Browsing by Subject "Documentation"
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Item Inside-outside : practice between the private and the social(2016-05) Chelben, Roni Alexandra; Williams, Jeff, M.F.A.; Clarke, JohnIn the course of the last few years, the work I have been making was very eclectic in terms of methodology and form. My practice ranged from studio practice pieces, to a socially engaged workshop based work. I tend to see the relationship between the different works as dialectical, at least to some degree, while each work is pushing forward a different parameter that was not fully realized in the prior work. These back and forth movements have left me with some questions regarding gallery aesthetics versus socially engaged projects, and my position on the scale between them. The largest question I have, however, is whether I need to choose one practice or another, and if so to which degree the ethics and aesthetics of the different practices can or should be distinguished from one another. In this report I do not attempt to answer those vast questions, which will probably stay with me as part of my practice, but rather to raise four core issues that I find crucial to their exploration, and to which I dedicate four separate sections. Those issues are the gallery as a socially isolated site, questions about the relevancy of socially engaged art change to studio art practice, guilt as motivation for art making, and lastly, relationship between action and documentation in art.Item Reconstructive-memory process(2012-05) Shin, Yun Koung; Mutchler, Leslie; Goodman, MarkThis graduate report is a description of my artistic development through the graduate program at the University of Texas at Austin. It records my development and growth as an artist in relationship to the concepts, materials, and processes I have been investigating and exploring in the past three years. The graduate report focuses on three important concerns to which I’ve been dedicated. First, materials are imperative to my work. I physically collect and use my father’s ordinary objects and transform them with raw materials, such as clay, flour, honey, chocolate, beeswax, and petroleum jelly. The decision of choosing raw materials is based on my personal and cultural experiences. I am particularly interested in exploiting raw materials because I believe these raw materials can trigger a particular memory, place, or relationship that I want to preserve and remember. Second, my process of making involves ritualistic aspects with repetitive acts. I believe that everyday practices are a way of reconstructing relationships and remembering home. I am interested in embracing emotional attributes that may be simple activities: spraying a piece daily to keep it wet or sewing a personal object until it is impossible to sew. Finally, through the relationship among the objects, repeated actions, and an anticipation that evokes magical power and charged energy, I methodically transform objects. I do this to celebrate emotions and to preserve not only these personal objects but also my memories of home.Item The role of the archivist in performing arts documentation : theory and practice(2012-05) Samuelsen, Meagan Leigh; Winget, Megan Alicia; Trace, CiaranFaced with the ephemeral nature of the art of performance, performing arts archivists must decide whether it is appropriate for them to intervene to ensure the creation of documents, what documents should be created, and how they should be created. In order to adequately answer these questions, archival theory, with its traditional focus on objectivity and non-interference, must meet with theories of documentation from performance and theatre studies, which question the possibility of adequately capturing or saving performance given the subjective and perspective nature of both the work and documents arising from it. This study addresses these questions both theoretically and practically through a survey of performing artists and a case study observing an archivist interacting with a performing arts community to facilitate the preservation of its work. The artists surveyed in this study demonstrated both an interest in improved documentation of their own work and an understanding of the limits of documentation. The archivist in the case study, after experimenting with various levels of involvement in the creation of documentation, concluded that the best approach would be a focus on building connections between the archival and performing arts communities, providing artists with the education and support they need to document themselves, and giving them secure homes for the documents they choose to create.