Moments of repetition in the process of art production: Temporalities, labour, appropriations and authorship

Hdl Handle:
http://hdl.handle.net/10034/126694
Title:
Moments of repetition in the process of art production: Temporalities, labour, appropriations and authorship
Authors:
Townsley, Jill
Abstract:
This practice based PhD is an enquiry into repetition found in relation to the visual art object, specifically the repetition that operates within the process of art production. There is some precedence for the consideration of repetition observed as a repeated subject or object, and especially the Warholian like repeated image. Rosalind Krauss observed in The Originality of the Avant-Garde: A Postmodernist Repetition that many artists are 'condemned to repeating as if by compulsion, the logically fraudulent original' (1981). This research considers a different presentation of repetition, the repeated action of labour that accumulates during the process of production. A body of artworks, that for the purpose of the research I describe as labourwork, was conceived and made with the concerns of repetition at the core of its process. Personal reflection and a close critical analysis of each labourwork, allowed for the identification of a number of issues that are significant to the consideration of repetition as it relates to the process of production. They include 'failure through repetition1, 'temporality', 'erasure' and 'shifting authorships'. The emergent themes are considered within the thesis, where broader theories of repetition are addressed in order to position this form of art production within a larger theoretical framework. The purpose of the repeated action within the labourworks was found to be more complex than a means to an end. It was not just a prerequisite to forming a critical mass or achieving a particular form. When observed from the standpoint of different schema such as time, the simulacra, mimesis or theories of replication, the repetition within the labourwork was observed to be identified within many different constructs. It was seen to affect the object, its relation to the viewer, authorship and the subject. Yet, these multifarious roles are not differentiated within the single word 'repetition'. The conclusion to this thesis summarises the effect repetition has been found to have within the labourworks, separating out its roles and offering opportunities to identify its individual operations, over-and-above the general term 'Repetition'.
Advisors:
Bristow, Maxine
Publisher:
University of Liverpool (University of Chester)
Issue Date:
Nov-2010
URI:
http://hdl.handle.net/10034/126694
Type:
Thesis or dissertation
Language:
en
Appears in Collections:
MPhil / PhD Theses and Masters Dissertations; Centre for Practice as Research in the Arts (CPaRA);

Full metadata record

DC FieldValue Language
dc.contributor.advisorBristow, Maxineen
dc.contributor.authorTownsley, Jillen
dc.date.accessioned2011-04-01T10:51:06Z-
dc.date.available2011-04-01T10:51:06Z-
dc.date.issued2010-11-
dc.identifieruk.bl.ethos.542553-
dc.identifier.urihttp://hdl.handle.net/10034/126694-
dc.description.abstractThis practice based PhD is an enquiry into repetition found in relation to the visual art object, specifically the repetition that operates within the process of art production. There is some precedence for the consideration of repetition observed as a repeated subject or object, and especially the Warholian like repeated image. Rosalind Krauss observed in The Originality of the Avant-Garde: A Postmodernist Repetition that many artists are 'condemned to repeating as if by compulsion, the logically fraudulent original' (1981). This research considers a different presentation of repetition, the repeated action of labour that accumulates during the process of production. A body of artworks, that for the purpose of the research I describe as labourwork, was conceived and made with the concerns of repetition at the core of its process. Personal reflection and a close critical analysis of each labourwork, allowed for the identification of a number of issues that are significant to the consideration of repetition as it relates to the process of production. They include 'failure through repetition1, 'temporality', 'erasure' and 'shifting authorships'. The emergent themes are considered within the thesis, where broader theories of repetition are addressed in order to position this form of art production within a larger theoretical framework. The purpose of the repeated action within the labourworks was found to be more complex than a means to an end. It was not just a prerequisite to forming a critical mass or achieving a particular form. When observed from the standpoint of different schema such as time, the simulacra, mimesis or theories of replication, the repetition within the labourwork was observed to be identified within many different constructs. It was seen to affect the object, its relation to the viewer, authorship and the subject. Yet, these multifarious roles are not differentiated within the single word 'repetition'. The conclusion to this thesis summarises the effect repetition has been found to have within the labourworks, separating out its roles and offering opportunities to identify its individual operations, over-and-above the general term 'Repetition'.en
dc.language.isoenen
dc.publisherUniversity of Liverpool (University of Chester)en
dc.rightsImages of Sol De Witt sculpture reproduced under s.30 (1) of the Copyright, Design and Patents Act 1988.en
dc.subjectrepetitionen
dc.subjectart productionen
dc.titleMoments of repetition in the process of art production: Temporalities, labour, appropriations and authorshipen
dc.typeThesis or dissertationen
dc.type.qualificationnamePhDen
dc.type.qualificationlevelDoctoralen
This item is licensed under a Creative Commons License
Creative Commons
All Items in ChesterRep are protected by copyright, with all rights reserved, unless otherwise indicated.