Academic literature on the topic 'Artists in literature'

Thesis (Ph.D.)--University of Cincinnati, 2009.<br>Advisors: Todd Herzog (Committee Chair), Katharina Gerstenberger (Committee Member), Richard Schade (Committee Member). Title from electronic thesis title page (viewed May 2, 2009). Keywords: Crime Literature; Artists and Criminals; Hochstapler; Serial killers; Thomas Mann; Doron Rabinovici; Identity Formation; Criminality; History of the Artist. Includes abstract. Includes bibliographical references.

The book as a medium for creative practice proliferated during the twentieth century. The early stages of this period were marked by an engagement with visible language driven largely by poets and, to a lesser degree, artists. From the mid-twentieth century, a distinctive literature and discourse for these books began to emerge. It was not until the late-twentieth century and particularly through artists' conceptual engagement with it that the book as a medium was afforded recognition as a distinct field, termed ‘artists books’. Within the growing literature, a consistent tension relating to the multidisciplinary nature of the field is evident. It has led to concern that, until the discourse reaches the level of a critical field, the field itself is in danger of losing its identity. While this view has received widespread support, how to mature the discourse has proved contentious. At the turn of the twentieth century, when the West's privileging of sight began to attract critical attention, the haptic (pertaining to touch and materiality) was identified as a means to address the effects of that privileging. Together with a renewed interest in materiality, it informed the early-twentieth-century poets and artists' engagement with the book. In recent decades, the haptic has emerged as a disciplinary focus in many fields, particularly aesthetics. Within artists books discourse, the haptic nature of a book has now been raised as a potential focus for the field. Research into the literature of haptic aesthetics, as it is being termed, soon uncovers a wealth of significance for artists books relating to the sense of touch and its role in perception. With such an historical and a contemporary presence, the haptic warrants investigation as a focus for artists book practice and discourse. The research undertaken during my PhD candidature initiates such an investigation<br>Thesis (PhD Doctorate)<br>Doctor of Philosophy (PhD)<br>Queensland College of Art<br>Arts, Education and Law<br>Full Text

This project proposes that the reading of an artist’s book is one that may entail an experience that is distinctive to the medium, one that encompasses a shift of expectations of what a book is or does. That there is an awareness of the book held in the hands, and of its interactivity and deployment in time, and that this combination of tactile and cognitive negotiation of the mechanisms of the book’s structure, sequence and content make for a particularity of engagement. As a dialogical relationship, coming from a personal and infinitely variable experience of the book by its reader/viewer, this is one that is inherently elusive and complex to analyse. In investigating the nature of the temporality of self-reflexive dynamics as an underlying characteristic of the medium, this thesis submits that the foregrounding of the synthesis in time of the mutable and the concrete may be an apposite and constructive approach to exposition and evaluation of this heterogeneous field. The development of this research and the setting out of the enquiry has been undertaken through the production and methodology of my practice, which takes such auto-reflectivity as manifest subject. The thesis approaches the questions by means of the allusion to the occurrences and strategic use of self-conscious metafictional play in literature, not as a directly comparative study but by appraising the effect in terms of relational, and at times implicit association. Following an outline of the contexts of the critical study of artists’ books and of structuralist and post-structuralist narratology and literary theory in terms of the specular, the main portion of the writing is in the form of self-contained sections, in each of which a range of figures and mechanisms are considered, forming an overall constellation of shifting interconnection.

The focus of this thesis is to find the most modern methods to craft 3D characters for implementation in game engines. The industry is constantly adapting to new software and my study is to cover the most efficient way to create a character from an idea to fully realized character in 3D. The following is my journey in learning new techniques and adapting to the new software. To demonstrate, I will work through the process of creating a character from a 2D concept to a 3D model rendered in real time.

Renew thyself completely each day; do it again, and again, and forever again.Jon Kabat-Zinn, Wherever You Go There You AreThe above quotation sums up my feelings about this thesis. By reviewing my life I feel a sense of renewal. I think that my memories are true and accurate. My story certainly is a living memory of my time. I have found that in telling my story I have purged myself of much of my past and refreshed myself in mind and spirit.I start my story by reviewing the three artists who have influenced my work over the past two years, Squeak Carnwath, Jean Hammond and Nancy Spero.I then give a chronological resume of my life to date: my time as a mother, teacher and artist. I describe some of my earlier works together with the moods and emotions which accompanied them. The latter part of the chapter deals with my life in the United States and how my work is developing and the many influences which are helping in this process.In Chapter 3, I talk about my imagery and my latest thoughts as an artist, and go on to describe the paintings which make up the exhibition which accompanies this thesis.Finally, I have attempted to evaluate the fragments of my life, fragments which make up the whole. This is my catharsis. I have released much of myself and my inhibitions. I have absorbed a variety of stimuli and felt a multitude of sensations. My emotions have ebbed to and fro, and in retelling my story I have renewed myself.<br>Department of Art