Type
Text
Type
Thesis
Advisor
Pindell, Howardena | Pekarsky, Melvin H | Craig, Megan.
Date
2012-05-01
Keywords
Fine arts--Aesthetics--Philosophy | Abstract, Celan, Heidegger, Landscape, Levinas, Painting
Department
Department of Studio Art
Language
en_US
Source
This work is sponsored by the Stony Brook University Graduate School in compliance with the requirements for completion of degree.
Identifier
http://hdl.handle.net/11401/71335
Publisher
The Graduate School, Stony Brook University: Stony Brook, NY.
Format
application/pdf
Abstract
The following thesis investigates the idea and practice of my painting from the point of view of the uncanny - that "remote province" characterized by Martin Heidegger as a paradoxical union of emerging and not emerging, concealment and unconcealment; described by Sigmund Freud as the way "back to what is known of old and long familiar" (220); and that Paul Celan reminds us is also the way of the abyss of heaven underfoot - the abyss that opens up the earth (Selected Poems and Prose, 407). Chapter 1, "Analytic of Forms: An Attempt at Self-Criticism, provides a critical and typological analysis, subdividing my work into two principle categories or genres: abstract/landscape and still image. Chapter 2, "A Remote Province, situates the idea and practice of my painting in relation to broader theoretical currents that aim to elaborate a conception of the work of art as uncanny, provisional, and poetic. Assuming with Jacques Ranci?Àre that every image presents a fold within the order of the visible and the sayable, I liken my approach to painting to a poetic practice of provisional naming and crossing out of names oriented towards what Heidegger calls the earth as opposed to the world,67 pages
Recommended Citation
Macaulay, Jamie Callum, "A Remote Province: Between the Visible and the Sayable" (2012). Stony Brook Theses and Dissertations Collection, 2006-2020 (closed to submissions). 541.
https://commons.library.stonybrook.edu/stony-brook-theses-and-dissertations-collection/541