Amy Dewar | University of Wales Trinity Saint David (original) (raw)
(MA) Masters Post Graduate of Visual Communication
Address: Swansea, Swansea, United Kingdom
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This thesis examines the relationship between viewer and artwork and most prominently the relatio... more This thesis examines the relationship between viewer and artwork and most prominently the relationship between artist and the Spector in terms of interactivity, participation and social constructs. It discusses the nature of subjectivity from a theoretical and historical perspective, which focuses on specific works and movements such as Happenings, Performance and the politics of Spectatorship. I will explore how the picture or artwork can position the viewer, and how this repositioning can affect the perception of spatial and narrative aspects of the work; in turn arguing the point that the role of the Spectator is in a state of decline thus the role of the participant taking its place. Focusing on the pioneering works of Marina Abramović and Sophie Calle, I will attempt to highlight the varying modes of participation to how artists can construct diverse relationships with their audiences, concluding on my own artistic practice, discussing the reconstruction in my own ideologies of participation artwork and delving into my own relationship with the spectator. 'Spectator;
This thesis examines the relationship between viewer and artwork and most prominently the relatio... more This thesis examines the relationship between viewer and artwork and most prominently the relationship between artist and the Spector in terms of interactivity, participation and social constructs. It discusses the nature of subjectivity from a theoretical and historical perspective, which focuses on specific works and movements such as Happenings, Performance and the politics of Spectatorship. I will explore how the picture or artwork can position the viewer, and how this repositioning can affect the perception of spatial and narrative aspects of the work; in turn arguing the point that the role of the Spectator is in a state of decline thus the role of the participant taking its place. Focusing on the pioneering works of Marina Abramović and Sophie Calle, I will attempt to highlight the varying modes of participation to how artists can construct diverse relationships with their audiences, concluding on my own artistic practice, discussing the reconstruction in my own ideologies of participation artwork and delving into my own relationship with the spectator. 'Spectator;