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dc.contributor.authorRabyniuk, Andrewen
dc.date2016-09-06 10:51:49.606
dc.date2016-09-07 12:46:18.879
dc.date.accessioned2016-09-07T18:05:06Z
dc.date.available2016-09-07T18:05:06Z
dc.date.issued2016-09-07
dc.identifier.urihttp://hdl.handle.net/1974/14845
dc.descriptionThesis (Master, Cultural Studies) -- Queen's University, 2016-09-07 12:46:18.879en
dc.description.abstractKnot/knotting Practice in Craft and Space is a three part research-creation project that used a study of knotting techniques to locate craft in an expanded field of spatial practice. The first part consisted of practical, studio based exercises in which I worked with various natural and synthetic fibres to learn common knotting techniques. The second part was an art historical study that combined craft and architecture history with critical theory related to the social production of space. The third part was an exhibition of drawing and knotted objects titled Opening Closures. This document unifies the lines inquiry that define my project. The first chapter presents the art historical justification for knotting to be understood as a spatial practice. Nineteenth-century German architect and theorist Gottfried Semper’s idea that architectural form is derived from four basic material practices allies craft and architecture in my project and is the point of departure from which I make my argument. In the second chapter, to consider the methodological concerns of research-creation as a form of knowledge production and dissemination, I adopt the format of an instruction manual to conduct an analysis of knot types and to provide instructions for the production of several common knots. In the third chapter, I address the formal and conceptual underpinnings of each artwork presented in my exhibition. I conclude with a proposal for an expanded field of spatial practice by adapting art critic and theorist Rosalind Krauss’s well-known framework for assessing sculpture in 1960s.en
dc.language.isoengen
dc.relation.ispartofseriesCanadian thesesen
dc.rightsQueen's University's Thesis/Dissertation Non-Exclusive License for Deposit to QSpace and Library and Archives Canadaen
dc.rightsProQuest PhD and Master's Theses International Dissemination Agreementen
dc.rightsIntellectual Property Guidelines at Queen's Universityen
dc.rightsCopying and Preserving Your Thesisen
dc.rightsThis publication is made available by the authority of the copyright owner solely for the purpose of private study and research and may not be copied or reproduced except as permitted by the copyright laws without written authority from the copyright owner.en
dc.rightsThis publication is made available by the authority of the copyright owner solely for the purpose of private study and research and may not be copied or reproduced except as permitted by the copyright laws without written authority from the copyright owner.en
dc.subjectGottfried Semperen
dc.subjectKnotsen
dc.subjectPracticeen
dc.subjectSpaceen
dc.subjectCraften
dc.subjectCultural Studiesen
dc.subjectFine Arten
dc.subjectArchitectureen
dc.subjectArten
dc.subjectRosalind Kraussen
dc.subjectKnottingen
dc.subjectResearch-creationen
dc.subjectPractice-led Researchen
dc.subjectAshely Book of Knotsen
dc.titleKnot/Knotting Practice in Craft and Spaceen
dc.typethesisen
dc.description.degreeM.A.en
dc.contributor.supervisorHelland, Janiceen
dc.contributor.supervisorSmith, Sarah E. K.en
dc.contributor.departmentCultural Studiesen
dc.degree.grantorQueen's University at Kingstonen


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