Exegesis (MA--Art and Design) -- AUT University, 2007. / Primary supervisor: Laurent Antonczak. Includes bibliographical references. Also held in print (67 leaves : col. ill. ; 30 cm. + DVD) in City Campus Collection (T 743.49 CAR)

Thesis (MFA)--Montana State University--Bozeman, 2008. / Typescript. Chairperson, Graduate Committee: Rollin Beamish.

Thesis (M.S.)--University of Wisconsin, 1933. / Typescript. Translation of: Plastische Anatomie / von S. Mollier. München : J.F. Bergmann, 1924. eContent provider-neutral record in process. Description based on print version record.

The reference to the body is a recurring and almost obsessive theme in Annette Messager's work. However, for the first time with Penetration (1993-1994) the artist investigates the inside of the body. / Anatomically descriptive and strangely symbolical the components of this hanging composition make up a huge portrait of the elements with which we are composed. With this thesis, I will demonstrate what is revealed is the body's structure: its content, its secrets, what is on the other side of the physical border and what soaks the flesh, the forces that bring us alive. / In addition, although the composition suggests a three-dimensional anatomical model, I will reveal it remains a distinctly visual and cerebral experience: a conceptualization of the body rather than the body's itself. Penetration stands for a view of ourselves that we know not from any real familiarity but from visual diagrams that have been derived from scientific research and consensus since, its separate elements and colors are taken from medical illustration. / Using artistic and historic examples, I will establish that even though the human body proposed by Messager is based on the anatomical model it is not a flattened representation reduced to an erudite enumeration but rather a three-dimensional model which can be experienced from within. / Messager stages the possibility of a face-to-face with the spectator. Inside Penetration the body recalls the very body materiality, a body where "dead" dangling internal organs "come to life" via the viewers' participation, via their penetration. The relationship of scale is upset and the spectators are invited to penetrate inside the body: to see things from up-close, to feel its elements, to touch its parts. / With Penetration Messager confronts the spectators with an intimate act as she directs them under (or rather) inside somebody's skin and forces them to confront their own sense of embodiment. Messager honours the physical body as our primary means of experiencing the world. I will ascertain that with her specific treatment of the body and without having to rely on modern technology, the artist offers an inquiry into the body as well as questions notions of embodiment. In other words, I will demonstrate Penetration exemplifies a complex set of negotiations between body and space: negotiations between the actual domain of the real body of the viewer and the three-dimensional (virtual) domain of the represented body and represented spaces. / In conclusion, I will propose that via the sense of touch Annette Messager produces a body where there is no escape between objective seeing and subjective feeling and where the human experience is formed and transformed.

No description available.

Thesis (M.A.)--Carleton University, 2004. / Includes bibliographical references (p. 193-198). Also available in electronic format on the Internet.

No description available.

The research question explored in this exhibition and dissertation was to review the conventional notions of craftsmanship and the use of the specific medium of oil paint with reference to the art of Rembrandt and Damien Hirst. The subject matter is flesh. This study foregrounds the involvement and acknowledgment of the corporeal body, the hand of the artist, and of the organic material reality of our existence and the objects that surround us. The paintings reflect a series of interventions that resulted in abstracted images based on photographs of meat. Once a detail had emerged that emphasised the fleshiness of the selected image, it was printed by a professional printing company. These details were then translated into oil paintings. What is explored is the specific material qualities of the binding mediums traditionally associated with the use of oil painting to create expressive paintings. In the creation of the series of paintings, I prepared binding mediums consisting of wax, stand oil, damar varnish, zel-ken liquin and acrylic paste medium mixed with manufactured readymade oil paints. Consequently the choice and exploration of the material possibilities of a specific medium becomes content, using art to explore the idea of art. Paint becomes flesh-like, having congealed over the surface of the technical support. These paintings propose an internal and an external reality simultaneously referenced through the flesh-like surface, pierced and cut to reveal multiple layers created on the supporting structure (wood and canvas) with the use of a specific medium, oil paint, combined with a variety of other binding mediums. The edges of the unframed paintings play an important role assuming a specific physical presence, enabling them to define themselves as boundaries, both of the paintings particular field of forces and of the viewer’s aesthetic experience. They are no longer edges or frames in the conventional sense, but become other surfaces that are of equal significance in the reading or viewing of the work. Finally, the notion of an exhibition site being neutral or given is contested and, as a result, the contemporary artist needs to be mindful of site specificity in relation to the exhibition of the artworks. This series of paintings is intended to communicate as a body of work, reflecting an individual vision: a recurring, introspective process that is always unfolding. The body is constantly recreated by each individual viewer, and the context or site of display. The artist’s intention is to activate the viewer’s heightened awareness and response to the conscious arrangement of the collection of canvases, as each one represents a fragment or detail of a flayed carcass.

Univ., Diss.--Kassel, 2004.

Thesis (MPhil)-- Stellenbosch University, 2013. / ENGLISH ABSTRACT: Anatomy remains a foundational subject in the preclinical years of medical and other allied health sciences courses, with exceptionally large volumes of content, and a unique practical aspect: conducting cadaveric dissection and the use of pre-dissected cadaver specimens. The educational climate can be set by incorporating a suitable introduction to the subject, addressing academically and emotionally underprepared students before the formal commencement of the Anatomy curriculum. The literature does not mention what such an Introduction Module should entail. Quantitative means such as questionnaires have been used to evaluate the perceptions and the emotional and psychological influence of Anatomy. It is often assumed that through words meaning is conveyed, providing researchers with data that can be objectively interpreted. But questionnaires are rather pre-emptive of what students might say about what they experience, and the number of possible answers is restricted. The use of drawings might be an opportunity for the students to express their unmediated feelings; strong emotions could appear in the form of images instead of words, allowing students to experience rather than verbalize feelings especially with a limited vocabulary. Qualitative data analysis enables the researcher to get at complex layers of meaning, interprets human behaviour and experiences beyond the surface appearance, provides rich evidence of this behaviour and/or experiences and consequently builds theory inductively from the data source. The primary purpose of this study is to establish the feasibility of using drawings to explore how a diverse group of students from the University of Limpopo, Medunsa Campus, view Anatomy and what insights can be gained from these drawings to inform the Introduction Module. Students were asked to draw their perceptions of Anatomy after approximately 10 weeks of allocated contact time, which includes lectures as well as practical sessions. A total of 74% (134 out of 181) drawings were handed in. A matrix-type method of analysis based on existing literature was formulated to analyse the drawings. Three dimensions were identified for each of the drawings: “what” is illustrated, then “how” is the message conveyed or illustrated, and lastly, the “emotion” communicated through the drawing. The reliability was increased with two interpreters who analysed the drawings. Learning approaches, orientation on human life and death, the general emotional state of individuals influenced by Anatomy, their course of study, the influence of family and friends are some of the aspects that were depicted in the drawings. The rich data encountered through the drawings provided curriculum organisers with insights enabling them to implement necessary changes to the Introduction Module in order to improve student preparedness for what is to follow during the Anatomy curriculum. Further studies are recommended on how student drawings can be utilised to inform curricula and in other educational contexts. / AFRIKAANSE OPSOMMING: Anatomie bly 'n fundamentele vakgebied in die prekliniese jare van mediese en ander verwante gesondheidswetenskappe kursusse, met besonder groot volumes van die studieinhoud en 'n unieke praktiese aspek: die uitvoer van kadawer disseksie en die gebruik van voorafgedissekteerde kadawer monsters. Die opvoedkundige klimaat kan ingestel word deur 'n geskikte Inleiding Module tot die kurrikulum te voeg wat akademies en emosioneel swak voorbereide studente kan voorberei vir die formele Anatomie kurrikulum. Literatuur noem nie wat so 'n Inleiding Module moet behels nie. Kwantitatiewe praktyke soos vraelyste is voorheen gebruik om die persepsies en die emosionele en sielkundige invloed van Anatomie te evalueer. Dit word dikwels aanvaar dat deur woorde betekenis oorgedra word wat navorsers van data voorsien wat objektief vertolk kan word. Maar vraelyste is vooropgestel ten opsigte van dit wat studente mag ervaar, en die aantal moontlike antwoorde is beperk. Sterk emosies kan na vore kom in die vorm van beelde in plaas van woorde, wat studente in staat stel om te ervaar, eerder as om gevoelens te verwoord, veral met 'n beperkte woordeskat. Die gebruik van tekeninge is 'n geleentheid vir die student om hul onverdeelde gevoelens uit te druk. Kwalitatiewe data-ontleding stel die navorser in staat om komplekse lae van betekenis te interpreteer, menslike gedrag en ervarings buite die oppervlak te analiseer, bied voldoende bewyse van hierdie gedrag en ervarings en kan gevolglik teorie induktief uit die data bron bou. Die primêre doel van hierdie studie is om die lewensvatbaarheid van die gebruik van tekeninge te verken in hoe 'n diverse groep studente aan die Universiteit van Limpopo, Medunsa-kampus, Anatomie sien en watter insigte kan verkry word uit hierdie tekeninge om die temas wat in die Inleiding Module aangespreek moet word, vas te stel. Studente is gevra om hul persepsies van Anatomie uit te beeld na ongeveer tien weke se formele kontaktyd, wat lesings, sowel as praktiese sessies insluit. 'n Totaal van 74% (134 uit 181) tekeninge is ingehandig. 'n Matriks-tipe metode van analise gebaseer op bestaande literatuur is geformuleer om die tekeninge te ontleed. Drie dimensies is geïdentifiseer vir elk van die tekeninge: "wat" is geteken, dan "hoe" is die boodskap wat oorgedra word geïllustreer, en laastens die “emosie” gekommunikeer deur die tekening. Die betroubaarheid is verhoog met twee individue wat die tekeninge ontleed. Leerbenaderings, oriëntering op die menslike lewe en die dood, die algemene emosionele toestand van individue en hoe dit hul persepsies van Anatomie beinvloed, die studiekursus waarvoor hul ingeskryf is, die invloed van familie en vriende, is 'n paar aspekte wat in die tekeninge uitgebeeld is. Die ryk data teëgekom in die tekeninge kan kurrikulum organiseerders in staat te stel om die nodige veranderinge aan die Inleiding Module te implementeer ten einde die voorbereiding van studente te verbeter vir wat gaan volg tydens die Anatomy kurrikulum. Verdere studies word aanbeveel oor hoe student tekeninge gebruik kan word om leerplanne en in ander opvoedkundige kontekste in te lig.