2.50
Hdl Handle:
http://hdl.handle.net/2436/550202
Title:
The Divided Seal
Authors:
Jardine, Fiona
Other Titles:
Reading a History of Signatures in Visual Art through Derrida’s Signature Event Context
Abstract:
This thesis looks at the function of signatures in visual art using the theory of Jacques Derrida and a series of paradigmatic historical examples. Specifically, it departs from ‘Signature Event Context’ (SEC) to establish signature outside the idiom of visual art as a social process. Having established signature as process designed to guarantee presence, it suggests that signature should be considered a method of production. As a method of production, signature has a significant contemporary relevance for dematerialised and Relational Art practices which are frequently held to be ‘unsigned’. This thesis suggests grounds for questioning the unsigned quality of Relational Art, and looks at what signatory production means for it. Until the 1990s, signature was mostly ignored as a subject for serious art historical scholarship. It is still rarely indexed as a subject even when it warrants a mention in the body of a text. Although a clutch of recent studies have addressed its occurrence in the work of individual artists, or within the boundaries of narrowly defined eras, there is little work - if any - which attempts to connect these pockets of knowledge with a conceptual grounding of what signature does in order to develop a connected narrative and broad understanding for its place. As a result, there is little interrogation of signature’s mechanism alongside historical examples, and scholarship is instead focused on its appearance. This thesis attempts a broad, conceptually informed, historical survey, using examples that date as far back as the sixth century BC. The aim is to unpack the signature-form ‘R. Mutt’ which appears on Marcel Duchamp’s Readymade, Fountain (1917), a work with great conceptual importance for contemporary dematerialised and Relational Art practices. In bringing SEC into close 3 proximity to Fountain, the thesis establishes potential grounds for reading a significant theoretical relationship between Derrida and Duchamp, a pairing which has been neglected by scholars despite conceptual sympathies between them.
Issue Date:
Jul-2014
URI:
http://hdl.handle.net/2436/550202
Type:
Thesis
Language:
en
Description:
A thesis submitted in partial fulfilment of the requirements of the University of Wolverhampton for the degree of DOCTOR OF PHILOSOPHY
Appears in Collections:
E-Theses

Full metadata record

DC FieldValue Language
dc.contributor.authorJardine, Fionaen
dc.date.accessioned2015-04-16T11:39:48Zen
dc.date.available2015-04-16T11:39:48Zen
dc.date.issued2014-07en
dc.identifier.urihttp://hdl.handle.net/2436/550202en
dc.descriptionA thesis submitted in partial fulfilment of the requirements of the University of Wolverhampton for the degree of DOCTOR OF PHILOSOPHYen
dc.description.abstractThis thesis looks at the function of signatures in visual art using the theory of Jacques Derrida and a series of paradigmatic historical examples. Specifically, it departs from ‘Signature Event Context’ (SEC) to establish signature outside the idiom of visual art as a social process. Having established signature as process designed to guarantee presence, it suggests that signature should be considered a method of production. As a method of production, signature has a significant contemporary relevance for dematerialised and Relational Art practices which are frequently held to be ‘unsigned’. This thesis suggests grounds for questioning the unsigned quality of Relational Art, and looks at what signatory production means for it. Until the 1990s, signature was mostly ignored as a subject for serious art historical scholarship. It is still rarely indexed as a subject even when it warrants a mention in the body of a text. Although a clutch of recent studies have addressed its occurrence in the work of individual artists, or within the boundaries of narrowly defined eras, there is little work - if any - which attempts to connect these pockets of knowledge with a conceptual grounding of what signature does in order to develop a connected narrative and broad understanding for its place. As a result, there is little interrogation of signature’s mechanism alongside historical examples, and scholarship is instead focused on its appearance. This thesis attempts a broad, conceptually informed, historical survey, using examples that date as far back as the sixth century BC. The aim is to unpack the signature-form ‘R. Mutt’ which appears on Marcel Duchamp’s Readymade, Fountain (1917), a work with great conceptual importance for contemporary dematerialised and Relational Art practices. In bringing SEC into close 3 proximity to Fountain, the thesis establishes potential grounds for reading a significant theoretical relationship between Derrida and Duchamp, a pairing which has been neglected by scholars despite conceptual sympathies between them.en
dc.language.isoenen
dc.subjectarten
dc.subjectartisten
dc.subjectDematerialisationen
dc.subjectMaterialityen
dc.subjectRelationalen
dc.subjectSignatureen
dc.subjectCourbeten
dc.subjectDerridaen
dc.subjectDuchampen
dc.titleThe Divided Sealen
dc.title.alternativeReading a History of Signatures in Visual Art through Derrida’s Signature Event Contexten
dc.typeThesisen
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