東華大學圖書館 |

語系: 繁體中文

說明(常見問題)

回圖書館首頁

手機版館藏查詢

登入

回首頁

切換: 標籤 | MARC模式 | ISBD

FindBook

Google Book

Amazon

博客來

The Art of Losing: Performing Ecological Loss in Contemporary Art.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	The Art of Losing: Performing Ecological Loss in Contemporary Art./
作者:	Nikcevic, Hana.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2021,
面頁冊數:	128 p.
附註:	Source: Masters Abstracts International, Volume: 83-03.
Contained By:	Masters Abstracts International83-03.
標題:	Ecology. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28731175
ISBN:	9798544224105

The Art of Losing: Performing Ecological Loss in Contemporary Art.
Nikcevic, Hana.

The Art of Losing: Performing Ecological Loss in Contemporary Art. - Ann Arbor : ProQuest Dissertations & Theses, 2021 - 128 p.

Source: Masters Abstracts International, Volume: 83-03.

Thesis (M.A.)--McGill University (Canada), 2021.

This item must not be sold to any third party vendors.

In this moment of global environmental crisis, the accurate representation of ecological loss has arisen as an area of concern. What formal strategies best depict the diffuse, the protracted, the barely perceptible? In this thesis, I demonstrate that one strand of contemporary ecological art assumes a negative position: ecological loss, certain artists propose, is beyond representation. I demonstrate this premise across three chapters, each of which deals with one contemporary ecological artwork: American artist Mark Dion's The Life of a Dead Tree (2019), New Zealand artist Sally Ann McIntyre's Twin signals at Silver Stream (fragments of a landscape for specimens #50.766 and #50.767) (2016-18), and Scottish artist Katie Paterson's Vatnajokull (the sound of) (2007-8). While each of these works deploys unique aesthetic tactics to treat its individual environmental issue and claim, the definitive aesthetic strategy in each of these artworks, I suggest, is that the artwork does not represent but instead performs ecological loss. Peggy Phelan has stated of performance that it "becomes itself through disappearance" and consequently resists representation; performance is by its nature ephemeral, and the crucial, final element of loss cannot be represented. This idea, I argue, underpins the three artworks I discuss. Conceiving of ecological loss as akin to performance in Phelan's terms and thus acknowledging that the loss central to both exceeds representation, these works opt to perform ecological loss over representing it. In this way, each work formally rehearses the nature of the loss it treats instead of describing it. Ultimately, enacting ecological loss allows the artwork to resist contradicting the ontological status of loss as a passing-out-of-existence, thus disclosing ecological loss to be irreversible.

ISBN: 9798544224105Subjects--Topical Terms:

516476
Ecology.

The Art of Losing: Performing Ecological Loss in Contemporary Art.
LDR:05011nmm a2200349 4500 001 2348426
005 20220908125741.5
008 241004s2021 ||||||||||||||||| ||eng d
020 $a 9798544224105
035 $a (MiAaPQ)AAI28731175
035 $a (MiAaPQ)McGill_9s161c02t
035 $a AAI28731175
040 $a MiAaPQ $c MiAaPQ
100 1 $a Nikcevic, Hana. $3 3687781
245 1 4 $a The Art of Losing: Performing Ecological Loss in Contemporary Art.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2021
300 $a 128 p.
500 $a Source: Masters Abstracts International, Volume: 83-03.
500 $a Advisor: Ross, Christine.
502 $a Thesis (M.A.)--McGill University (Canada), 2021.
506 $a This item must not be sold to any third party vendors.
520 $a In this moment of global environmental crisis, the accurate representation of ecological loss has arisen as an area of concern. What formal strategies best depict the diffuse, the protracted, the barely perceptible? In this thesis, I demonstrate that one strand of contemporary ecological art assumes a negative position: ecological loss, certain artists propose, is beyond representation. I demonstrate this premise across three chapters, each of which deals with one contemporary ecological artwork: American artist Mark Dion's The Life of a Dead Tree (2019), New Zealand artist Sally Ann McIntyre's Twin signals at Silver Stream (fragments of a landscape for specimens #50.766 and #50.767) (2016-18), and Scottish artist Katie Paterson's Vatnajokull (the sound of) (2007-8). While each of these works deploys unique aesthetic tactics to treat its individual environmental issue and claim, the definitive aesthetic strategy in each of these artworks, I suggest, is that the artwork does not represent but instead performs ecological loss. Peggy Phelan has stated of performance that it "becomes itself through disappearance" and consequently resists representation; performance is by its nature ephemeral, and the crucial, final element of loss cannot be represented. This idea, I argue, underpins the three artworks I discuss. Conceiving of ecological loss as akin to performance in Phelan's terms and thus acknowledging that the loss central to both exceeds representation, these works opt to perform ecological loss over representing it. In this way, each work formally rehearses the nature of the loss it treats instead of describing it. Ultimately, enacting ecological loss allows the artwork to resist contradicting the ontological status of loss as a passing-out-of-existence, thus disclosing ecological loss to be irreversible.
520 $a Dans le contexte actuel d'une crise ecologique mondiale, une representation juste de la perte ecologique est un probleme auquel on attache une grande importance. Quelles strategies formelles representent le mieux ce qui est repandu, prolonge, a peine perceptible ? Cette these servira a demontrer qu'un element de l'art ecologique contemporain assume une position negative : selon les artistes de ce mouvement, cette perte ecologique depasse la sphere de la representation. Les trois chapitres suivants soutiennent ce postulat au moyen d'une analyse d'une oeuvre d'art ecologique contemporain a chacun : The Life of a Dead Tree (2019) de l'artiste americain Mark Dion, Twin signals at Silver Stream (fragments of a landscape for specimens #50.766 and #50.767) (2018) de l'artiste neo-zelandaise Sally Ann McIntyre et Vatnajokull (the sound of) (2007-8) de l'artiste ecossaise Katie Paterson. Bien que chacune de ces oeuvres traite sa problematique environnementale a sa propre maniere esthetique, je soutien que chacune des strategies esthetiques definitives employees dans ces oeuvres ne consiste pas en la representation de perte ecologique, mais plutot en la performance de la perte ecologique. Au sujet de l'etre de la performance, Peggy Phelan a dit qu'il « devient lui-meme par la disparition » et, par consequent, resiste a la representation ; la performance est par nature ephemere, et donc on ne peut pas representer ce dernier element essentiel de la perte. Je conviens que cette idee est etayee par les trois oeuvres d'art discutees. La conception de la perte ecologique est analogue a l'etre de la performance selon Phelan et ainsi reconnaitre que la perte essentielle aux deux depasse la sphere de la representation, ces oeuvres d'art s'agissent donc de la performance de la perte ecologique plutot que de sa representation. De cette maniere, chaque oeuvre 'joue' le genre de la perte qu'elle traite plutot que de la decrire. Enfin, ce theatre de la perte ecologique permet a l'oeuvre d'art de resister le statut ontologique de la perte comme evanouissement, ce qui devoile que la perte ecologique est irreversible.
590 $a School code: 0781.
650 4 $a Ecology. $3 516476
650 4 $a Trees. $3 516384
650 4 $a Artists. $3 524768
650 4 $a Grief. $3 533682
650 4 $a Endangered & extinct species. $3 3560222
650 4 $a Climate change. $2 bicssc $3 2079509
650 4 $a Aesthetics. $3 523036
650 4 $a Art criticism. $3 526357
690 $a 0404
690 $a 0329
690 $a 0650
690 $a 0365
710 2 $a McGill University (Canada). $3 1018122
773 0 $t Masters Abstracts International $g 83-03.
790 $a 0781
791 $a M.A.
792 $a 2021
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28731175