Photography process as performative action

Anna BLOCK

Diplomová práce

Specificity of artist-sitter interaction

Anotace:

This thesis presents an attempt to observe specificity of communication between an artist and a model and to describe experience and relationships, which it might entail. The work explores sitter-model interaction from phenomenological point of view, questioning their conventionally defined roles: a sitter being an object fully at service of an artist and an artist focusing fully on his art. The research focuses on the process of their communication as it is, shifting from issues related to value of the final picture and its apprehension by the viewer. Though when there is a need to talk about the medium I relate to photography and its specificity in regards to relations between an artist and his "object". I aim to describe what underlies their communication apart from the obvious level related to the creation of work of art. The thesis raises an assumption that what constitutes and defines their interaction is not the notion of the final piece, but their personal engaging in some specific type of mutual experience. And though this experience can only exist in art terrain, the reasons a model and an artist get involved in it, are mostly related to their personal aspirations and desires even though unconsciously. In attempt to define this practice I explore the specific space where it takes place and I look at this area as a conglomeration of participants' energies which they emanate, share and interchange through their mutual work. I compare it to performative space and define it as a territory of heightened awareness where sensations and inner subtle aspirations get enhanced and where human mind gets into another mode of functioning, different from the one of an ordinary day-to-day life. In my discussion I point a specific tension or "charge" of this space which affects both a model and an artist in not always predictable ways, and that is the reason I parallel it to performance art, the medium where continuous activity (or non-activity) constantly generates new meanings and the very alive experience is what constitutes the work, sometimes beyond the artist's control. In my work I raise an argument that this specific type of cooperation through art (and in this part I relate mostly to photography) might reveal previously unknown level of relationship between the participants, uncover their genuine attitude not only to each other but also to themselves. In this regard the thesis explores in which way artist-sitter work can be intertwined with their relationship in "real life" and the way it can establish deeper and stronger ties or if it can serve even as a therapeutic practice which helps to cope with painful personal experiences.

Abstract:

This thesis presents an attempt to observe specificity of communication between an artist and a model and to describe experience and relationships, which it might entail. The work explores sitter-model interaction from phenomenological point of view, questioning their conventionally defined roles: a sitter being an object fully at service of an artist and an artist focusing fully on his art. The research focuses on the process of their communication as it is, shifting from issues related to value of the final picture and its apprehension by the viewer. Though when there is a need to talk about the medium I relate to photography and its specificity in regards to relations between an artist and his "object". I aim to describe what underlies their communication apart from the obvious level related to the creation of work of art. The thesis raises an assumption that what constitutes and defines their interaction is not the notion of the final piece, but their personal engaging in some specific type of mutual experience. And though this experience can only exist in art terrain, the reasons a model and an artist get involved in it, are mostly related to their personal aspirations and desires even though unconsciously. In attempt to define this practice I explore the specific space where it takes place and I look at this area as a conglomeration of participants' energies which they emanate, share and interchange through their mutual work. I compare it to performative space and define it as a territory of heightened awareness where sensations and inner subtle aspirations get enhanced and where human mind gets into another mode of functioning, different from the one of an ordinary day-to-day life. In my discussion I point a specific tension or "charge" of this space which affects both a model and an artist in not always predictable ways, and that is the reason I parallel it to performance art, the medium where continuous activity (or non-activity) constantly generates new meanings and the very alive experience is what constitutes the work, sometimes beyond the artist's control. In my work I raise an argument that this specific type of cooperation through art (and in this part I relate mostly to photography) might reveal previously unknown level of relationship between the participants, uncover their genuine attitude not only to each other but also to themselves. In this regard the thesis explores in which way artist-sitter work can be intertwined with their relationship in "real life" and the way it can establish deeper and stronger ties or if it can serve even as a therapeutic practice which helps to cope with painful personal experiences.

Klíčová slova

photography, modelling, performance art, sitter

Jazyk práce: čeština

Datum vytvoření / odevzdání či podání práce: 24. 5. 2016

Zveřejnit od: 31. 12. 2999

Obhajoba závěrečné práce

• Vedoucí: doc. Jiří Kovanda

UNIVERZITA JANA EVANGELISTY PURKYNĚ V ÚSTÍ NAD LABEM

Fakulta umění a designu

Magisterský studijní program / obor:
Výtvarná umění / Photography and Time-Based Media