[I examensarbetet ingår utställningen "Däremellan":] Material: Målarduk och oljefärg

What do we perceive, how do we perceive it and how do we then describe it? I try to reach an answer by describing artworks by Ida Ekblad, Franz West, René Magritte, Eva Löfdahl and Shunsuke Komatsu. I describe them from different medias into texts. I then try to find common observations and similarities in the texts. Following the thoughts of Maurice Marleau-Ponty I briefly discuss different aspects that effects our perception. The object and how it relates to its surroundings, how difficult it is to separate. Wholeness and details. The perceiver and the influence by the media from which you perceive. Experience, memories and time. Language and form (both physical and in language), The difference between description and analyses. The qualities that constitutes an object and how they are related to the senses. If an object is its material. / <p>Masterarbetet består av en skriftlig del och en gestaltande del. </p>

My thesis questions our construction of identity through objects. In small sculptures and paintings with collage and various found materials, I insist on the touch and intimacy that our bodies afford us in the world saturated with surface content, screens, and digital profiles. My criticism is self-reflective and curious, an attempt based in research and process in hopes of understanding further the complexities of absorbing in a body and dressing a surface. I have been focused on the formative years of growing up with objects and tools that shaped a concept of individual self and how the imposition of the “ideal” feminine surface affected my understanding of love, intimacy and sexuality.

Here is an exploration of the intergenerational Southern Black American Body, a complex collection of persevering souls of the past, present, and faith-driven future. Through the sensorial physical encounters of my body, sometimes recalled through the physicality of another, I locate the labor to belong, the complexity of submission, sensual awakening, displacement, absence, and the expansive spiritual force of the collective body. Using documentary additions of archived family photos and journal entries, I expand and abstract the occurrence of my presence through non-linear time, connecting the personal to the complex communal. These documents are the slippery prophecies of my being, our being, that simultaneously cause, effect, and become the present-day poetic text. This work complicates desires to essentialize and understand black presence—embracing the process of becoming, seeping, seeking.

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Landscape and Land Art focuses on so-called ‘Land Art' in Britain in the period from the mid-1960s to the present day. The dissertation concentrates particularly on Richard Long who, it is argued, functions as the definitive index of British Land Art. Land Art Beginning investigates how Land Art's earliest instances have shaped its subsequent discourse and introduces the methodological approaches employed in the dissertation. Land Art is then studied through a series of frames or milieus in the following chapters. Land Art Sculpture defends the necessity of viewing Land Art in the context of the practice and theory of sculpture. Land Art Repetition examines repetition as one of the most prevalent and informing strategies of Land Art practice and theory. Land Art Body focuses on one of the most overlooked and yet crucial components of Land Art, the body. Through identifying and delineating the different kinds of bodies and representations of bodies included in (and excluded from) Land Art discourse and practice, this chapter considers the ways in which the body has been suppressed in Land Art and the possibilities for a bodily re-engagement. Land Art Landscape views critically the landscape aspect of British Land Art which serves to link it to past art and particularly to a British 'Landscape Tradition'. The final chapter considers Land Art in relation to gardening and laughter through the construct of the ha-ha. The dissertation thus ends on a humorous note, but also an intensely serious one. Laughter and humour are powerful strategies against the most resistant orthodoxy, and British Land Art is perhaps best characterised in that way, as an orthodoxy, a dogma or an institution. This study aims to uncover and reveal the ways in which that orthodoxy has been constructed and is sustained, offering along the way some suggestions as to how it might be construed otherwise.

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The Practical Decorator and Ornamentist (Glasgow, 1892), one of the jewels in James Branch Cabell Library, embodies the work of the distinguished British designers George Ashdown Audsley and Maurice A. Audsley; the eminent Scottish publishing firm of Blackie & Son; and the illustrious French printing house of Didot. The thesis argues that the Decorator is one of the great nineteenth-century design books. Chapter one focuses on G. A. Audsley’s five masterworks and illustrates the contributions of a distinguished family of architects. There has not been a study of the Audsleys in ten years, and the present study goes further than other scholars in giving the Audsleys proper credit. Chapter two examines the Blackies, summarizing for the first time their patronage of Alexander Thomson, Talwin Morris, and Charles Rennie Mackintosh. Chapter three is the first close analysis of the book, tying it to A. W. N. Pugin, Owen Jones and Christopher Dresser, and opening the question of its international impact to the present.