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Relevant bibliographies by topics / Patricia Piccinini

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Academic literature on the topic 'Patricia Piccinini'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Patricia Piccinini"

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Hutta, Jan S. "Andere Geborgenheiten: Topophilie jenseits des Authentizitätsdiskurses." sub\urban. zeitschrift für kritische stadtforschung 3, no. 2 (August 14, 2015): 109–24. http://dx.doi.org/10.36900/suburban.v3i2.194.

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Der Beitrag unterzieht Gaston Bachelards Poetik des Raumes einer kritischen Lektüre hinsichtlich ihres humanistischen Essentialismus. Dabei werden zugleich die methodologischen Impulse einer ‚Topo-Analyse‘ hervorgehoben, welche poetische Ausdrucksformen in ihrem konstitutiven Bezug zu ‚Subjektivität-im-Raum‘ zur Geltung bringt. Bachelards Fokus auf ‚topophile‘ Verhältnisse von Subjekt und Raum wird anschließend, mit konzeptionellem Bezug auf Walter Benjamin und Donna Haraway, im Rahmen eines de-essentialisierten Ansatzes nachgegangen. Im Zusammenhang mit Skulpturen der Künstlerin Patricia Picc

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Iacob, Anisia. "Human vs. Non-human in Art: the Posthuman Sculptures of Patricia Piccinini." Journal for Social Media Inquiry 2, no. 1 (July 6, 2020): 87–99. http://dx.doi.org/10.18662/jsmi/2.1/8.

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Neves, Fabrício Monteiro, Alane Nóbrega, Guilherme Gomes, Luana Marinho, and Pedro Momag. "Arte com Ciência: a propósito de futuros (pós)existentes na arte de Patricia Piccinini." Arquivos do CMD 4, no. 1 (August 6, 2016): 106–218. http://dx.doi.org/10.26512/cmd.v4i1.9178.

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Wolfe, Cary. "Human, All Too Human: “Animal Studies” and the Humanities." PMLA/Publications of the Modern Language Association of America 124, no. 2 (March 2009): 564–75. http://dx.doi.org/10.1632/pmla.2009.124.2.564.

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Trying to give an overview of the burgeoning area known as animal studies is, if you'll permit me the expression, a bit like herding cats. My recourse to that analogy is meant to suggest that “the animal,” when you think about it, is everywhere (including in the metaphors, similes, proverbs, and narratives we have relied on for centuries—millennia, even). Teach a course or write an article on the subject, and well-intentioned suggestions about interesting material pour in from all quarters. In my field alone, there's not just, say, the starring role of bear, deer, and dog at the heart of Willi

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Smolińska, Marta. "Dermatologia malarska. Obraz skóry a skóra obrazu." Artium Quaestiones, no. 27 (September 8, 2018): 129–69. http://dx.doi.org/10.14746/aq.2016.27.6.

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Since the 1990s, the motif of mimetically reproduced human skin, concentrating the recipient’s attention on the sense of touch and on the surface which separates theinside from the outside, seems to have been more and more popular. It has been quite ostentatiously exposed in the works of such well-known artists as Ron Mueck, Patricia Piccinini, Pipilotti Rist, John Isaacs, and Nicole Tran Ba Vang, becoming anemblem of the present. The paradox is, however – and this is one of the claims formulated in the present essay – that the motif’s most complex versions do not appear in photography, instal

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Goriss‐Hunter, Anitra. "Slippery mutants perform and wink at maternal insurrections: Patricia Piccinini's monstrous cute." Continuum 18, no. 4 (December 2004): 541–53. http://dx.doi.org/10.1080/1030431042000297653.

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Smith, Andrew James, and Elfriede Dreyer. "Themes of genetic engineering and the homunculus in Patricia Piccinini's sculptural installation, We are Family." de arte 44, no. 79 (January 2009): 23–33. http://dx.doi.org/10.1080/00043389.2009.11877104.

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Biscaia, Maria Sofia Pimentel. "Loving Monsters—The Curious Case of Patricia Piccinini’s Posthuman Offspring." Nordlit, no. 42 (November 11, 2019). http://dx.doi.org/10.7557/13.5003.

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Patricia Piccinini’s work has been described as disquieting, compelling and grotesque. Other adjectives often used include disturbing, visceral, monstrous, chimerical but also cute and beautiful. The reason for the encounter of such descriptions which are typically found in separate realms is precisely that Piccinini seeks to fracture unitarian conceptualisations of humanness as she strives to materially debate issues of posthuman ethics. Her concerns relate to issues of breeding, mutation, biotechnology, motherhood/childhood, eco-philosophy and speciesism. In this paper, I will set off from t

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Gok, Ozlem. "THE PHENOMENON OF MONSTRE ON CREATURES OF PATRICIA PICCININI." Idil Journal of Art and Language 8, no. 60 (August 31, 2019). http://dx.doi.org/10.7816/idil-08-60-01.

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Wansbrough, Aleksandr Andreas. "Subhuman Remainders: The Unbuilt Subject in Francis Bacon’s “Study of a Baboon”, Jan Švankmajer’s Darkness, Light, Darkness, and Patricia Piccinini’s “The Young Family”." M/C Journal 20, no. 2 (April 26, 2017). http://dx.doi.org/10.5204/mcj.1186.

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IntroductionAccording to Friedrich Nietzsche, the death of Man follows the death of God. Man as a concept must be overcome. Yet Nietzsche extends humanism’s jargon of creativity that privileges Man over animal. To truly overcome the notion of Man, one must undercome Man, in other words go below Man. Once undercome, creativity devolves into a type of building and unbuilding, affording art the ability to conceive of the subject emptied of divine creation. This article will examine how Man is unbuilt in three works by three different artists: Francis Bacon’s “Study of a Baboon” (1953), Jan Švankm

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Dissertations / Theses on the topic "Patricia Piccinini"

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Chkhaidze, I. "Posthumanism in the works of Patricia Piccinini, Matthew Barney and Charles Avery." Thesis, University College London (University of London), 2015. http://discovery.ucl.ac.uk/1468812/.

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This thesis conceptualises instances of posthumanism in contemporary art. As an interdisciplinary critique in the humanities and social sciences, posthumanism is set against the anthropocentric discourse of humanism and its speciesist structures that reproduce the normative human subject through the dichotomy of humanity/animality. The analysis focuses on Patricia Piccinini's video work The Gathering, Matthew Barney's Cremaster cycle and Charles Avery's ongoing multimedia project The Islanders. The otherwise diverse works of these three artists similarly combine media such as film, sculpture,

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Sasse, Julie Rae. "Blurred Boundaries: A History of Hybrid Beings and the Work of Patricia Piccinini." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/311191.

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Hybrid beings have been a part of the artistic imagination since art was first made on cave walls and rock faces. Yet their visual makeup and symbolic meanings have changed over time from deities, demons, and oddities of nature to unconscious states of being and the socially and culturally marginalized. This dissertation will examine a history of hybrid beings and the work of Australian artist Patricia Piccinini. Her silicone sculptures, photographs, installations, and videos are hyperrealistic representations of composite beings that appear to have blended rather than fragmented characteristi

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Kidd, Verity. "Perfection? - Recreating the human : an exhibition of works by Orlan, Patricia Piccinini, Margi Geerlinks and Jake and Dinos Chapman." University of Western Australia. School of Architecture, Landscape and Visual Arts, 2007. http://theses.library.uwa.edu.au/adt-WU2008.0036.

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Perfection? - Recreating the Human is an exhibition of recent works of art by Orlan, Patricia Piccinini, Margi Geerlinks and Jake and Dinos Chapman. Each of the artists engages, in various ways, with issues relating to biotechnology and the body. The convergence of technology and the body arouses both utopian desires and dystopian nightmares; many of these desires and fears are prefigured in ancient myth and legend. The artists and artworks are therefore discussed with reference to reoccurring tropes from both ancient myth and science fiction.

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Thienenkamp, Heike [Verfasser]. "Patricia Piccininis plastisches Werk im Kontext der Biowissenschaften / Heike Thienenkamp." Bielefeld : Universitätsbibliothek Bielefeld, 2014. http://d-nb.info/1046670719/34.

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Books on the topic "Patricia Piccinini"

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Patricia Piccinini: Nearly beloved. Dawes Point, N.S.W: Piper Press, 2012.

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Piccinini, Patricia. Patricia Piccinini: In another life. Edited by Brennan Stella, Winship Ingrid, Bugden Emma 1973-, and City Gallery Wellington. Wellington, N.Z: City Gallery Wellington, 2006.

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Art Gallery of South Australia, ed. Patricia Piccinini: Once upon a time--. Adelaide: Art Gallery of South Australia, 2011.

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Messenger, Jane. Patricia Piccinini: Once upon a time--. Adelaide: Art Gallery of South Australia, 2011.

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1964-, Lee Bul, Eden Xandra 1968-, and Weatherspoon Art Museum, eds. Uneasy nature: Lee Bul, Bryan Crockett, Roxy Paine, Patricia Piccinini, Alyson Shotz, Jennifer Steinkamp : Weatherspoon Art Museum, February 18-May 28, 2006. Greensboro, N.C: Weatherspoon Art Museum, 2006.

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Book chapters on the topic "Patricia Piccinini"

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Grehan, Helena. "Otherness and Responsibility in Three Tales by Steve Reich and Beryl Korot and Nature’s Little Helpers by Patricia Piccinini." In Performance, Ethics and Spectatorship in a Global Age, 139–71. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230234550_7.

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"Patricia Piccinini – Vertraute Monster." In Von Monstern und Menschen, 173–86. transcript-Verlag, 2009. http://dx.doi.org/10.14361/9783839412350-008.

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Orning, Sara E. S. "Staging Humanimality: Patricia Piccinini and a Genealogy of Species Intermingling." In Animalities. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474400022.003.0005.

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Orning raises questions about the provocative work of Patricia Piccinini, a contemporary sculptor and artist. Piccinini’s work often stages encounters between what look like human figures and what look like hybrid creatures with both human and nonhuman characteristics. Orning’s focus in these “humanimal” encounters is on the potential they hold for questioning easy distinctions between “the human” and “the animal”, while also drawing attention to the fact that human beings today can already be seen as hybrid, whether we have tissues or organs implanted from nonhuman beings or we recognize that human bodies are made up of cells and micro-organisms that are not necessarily human. Orning connects the uneasiness associated with unsettling what it means to be human to a longer genealogy of putting “monstrous” or “freakish” bodies on display, whether in the form of humans with animal-like features, or animals with human features, particularly in nineteenth-century circus sideshows. But the “species intermingling” that is staged by Piccinini, according to Orning, holds more potential for ethical engagement with “others” of various kinds or species than earlier settings such as freak shows.

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Dubois-Joucla, Leïla. "La figure de l’hybride dans les pratiques de Keith Cottingham, Orlan et Patricia Piccinini : de la reproduction du même au radicalement autre." In Le Monstrueux et l’Humain, 369–74. Presses Universitaires de Bordeaux, 2012. http://dx.doi.org/10.4000/books.pub.12876.

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Bartlett, Alison. "Encountering public art: monumental breasts and the Skywhale." In Social Experiences of Breastfeeding, 205–18. Policy Press, 2018. http://dx.doi.org/10.1332/policypress/9781447338499.003.0015.

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This chapter is grounded in the idea that more visual imagery of breastfeeding will contribute to its normalisation, and counter the commercial sexualisation of breasts. It suggests, however, that this strategy is not just about seeing but also about feeling. To demonstrate this the chapter turns to a controversial piece of public art — Patricia Piccinini's Skywhale — which was launched in Australia in 2013 and has been touring internationally. The Skywhale is a hot-air balloon in the shape of a fantastical creature of the imagination, which features five giant breasts on each side. This unexpected flying mammal provokes responses wherever it goes, and arguably provides productive ways of engaging public responses to breastfeeding and maternity. This chapter examines responses to Skywhale through broadsheet and social media, and then analyses its affective domain through psychoanalytic concepts and its materiality through the tradition of public art and monuments. The extremes of intimacy and monumentality configured through Skywhale offer an object par excellence for seeing breastfeeding writ large in the public domain, and for feeling the return of the maternal. The chapter argues that this is fundamental to a shift in perceiving breasts as maternal, and breastfeeding as normative.

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