"I've always known this place, familiar as a room in our house" : engaging with memory, loss and nostalgia through sculpture
- Authors: Reed, Kesayne
- Date: 2015
- Subjects: Memory in art , Loss (Psychology) in art , Nostalgia in art , Sculpture -- Themes, motives , Art therapy , Sculpture -- Exhibitions
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2513 , http://hdl.handle.net/10962/d1020022
- Description: My exhibition draws on Andreas Huyssen's notion of memory sculpture to articulate my own sense of loss and trauma, due to the divorce of my parents. Within my work I explore the effects that divorce had on me and how it has disturbed my normative understanding of home and family. I have created scenarios alluding to the family home that I have manipulated in order to convey a sense of nostalgia and loss. By growing salt crystals over found objects and/or cladding them in salt, I attempt to suggest the dual motifs of preservation (a nostalgic clinging to the past) and destruction (due to the salt’s corrosive properties). In this way, the salt-crusted objects serve as a metaphor for a memory that has become stagnant, and is both destructive and regressive. The objects encapsulate the mind’s coping methods to loss. In my mini thesis, I discuss characteristics of memory sculpture as a response to trauma, drawing on Sigmund Freud's differentiation between mourning and melancholia. I also unpack how objects and traces (such as photographs) may act as nostalgic triggers, inducing a state of melancholic attachment to an idealised past. I address these concerns in relation to selected works by Doris Salcedo and Bridget Baker, and also situate them in relation to my own art practice.
- Full Text:
- Date Issued: 2015
- Authors: Reed, Kesayne
- Date: 2015
- Subjects: Memory in art , Loss (Psychology) in art , Nostalgia in art , Sculpture -- Themes, motives , Art therapy , Sculpture -- Exhibitions
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2513 , http://hdl.handle.net/10962/d1020022
- Description: My exhibition draws on Andreas Huyssen's notion of memory sculpture to articulate my own sense of loss and trauma, due to the divorce of my parents. Within my work I explore the effects that divorce had on me and how it has disturbed my normative understanding of home and family. I have created scenarios alluding to the family home that I have manipulated in order to convey a sense of nostalgia and loss. By growing salt crystals over found objects and/or cladding them in salt, I attempt to suggest the dual motifs of preservation (a nostalgic clinging to the past) and destruction (due to the salt’s corrosive properties). In this way, the salt-crusted objects serve as a metaphor for a memory that has become stagnant, and is both destructive and regressive. The objects encapsulate the mind’s coping methods to loss. In my mini thesis, I discuss characteristics of memory sculpture as a response to trauma, drawing on Sigmund Freud's differentiation between mourning and melancholia. I also unpack how objects and traces (such as photographs) may act as nostalgic triggers, inducing a state of melancholic attachment to an idealised past. I address these concerns in relation to selected works by Doris Salcedo and Bridget Baker, and also situate them in relation to my own art practice.
- Full Text:
- Date Issued: 2015
The question of validity in Vasari's art historical concept
- Authors: Gibb, Barry
- Date: 1983
- Subjects: Vasari, Giorgio, 1511-1574 -- Criticism and interpretation
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2465 , http://hdl.handle.net/10962/d1008574
- Description: From Introduction: Giorgio Vasari's first and second editions of his 'Lives of the Artists I appeared respectively in 1550 and 1568, just after the great period of Renaissance art in Florence and Rome had ended. As a practising Florentine architect, painter and sculptor who travelled extensively in Italy, sari could write with authority on the development of these arts throughout what he saw ~s the whole Renaissance period in that country, from the l ate 13th to the mid-16th century. Gathering information from all possible sources, his 'Lives' constitute the first comprehensive historical - critical survey of Italian Renaissance art. Much of their value resides in the first hand information they contain concerning the artists (Michelangelo in particular) who were his contemporaries, and in reflecting the aesthetic attitudes prevalent in a peak period in the history of art.
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- Date Issued: 1983
- Authors: Gibb, Barry
- Date: 1983
- Subjects: Vasari, Giorgio, 1511-1574 -- Criticism and interpretation
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2465 , http://hdl.handle.net/10962/d1008574
- Description: From Introduction: Giorgio Vasari's first and second editions of his 'Lives of the Artists I appeared respectively in 1550 and 1568, just after the great period of Renaissance art in Florence and Rome had ended. As a practising Florentine architect, painter and sculptor who travelled extensively in Italy, sari could write with authority on the development of these arts throughout what he saw ~s the whole Renaissance period in that country, from the l ate 13th to the mid-16th century. Gathering information from all possible sources, his 'Lives' constitute the first comprehensive historical - critical survey of Italian Renaissance art. Much of their value resides in the first hand information they contain concerning the artists (Michelangelo in particular) who were his contemporaries, and in reflecting the aesthetic attitudes prevalent in a peak period in the history of art.
- Full Text:
- Date Issued: 1983
Decorative aspects of reality with reference to sociological painting
- Authors: Clark, Dorothy
- Date: 1974
- Subjects: Decorative arts
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2474 , http://hdl.handle.net/10962/d1010501
- Description: The writer could not blame the reader for finding the title to this essay couched in somewhat academic terms. It must be said immediately that the title is a fake -- or that the following essay is a fake; the title has pretensions to the academic -- the essay has not. All academicism no longer has an independent existence -- it operates by formulae, is mechanical, uses faked sensations and vicarious experience and borrows its tricks and themes from a mature, established culture close at hand. This ' culture's life's blood is looted, given new twists, watered down and served up in academic terms. For these reasons, academicism and Kitsch are the same -- both change according to style and yet are always the same; both are the epitome of all that is spurious in our time. So, academicism could be said to be the 'stuffed shirt-front' for Kitsch. Preamble, p. 1.
- Full Text:
- Date Issued: 1974
- Authors: Clark, Dorothy
- Date: 1974
- Subjects: Decorative arts
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2474 , http://hdl.handle.net/10962/d1010501
- Description: The writer could not blame the reader for finding the title to this essay couched in somewhat academic terms. It must be said immediately that the title is a fake -- or that the following essay is a fake; the title has pretensions to the academic -- the essay has not. All academicism no longer has an independent existence -- it operates by formulae, is mechanical, uses faked sensations and vicarious experience and borrows its tricks and themes from a mature, established culture close at hand. This ' culture's life's blood is looted, given new twists, watered down and served up in academic terms. For these reasons, academicism and Kitsch are the same -- both change according to style and yet are always the same; both are the epitome of all that is spurious in our time. So, academicism could be said to be the 'stuffed shirt-front' for Kitsch. Preamble, p. 1.
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- Date Issued: 1974
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