Education - Theses Register | Irish Georgian Society

"Hand to the Friend, Fist to the Foe": From Brotherly Hand Shake to Militant Clenched Fist

Maureen Lynch
University College Cork
Faculty of Arts and Celtics Studies' Department of History of Art
2008
MA

Subject: Art

20,000 words

Mecha’s Apocalypse: Significance of the Mechanoid in Japanese Post-Apocalyptic Science Fiction Anime

Janina Mathews
University College Cork
Faculty of Arts and Celtics Studies' Department of History of Art
2009
MA

Subject: Japanese Anime, Japanese Culture and Cyborgs
Country: Japan
Period: 20th and 21st Century

20,000 words

Donald Judd - Sensual Objects

Roisin McArdle
University College Cork
Faculty of Arts and Celtics Studies' Department of History of Art
2009
MA

Subject: Sculpture
Country: U.S.A
Period: 20th Century

20,000 words

Opening Up the Streets: A Relational Account of the Murals of Northern Ireland

Catherine McEntee
University College Cork
Faculty of Arts and Celtics Studies' Department of History of Art
2007
MA

Subject: Murals
Country: Northern Ireland
Period: 20th Century

20,000

Re:performance: Enduring the Past in the Present - the Role of the Audience in the Documentation of Marina Abramović's Performances

Réidín McSweeney
University College Cork
Faculty of Arts and Celtics Studies' Department of History of Art
2007
MA

Subject: Performance Art
Country: Europe and U.S.A.
Period: 20th Century

20,000 words

The Artist as Jester: Rebellious Humour in Contemporary Art : a Study of Radical and Precarious Humour in the Art of Raymond Pettibon, Kara Walker and Banksy

Julianne Morgan
University College Cork
Faculty of Arts and Celtics Studies' Department of History of Art
2012
MA

Subject: Mural, Poster Art
Country: U.S.A
Period: 20th Century

20,000 words

Photography and Performance Clothing the Infant Nude in Sally Mann's Immediate Family

Charlotte Louise McDougall Morrison
University College Cork
Faculty of Arts and Celtics Studies' Department of History of Art
2011
MA

Subject: Photography, Performance Art
Country: U.S.A
Period: 20th Century to 21st Century

20,000 words

Reconfiguring Sublimity: an Examination of the Sublime Aesthetic and its Relevancy to a Contemporary Art Context, Baudrillard's Transaesthetics and the "Vanishing point of Art"

Marian Murphy
University College Cork
Faculty of Arts and Celtics Studies' Department of History of Art
2010
MA

Subject: Art
Period: 20th Century and 21st Century

20,000 words

From Mars to Kassandra: the memorialisation of World War I in the work of Otto Dix.

Ann Murray
University College Cork
Faculty of Arts and Celtics Studies' Department of History of Art
2018
PhD

Subject: Painting
Country: Germany
Period: 20th Century

This thesis argues that the memorialisation of World War I in the work of German artist and soldier Otto Dix (1891-1969) challenged Germany’s prevailing social and political attitudes to war and militarism, demanding action against growing public support for militarist politics in the late Weimar Republic. Scholarship has dwelt on the art-historical context of Dix’s war pictures but not their interaction with the socio-political context, specifically in Dresden, where Dix worked, and where numerous extreme right-wing cultural and political groups were active. The thesis focuses on some battlefield pictures and two triptychs, Metropolis (1928) and War (1929 1932) relating them to the broader visual culture of war in order to assess Dix’s strategies as a transgressive commemorative artist. The relationship between Dix and Dresden’s extreme right-wing groups has been largely overlooked; yet, as the thesis reveals, the extreme Right’s negative reception of Dix’s work significantly complicates the terms by which his art is understood. Employing the methods of the social history of art, the thesis establishes the meaning of these works within their social, political and artistic context. Chapter I reconstructs Dix's first public showing in a soldiers’ art exhibition in Dresden in 1916 in order to trace the artist’s development as an incisive memoriographer of war. Chapter II treats nationalist art, artists and extreme right-wing criticism in Dresden in exploring the provocative nature of Dix’s appropriation and adaptation of the traditional styles and techniques lauded by the extreme Right. Chapter III looks at the role of the triptych Metropolis in catalysing right-wing art criticism during a major exhibition in Dresden in 1928. The final chapter focuses on the relative failure of the triptych War as antithetical to militarist culture, as based on the quantity and quality of its reception at the Prussian Academy in 1932.

Through the Eye of the Beholder: Examining the Relationship Between Photography and Love

Kirstie North
University College Cork
Faculty of Arts and Celtics Studies' Department of History of Art
2009
MA

Subject: Photography

20,000 words

Pedem Referens: Art Historical Memory and the Analogue in the Work of Tacita Dean, Jeremy Millar and Lucy Skaer

Kirstie North
University College Cork
Faculty of Arts and Celtics Studies' Department of History of Art
2016
PhD

Subject: Film and Photography
Period: 21st Century

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.

From Freedom and Ambiguity to Nazi Tradition: the Passage of Female Representation from Compressed Modernist Tradition in Weimar Germany to National Socialist Tradition

Theresa O'Brien
University College Cork
Faculty of Arts and Celtics Studies' Department of History of Art
2008
MA

Subject: Art
Country: Germany
Period: Early 20th Century

20,000 words

Threatened Spectatorship: The Installation Art of Bruce Nauman and Janet Cardiff

Jane O'Connor
University College Cork
Faculty of Arts and Celtics Studies' Department of History of Art
2009
MA

Subject: Installation Art
Country: U.S.A. and Europe
Period: 20th and 21st Century

20,000 words

George Grosz’s Guide to Dissolute Berlin:Drawing an Incisive line through the Facades of Weimar Republic

Jean O'Donovan
University College Cork
Faculty of Arts and Celtics Studies' Department of History of Art
2009
MA

Subject: Painting
Country: Germany
Period: 20th Century

A Quest for Neo-Primitivism

Fiona O’Keeffe
University College Cork
Faculty of Arts and Celtics Studies' Department of History of Art
2007
MA

Subject: Art Movement
Country: Russia
Period: 20th Century

20,000 words

Poet with a Camera: Walker Evans and Documentary Photography in the Great Depression

Laraine O’Connell
University College Cork
Faculty of Arts and Celtics Studies' Department of History of Art
2007
MA

Subject: Photography
Country: U.S.A.
Period: 20th Century

20,000 words

Performance Art: The Role of Bodily Signification in the Performance of Amanda Coogan

Caroline Clancy
University College Cork
Faculty of Arts and Celtics Studies' Department of History of Art
2009
M.A.

Country: Ireland
Period: 20th and 21st Century

A Post-Feminist Reconstructed Art Historical Account of the Art of Oskar Kokoschka and the Influence of Fin de Siècle Antifeminism in Germany upon the Female Imagery of the Artist

Aoife Potter-Cogan
University College Cork
Faculty of Arts and Celtics Studies' Department of History of Art
2007
MA

Subject: Biography, Painting
Country: Austria
Period: 20th Century

20,000

Albers : Investigating the Semiotic World of Josef Albers’ Art

Katherine Quinlan
University College Cork
Faculty of Arts and Celtics Studies' Department of History of Art
2007
MA

Subject: Painting
Country: Europe and U.S.A.
Period: 20th Century

20,000 words

Expanding Engagement with Alternative Spaces: Preservation for Future Aesthetic Consideration in the Working Class Domestic Interior

Sinéad Kathy Rice
University College Cork
Faculty of Arts and Celtics Studies' Department of History of Art
2008
MA

Subject: Interior Architecture
Country: Ireland

20,000 words

Mexican Muralism in the 1930s; Beyond Revolution and the Pre-Columbian

Emma Rowe
University College Cork
Faculty of Arts and Celtics Studies' Department of History of Art
2008
M.Phil

Subject: Murals
Country: Mexico
Period: Early 20th Century

Supervisor: Dr. S. Kriebel
40,000 words

Dalí: Surrealism, Psychoanalysis and the Paranoiac-Critical Method

Damian Ruddy
University College Cork
Faculty of Arts and Celtics Studies' Department of History of Art
2007
MA

Subject: Painting
Country: Spain
Period: 20th Century

20,000 words

The Mechanical Origin of an Authentic Photographic Affect

Stefania Sapio
University College Cork
Faculty of Arts and Celtics Studies' Department of History of Art
2017
MRes

Subject: Photography
Period: 20th Century

This thesis focuses on the analysis of a specific type of analogue photography that, as it endorses and exposes qualities that result from the camera’s mechanical nature, complies with but also departs from a straight, documentary approach. Therefore, this thesis does not want to present a theoretical stance on the discipline of photography in general. Instead, it attempts to individuate the ways in which a specific documentary mode, epitomized in the works of the three photographers surveyed in this thesis, William Eggleston (1939), Rineke Dijkstra (1959) and Jeff Wall (1946), acknowledges but also challenges the aims and ethos of traditional documentary photography. More specifically this thesis assesses the impact that Eggleston’s, Dijkstra’s and Wall’s works have on the viewer, thus the beholder’s private and personal experience triggered by the photographs, rather than evaluating the influences that documentary photography exercises on the broader society and culture. The photographic works by William Eggleston , Rineke Dijkstra and Jeff Wall stand as examples of a photographic approach that maintains the realistic, transparent aesthetic and objective tone of straight documentary photography by fully relying on the camera mechanical functioning. However, I will argue that the viewer of these artists’ works experiences a sense of loss of the analytical ability of understanding and conveying a definite meaning or an absolute truth on what she/he is viewing beside the clarity and realism adopted in the depiction. Instead, the beholder undergoes emotional, perceptual and affective reactions that cannot be reduced to a solid ground of interpretation. In this regard a photographic mode, such as the one embraced by Eggleston, Dijkstra and Wall, questions more traditional views on documentary photography, while maintaining an aesthetic and an approach to image making reminiscent of the same.

Failed Utopias of the Avant-Garde in Tacita Dean and William Kentridge

Irish Ella Frances Swift
University College Cork
Faculty of Arts and Celtics Studies' Department of History of Art
2012
MA

Subject: Film
Country: South Africa, Britain
Period: 21st Century

20,000 words

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Education Theses Register —University College Cork

"Hand to the Friend, Fist to the Foe": From Brotherly Hand Shake to Militant Clenched Fist

Mecha’s Apocalypse: Significance of the Mechanoid in Japanese Post-Apocalyptic Science Fiction Anime

Donald Judd - Sensual Objects

Opening Up the Streets: A Relational Account of the Murals of Northern Ireland

Re:performance: Enduring the Past in the Present - the Role of the Audience in the Documentation of Marina Abramović's Performances

The Artist as Jester: Rebellious Humour in Contemporary Art : a Study of Radical and Precarious Humour in the Art of Raymond Pettibon, Kara Walker and Banksy

Photography and Performance Clothing the Infant Nude in Sally Mann's Immediate Family​

Reconfiguring Sublimity: an Examination of the Sublime Aesthetic and its Relevancy to a Contemporary Art Context, Baudrillard's Transaesthetics and the "Vanishing point of Art"

From Mars to Kassandra: the memorialisation of World War I in the work of Otto Dix.

Through the Eye of the Beholder: Examining the Relationship Between Photography and Love

Pedem Referens: Art Historical Memory and the Analogue in the Work of Tacita Dean, Jeremy Millar and Lucy Skaer

From Freedom and Ambiguity to Nazi Tradition: the Passage of Female Representation from Compressed Modernist Tradition in Weimar Germany to National Socialist Tradition

Threatened Spectatorship: The Installation Art of Bruce Nauman and Janet Cardiff

George Grosz’s Guide to Dissolute Berlin:Drawing an Incisive line through the Facades of Weimar Republic

A Quest for Neo-Primitivism

Poet with a Camera: Walker Evans and Documentary Photography in the Great Depression

Performance Art: The Role of Bodily Signification in the Performance of Amanda Coogan

A Post-Feminist Reconstructed Art Historical Account of the Art of Oskar Kokoschka and the Influence of Fin de Siècle Antifeminism in Germany upon the Female Imagery of the Artist

Albers : Investigating the Semiotic World of Josef Albers’ Art

Expanding Engagement with Alternative Spaces: Preservation for Future Aesthetic Consideration in the Working Class Domestic Interior

Mexican Muralism in the 1930s; Beyond Revolution and the Pre-Columbian

Dalí: Surrealism, Psychoanalysis and the Paranoiac-Critical Method

The Mechanical Origin of an Authentic Photographic Affect

Failed Utopias of the Avant-Garde in Tacita Dean and William Kentridge

Education Theses Register —
University College Cork

Photography and Performance Clothing the Infant Nude in Sally Mann's Immediate Family