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Forget Me Not: An Exhibition –And– Creative Reuse: How Rescued Materials Transformed My A/R/Tographic Practice: An Exegesis, Susan Girak

Theses: Doctorates and Masters

This thesis, comprising of a written exegesis, solo exhibition and an artist book, emerged from research undertaken by an artist-researcher-teacher. For that reason, a/r/tography was the overarching methodology used, incorporating a bricolage of methods to address a multifaceted study undertaken in two settings: a primary school classroom and an artist’s studio. A/r/tography is a multilayered interdisciplinary Arts education research methodology that correlates well with my expertise as a primary Visual Arts specialist. The methodology allowed me to immerse myself in both teaching and the artmaking process, as ways of gaining a deeper understanding of Visual Arts pedagogy. The purpose of …

Peel, Fondle, Ogle: An Exhibition And Unfixed Parameters: A Creative Arts Praxis Investigation Of The In-Between Conditions Of The Corporeal Body: An Exegesis, Kimberley Simone Pace

Theses: Doctorates and Masters

This research emerged from a rejection of the corporeal body as a clean, sterile entity that can be neatly contained by the boundaries of skin. Informed by Lacan’s (1977, 1979) notions of the body and desire and Kristeva’s (1982) perspectives on the abject, I have developed a concept of the unfixed status of the body as an in-between condition. This investigation of the in-between condition of the body critically explores notions of the corporeal body as constructed physically, psychically and symbolically through my creative arts praxis concerning the body, garment, object and performance. This exegesis unveils the potential for a …

Contemporary Kitsch: An Examination Through Creative Practice, Sally Stewart

Theses: Doctorates and Masters

This exegesis examines the theoretical concept of contemporary kitsch within a creative practice that incorporates sculptural and installation art. Kitsch is a distinct aesthetic style. Once designated to the rubbish bin of culture, kitsch was considered to be low class, bad taste cheap fakes and copies (Greenberg, 1961; Adorno & Horkheimer, 1991; Calinescu, 1987; Dorfles, 1969). I argue, however, that this is no longer the case. This research critically examines the way in which contemporary kitsch now plays a vital and positive role in social and individual aesthetic life.

Although there are conflicting points of view and distinct variations between …