The digital and the hyperreal, with reference to artwork by Signe Pierce and Lauren King
- Authors: King, Lauren Pascal
- Date: 2020
- Subjects: Women in art , Femininity in art , Figurative art , Cyberspace -- Social aspects , Feminine beauty (Aesthetics) , Online identities , Photo-realism , Computer art , Virtual reality in art , Reality in art , Art, Modern -- 21st century , Feminist art criticism , Pierce, Signe
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/147939 , vital:38688
- Description: This MFA is a visual art critical investigation of digital representations, manipulations, and exploitations of feminine figures in cyberspace. The particular focus of this study is centred on the work of self-titled reality artist Signe Pierce, as well as my own practical body of work: The Digital Feminine. Case studies of Pierce’s practice include Big Sister (2016), Halo (2018), American Reflexxx (2013) and Reality Hack (2016). Through these case studies I examine the nature of identity formation online as underscored by notions of performativity as well as arguments for the use of feminine aesthetics as feminist critique, specifically through the use of the ‘Venus Flytrapping’ method. Jean Baudrillard famously theorised the hyperreal and the simulacra, claiming that human experience is a simulation of reality1. My MFA thesis addresses contemporary concerns relating to issues of reality, perception, the gaze, and identity in an increasingly virtual world. The 20th century witnessed massive changes in technology, and its subsequent commercialisation marked new territories for mass media, politics, entertainment, social life, and the art world. Avant-garde modern art movements shattered previously held standards of traditional artistic production, thus ideas surrounding the ‘art object’ and the role of artists themselves were fundamentally changed. In a postmodern world where nothing is sacred and life is experienced through the simulacra of the screen, the hyperreal takes over. I investigate how real-world socio-political issues, particularly those related to gender, transcend into the digital realm of cyberspace through discussions of Donna Harraway’s ‘cyborg feminism’ and Judith Butler’s ideas of gender performativity, as well as Erving Goffman’s ideas of everyday performativity. My final body of work for the professional art practice component of this MFA is realised in the form of an immersive installation that straddles the virtual and the real. Influenced by digital and hyperreal aesthetics (such as VapourWave), this installation also explores various expressions of femininity that an individual can express both online and in real life.
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- Date Issued: 2020
Visualising Chinese presence: an analysis of the contemporary arts of Zambia and Zimbabwe
- Authors: Zhang, Lifang
- Date: 2020
- Subjects: Art, Modern -- 21st century , Art, Modern -- 21st century -- Chinese influences , China -- Relations -- Zambia , China -- Relations -- Zimbabwe , Art and society -- Zambia , Social practice (Art) -- Zambia , Art and globalization -- Zambia , Art and society -- Zimbabwe , Social practice (Art) -- Zimbabwe , Art and globalization -- Zimbabwe
- Language: English
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/146618 , vital:38542
- Description: With the revival and rapid growth of relations between China and African countries in the present century, the “China-Africa relationship” has become a topic of close attention globally and the media and politicians have been dominating the mainstream discourses with dichotomised narratives. China-Africa engagement has also spurred academic research, most of which is oriented toward large-scale economic, political, and strategic concerns. In this context, it is significant to conduct in-depth research exploring specific engagement between Chinese and African people on the ground. Contemporary artists based in Africa have started to represent, through artworks and performances, their experiences and expressions of relations between China and various African countries. However, an examination of twenty-first century connections between Africa and China in relation to the contemporary visual arts is a new area of study and only a limited number of scholarly works exist. To contribute to the research in this area, this thesis explores the ways in which artists engage with specific realities and lived-experiences of Chinese presence through their artistic practices, with a focus on a selection of artists from Zambia and Zimbabwe. Through visual analysis, interviews and field work, this thesis provides a systematic investigation of contemporary arts of Zambia and Zimbabwe in relation to Africa- China encounters, engaging with four aspects: the discursive field, the material presence, individual experiences of encounters, and the broader relational connections within the arts. This thesis argues that, motivated by the histories and realities of African societies, artists from Zambia and Zimbabwe, through their artistic practices, form part of the Africa-China engagement and insert their agencies in the south-south relations between Africans and Chinese. Therefore, this thesis demonstrates the value in approaching the broader discussion on Africa-China engagements from the perspective of contemporary art, arguing that, with the social concerns of the artists and the expressive capacity of creative forms, visual arts are able to embrace diversity, dynamics, complexities and contradictions, and, therefore, can develop the topic beyond the stereotypical narratives about Africa-China relations to a more nuanced understanding of African-Chinese encounters in specific contexts.
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- Date Issued: 2020