published_or_final_version / Comparative Literature / Master / Master of Philosophy

This thesis examines the notion of a 'third space'. 'Third space' is a way to examine the question of culture in a time marked by large epistemic, political and representational shifts. Recent theorization of 'third space' often locates this as a cultural 'in-between' or field of liminality, beginning with the polarities of hierarchical and binary dualisms. The body, as one half of dualistic thought and practice, remains conspicuously absent from concepts of 'third space' and its activities. A series of dynamic modes of engagement, in which embodiment figures centrally, constitutes 'third space' in this theorization of it. Rather, however, than approach the articulation of a 'third space' solely through academic and literary texts, its primary 'sources' of 'information' to date, photographic imagery is proposed as a means to access 'third space'. The photographic, through its mediation of "vision," provides visual 'clues' by which to approach the "subjects" and "objects" of 'third space'. A trialectical relation of Visuality, Embodied Inter(ob)subjectivity and Space therefore characterizes a feminist approach to, and conceptualization of, 'third space'. An interpretative analysis of the contemporary photographic practices of Genevieve Cadieux, Marlene Creates, and Sylvie Readman contributes to an understanding of the significance of a notion of 'third space'.

This creative project entailed the creation and display of ten drawings. These drawings were to be the result of research into the lives and artistic styles of a number of visual artists who explored political and social themes. The goals of the artist of the creative project were to develop and extend her ability to produce a personal visual language, to communicate by way of her drawings certain feminist and social concerns, and to relate her treatment of the drawn figure to the treatment other artists have traditionally given these concerns.Within the context of the ten drawings submitted for this creative project, it became clear that the artist had begun to develop a personalized visual language. The human figures were indicated by outlines which suggested the three dimensional form in a manner that was distinctive to the artist while fitting into the realm of contemporary feminist and political art. Furthermore, these drawings described the humanist/feminist concerns of the artist. / Department of Art

There is no abstract available for this thesis. / Department of Art

Thesis (M.CA.-R.)--University of Wollongong, 2006. / Typescript. Includes bibliographical references: leaf 23-24.

Thesis (Ph. D.) -- University of Western Sydney, Hawkesbury, 2000. / Includes bibliographical references (v. 3, leaves 115-120).

Thesis (M.F.A.)--Rochester Institute of Technology, 2008. / Typescript. Includes bibliographical references (leaves 38-39).

Thesis (M.F.A.)--East Tennessee State University, 2003. / Vita. Includes bibliographical references (p. 57). Also available full text via Internet at the East Tennessee State University, Dept. of Art and Design web site as a .pdf file requiring Adobe Acrobat Reader software.

The discussion and illustration of how paintings function as thresholds is examined in the thesis report and the thesis exhibition, Threshold implies the passage of how an artist approaches the processes of seeing. The painting is the entry point, a place of connection of artist and viewer, a record of human experience transforming individual, interdependent and universal knowledge. Issues of the human body's relationship to vessels, and the metaphor that is integrated in relationship of space and proximity is explored. The significance of symbols and signs and the interplay of historical and personal imagery are examined through the precepts of Feminist Theory. The historical influences are paleolithic and are cross referenced from Japan to India. Other direct influences of the fertility form of the pelvic region of the female frame represents the abstracted appearance, signifying the human body's ability to possess and regenerate its essence. The work and its discussion of this symbol reflect specifically the use of the vessel form synthesizing the anatomical reference of uterus, the regenerative region of the female body. The uterus as symbol is to imply a conscious internal (and external) perception that is relative to ideas of human containn1ent. The paintings are concerned with utility bottles transforming a sense of transition metaphorically from earth to air, opaque to transparent. The object of painting as a threshold for visceral knowledge and an opportunity for the knowledge is explored through the proximity of objects. Usage of materials creates a personal dialogue. Merging specific experiences into visual documents, the content and the symbols create parallels of the vessel to the body as forms that hold. The realization that the distance of objects establishing their relationship, and the philosophical importance of the vessels and the bodys void are symbolically represented in both the written word and the painted image.

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.