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dc.contributor.advisorSmith, Cherise, 1969-en
dc.creatorBradley, Tayloren
dc.date.accessioned2012-06-13T17:32:43Zen
dc.date.available2012-06-13T17:32:43Zen
dc.date.issued2012-05en
dc.date.submittedMay 2012en
dc.identifier.urihttp://hdl.handle.net/2152/ETD-UT-2012-05-5867en
dc.descriptiontexten
dc.description.abstractRematerializing the Art Object examines Eleanor Antin's The Eight Temptations and Carving: A Traditional Sculpture. Temptations re-presents Antin's diet for Carving in a formal language of camp, mocking the dominant avant-garde culture and inspiring a less idea-based interpretation. Section one contextualizes Carving's formal qualities within a broader aesthetic history of photography and sculpture. Section two focuses on how Antin creates an amalgam of Renaissance and Baroque imagery in Temptations. Section three argues that Antin constructs a camp adaptation of the diet reducing the impact of an overly emotional woman and the seriousness of conceptualism to a cliché. Throughout, the thesis centers on the formal and aesthetic manifestations of Antin's humor. A performance within a performance, Temptations's parodic art history denounces pragmatic photography and empowers Antin as an artist and as a woman.en
dc.format.mimetypeapplication/pdfen
dc.language.isoengen
dc.subjectCarving: A Traditional Sculptureen
dc.subjectThe Eight Temptationsen
dc.subjectEleanor Antin, Campen
dc.titleRematerializing the art object : Eleanor Antin’s Carving : A Traditional Sculpture in context with The Eight Temptationsen
dc.title.alternativeEleanor Antin's Carving : A Traditional Sculpture in context with The Eight Temptationsen
dc.date.updated2012-06-13T17:34:22Zen
dc.identifier.slug2152/ETD-UT-2012-05-5867en
dc.contributor.committeeMemberClarke, John R.en
dc.description.departmentArt Historyen
dc.type.genrethesisen
thesis.degree.departmentArt Historyen
thesis.degree.disciplineArt Historyen
thesis.degree.grantorUniversity of Texas at Austinen
thesis.degree.levelMastersen
thesis.degree.nameMaster of Artsen


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