Description:
"The purpose of this investigation was to determine the comparative effects of training by jogging, circuit weight training, swimming and calisthenic/endurance games on middle-aged men."
Description:
"The purpose of this investigation was to determine the comparative effects of training by jogging, circuit weight training, swimming and calisthenic/endurance games on middle-aged men."
Traces of the female self : exploring the documentation of women’s art through traces, impressions, residues and self-portraiture via contemporary art practice
Description:
Women have always been present as artists, but not necessarily included within the canon of Western art history. Studying the canon is an accepted way of understanding the context of what has gone before, and in turn positioning ourselves within contemporary art practices and theories. However there is a disconnect when most of the individuals within the canon are nothing like us. Self-portraiture can be an embodied methodology, a starting point for an investigation that goes beyond oneself. Addressing the personal through my art practice also addresses a wider community of female artists. Through a studio-based investigation I have asked: What can visual art’s inherent capacity for generating and capturing traces, residues and impressions express in a material and conceptual way to explore self-identity and contribute to the current discourse about women artists’ history? How can these themes be visually expressed in new ways through contemporary selfportraiture, addressing absence and perspective in the documentation of women’s art? I explore these questions through experimental methods of making self-portraits. This research project considers the personal, examining representation of the self as an ontological enquiry into the roles of making and being. As a practice-led study, I pursue this line of enquiry as a means for exploring current structures of power, through a new body of work aimed at further informing Australian women’s art practice and its history.
Description:
Women have always been present as artists, but not necessarily included within the canon of Western art history. Studying the canon is an accepted way of understanding the context of what has gone before, and in turn positioning ourselves within contemporary art practices and theories. However there is a disconnect when most of the individuals within the canon are nothing like us. Self-portraiture can be an embodied methodology, a starting point for an investigation that goes beyond oneself. Addressing the personal through my art practice also addresses a wider community of female artists. Through a studio-based investigation I have asked: What can visual art’s inherent capacity for generating and capturing traces, residues and impressions express in a material and conceptual way to explore self-identity and contribute to the current discourse about women artists’ history? How can these themes be visually expressed in new ways through contemporary selfportraiture, addressing absence and perspective in the documentation of women’s art? I explore these questions through experimental methods of making self-portraits. This research project considers the personal, examining representation of the self as an ontological enquiry into the roles of making and being. As a practice-led study, I pursue this line of enquiry as a means for exploring current structures of power, through a new body of work aimed at further informing Australian women’s art practice and its history.