{"id":{"repo_id":"carleton","oai_identifier":"oai:carleton.scholaris.ca:20.500.14718/27247"},"canonical_url":"https://search.dev.ndltd.org/etd/carleton/oai:carleton.scholaris.ca:20.500.14718/27247","repository":{"repo_id":"carleton","name":"Carleton University","base_url":"https://carleton.scholaris.ca/server/oai/request"},"display":{"title":"Standing on the corner : aspects of contemporary Canadian sculpture","abstract":"This thesis examines the relationship of object and image in the work of three sculptors, Roland Brener and Mowry Baden, both from Victoria, and Michel Goulet from Montreal. The writer examines the way objects used by these artists are transformed into images in such a way that the interpretation of sculpture is modified. These works stand in opposition to the tradition of formalist sculpture. The invention of the "ready-made" by Marcel Duchamp is acknowledged as the model for the appropriation of so-called "everyday" objects but is expanded to include the relationship of sculpture to objects produced in industrial mass production, as well as the notion of work in a post-industrial society.The works of Brener, Baden and Goulet will be situated in the larger frame of an international context, providing a theoretical orientation which I believe validates their placement in sculptural discourse as such. In general, this thesis focuses on the material components presented by the works which clearly distinguishes them from the tenets of abstract "formalism". A general model for the analysis of image-based sculpture being produced in Canada is proposed.","abstract_html":"This thesis examines the relationship of object and image in the work of three sculptors, Roland Brener and Mowry Baden, both from Victoria, and Michel Goulet from Montreal. The writer examines the way objects used by these artists are transformed into images in such a way that the interpretation of sculpture is modified. These works stand in opposition to the tradition of formalist sculpture. The invention of the "ready-made" by Marcel Duchamp is acknowledged as the model for the appropriation of so-called "everyday" objects but is expanded to include the relationship of sculpture to objects produced in industrial mass production, as well as the notion of work in a post-industrial society.The works of Brener, Baden and Goulet will be situated in the larger frame of an international context, providing a theoretical orientation which I believe validates their placement in sculptural discourse as such. In general, this thesis focuses on the material components presented by the works which clearly distinguishes them from the tenets of abstract "formalism". A general model for the analysis of image-based sculpture being produced in Canada is proposed.","abstract_has_math":false,"creators":["Gould, Trevor (Trevor Peter)"],"institution":"Carleton University","degree_name":"Master of Arts (M.A.)","degree_level":"Master's","degree_discipline":"Canadian Studies","degree_department":null,"school":null,"contributors":[],"advisors":[],"committee_chairs":[],"committee_members":[],"year":1991,"date_issued":"1991","date_published":"1991","updated_at":"2026-07-24T01:34:39Z","subjects":[],"languages":["en"],"rights":["Copyright © 1991 the author(s). Theses may be used for non-commercial research, educational, or related academic purposes only. Such uses include personal study, research, scholarship, and teaching. Theses may only be shared by linking to Carleton University Institutional Repository and no part may be used without proper attribution to the author. No part may be used for commercial purposes directly or indirectly via a for-profit platform; no adaptation or derivative works are permitted without consent from the copyright owner."],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier.doi","label":"DOI","values":["10.22215/etd/1991-13012"],"render_values":[{"text":"10.22215/etd/1991-13012","href":"https://doi.org/10.22215/etd/1991-13012","code":true}]}]},"links":{"outbound_url":"https://hdl.handle.net/20.500.14718/27247","outbound_label":"Handle","outbound_source":"dc:identifier.uri"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:creator","label":"Author","values":["Gould, Trevor (Trevor Peter)"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.accessioned","label":"Dc Date Accessioned","values":["2025-04-08T16:25:13Z"]},{"key":"dc:date.available","label":"Dc Date Available","values":["2025-04-08T16:25:13Z"]},{"key":"dc:date.issued","label":"Date","values":["1991"]},{"key":"dc:publisher","label":"Institution","values":["Carleton University"]},{"key":"dc:type","label":"Dc Type","values":["thesis"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Canadian Studies"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Master's"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Master of Arts (M.A.)"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language.iso","label":"Language (ISO)","values":["en"]},{"key":"dc:rights","label":"Dc Rights","values":["Copyright © 1991 the author(s). Theses may be used for non-commercial research, educational, or related academic purposes only. Such uses include personal study, research, scholarship, and teaching. Theses may only be shared by linking to Carleton University Institutional Repository and no part may be used without proper attribution to the author. No part may be used for commercial purposes directly or indirectly via a for-profit platform; no adaptation or derivative works are permitted without consent from the copyright owner."]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier.doi","label":"DOI","values":["10.22215/etd/1991-13012"]},{"key":"dc:identifier.uri","label":"Identifier URI","values":["https://hdl.handle.net/20.500.14718/27247"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["This thesis examines the relationship of object and image in the work of three sculptors, Roland Brener and Mowry Baden, both from Victoria, and Michel Goulet from Montreal. The writer examines the way objects used by these artists are transformed into images in such a way that the interpretation of sculpture is modified. These works stand in opposition to the tradition of formalist sculpture. The invention of the "ready-made" by Marcel Duchamp is acknowledged as the model for the appropriation of so-called "everyday" objects but is expanded to include the relationship of sculpture to objects produced in industrial mass production, as well as the notion of work in a post-industrial society.The works of Brener, Baden and Goulet will be situated in the larger frame of an international context, providing a theoretical orientation which I believe validates their placement in sculptural discourse as such. In general, this thesis focuses on the material components presented by the works which clearly distinguishes them from the tenets of abstract "formalism". A general model for the analysis of image-based sculpture being produced in Canada is proposed."]},{"key":"dc:title","label":"Title","values":["Standing on the corner : aspects of contemporary Canadian sculpture"]}]}],"canonical_facts":{"dc:creator":["Gould, Trevor (Trevor Peter)"],"dc:date.accessioned":["2025-04-08T16:25:13Z"],"dc:date.available":["2025-04-08T16:25:13Z"],"dc:date.issued":["1991"],"dc:description.abstract":["This thesis examines the relationship of object and image in the work of three sculptors, Roland Brener and Mowry Baden, both from Victoria, and Michel Goulet from Montreal. The writer examines the way objects used by these artists are transformed into images in such a way that the interpretation of sculpture is modified. These works stand in opposition to the tradition of formalist sculpture. The invention of the "ready-made" by Marcel Duchamp is acknowledged as the model for the appropriation of so-called "everyday" objects but is expanded to include the relationship of sculpture to objects produced in industrial mass production, as well as the notion of work in a post-industrial society.The works of Brener, Baden and Goulet will be situated in the larger frame of an international context, providing a theoretical orientation which I believe validates their placement in sculptural discourse as such. In general, this thesis focuses on the material components presented by the works which clearly distinguishes them from the tenets of abstract "formalism". A general model for the analysis of image-based sculpture being produced in Canada is proposed."],"dc:identifier.doi":["10.22215/etd/1991-13012"],"dc:identifier.uri":["https://hdl.handle.net/20.500.14718/27247"],"dc:language.iso":["en"],"dc:publisher":["Carleton University"],"dc:rights":["Copyright © 1991 the author(s). Theses may be used for non-commercial research, educational, or related academic purposes only. Such uses include personal study, research, scholarship, and teaching. Theses may only be shared by linking to Carleton University Institutional Repository and no part may be used without proper attribution to the author. No part may be used for commercial purposes directly or indirectly via a for-profit platform; no adaptation or derivative works are permitted without consent from the copyright owner."],"dc:title":["Standing on the corner : aspects of contemporary Canadian sculpture"],"dc:type":["thesis"],"thesis:degree_discipline":["Canadian Studies"],"thesis:degree_level":["Master's"],"thesis:degree_name":["Master of Arts (M.A.)"]},"updated_at":"2026-07-24T01:34:39Z"}