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The art of assimilation : an indigenous issue / Jessica Paraone

By: Publication details: [Auckland, N.Z. : Whitecliffe College of Arts & Design], 2012Description: 79 pages (pdf) : colour illustrationsSubject(s): Genre/Form: Online resources: Abstract: "This research examines the two distinct cultures my studio-led practice navigates: Contemporary Maori art and the ceramic canon, both of which are relegated as the art world’s eternal “other”. While it is widely accepted that contemporary indigenous art will display its ethnicity through cultural signifiers and that ceramic art is a practice of pots and figurative sculpture, I argue that these identities are constructed within and through the circumscribed place of these practices within Western art discourses. This raises the question of how I will establish a studio-led art practice that reconciles that way I have been positioned or position myself with these two disciplines. I address the political and cultural objectives that underpin the way identities are produced and taken up through practices of representation through the work of Te Rangihiroa Panoho, Jean Fisher and Stuart Hall. Identarian strategies of representation are framed as problematized constructs and I propose Nicholas Bourriaud’s model of precarious art as a means for indigenous artists to construct a practice of agency and challenge the hierarchical categorisations employed within Western art structures. A discussion the practices of Paerau Corneal, Brian Jungen and Rafa Perez, multi-disciplinary artists, illustrates the role of contemporary art as a political agent of change where creative and critical inquiry into material produces work that resists the traditional or formulaic. I conclude with an analysis of my own practice where interaction with material has allowed a shift from focusing on the ideological constructs I grapple with to a studio-led practice where material engagement has become a vehicle to contest and negotiate those ideological structures. This constructs a practice that evades traditional hierarchies and evidences a deeper questioning about everything from the formal properties of the objects constructed, to the signification of those objects place in the world."
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Item type Current library Collection Call number Status Notes Date due Barcode
E-Dissertation E-Dissertation Whitecliffe Library Online Resource Dissertations PDF (Browse shelf(Opens below)) Online Access - Please see the link Only pdf available - no hard copy

In partial fulfilment of the requirements of the Master of Fine Arts Whitecliffe College of Arts and Design, 2012

Key words: Ceramic Indigenous, Construct Material, Cultural Maori

Includes bibliographical references (p. 74-79).

"This research examines the two distinct cultures my studio-led practice navigates:
Contemporary Maori art and the ceramic canon, both of which are relegated as the art world’s
eternal “other”. While it is widely accepted that contemporary indigenous art will display its
ethnicity through cultural signifiers and that ceramic art is a practice of pots and figurative
sculpture, I argue that these identities are constructed within and through the circumscribed
place of these practices within Western art discourses. This raises the question of how I will
establish a studio-led art practice that reconciles that way I have been positioned or position
myself with these two disciplines. I address the political and cultural objectives that underpin
the way identities are produced and taken up through practices of representation through the
work of Te Rangihiroa Panoho, Jean Fisher and Stuart Hall. Identarian strategies of
representation are framed as problematized constructs and I propose Nicholas Bourriaud’s
model of precarious art as a means for indigenous artists to construct a practice of agency and
challenge the hierarchical categorisations employed within Western art structures. A
discussion the practices of Paerau Corneal, Brian Jungen and Rafa Perez, multi-disciplinary
artists, illustrates the role of contemporary art as a political agent of change where creative
and critical inquiry into material produces work that resists the traditional or formulaic. I
conclude with an analysis of my own practice where interaction with material has allowed a
shift from focusing on the ideological constructs I grapple with to a studio-led practice where
material engagement has become a vehicle to contest and negotiate those ideological
structures. This constructs a practice that evades traditional hierarchies and evidences a
deeper questioning about everything from the formal properties of the objects constructed, to
the signification of those objects place in the world."

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