Die Animation entstand während der Künstlerresidenz Pilotenküche in Leipzig. Die monumentale Statue, die mit meinem Gemälde bedeckt ist, wurde auf der Grundlage von echtem Abfall geschaffen, den ich auf einer Müllhalde gefunden habe. Der Maßstabswechsel und drei unterschiedliche Schauplätze sollen die Tore der Vorstellungskraft öffnen und dem Rezipienten ohne unnötige Erzählung eine Frage stellen: Ist das, was ich sehe, Müll oder Schatz, bin ich niemand oder alles?

This study reappraises the role and value of statues (i.e. the figure as sculpture) in order to determine what happens when we encounter these objects. The consideration and construction of statues in my studio practice has generated specific insights into statues as person-shaped objects and into our encounter with these objects. From the perspective of a practice making statues this study addresses how, through the encounter, statues both stimulate and obscure our perceptions of them as objects. My practitioner's understanding of statues is articulated and enlarged by developing methods which allowed me to gain an expanded perspective of my practice, through data collected from conversations about statues, and via a subsequent diffractive dialogue with concepts gleaned from other disciplines. This research process has revealed specific characteristics of the encounter, and of statues themselves, that have been excluded or obscured by familiar assumptions and theories, such as a tacit consideration of statues that allows us to be unsettled by their nudity, or the role touch plays in considering statues, and ultimately the history of the object itself. These findings are considered through a sustained engagement with Object Oriented Ontology (after Harman). Through this process, my initial findings are subsequently expanded and further enhance a re-conception of the encounter and of statues as objects. Finally, I argue for the importance of considering this reappraisal of the role the encounter with statues could play in revealing and reframing our relations with objects more generally.

The thesis studies history-making in Melbourne’s central civic sphere, from its emergence in the 1880s to its decline in the 1930s. It identifies public history’s major themes and forms, and the relationships between them, based on four main cases of history-making: the articulation of the past and history in Melbourne’s 1888 Centennial International Exhibition; the historical backgrounds, development, unveilings and partial after-lives of Sir Redmond Barry’s statue, unveiled in Swanston Street in 1887, and the Eight Hours’ Day monument, unveiled in Carpentaria Place in 1903; and history-making around Victoria’s 1934-1935 Centenary Celebrations, with special emphasis on the Shrine of Remembrance and a detailed study of Cooks’ Cottage.

The thesis studies history-making in Melbourne’s central civic sphere, from its emergence in the 1880s to its decline in the 1930s. It identifies public history’s major themes and forms, and the relationships between them, based on four main cases of history-making: the articulation of the past and history in Melbourne’s 1888 Centennial International Exhibition; the historical backgrounds, development, unveilings and partial after-lives of Sir Redmond Barry’s statue, unveiled in Swanston Street in 1887, and the Eight Hours’ Day monument, unveiled in Carpentaria Place in 1903; and history-making around Victoria’s 1934-1935 Centenary Celebrations, with special emphasis on the Shrine of Remembrance and a detailed study of Cooks’ Cottage.

Akademisk avhandling--Stockholms universitet. / Extra t.p. with thesis statement inserted. Includes bibliographical references.

Zugl.: Jena, Universiẗat, Diss., 2003.

Universiẗat, Diss., 1998--Münster (Westfalen).

In my diploma thesis I do not deal with anything, I do not touch anything, and in the end I do not want to do anything. I work without a theme, without motivation.

This is a public history study of statues and monuments, and the stories they commemorate. “Teedyuscung, a Man, a Statue” examines, specifically, Native American statue and monument commemorations. I begin with the Tedyuscung Statue in Philadelphia’s Wissahickon Valley. In examining this statue and story surrounding it, I ask: Who does this statue represent? How does the Tedyuscung Statue affect passerby’s collective memory of Native American cultures and peoples? And how does the Tedyuscung Statue facilitate the creation and construction of an artificial, imagined, and colonized Indigenous space and place in Philadelphia’s Wissahickon Valley? In answering these questions, I examine how and why Teedyuscung, the man, was cast as an actor in the Wissahickon Valley’s history. I transition next into a broad study of Native American commemorative statue and monuments, such as: The Statue of Tamanend, Philadelphia, PA; The Nez Perce 1831 St. Louis Delegation Memorial monument, St. Louis, MO; the Kindred Spirits sculpture, County Cork, Ireland; and the Dignity: Of Earth and Sky sculpture, Chamberlain, SD. Through examining these studies, I answer several questions: How are Native American peoples represented in commemorative statues and monuments today? And further, do all Native American commemorations relay similar forms of Indigenous silence and erasure? This thesis, ultimately, reveals that statues and monuments can reclaim Indigenous space and place, narrating the stories Native Americans seek to tell. And, that statues and monuments can, conversely, create imagined spaces that silence Native Americans stories and histories. / History

Thesis (Ph.D.)--Bowling Green State University, 2008. / Document formatted into pages; contains viii, 256 p. : ill. Includes bibliographical references.