Intro In this practice-led research project I investigate relations between structures of coercion in the built world and sculptural language. The aim of my project is to present a series of exhibitions and situations that examine architectures of bodily discipline as practices of form/space composition and spatial manipulation. Such architectures range from the delineation of public space to the choreography of bodies by urban design. The project engages the viewer in a dialogue around art and the spatio-visual codes that embody what Michel Foucault regarded as the coercive powers of modern 'carceral culture'. I research a range of studio and workshop, site and gallery based processes contextualised by contemporary notions of sculpture, materiality and art practice. I work from a position derived from the writings on art by the minimalist sculptor Robert Morris (1966, 1970), Rosalind Krauss (1977, 1979) and Hal Foster (1996), which stress the experience of the viewer as an integral part of the art work and emphasise the nature of art work in 'real' spaces. Proposed Project To investigate relations between 'structures of coercion' in the built world and sculptural language through a series of exhibitions and situations (installations at ARIs, public collaborative works, studio documentations) that examine architectures of bodily discipline as practices of form/space composition and spatial manipulation. The proposed artworks will engage the viewer in a dialogue around art and the spatio-visual codes that exist in urban space. Main objective The main objective of this research project is to: Identify new ways of understanding spatio-visual codes of discipline in the city through sculpture practice.
| Identifer | oai:union.ndltd.org:ADTP/246469 |
| Date | January 2009 |
| Creators | Lee, Katherine, katielee.mail@gmail.com |
| Publisher | RMIT University. Art |
| Source Sets | Australiasian Digital Theses Program |
| Language | English |
| Detected Language | English |
| Rights | http://www.rmit.edu.au/help/disclaimer, Copyright Katherine Lee |
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