東華大學圖書館 |

Language: English

Help

回圖書館首頁

手機版館藏查詢

Back

Switch To: Labeled | MARC Mode | ISBD

Alterations.

Marks, Michael, II.

Linked to FindBook

Google Book

Amazon

博客來

Alterations.

Record Type:	Language materials, printed : Monograph/item
Title/Author:	Alterations./
Author:	Marks, Michael, II.
Description:	37 p.
Notes:	Source: Masters Abstracts International, Volume: 48-05, page: 2557.
Contained By:	Masters Abstracts International48-05.
Subject:	Fine Arts. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=1475543
ISBN:	9781109747416

Alterations.
Marks, Michael, II.

Alterations. - 37 p.

Source: Masters Abstracts International, Volume: 48-05, page: 2557.

Thesis (M.F.A.)--Clemson University, 2010.

My work is an investigation into the physical and cognitive spaces that painting occupies as both image and object. By transplanting fragments of mechanical and digital reproductions into formal and conceptual participation, I seek to disrupt the significations of culturally accepted iconography and probe the locations of acceptance they normally inhabit. I employ strategies of manipulation, framing, and juxtaposition to visually suggest the presence of the original object through the parameters of the reproduced composite and implicate the presence of the institution by incorporating the gallery wall directly into a number of my compositions. By utilizing imagery from the art historical domain and redeploying it in the manner of a quotation out of context, I suggest to the viewer an awareness of the many lenses of cultural criteria that are used to evaluate, appreciate, and understand these images and other works of art. While either directly using or evoking the historical image as a point of departure for this dialogue, this work contributes to an understanding or awareness of our location in the present by considering both the physical and virtual divisions that constitute our contemporaneous understanding of the past. These strategies speak to the difficulties of interpreting the original through the language of the reproduction, the fallibility of this system, and its frequently absurd outcomes. The purpose of this document is to: (I) Introduce and outline the biographical information used to formulate the conceptual procedure of the work, (II) Explicate the characteristics of the reproduction and its manifestation through the mechanisms of the work, (III) Signify the importance of the contemporary institution in our understanding of how images operate culturally, and (IV) Explain the historical and contemporary discourses that inform the work.

ISBN: 9781109747416Subjects--Topical Terms:

891065
Fine Arts.

Alterations.
LDR:02822nam 2200313 4500 001 1393095
005 20110311131530.5
008 130515s2010 ||||||||||||||||| ||eng d
020 $a 9781109747416
035 $a (UMI)AAI1475543
035 $a AAI1475543
040 $a UMI $c UMI
100 1 $a Marks, Michael, II. $3 1671575
245 1 0 $a Alterations.
300 $a 37 p.
500 $a Source: Masters Abstracts International, Volume: 48-05, page: 2557.
500 $a Adviser: Todd McDonald.
502 $a Thesis (M.F.A.)--Clemson University, 2010.
520 $a My work is an investigation into the physical and cognitive spaces that painting occupies as both image and object. By transplanting fragments of mechanical and digital reproductions into formal and conceptual participation, I seek to disrupt the significations of culturally accepted iconography and probe the locations of acceptance they normally inhabit. I employ strategies of manipulation, framing, and juxtaposition to visually suggest the presence of the original object through the parameters of the reproduced composite and implicate the presence of the institution by incorporating the gallery wall directly into a number of my compositions. By utilizing imagery from the art historical domain and redeploying it in the manner of a quotation out of context, I suggest to the viewer an awareness of the many lenses of cultural criteria that are used to evaluate, appreciate, and understand these images and other works of art. While either directly using or evoking the historical image as a point of departure for this dialogue, this work contributes to an understanding or awareness of our location in the present by considering both the physical and virtual divisions that constitute our contemporaneous understanding of the past. These strategies speak to the difficulties of interpreting the original through the language of the reproduction, the fallibility of this system, and its frequently absurd outcomes. The purpose of this document is to: (I) Introduce and outline the biographical information used to formulate the conceptual procedure of the work, (II) Explicate the characteristics of the reproduction and its manifestation through the mechanisms of the work, (III) Signify the importance of the contemporary institution in our understanding of how images operate culturally, and (IV) Explain the historical and contemporary discourses that inform the work.
590 $a School code: 0050.
650 4 $a Fine Arts. $3 891065
650 4 $a Art Criticism. $3 637082
690 $a 0357
690 $a 0365
710 2 $a Clemson University. $b Art. $3 1272481
773 0 $t Masters Abstracts International $g 48-05.
790 1 0 $a McDonald, Todd, $e advisor
790 1 0 $a Detrich, David $e committee member
790 1 0 $a Feeser, Andrea $e committee member
790 1 0 $a Jensen, Heidi $e committee member
790 $a 0050
791 $a M.F.A.
792 $a 2010
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=1475543