Thesis--Münster. / Includes indexes. Includes bibliographical references (p. iv-xxxi).

Diss. : archéol. : Tübingen : 1978. / Version commerciale de.

Diss. : Philos. : Munchen, 1974.

Thesis (M. Phil.)--University of Hong Kong, 1986.

This study is an investigation of stylistic and iconographic innovation in English tomb sculpture from the accession of King Henry VIII through the first half of the sixteenth century, a period during which Tudor society and Tudor art were in transition as a result of greater interaction with continental Europe. The form of the tomb was moulded by contemporary cultural, temporal and spiritual innovations, as well as by the force of artistic personalities and the directives of patrons. Conversely, tomb sculpture is an inherently conservative art, and old traditions and practices were resistant to innovation. The early chapters examine different means of change as illustrated by a particular group of tombs. The most direct innovations were introduced by the royal tombs by Pietro Torrigiano in Westminster Abbey. The function of Italian merchants in England as intermediaries between Italian artists and English patrons is considered. Italian artists also introduced terracotta to England. A group of terracotta tombs in East Anglia, previously attributed by tradition to Italian artists, is re-examined. A less direct initiation of iconographic and stylistic innovation occurred through English artists' use of foreign patterns. The synthesis of such two-dimensional imagery by English sculptors is examined in certain tombs in Hampshire and Sussex. The influence of the Florentine royal tombs on English tomb sculpture in the latter half of the period is illustrated by alabaster tombs from an English workshop and by three other important tombs. The abandoned Italian project for the tomb of Henry VIII is studied in the context of the religious, political and economic changes that contributed to the breakdown of a supportive environment for Italian artists in England. Finally, the relevance of religious Injunctions and iconoclasm to the evolution of English tomb sculpture by the middle of the century is considered.

The purpose of this report is to discuss the artwork I have produced over the past three years while in attendance at The University of Texas at Austin. My artwork consists of sculptures, drawings, and installations that investigate certain aspects of the politics of black hair as they relate to my identity as an African American woman. These aspects are intimacy, beauty standards, and empowerment. I use hair and hair care products as my materials with which to create. I specifically focus on hair care products which I used when I was a young girl including Blue Magic hair grease and barrettes, products which for many black women are associated with childhood. My aim is to create artwork that changes hair and hair care products from mundane grooming tools into valuable cultural artifacts. / text

The purpose of this report is to explore the intentions and inspirations involved with my studio art practice. It explores theories of reference and language, humor, abjection, reification, and the building and breakdown of meaning within my artwork. / text

Staging the Encounter: the Work of Art as a Stage is a practice-led PhD project that consists of a thesis and a studio component in sculpture. Through a research question on the dimension of staging in the practice of sculpture, understood as the spatial staging that is intrinsic to placing objects in space, I speculate on the effect of this agency on the encounter of the viewer with the work of art. In this respect staging is linked to the modality of aesthetic presentation and the emergence of affect in the viewer. The thesis investigates different trajectories of thought that reveal a shift in art from an aesthetic experience keyed on objects to activated scenes of encounter. The aesthetic event becomes an in-between zone where objecthood, medium and autonomy are redefined. The first chapter explores a subject produced by an encounter with a work of art. Two stories of aesthetic embodiment in ancient Greek drama and Sanskrit performance describe a dynamic co-creation between the viewer and the work of art; here the aesthetic model dictates its events to theory. The affective becomings latent in the art encounter restore a connection between the viewing subject and its faculty of entering the world through the senses. In the second chapter I explore the implications of staging for contemporary sculpture and installation. A sculptural performativity across situated objects and emerging affects maps as lines of force in the space that art stages. The expanded space of sculpture reverberates social and political frictions through a subversive materiality, casting objects as agents of an insubordinate order. The third chapter presents my studio practice, which develops through a series of sculptures, video works and performances. In these works I set up spaces that act as rehearsals, scenes that act as platforms for encounters. I also describe case studies of encounters with works of art that manifest the elements that I discuss throughout the thesis: a staged encounter that produces an oscillation in the viewer between states of affect and becoming and critical reflection.

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published_or_final_version / Fine Arts / Master / Master of Philosophy