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Browsing Visual Arts by Subject "Affect theory"
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Item Open Access Beside Oneself: Towards a Participatory Feminist Art Practice(2015-01-26) Schogt, Elida; Tenhaaf, PetronellaComprised of a research paper and the presentation of a performance, my dissertation in studio-based visual art is part of a larger discussion about the role of art and the viewer-participant within social and political systems. Working with queer theorist Eve Kosofsky Sedgwick’s notion of beside and what she calls its useful resistance to narratives, as well as feminist theorist Elizabeth Grosz’s return to bodily specificity in her reading of Gilles Deleuze and Félix Guattari’s BwO (Body without Organs), I move from my former reliance on psychoanalytic tropes and representational forms towards a spatialized, embodied, and participatory art practice. In what curator and critic Lucy Lippard characterizes as the feminist values of collaboration, dialogue and constant questioning of aesthetic and social assumptions, I situate my practice alongside Lygia Clark’s experientially interactive installations, Sophie Calle’s intersubjective video-art and Doris Salcedo’s participatory research-based sculpture; as well as performance artist Andrea Fraser’s institutional critique and multi-disciplinary artist Emily Roysdon’s choreographed movement. The dissertation artwork is a performance of choreographed movement by a group of girls and diverse adults, who create a composite character, the realization of a two-year period of research and planning. The performance begins the moment the viewer-participant enters Toronto’s Old City Hall, which currently functions as a provincial courthouse. Guided upstairs into a grand, open hallway and then up again through a long corridor, movement and tableaux punctuate the spaces, culminating in the dissertation defense. In both the writing and the artwork, I harness affect theory to examine ways the dissociated self, fractured through childhood sexual abuse, can be reconfigured through participatory practices into a cohesive whole that challenges established power structures.Item Open Access Material Things(2017-07-27) Vincent, Erin Mary; Balfour, BarbaraMy art practice explores things considered without hierarchy as well as how materials used in unfamiliar contexts are continuously unfolding and becoming while also being in a nomadic state of flux. My MFA thesis exhibition, material things, is comprised of two shows in separate gallery spaces. I will present a selection of freestanding and wall mounted works at the Allison Milne Gallery in Toronto, and Gales Gallery at York University will house a large-scale installation of mine. My thesis support paper addresses the in-between state of material relationships while considering and experiencing things without labels or categories. Through the slow unfolding of the unaccustomed unions of discarded or mundane materials a heightened awareness arises and affect is created. This work strives for a visceral response that could be triggered by the rich saturation of colours, palpable textures and familiar forms that are simultaneously alluring and repellent while maintaining a captivating presence during what is to come.Item Open Access Nice to "Meet" You(2015-08-28) Pantieras, Christos; Yates, Kevin M.This paper accompanies the key manifestation of my research at York University: the solo thesis exhibition entitled, Nice to ‘Meet’ You, installed at Gales Gallery from March 30th to April 3rd, 2015. My research explores how we interact through social media and online platforms, and the desire to make a connection with one another. Through a contextualization of my studio practice this paper provides an overview of my thesis exhibition and addresses how my work is a reflection on how we interact online when seeking out an intimate connection. What remains as a relational artifact when correspondence is broken? What is the ongoing story after ‘delete’? Is it ever truly over?Item Open Access That Thing: Confronting Difficult Trauma(2021-11-15) Wunderink, Rachelle Gerine; Lau, Yam K.Society censors, rather than confronts, stories of rape and harassment. Rachelle Wunderinks thesis work unveils the consequences of sexual assault trauma by forcing viewers to engage with the emotional affect. She does this in three key ways throughout her body of work: Blankouts, an immersive wheat-pasted installation, which looks at the covert ways in which society suppresses womens stories of assault through the use of coded language and censorship. Secondly, Trauma Embodied, looks at how the artist self- censors her own stories through a multi-layered editing process of eight different videos. Lastly, in Wunderinks thesis exhibition, That Thing: Confronting Difficult Trauma, the artist activates the gallery space creating various modes of interaction with the work engaging her audience to consider the ways in which the work imprints on their own experiences.