- Title
- The digital and the hyperreal, with reference to artwork by Signe Pierce and Lauren King
- Title
- The digital feminine
- Creator
- King, Lauren Pascal
- ThesisAdvisor
- Western, Rat
- Subject
- Women in art
- Subject
- Femininity in art
- Subject
- Figurative art
- Subject
- Cyberspace -- Social aspects
- Subject
- Feminine beauty (Aesthetics)
- Subject
- Online identities
- Subject
- Photo-realism
- Subject
- Computer art
- Subject
- Virtual reality in art
- Subject
- Reality in art
- Subject
- Art, Modern -- 21st century
- Subject
- Feminist art criticism
- Subject
- Pierce, Signe
- Date
- 2020
- Type
- Thesis
- Type
- Masters
- Type
- MFA
- Identifier
- http://hdl.handle.net/10962/147939
- Identifier
- vital:38688
- Description
- This MFA is a visual art critical investigation of digital representations, manipulations, and exploitations of feminine figures in cyberspace. The particular focus of this study is centred on the work of self-titled reality artist Signe Pierce, as well as my own practical body of work: The Digital Feminine. Case studies of Pierce’s practice include Big Sister (2016), Halo (2018), American Reflexxx (2013) and Reality Hack (2016). Through these case studies I examine the nature of identity formation online as underscored by notions of performativity as well as arguments for the use of feminine aesthetics as feminist critique, specifically through the use of the ‘Venus Flytrapping’ method. Jean Baudrillard famously theorised the hyperreal and the simulacra, claiming that human experience is a simulation of reality1. My MFA thesis addresses contemporary concerns relating to issues of reality, perception, the gaze, and identity in an increasingly virtual world. The 20th century witnessed massive changes in technology, and its subsequent commercialisation marked new territories for mass media, politics, entertainment, social life, and the art world. Avant-garde modern art movements shattered previously held standards of traditional artistic production, thus ideas surrounding the ‘art object’ and the role of artists themselves were fundamentally changed. In a postmodern world where nothing is sacred and life is experienced through the simulacra of the screen, the hyperreal takes over. I investigate how real-world socio-political issues, particularly those related to gender, transcend into the digital realm of cyberspace through discussions of Donna Harraway’s ‘cyborg feminism’ and Judith Butler’s ideas of gender performativity, as well as Erving Goffman’s ideas of everyday performativity. My final body of work for the professional art practice component of this MFA is realised in the form of an immersive installation that straddles the virtual and the real. Influenced by digital and hyperreal aesthetics (such as VapourWave), this installation also explores various expressions of femininity that an individual can express both online and in real life.
- Format
- 133 pages, pdf
- Publisher
- Rhodes University, Faculty of Humanities, Fine Art
- Language
- English
- Rights
- King, Lauren Pascal
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RU Department of Fine Art
| Thumbnail | File | Description | Size | Format | |||
|---|---|---|---|---|---|---|---|
| View Details | SOURCE1 | KING-MFA-TR20-368.pdf | 8 MB | Adobe Acrobat PDF | View Details |