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Thesis (MVisualArts)--University of South Australia, 2002. ADT permission. Digitised19/3/2008UniSA Library Digitised26/5/2009UniSA Library Includes bibliographical references (pages ) The twentieth-century saw a rise in the phenomenon of art incorporating the actual animal corpse, in found, processed and preserved forms, by artists such as Robert Rauschenberg, JosephBeuys, Annette Messager and Damien Hirst. The curators of the Whitney Museum's 1993exhibition, Abject Art: Repulsion and Desire in American Art, Ben-Levi, Houser, Jones & Taylor,claimed that Abject Art incorporates 'abject subject matter' and 'abject materials' such as thedead animal. They also suggested Abject Art is 'subversive' of conservative culture and politicsbecause it transgresses societal taboos and asserts the body, the Other and the liminal against societal repression.' The term Abject Art was coined after Bulgarian psychologist, Julia Kristeva's Powers of Horror:An Essay on Abjection2 was first published in English in 1982. 'Abject Art' refers to art thatelicits a physical 'convulsion' or tension between fascination and horror, or desire and disgust.This thesis aims to explore the relationship between art that incorporates the animal corpse,theories of abjection and Abject Art. The thesis takes the form of both written and studio components. |
