http://hdl.handle.net/10468/207 Thu, 19 Oct 2017 00:37:54 GMT 2017-10-19T00:37:54Z http://hdl.handle.net/10468/2600 Nancy Spero: pain and politics, 1966-1976 Warriner, Rachel The ten-year period that started with Nancy Spero’s War Series (1966-70) and ended with the completion of Torture of Women (1974-6) were of vital importance to the development of this key figure of feminist art. This was the moment when Spero turned her focus to politics, departing from a practice that was concerned with personal disaffection, instead focusing on profoundly social concerns. Essential to this evolution is a focus on pain. From the War Series through the Artaud Paintings (1970-71), Codex Artaud (1971-2), and Torture of Women, pain, both internal and external, was imagined in multiple forms. In Spero’s explorations of the theme, pain becomes metaphoric of the experience of women living under patriarchy, an amorphous but still profoundly disabling sensation that attacks both body and mind. This thesis explores Spero’s use of physical pain during moment of feminist art’s emergence, seeing it as a political metaphor for the way in which patriarchy invisibly controls and undermines women. Framed broadly by the question of art's relationship with politics during this turbulent period of anti-war and feminist activism, this thesis closely examines the way in which an analogy to pain figures the body in the work in complex terms, pursuing an ideological ambition through recourse to feeling. Fri, 01 Jan 2016 00:00:00 GMT http://hdl.handle.net/10468/2600 2016-01-01T00:00:00Z http://hdl.handle.net/10468/3103 Pedem referens: art historical memory and the analogue in the work of Tacita Dean, Jeremy Millar and Lucy Skaer North, Kirstie This thesis explores the new art historical turn in contemporary art through close engagement with three British artworks. These are Tacita Dean’s, Section Cinema (Homage to Marcel Broodthaers), 2002, Jeremy Millar’s, The Man Who Looked Back, 2010, and Lucy Skaer’s, Leonora, 2006. Each of these artworks combines an art historical agenda with a celebration of the specificities of analogue film and photography in the context of our digital age. This thesis combines twentieth century photographic theory from Roland Barthes, André Bazin and Walter Benjamin, among others, with the psychoanalytic theory of Jacques Lacan in order to argue that the indexical qualities of analogue film and photography place the medium in close proximity to the Lacanian Real. In its obsolescence the analogue’s language of both touch and loss is heightened. Each chapter of this thesis explores a different aspect of the Real in relation to specific attributes of the analogue, such as its propensity for archiving cultural traumas, its receptiveness to chance, and its proximity to death. Fri, 01 Jan 2016 00:00:00 GMT http://hdl.handle.net/10468/3103 2016-01-01T00:00:00Z http://hdl.handle.net/10468/2215 Alfred Elmore’s religious paintings de Bhailís, Caoimhín Thu, 01 Jan 2015 00:00:00 GMT http://hdl.handle.net/10468/2215 2015-01-01T00:00:00Z http://hdl.handle.net/10468/1088 De Kooning: A retrospective Krčma, Ed Krčma, Ed; Gaynor, Fergal A review of the major De Kooning retrospective held at the Museum of Modern Art, New York, September 2011 - January 2012. Sun, 01 Apr 2012 00:00:00 GMT http://hdl.handle.net/10468/1088 2012-04-01T00:00:00Z