Thesis (Ph.D.). / Written for the Dept. of Art History and Communication Studies. Title from title page of PDF (viewed 2009/09/02). Includes bibliographical references.

In this study, the intersection between the changing use and portrayal of the image of Saint Sebastian, and homosexuality, homoeroticism and HIV/AIDS is investigated through use of literary, theoretical, and visual arts materials. Comparisons between the use and portrayal of Saint Sebastian imagery are informed by Halperin's (1995) and Highwater's (1997) gay analyses of Foucault's theories, allowing very recent changes to be addressed and discussed. Their theories of cultural conflict and social repression are also utilised when discussing gay male positions within wider Western society, and the predominantly white Anglo-middle-class gay movement of Australia, North America and Europe. / The diversity of art expression and the extent of thematic intent in gay images portraying Saint Sebastian, challenges many stereotypes and presumptions made about gay men, and indeed about the impact of HIV/AIDS upon the gay male community. In this study, a historical survey of images is conducted in order to trace changing intentions for the image and explain its current popularity in the homosexual community. Although Foucault, Halperin and Highwater do not directly discuss Saint Sebastian imagery, their theories allow the images to be analysed within a current social context. Further, they recognise that current cultural identity is dependent upon the influences and traditions of the past. This recognition of the past is an important influence upon contemporary artists who wish to explore the legend of Saint Sebastian, even when referencing recent themes and issues related to HIV. / Thesis (MVisualArts)--University of South Australia, 1999.

My research investigates the habitual, the non-monumental, the mundane, the ordinary and the everyday. I conceive of this as those moments in life that are not socially or culturally recognised as important. Traditionally, such moments have not been considered worthy of documentation and have been omitted or overlooked by mainstream media. This exegesis examines the importance of the everyday and considers how to make it conspicuous. Historically, these moments have been identified with the feminine, in that much theoretical and artistic work has emerged exploring women's experience of the everyday and testifying to its importance. Three spheres in particular have attracted critical interest: namely the body, the domestic and personal identity. For example, in 1966 Yoko Ono's 'No 4 (Bottoms)' brought the issue of the body and its banality onto centre stage by showing an endless parade of bottoms. In 1975, Chantal Akerman's film 'Jeanne Dielman, 23 quai du commerce, 1080 Bruxelles', showed the everyday routines of a self-contained housewife. More recently, numerous artists have explored the politics of identity. Sadie Benning has made numerous videos that show the mundane and also reveal her personal identity, by exploring large and especially small scale details. / While conventionally newsreels and big budget documentaries have focused on 'big' events, one of the arenas that have investigated the everyday is experimental film and video. My exegesis gives a brief historical overview of this genre. Testimony in this media is often used as a voice to express the everyday. My journal entries (testimonies) deal with everyday experiences, and are interspersed throughout my exegesis. They are also the main threads in my videos. In my studio work, I use movement and dance to express in an abstract manner issues about the everyday, which include personal identity, more specifically issues of illness and sexuality / My research draws on a variety of sources including: 1970's feminist artists and filmmakers (Chantal Akerman and Martha Rosler). Many artists who were involved in the women's movement used their bodies in various art forms including performance art to make radical statements about domesticity and feminism. Contemporary artists' depiction of personal identity that mostly informed my work (in particular, queer identity) are: experimental queer film and media makers Sadie Benning, Marlon Riggs, Isaac Julien and William Yang. / Thesis (MVisualArts)--University of South Australia, 2006.