Pedem referens: art historical memory and the analogue in the work of Tacita Dean, Jeremy Millar and Lucy Skaer

This thesis explores the new art historical turn in contemporary art through close engagement with three British artworks. These are Tacita Dean’s, Section Cinema (Homage to Marcel Broodthaers), 2002, Jeremy Millar’s, The Man Who Looked Back, 2010, and Lucy Skaer’s, Leonora, 2006. Each of these artworks combines an art historical agenda with a celebration of the specificities of analogue film and photography in the context of our digital age. This thesis combines twentieth century photographic theory from Roland Barthes, André Bazin and Walter Benjamin, among others, with the psychoanalytic theory of Jacques Lacan in order to argue that the indexical qualities of analogue film and photography place the medium in close proximity to the Lacanian Real. In its obsolescence the analogue’s language of both touch and loss is heightened. Each chapter of this thesis explores a different aspect of the Real in relation to specific attributes of the analogue, such as its propensity for archiving cultural traumas, its receptiveness to chance, and its proximity to death.

Grantor dc:publisher

University College Cork

Year dc:date.issued

2016

Author dc:creator

• North, Kirstie

Advisors dc:contributor.advisor

• Boggi, Flavio
• Krcma, Edward John

• Tacita Dean
• Jeremy Millar
• Lucy Skaer
• Analogue
• Contemporary art
• Photography
• Aby Warburg
• Marcel Broodthaers
• Leonora Carrington
• Maurice Blanchot
• Jacques Lacan
• Psychoanalysis
• Obsolesence
• Surrealism
• Archive
• The Index
• Death
• Loss
• Orpheus and Eurydice
• Art historical memory
• Film
• The Real
• Photographic index

Statement dc:rights

• © 2016, Kirstie North.

Licence dc:rights.uri

• http://creativecommons.org/licenses/by-nc-nd/3.0/

Language dc:language.iso

en

Handle dc:identifier.uri

https://hdl.handle.net/10468/3103

OAI identifier oai:identifier

oai:cora.ucc.ie:10468/3103