Rematerializing the Art Object examines Eleanor Antin's The Eight Temptations and Carving: A Traditional Sculpture. Temptations re-presents Antin's diet for Carving in a formal language of camp, mocking the dominant avant-garde culture and inspiring a less idea-based interpretation. Section one contextualizes Carving's formal qualities within a broader aesthetic history of photography and sculpture. Section two focuses on how Antin creates an amalgam of Renaissance and Baroque imagery in Temptations. Section three argues that Antin constructs a camp adaptation of the diet reducing the impact of an overly emotional woman and the seriousness of conceptualism to a cliché. Throughout, the thesis centers on the formal and aesthetic manifestations of Antin's humor. A performance within a performance, Temptations's parodic art history denounces pragmatic photography and empowers Antin as an artist and as a woman. / text
| Identifer | oai:union.ndltd.org:UTEXAS/oai:repositories.lib.utexas.edu:2152/ETD-UT-2012-05-5867 |
| Date | 13 June 2012 |
| Creators | Bradley, Taylor |
| Source Sets | University of Texas |
| Language | English |
| Detected Language | English |
| Type | thesis |
| Format | application/pdf |
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