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Full-Text Articles in Theory and Criticism

Imaginaire De La Fin, Icônes, Esthétique. (Ir)Représenter La Post-Apocalypse Dans La Bande Dessinée Et Le Cinéma Du Génocide Tutsi., Alain Agnessan Oct 2019

Imaginaire De La Fin, Icônes, Esthétique. (Ir)Représenter La Post-Apocalypse Dans La Bande Dessinée Et Le Cinéma Du Génocide Tutsi., Alain Agnessan

Electronic Thesis and Dissertation Repository

Cette étude sur la bande dessinée et le cinéma du génocide tutsi s’écarte de l’analyse désormais canonique des politiques mémorielles et pratiques testimoniales pour en investir le parti pris post-apocalyptique . Elle s’agence en deux volets, ou, plutôt, en deux lieux de regard. Envisageant l’imaginaire de la fin qui s’est constitué autour du génocide tutsi, le premier volet de l’étude s’attelle à décrire une scène « cross-traumatic » ou transtraumatique, appelée génoscape, sur laquelle la pensée, les images et les discours critiques lient le destin éthique, esthétique et épistémique du génocide tutsi à celui de la ...


Un/Dead Animal Art: Ethical Encounters Through Rogue Taxidermy Sculpture, Miranda Niittynen Aug 2018

Un/Dead Animal Art: Ethical Encounters Through Rogue Taxidermy Sculpture, Miranda Niittynen

Electronic Thesis and Dissertation Repository

Beginning in 2004, the Minnesota Association of Rogue Taxidermists began an art movement of taxidermied animal sculptures that challenged conventional forms of taxidermied objects massively produced and displayed on an international scale. In contrast to taxidermied ‘specimens’ found in museums, taxidermied ‘exotic’ wildlife decapitated and mounted on hunters' walls, or synthetic taxidermied heads bought in department stores, rogue taxidermy artists create unconventional sculptures that are arguably antithetical to the ideologies shaped by previous generations: realism, colonialism, masculinity. As a pop-surrealist art movement chiefly practiced among women artists, rogue taxidermy artists follow an ethical mandate to never kill animals for the ...


Hand-Eye, Michael S. Pszczonak Aug 2015

Hand-Eye, Michael S. Pszczonak

Electronic Thesis and Dissertation Repository

This integrated article thesis has two distinct chapters: The first chapter is a case study on a selection of works by German artist Sigmar Polke using Hal Fosters writing on the historical and neo-avant-gardes. The study traces the way Polke revisits the first avant-garde project and comprehends its attempted traumatic rift from dominant ideologies for the first time. The second chapter is a comprehensive artist statement which simultaneously outlines the theoretical underpinnings of my work as well as the process leading to the body of work on display at McIntosh Gallery. The research sets out to answer the following question ...


Standing For Something Not Present: Contested Representations In Contemporary Art, Trista E. Mallory May 2015

Standing For Something Not Present: Contested Representations In Contemporary Art, Trista E. Mallory

Electronic Thesis and Dissertation Repository

This dissertation looks at the limits and possibilities for the representation of political conflicts in the Middle East through the work of three contemporary artists: Emily Jacir, Eric Baudelaire, and Jafar Panahi. Situated within a moment of increasing uncertainty and global unrest evidenced by the continuing involvement of the United States in various wars in the Middle East, the rise of new terrorist formations like ISIS, and the ongoing geopolitical struggle between Israel and Palestine, to name but a few examples, three interrelated questions are taken up in this study: Given the increasing pressure placed upon truth claims and the ...


Relational Viewing: Affect, Trauma And The Viewer In Contemporary Autobiographical Art, Matthew Ryan Smith Aug 2012

Relational Viewing: Affect, Trauma And The Viewer In Contemporary Autobiographical Art, Matthew Ryan Smith

Electronic Thesis and Dissertation Repository

This dissertation examines the communicative relationship between contemporary autobiographical art and the viewer. By analyzing the work of six artists, Richard Billingham, Jaret Belliveau, Larry Clark, Nan Goldin, Lisa Steele and Bas Jan Ader, I maintain that lived experience and personal history condition the way viewers respond to autobiographical art. I turn to literary theory as a critical methodology to argue that autobiographical art operates as a catalyst for identification, memory and self-discovery. I use affect and trauma theory to demonstrate how artwork produces meaning and discourse through the viewer’s feelings, emotions and bodily sensations. Consequently, I survey the ...