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Ruins and Remains: Performative Sculpture and the Politics of Touch in the 1970s- [electronic resource]
Ruins and Remains: Performative Sculpture and the Politics of Touch in the 1970s- [electronic resource]
상세정보
- 자료유형
- 학위논문파일 국외
- 최종처리일시
- 20240214101922
- ISBN
- 9798380622868
- DDC
- 709
- 서명/저자
- Ruins and Remains: Performative Sculpture and the Politics of Touch in the 1970s - [electronic resource]
- 발행사항
- [S.l.]: : Columbia University., 2023
- 발행사항
- Ann Arbor : : ProQuest Dissertations & Theses,, 2023
- 형태사항
- 1 online resource(208 p.)
- 주기사항
- Source: Dissertations Abstracts International, Volume: 85-04, Section: A.
- 주기사항
- Advisor: Jones, Kellie.
- 학위논문주기
- Thesis (Ph.D.)--Columbia University, 2023.
- 사용제한주기
- This item must not be sold to any third party vendors.
- 초록/해제
- 요약This dissertation investigates the materiality of performative sculpture in the Americas during the long 1970s through artists Beverly Buchanan (1940-2015) and Senga Nengudi (1943). United in their disenchantment with second-wave feminism, Buchanan and Nengudi are situated art-historically in the expanded fields of (post)minimalism, conceptualism, and the Black Arts Movement. These artists realized their objects by sourcing non-traditional artmaking materials within what this dissertation conjures as a haptic imaginary-an intervening corrective to both the second-wave feminist and postmodern art imaginaries of the 1970s. Their materials expose the limitations of the visual and offer alternate models of knowing. For Buchanan's frustulum series (1978-81), poured concrete, and later, tabby concrete, memorializes the textures of architectural sites to honor experiences of labor and displacement. Tabby concrete, a compound binding agent made of sand and lime, is a localized, inexpensive material that was often used by enslaved people in the southern United States, especially in coastal states like Georgia, which provide access to massive deposits of lime-rich oyster shells. Nengudi's R.S.V.P. series (1977) of pliable pantyhose and sand are anthropomorphic objects originally meant to be activated; they mimic bodily expansion, endurance, and fatigue. Pantyhose, made mostly of nylon, the world's first fully synthetic fiber, are the product of decades of scientific and economic development, whose intertwined history with World War II offers a springboard to understand the potency of Nengudi's experiments with the garment. The artists' materials become sites of investigation into memory, place, body, erotics, and precarity. By offering new epistemological methods of engagement that retaliate against the hegemony of the visual through their twinned interests in ruins for Buchanan, and remains for Nengudi, the artists realize a new womanist politic. Buchanan and Nengudi deploy, respectively, tabby concrete and pantyhose with sand to transmit historical and embodied knowledge. It is precisely through the activated sensorium of touch- imagined and physical-that the past is transmitted and materialized.
- 일반주제명
- Art history.
- 일반주제명
- Womens studies.
- 키워드
- Conceptualism
- 키워드
- Haptics
- 기타저자
- Columbia University Art History and Archaeology
- 기본자료저록
- Dissertations Abstracts International. 85-04A.
- 기본자료저록
- Dissertation Abstract International
- 전자적 위치 및 접속
- 로그인 후 원문을 볼 수 있습니다.
MARC
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■006m o d
■007cr#unu||||||||
■020 ▼a9798380622868
■035 ▼a(MiAaPQ)AAI30690898
■040 ▼aMiAaPQ▼cMiAaPQ
■0820 ▼a709
■1001 ▼aSuperfine, Molly.
■24510▼aRuins and Remains: Performative Sculpture and the Politics of Touch in the 1970s▼h[electronic resource]
■260 ▼a[S.l.]:▼bColumbia University. ▼c2023
■260 1▼aAnn Arbor :▼bProQuest Dissertations & Theses, ▼c2023
■300 ▼a1 online resource(208 p.)
■500 ▼aSource: Dissertations Abstracts International, Volume: 85-04, Section: A.
■500 ▼aAdvisor: Jones, Kellie.
■5021 ▼aThesis (Ph.D.)--Columbia University, 2023.
■506 ▼aThis item must not be sold to any third party vendors.
■520 ▼aThis dissertation investigates the materiality of performative sculpture in the Americas during the long 1970s through artists Beverly Buchanan (1940-2015) and Senga Nengudi (1943). United in their disenchantment with second-wave feminism, Buchanan and Nengudi are situated art-historically in the expanded fields of (post)minimalism, conceptualism, and the Black Arts Movement. These artists realized their objects by sourcing non-traditional artmaking materials within what this dissertation conjures as a haptic imaginary-an intervening corrective to both the second-wave feminist and postmodern art imaginaries of the 1970s. Their materials expose the limitations of the visual and offer alternate models of knowing. For Buchanan's frustulum series (1978-81), poured concrete, and later, tabby concrete, memorializes the textures of architectural sites to honor experiences of labor and displacement. Tabby concrete, a compound binding agent made of sand and lime, is a localized, inexpensive material that was often used by enslaved people in the southern United States, especially in coastal states like Georgia, which provide access to massive deposits of lime-rich oyster shells. Nengudi's R.S.V.P. series (1977) of pliable pantyhose and sand are anthropomorphic objects originally meant to be activated; they mimic bodily expansion, endurance, and fatigue. Pantyhose, made mostly of nylon, the world's first fully synthetic fiber, are the product of decades of scientific and economic development, whose intertwined history with World War II offers a springboard to understand the potency of Nengudi's experiments with the garment. The artists' materials become sites of investigation into memory, place, body, erotics, and precarity. By offering new epistemological methods of engagement that retaliate against the hegemony of the visual through their twinned interests in ruins for Buchanan, and remains for Nengudi, the artists realize a new womanist politic. Buchanan and Nengudi deploy, respectively, tabby concrete and pantyhose with sand to transmit historical and embodied knowledge. It is precisely through the activated sensorium of touch- imagined and physical-that the past is transmitted and materialized.
■590 ▼aSchool code: 0054.
■650 4▼aArt history.
■650 4▼aAfrican American studies.
■650 4▼aWomens studies.
■653 ▼aPerformative sculpture
■653 ▼aConceptualism
■653 ▼aSecond-wave feminism
■653 ▼aHaptics
■653 ▼aArtmaking materials
■690 ▼a0377
■690 ▼a0296
■690 ▼a0453
■71020▼aColumbia University▼bArt History and Archaeology.
■7730 ▼tDissertations Abstracts International▼g85-04A.
■773 ▼tDissertation Abstract International
■790 ▼a0054
■791 ▼aPh.D.
■792 ▼a2023
■793 ▼aEnglish
■85640▼uhttp://www.riss.kr/pdu/ddodLink.do?id=T16935352▼nKERIS▼z이 자료의 원문은 한국교육학술정보원에서 제공합니다.
■980 ▼a202402▼f2024
