Taking as its starting point the anti-monumental stance of much Post-minimalist sculpture, my research investigates alternative paradigms for sculptural practice, drawing on the decorative traditions of provisional and temporary objects made for ceremonies and celebrations (including bunting, balloons, tablecloths, banners etc.) / In order to find a way of creating sculptural works that are formally flexible and mutable, but that also connect with the symbolism emanating from such vernacular celebrations; I have turned to studying objects that are separate to, yet which 'surround', those located within the 'fine art' sculptural tradition. The pageant, feast, religious occasion and personal celebration are examples of symbolic events which necessitate the manufacture of decorations, costumes and props. Often these objects are ephemeral, in being made from materials such as flowers, textiles, or food, and are meant to be discarded or consumed. Sometimes they have a cyclical or 'seasonal' aspect - in terms of their temporality - in being able to be repeatedly used and then packed away. The characteristics of such deployment, and the emphasis on the manner in which these objects transform an environment tie them to many key aspects within both modernist and postmodernist visual art practice (whether within Minimalism, Arte Povera, for Neo-concretism). / Special occasions have a shared symbolic language that is intimately understood by most people across a wide diversity of cultures; while in requiring the production of objects as 'accessories', decorations or props, they also share many basic elements of what might be called a 'formal vocabulary' or language. / This research focuses on the formal conventions and structures of the material culture of special occasions; the sculptural language of the streamer, pageant float, tinsel, birthday cake, and balloon. With the 'expansion of the sculptural field' and the loss of confidence in the signifying capacity of the tradition of the monumental within public art, artists have increasingly turned to exploring other forms and types of symbolic language, as a way of engaging anew with communal commemoration and celebration - whether on large or domestic scale (illustrated ephemeral, performative and domestic materials and processes in contemporary art. / Also of interest is the tradition of display and spectacle inherent in protest marches and rallies. Very often the formal elements of trade union parades, suffragette marches and mass demonstrations utilise a similar formal language to parties and pageants. The ability of such festive structures to carry and even advance an ideological cause is intriguing, and provides a point from which to begin to speculate on how 'personal ideologies', obsessions, and intense psychological and emotional affects might be drawn upon to create a visual language (or formal system) that can operate in non-literal, highly associative ways - whilst providing a meaningful point of reference for viewers. / A selection of artists included in this research: Thomas Hirschhorn, Eva Hesse, Robert Morris, Matthew Barney, Jeff Koons, Helio Oticica, Polly Apfelbaum, Lygia Clark and Tracy Emin. / The research has been conducted within several overlapping fields - art history, contemporary cultural theory, visual art practice and literature, and cultural anthropology - which have provided useful points of critical reference, source material and interpretive paradigms. Nevertheless, the focus has been upon 'special occasion objects' within the western tradition (with Australia viewed as a post-colonial European nation), with particular reference to positions within the Minimalist and Post-minimalist contemporary visual art practice. / This research utilises an Action Research methodology which provides a useful paradigm for understanding and developing the relation between artistic experimentation and production, critical analysis and personal reflection characteristic of studio-based research. The thesis will take the form of an exhibition of art work and an accompanying ten thousand work exegesis. / Thesis (MVisualArts)--University of South Australia, 2006.
| Identifer | oai:union.ndltd.org:ADTP/267217 |
| Creators | Currie, Bridget. |
| Source Sets | Australiasian Digital Theses Program |
| Language | English |
| Detected Language | English |
| Rights | copyright under review |
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