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Joan Flasch Artists' Book Collection

Joan Flasch Artists' Book Collection

Joan Flasch Artists' Book Collection

El objeto de la presente investigación ha buscado ante todo responder a las preguntas: ¿Cómo traer de vuelta aquello que sabes a ciencia cierta que jamás podrá regresar? ¿Cómo expresar en un texto la fragilidad intrínseca en la ontología de un recuerdo? Habiendo empleado una metodología inductiva, el trabajo analiza el fenómeno degenerativo del recuerdo y sus consecuencias a la hora de plantear la creación artística en torno a la idea de la coincidencia de un hallazgo concreto: la recuperación de una antigua fotografía. En consecuencia se estudia el acto fotográfico en sí mismo y su resultado como imagen y acto poético, debido a ser esta práctica artística la que más se acerca a la representación de la memoria y el recuerdo. En las conclusiones se expone que la memoria queda como uno de los factores más importantes a la hora de abordar la creación artística., The object of the present investigation has sought first of all to answer the questions: How to bring back that which you know for sure that will never be able to return? How to express in a text the intrinsic fragility in the ontology of a memory? Having used an inductive methodology, the work tries to analyze the degenerative phenomenon of memory and its consequences when it comes to raising artistic creation around the idea of the coincidence of a concrete finding: the recovery of an old photograph. Consequently, the photographic act itself is studied and its result as an image and poetic act, because it is this artistic practice that is closest to the representation of memory and memory. The conclusions show that the memory in one of the most important factors when it comes to approaching artistic creation.

El objeto de la presente investigación ha buscado ante todo responder a las preguntas: ¿Cómo traer de vuelta aquello que sabes a ciencia cierta que jamás podrá regresar? ¿Cómo expresar en un texto la fragilidad intrínseca en la ontología de un recuerdo? Habiendo empleado una metodología inductiva, el trabajo analiza el fenómeno degenerativo del recuerdo y sus consecuencias a la hora de plantear la creación artística en torno a la idea de la coincidencia de un hallazgo concreto: la recuperación de una antigua fotografía. En consecuencia se estudia el acto fotográfico en sí mismo y su resultado como imagen y acto poético, debido a ser esta práctica artística la que más se acerca a la representación de la memoria y el recuerdo. En las conclusiones se expone que la memoria queda como uno de los factores más importantes a la hora de abordar la creación artística., The object of the present investigation has sought first of all to answer the questions: How to bring back that which you know for sure that will never be able to return? How to express in a text the intrinsic fragility in the ontology of a memory? Having used an inductive methodology, the work tries to analyze the degenerative phenomenon of memory and its consequences when it comes to raising artistic creation around the idea of the coincidence of a concrete finding: the recovery of an old photograph. Consequently, the photographic act itself is studied and its result as an image and poetic act, because it is this artistic practice that is closest to the representation of memory and memory. The conclusions show that the memory in one of the most important factors when it comes to approaching artistic creation.

Joan Flasch Artists' Book Collection

Joan Flasch Artists' Book Collection

En este estudio tratamos de reflexionar sobre la memoria y el olvido a través de elementos cotidianos, concretamente nos centraremos en el objeto y la fotografía doméstica como artefactos cargados de atributos memoriales. El desasosiego por vencer el tiempo y el olvido –cuestión que parece ser común en todos los humanos-, se encarna en ciertos objetos y fotografías, siendo éstos dotados de un carácter trascendental por representar para nosotros un momento del espacio-tiempo perteneciente al pasado, que consideramos que ha sido capturado por estos artefactos. Pese a toda esa carga memorial que les atribuimos, parece existir una serie de características que suelen ser un impedimento para esta conservación y remembranza del pasado a través de ellos. Nos centraremos en analizar estos hándicaps y razonar hasta qué punto y por cuánto tiempo podremos conservar notas del pasado, comparando nuestros razonamientos con numerosos artistas y pensadores que exploran estos planteamientos que, por otro lado, hemos traducido artísticamente en forma de pintura, instalación y la manipulación manual fotográfica., In this study we try to think about the memory and the oblivion through everyday items, specifically we will focus on the object and the domestic photography as artifacts loaded of memorials attributes. The restlessness to beat time and oblivion - issue that seems to be common in all human being-, it is embodied in certain objects and photographs, which we give a transcendental character to represent for us a moment of space time belonging to the past, that we consider to have been captured by these artifacts. In spite of that memorial load we attribute them, it seems to be a number of features that are an impediment for this conservation and remembrance of the past through them. We will focus on analyzing these handicaps and reason to how far and for how long we could keep notes of the past, comparing our reasoning with numerous artists and thinkers who explore these approaches what, on the other hand, we have translated artistically as painting, installation and photographic manual handling.

Joan Flasch Artists' Book Collection

No abstract. Excerpts from preamble: Throughout the process of this work I have been reflecting upon my own opaque recollections and the (equally) vague mythical narratives that form around histories of place. I place particular focus on the tension created between the haunting of ourselves––culturally and personally––and on the ruptures unveiled––both temporal and physical––within a re-collective narrative. What do these ruptures look/sound/feel like? Moreover, how might I evoke them? I began with an investigation of site through memory, or really, memory through site, and as such it is very much situated as a response from a self-reflexive position. What started as a self-reflexive response eventually broadened and produced a series of works that engage with, and work to articulate, the 5 binary and uncanny moments that have revealed themselves along the way. Over the two years of my Master of Fine Arts Studies, I have split my focus into two separate, but related, sets of methods and concerns. For the purposes of this exegesis, I am going to focus on the latter part of my research, in which I have spent the past year considering and producing the final work for exhibition. The most significant works over both years will be annotated in an appendix, to provide some developmental context. AVON AVON is not a work about earthquakes, although it is true that earthquakes drew me back to Christchurch

Walk With Me is a performance art project that was born from an interest in memory and memorialisation. The guided tour series initiates an investigation of site that illustrates the power of the New Zealand Government to influence our national identity through the fuelling of dominant myths at the new National Memorial Park (Puke Ahu). The project has revealed the ongoing effects of colonialism and offers participants an alternative to the memory formed by the focus on New Zealand’s involvement in overseas wars. The Government’s spending on commemoration of the First World War and specifically the centenary of the Gallipoli landings of 25th April 1915, overshadows Maori remembrance stories of colonial conflicts, which are discreetly articulated at Puke Ahu. The project’s focus narrows from encounters with people at the site to concentrate on what is there, who is represented and what is performed there. This is a memory work that is bound to the site by the ritual act of walking and investigates the plural memories of the landscape.

Joan Flasch Artists' Book Collection

Joan Flasch Artists' Book Collection

Joan Flasch Artists' Book Collection

Joan Flasch Artists' Book Collection

Joan Flasch Artists' Book Collection

Joan Flasch Artists' Book Collection

Author addresses the loss of his father and sister within the span of two years.; Book includes photographs, writing, design, and digital collage.; Exposed seam binding with three leather straps.; Limited edition of 90 signed copies. Library has no. 35., Joan Flasch Artists' Book Collection

Chu Lai Nga Eureka., "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 2008-2009, design report.", Includes bibliographical references (p. 73)., thesis statement --- p.5, thesis abstract & summary of argument --- p.6, definitions for major themes and terms --- p.10, background study & site selection --- p.13, contemporary practices & condition --- p.18, precedents within & outside architecture --- p.23, site investigation & analysis --- p.29, programme description --- p.37, design concept & methodology --- p.41, design development & presentation --- p.50, bibliography --- p.73, http://library.cuhk.edu.hk/record=b5893928, Use of this resource is governed by the terms and conditions of the Creative Commons “Attribution-NonCommercial-NoDerivatives 4.0 International” License (http://creativecommons.org/licenses/by-nc-nd/4.0/)

Chu Lai Nga Eureka., "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 2008-2009, design report.", Includes bibliographical references (p. 73)., thesis statement --- p.5, thesis abstract & summary of argument --- p.6, definitions for major themes and terms --- p.10, background study & site selection --- p.13, contemporary practices & condition --- p.18, precedents within & outside architecture --- p.23, site investigation & analysis --- p.29, programme description --- p.37, design concept & methodology --- p.41, design development & presentation --- p.50, bibliography --- p.73, http://library.cuhk.edu.hk/record=b5893928, Use of this resource is governed by the terms and conditions of the Creative Commons “Attribution-NonCommercial-NoDerivatives 4.0 International” License (http://creativecommons.org/licenses/by-nc-nd/4.0/)

Joan Flasch Artists' Book Collection

English: This dissertation is closely related to my studio research, the product of which is an installation in the Johannes Stegmann Art Gallery. The focus of my research is the ruptures that occur in the continuity of family memories. Seeing that my grandmother suffered from Alzheimer’s disease, the preservation of private memories is extremely important to me. According to postmodern thought, history is not regarded as a single, uninterrupted timeline. Different versions or narratives are equally important in the compilation of history. Micro-histories and private experiences become meaningful to history and so is the preservation of these common documents in archives. Thus the apparent divide between private and public history is blurred. As a result of South Africa’s difficult political history and the particular part played by the Afrikaners, the experience of memory is complicated. “Remembering” and “forgetting” are eminent in the relationship with history – the wilful forgetting of incidents in the past, as well as the “excessive remembering” thereof (Ricoeur 2004: 452 – 453). Afrikaners are not allowed to forget certain past political events. The internalisation of the past is an attempt to suppress it, so that it may only be experienced in the public sphere of history. This suppression can, however, still be observed beneath the surface of private histories, as well as in art works that seem to focus solely on private experiences. The different art media that are investigated in this research (i.e. painting, photography, gum prints, artists books, wax casts and installation art) address aspects of the preservation of memory that deal with estrangement, anonymity, absence and mortality. The interplay between light and dark, exposure and concealment, are metaphors used to examine the discontinuities in history and memory in the private and public spheres. The structure of this paper is presented in various layers: layers of history, art history, private hist, Afrikaans: Hierdie verhandeling staan in noue verband met my ateljeenavorsing waarvan die produk ‘n installasie in die Johannes Stegmann-kunsgalery is. Die fokus van my navorsing is breuke in die kontinuïteit van familieherinneringe. As ‘n kleinkind met ‘n ouma wat aan Alzheimer se siekte gely het, is die preservering van privaatherinneringe vir my noodsaaklik. In postmoderne beskouings word geskiedenis nie as een aaneenlopende tydlyn beskou nie en die verskillende weergawes of verhale waaruit geskiedenis bestaan, word ewe belangrik geag. Mikrogeskiedenisse en private verhale word betekenisvol vir die geskiedenis en daarmee saam die preservering van alledaagse dokumente in argiewe. Daardeur word die skynbare grens tussen die private en publieke geskiedenis vervaag. Vanweë Suid-Afrika se ingewikkelde politieke geskiedenis en Afrikaners se besondere deelname daaraan, is herinnering tans vir Afrikaners kompleks. “Vergeet”, sowel as “onthou” is deel van die verhouding met die geskiedenis – die willekeurige vergeet van gebeure in die verlede, sowel as die “oor-onthou” (Ricoeur 2004: 452 – 453). Afrikaners word nie toegelaat om sekere politieke gebeure in die verlede te vergeet nie. Die internalisering van die verlede is ‘n poging om die verlede te onderdruk, sodat dit skynbaar slegs in die publieke sfeer van die geskiedenis ervaar kan word. Hierdie onderdrukking kan egter onder die oppervlak van die privaatgeskiedenis opgetel word, en ook in kunswerke in verskillende media wat skynbaar hoofsaaklik op private ervarings fokus. In die verhandeling word aspekte van die preservering van herinnering, soos vervreemding, anonimiteit, afwesigheid en mortaliteit nader ondersoek soos dit in verskeie kunsmedia (die skilderkuns, die fotografie, gomdrukke, kunstenaarsboeke, afgietsels en die installasiekuns) na vore tree. Die spel tussen lig en donker, ontbloting en versluiering, is metafore waardeur die versteking van geheime en die diskontinuïteite in geskiedenis en herinnering in d

Joan Flasch Artists' Book Collection

Summary: 2 Vietnams documents modern Vietnam through alternating chapters of collage fictions and images: "East-West Documentation," "Vietnam in the Twilight-Hour," "Correspondence," and "Confessional Archives." Although 2 Vietnams serves as a documentary-style account of the many Vietnams that exist and confront our American memory of Vietnam, each chapter contains social narratives that connect to each other forming larger, subtler narratives. "East-West Documentation" follows a fictional writer's experience living in Vietnam, conducting interviews and reading articles. "Vietnam in the Twilight-Hour" strings narrative poetry together with titles ranging from "Neocolonialism," "Love in Notations," to "SocialPolygrams." In addition to these poetic narratives are photographs that tell snapshot stories. "Correspondence" contains fictions such as "Think and It Will Happen," "StoryOptics," and "Flame of Life." Lastly, "Confessional Archives" contains images and non-fictional stories from veterans, both Vietnamese and American., Dorothy F. Schmidt College of Arts and Letters, Collection: FAU Electronic Theses and Dissertations Collection, Thesis (M.F.A.)--Florida Atlantic University, 2005.

Joan Flasch Artists' Book Collection

Joan Flasch Artists' Book Collection

Joan Flasch Artists' Book Collection

Joan Flasch Artists' Book Collection

Joan Flasch Artists' Book Collection

Joan Flasch Artists' Book Collection

Joan Flasch Artists' Book Collection

Joan Flasch Artists' Book Collection

Joan Flasch Artists' Book Collection

Joan Flasch Artists' Book Collection

Joan Flasch Artists' Book Collection

Joan Flasch Artists' Book Collection

Joan Flasch Artists' Book Collection