the reinterpretation of sexuality through feminist theory. Modem culture and technology have opened up many new possibilities for the redefinition and understanding of the body. Modem bodies seem to be under as much close surveillance and scrutiny as their nineteenth century counterparts. This study explores these ideas through a wide range of examples from painting, photography and performance art, and non-art objects such as anatomical objects and medical illustrations. Central to the construction of the body as spectacle, are issues of looking and viewing. Chapter 1 examines ideas around the gaze; the politics and processes of vision, objectification and fetishisation are explored in relation to the functioning of the medical and aesthetic gaze. The concept of spectacle is also elaborated upon in terms of ideas around the nineteenth century carnival and freak show, and in terms of societal taboos and transgression. Aspects of aesthetic and medical discourse focus on the display and scrutiny of the female body. Chapter 2 examines the way in which these discourses attempted to reveal the female body by rendering it in highly visual terms. The dominant ideologies informing both discourses played an instrumental role and resulted in representations that defined the female body in normative standards and ideals of beauty and health. Pornography is considered as a modem discourse in which the female body is defined and displayed as an object of scrutiny. Feminist theory challenged exclusively male representations of the female body and the subversion of traditional forms of representation of women is studied by examining the work of Annie Sprinkle and Cindy Sherman. Many representations of the female body by feminist artists are considered highly disturbing and transgressive, precisely because they traverse traditional and acceptable representations of it. The idealised nude forms the epitome of contained ideals of health and beauty, and the work of Orlan and Cindy Sherman is examined within these terms in Chapter 3. These artists' representations of the female body are in direct opposition to such norms, rather settling for an open-ended, unconfined and abject representation. However, such transgressive cultural images produced by women artists are often regarded as pathological acts, and dismissed in terms of deplorable spectacle. The research concludes with a commentary on the candidate's practical work, which in dealing with the representation of the human body explores some issues of visuality, spectacle and fragmentation.
AFRIKAANSE OPSOMMING: 'n Spektakel kan op 'n indrukwekkende of betreurenswaardige skouspel dui; gevolglik betrek dit die politiese en magseienskappe van besigtiging. Die vroulike liggaam bestaan as 'n seksuele objek van só 'n proses van besigtiging binne die Westerse kultuur - nie net in kuns nie, maar ook in diskoerse soos geneeskunde en die wetenskap. In beide kuns en geneeskunde, is die vroulike liggaam beskou as 'n passiewe objek vir bestudering, analisering en klassifisering. Magsverhoudinge en ideologieë het gevolglik 'n groot rol gespeel in die uiteindelike objektifiserende representasies, en gevolglik is die uitbeelding van die vroulike liggaam in terme van spektakel vasgelê. Liggaamlike persepsies, veral in terme van die vroulike figuur, het noemenswaardige veranderinge ondergaan - veral deur die hervertolking van seksualiteit deur feministiese teorie. Moderne kultuur en tegnologie bied verdere moontlikhede vir die herdefiniëring en begrip van die liggaam. Die moderne liggaam word onder streng bewaking en betragting geplaas - net soos sy negentiende-eeuse ewebeeld. Hierdie studie ondersoek dié idees deur die bestudering van 'n verskeidenheid voorbeelde vanuit skilderkuns, fotografie en 'performance' -kuns, asook objekte soos anatomiese objekte en mediese illustrasies. Kwessies van besigtiging is sentraal tot die konstruksie van die liggaam as spektakel. Hoofstuk londersoek dus idees rondom besigtiging - onder andere die politiese en magseienskappe, en die gevolglike objektifiserende effek daarvan - in verhouding tot die funksionering van die mediese en die estetiese blik. Die konsep van spektakel word verder uitgebrei in terme van die negentiende-eeuse karnaval, asook in terme van taboes en sosiale oortreding. Sekere aspekte van estetiese en mediese diskoerse fokus op die vertoning en besigtiging van die vroulike liggaam. Hoofstuk 2 ondersoek die wyse waarop hierdie diskoerse die vroulike liggaam in hoogs visuele terme uitgebeeld het. Beide diskoerse is gemotiveer deur dominante ideologieë, wat gevolglik 'n instrumentele rol gespeel het in die uitbeelding van die vroulike liggaam. Sulke uitbeeldings is dikwels gemotiveer deur standaarde en ideale van skoonheid. Gevolglik word pornografie in hierdie hoofstuk bespreek as 'n moderne diskoers wat georganiseer is rondom die vertoning en besigtiging van die vroulike liggaam. Feministiese teorie skep 'n positiewe ruimte waarin sulke eksklusiewe, manlike definisies en uitbeeldings van die vroulike liggaam uitgedaag kan word. Die omverwerping van tradisionele metodes van uitbeelding word hier ondersoek deur die werk van Annie Sprinkle en Cindy Sherman te bespreek. Die herdefiniëring van die vroulike liggaam deur feministiese kunstenaars word dikwels beskou as onstellend; waarskynlik omdat dit tradisionele en aanvaarbare uitbeeldings van die liggaam oortree. Die werk van Orlan en Cindy Sherman word in terme van sosiale oortreding in Hoofstuk 3 ondersoek. Die klassieke naakfiguur stel die ideale van skoonheid en stabiliteit voor. Hierdie kunstenaars se uitbeeldings toon egter 'n doelbewuste verontagsaming van sulke ideale, deurdat hulle eerder 'n oop, onstabiele en gefragmenteerde figuur uitbeeld. Oortredings van kulturele norme deur vrouekunstenaars word dikwels beskou as patalogiese aksies; en dit word dus maklik afgekeur as 'n spektakel. Die navorsing word afgesluit met 'n bespreking van die kandidaat se praktiese werk, wat die uitbeelding van die menslike liggaam ondersoek. Gevolglik word kwessies van besigtiging, spektakel en fragmentasie verder ondersoek.
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Juchnowska, Maria. "The death of the body." Thesis, Konstfack, Keramik & Glas, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-3354.
Full textAbstract:
The leading idea of my Master project is based on my private experiences which have become an inspiration for making an artistic project and writing my master thesis.“I want to make my art personal but not private” is my main statement in creating my works. I believe talking about what touches me in my private life can be expressed through my art works and would move and become close to my audience.When I started working with this project I wanted to raise awareness of body death body-decay which is excluded from our daily lives and not quite visible in our contemporary societies until it touches us personally. Through the work I realized that the project is not just about death of the body (my first inspiration) but it is bringing a whole lot of new qualities: time, the passing of time, timeline, aging, transformation, the process of existing (making) and the process of dying. Comparing what is/can be considered as “beauty”- superficiality, external beauty, with what it is/can be “ugly” (ugliness - in the physical context) is a very important aspect of my work. In my work I use my own aesthetics to create definitions of ugly and beauty which is based on my previous inspirations. Since the process of making has become more important than expected, it shifted into this particular state.I have decided to “lock myself” (my torso) in a dead sculpture. I am keeping a particular moment of time and displaying „what” I looked like some time before and „now”. My torso is created by me and I can choose when it is “alive” and when it is “dead”. I treat my project as ongoing study, which will not end with my graduation at Konstfack. In my thesis I will communicate my inspirations and fascinations, process of making, and transformation of the project. As for inspirations and fascinations I will investigate different artistic approaches that I have chosen from the contemporary art. As I am interested in creating art based on craft I will talk about the importance and huge influence of process and transformation.
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Pearce, Robyn. "The empowered body : creative expression as a force for personal transformation." Master's thesis, University of Cape Town, 2001. http://hdl.handle.net/11427/25923.
Full textAbstract:
The release of creative expression through the role of the unconscious and the conscious is discussed. The defining of a relationship between the unconscious and the conscious is addressed, with reference to the theories of Jung and Freud. The primary process, as well as the mechanisms of condensation and displacement, is referred to as supporting the transference of the unconscious in creative expression. Pictorial imagery and material content pertain to unconscious employment, in which repressed emotional and psychological issues are released. The capacity for psychic growth through art renders creative expression as a transformational agent. The interaction of the conscious and the unconscious is essential to the concept of psychic growth. The processes of integration and introspection are discussed with reference to the resolution of repressed issues and inner conflicts. The notion of psychic harmony is referred to in correlation to this resolution. The inner and outer states of creative expression are discussed with reference to the artwork as a product of the mental processes involved within its' expression. The artwork as a mode of expression is discussed with reference to Wollheim (1973). The assimilation of the external world in the process of creativity is discussed with reference to bodily activity, the act of object-solution and the structuring of these external objects. The establishing of a relationship with the external world in creative expression is discussed as a force for healing. A correlation between creativity and child play, and creativity and ritual, are referred to. Creative expression is understood as a means for psychic wholeness. Interaction with the unconscious by the conscious mind, and the expression of a unitary reality, is discussed with reference to the concept of psychic wholeness. The healing aspect of this unitary reality is discussed with reference to the act of transferring mental processes into an artwork, as well as the processes of interaction, introspection and individuation. Symbolism and healing is discussed with reference to the concept of symbolisation as a means of unconscious, emotional expression. Non-conceptual symbolism is referred to within this context. The capacity of the symbol as a means of identification, contributes to the healing process. The role of symbolism in establishing a relationship with the external world in creative expression is addressed. Symbolic functioning of consciously employed elements in my work is discussed. The principles governing my creative methodology are discussed according to conscious and unconscious employment. The application and selection of media is discussed as symbolic activity in my painting. Texture, distortion and placement of figurative form, as well as surrounding space, are unconsciously employed. Inserted objects and natural elements are referred to as pertaining to conscious employment. The paintings are discussed individually according to the series in which they apply. The sub-titles regulating this discussion are indications of the psychic transformation involved within the creative process. The creative process is an expression of personal transformation.