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search.filters.applied.f.department: search.filters.department.Art.Subject: search.filters.subject.Identity (Philosophical concept)

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    Porosity: the space between identities
    (Montana State University - Bozeman, College of Arts & Architecture, 2021) McKay, Laurel Brooke; Chairperson, Graduate Committee: Gesine Janzen
    Porosity' investigates the abstraction of bodies as a way to free people from the visual constraints and societal markers of 'difference' or 'otherness', as tied to class, gender, sexuality and race, that are used to marginalize individuals in our society. I in no way want to remove people's individual experiences, however, these narrow and rigid categories of socially constructed identities support hierarchies that are based in capitalism and systemic oppression, which I think should ultimately be dismantled. Within my monoprints, I use this abstraction of human form to allow for endless possibilities of shifting identity and individual freedom of expression that is not defined by the labels constructed by others. This abstraction of human form also, allows the body to become a sight of resistance and defiance to controls or 'disciplines' placed upon one's existence through bio-political or state structures. I argue that these works of art will allow contemplation on the structures, expectations and invisible manipulations that are tied to how we form and embody our identities in society, while still imparting feeling and emotion as tethered to a shared human existence. I also, hope that they will represent the future possibilities of our fluid identities and a utopian universal that is a shared human experience.
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    Some One
    (Montana State University - Bozeman, College of Arts & Architecture, 2008) Heaston, Paul Bradford; Chairperson, Graduate Committee: Sara Mast
    In the wake of the emergence of the photographic portrait over the last century, I aim to examine the current relationship between the painted portrait and photography; specifically, the use of the photograph as a tool that can inform and transform the investigation of identity in painting. While a great deal of my interest lies in translating the photographic image into paint, I am more interested in what the nature of my process can reveal about the people I know. I believe my intimacy with the sitter turns the process of transcribing a clinical and often unflattering photographic examination into a more challenging psychological exploration of my relationships with both the subject and the viewer. I force myself to make editorial choices to reconcile the impartial and detached information provided by the camera with what I already know about the sitter.
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