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Necessity and Control — The Practical Aspects Often we as emerging artists begin our practice with minimal resources at our disposal. We resort to using whatever materials available, through whatever means possible. Without the financial resources to hire professional actors or models to pose as Self portraiture dissertation for our works, artists often rely on themselves or on the assistance of friends to avoid complications with model release forms and financial compensation.
If the work that we want to create requires the human figure or face, nothing could be more accessible than our own bodies.
After all, no one can articulate your thoughts better than you can. The primacy of thought leaves no chance of misinterpretation. We control what details are included in the final works and what details are excluded. For a moment, we seize control of time and space. We control the decisive moment that is captured and the setting in which we are contained.
The artist becomes director in the clip in which they are the lead actor. The self-portrait can become a major exercise in independent production.
As the artist advances in the stages of their career, some of these roles may be delegated to assistants, but the original modous operandi generally remains the same.
Consider the elaborate works by Cindy Sherman or Rodney Graham, or even my own similarly independent productions. However, even in the opposite style of self-portraiture, within the most candid and spontaneous works, there is also a conscious element of control.
Self-Consciousness The concept of self-portraiture is inherently linked to the concept of self-consciousness. And, the concept of portraiture, if not even art itself, is linked to consciousness. There is always a conscious element of involvement.
Lets suppose we were to consider robots that can paint. Can an unconscious entity create art? Though the robots themselves may not be conscious of painting, the sheer observation of painting by others and defining it as such, makes it so. But, in order to perform the act of painting, the robots have to be programmed to perform the actions required of painting.
The consciousness therefore lies in the programmer rendering the robots seemingly automatic actions possible. Even the use of randomness in the creative process reflects a conscious decision to use randomness as criteria for the work.
Every stroke of a paintbrush, or click of the shutter at any particular time and place reflects a conscious decision. Art is the reflective result of consciousness.
The fact that humans make art is one of the few traits that set us apart from most other species.Personal site of author-editor Pat McNees, personal historian and medical historian, bringing a light touch to heavy subjects, helping people and .
DEFINING ARTISTIC IDENTITY IN THE FLORENTINE RENAISSANCE: VASARI, EMBEDDED SELF-PORTRAITS, AND THE PATRON’S ROLE This dissertation was presented by Azar Rejaie It was defended on March 28, DEFINING ARTISTIC IDENTITY IN THE FLORENTINE RENAISSANCE: VASARI, EMBEDDED SELF-PORTRAITS, AND THE PATRON’S ROLE Azar M.
Rejaie, PhD. This thesis is the first in-depth study of female photographers’ images of themselves, with their cameras, working in Weimar Berlin.
A focus on three self-portraits by women at the heart of the so‐called ‘New Photography’, will allow insight into the importance of the self- portrait genre for female photographers, who sought to establish themselves in this . A selection of self-portraiture by Korean artists from to is examined in this thesis.
The self-portraits serve as historical traces of multiple and fluid articulations. EXPLORING IDENTITY TROUGH SELF-PORTRAITURE By ROSE M BARRON A Thesis submitted in Partial fulfillment of the requirements for the .
2) Procedures: I field-tested a unit of three lessons based on identity through self-portraiture to help students investigate the topic of identity in relation to personal and cultural sense of self.
Student’s artworks, reflections and responses were analyzed.