An Uncanny Perspective: Sculptures by Martin Puryear will demonstrate how Puryear (b.1941) both aesthetically and conceptually evokes narratives found in Sigmund Freud’s (1856-1939) theories of the uncanny, specifically signifiers of darkness, unfamiliarity and secrecy. This employment of the uncanny in sculpture aids Puryear’s ability to address a range of aesthetics and provides a striking lens through which he addresses the collective history of violence and servitude within the African American experience. In applying Freud’s theories to several works by Puryear, this thesis will reveal how elements of the uncanny activate a questioning of narratives around terror and fear. Using methods of psychoanalysis and post-colonial theory, in combination with art-historical documentation and journalism, I will investigate a deeper layer of inquiry. Puryear’s work remains veiled under a screen of mystery, ambiguity and abstraction, beckoning the viewer to analyze and sort through layers of meaning.
","abstract_html":"<p>An Uncanny Perspective: Sculptures by Martin Puryear will demonstrate how Puryear (b.1941) both aesthetically and conceptually evokes narratives found in Sigmund Freud’s (1856-1939) theories of the uncanny, specifically signifiers of darkness, unfamiliarity and secrecy. This employment of the uncanny in sculpture aids Puryear’s ability to address a range of aesthetics and provides a striking lens through which he addresses the collective history of violence and servitude within the African American experience. In applying Freud’s theories to several works by Puryear, this thesis will reveal how elements of the uncanny activate a questioning of narratives around terror and fear. Using methods of psychoanalysis and post-colonial theory, in combination with art-historical documentation and journalism, I will investigate a deeper layer of inquiry. Puryear’s work remains veiled under a screen of mystery, ambiguity and abstraction, beckoning the viewer to analyze and sort through layers of meaning.</p>","abstract_has_math":false,"creators":["DeMartini, Jake B"],"institution":null,"degree_name":"Master of Arts (M.A.)","degree_level":"Thesis","degree_discipline":"Art History","degree_department":null,"school":null,"contributors":["Lise Kjaer","Craig Houser"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2024,"date_issued":"2024-01-01T08:00:00Z","date_published":"2024-01-01T08:00:00Z","updated_at":"2026-07-24T01:58:07Z","subjects":["Uncanny","Martin Puryear","Sigmund Freud","Sculpture","Modern Art","African American History","African History","Anthropology","Fine Arts","Psychology","Social History","Theory and Philosophy"],"languages":[],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"https://academicworks.cuny.edu/cc_etds_theses/1226","outbound_label":"Repository record","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Lise Kjaer","Craig Houser"]},{"key":"dc:creator","label":"Author","values":["DeMartini, Jake B"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.available","label":"Dc Date Available","values":["2024-05-04T07:00:00Z"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Art History"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Thesis"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Master of Arts (M.A.)"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Uncanny","Martin Puryear","Sigmund Freud","Sculpture","Modern Art","African American History","African History","Anthropology","Fine Arts","Psychology","Social History","Theory and Philosophy"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["https://academicworks.cuny.edu/cc_etds_theses/1226"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["An Uncanny Perspective: Sculptures by Martin Puryear will demonstrate how Puryear (b.1941) both aesthetically and conceptually evokes narratives found in Sigmund Freud’s (1856-1939) theories of the uncanny, specifically signifiers of darkness, unfamiliarity and secrecy. This employment of the uncanny in sculpture aids Puryear’s ability to address a range of aesthetics and provides a striking lens through which he addresses the collective history of violence and servitude within the African American experience. In applying Freud’s theories to several works by Puryear, this thesis will reveal how elements of the uncanny activate a questioning of narratives around terror and fear. Using methods of psychoanalysis and post-colonial theory, in combination with art-historical documentation and journalism, I will investigate a deeper layer of inquiry. Puryear’s work remains veiled under a screen of mystery, ambiguity and abstraction, beckoning the viewer to analyze and sort through layers of meaning.
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