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Aggregate art: Work in progress.

Waldenberger, Suzanne B.

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Aggregate art: Work in progress.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Aggregate art: Work in progress./
Author:	Waldenberger, Suzanne B.
Description:	252 p.
Notes:	Source: Dissertation Abstracts International, Volume: 63-12, Section: A, page: 4420.
Contained By:	Dissertation Abstracts International63-12A.
Subject:	Folklore. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3076018
ISBN:	0493964657

Aggregate art: Work in progress.
Waldenberger, Suzanne B.

Aggregate art: Work in progress. - 252 p.

Source: Dissertation Abstracts International, Volume: 63-12, Section: A, page: 4420.

Thesis (Ph.D.)--Indiana University, 2002.

Folklorists have long realized that creativity can be expressed in a wide variety of forms and materials, including the selection, arrangement and exhibition of objects in an aesthetic display. Yet studies of arrangements of objects as folk art have tended to be sporadic, isolated and confined to individual examples or kinds of art, such as women's altars, Texas yard art or punk clothing choices. This work surveys a great many of these limited studies in order to examine how a unified aesthetic whole can be made from disparate parts, identifies the characteristics shared by very different arrangements of objects, and proposes the term “aggregate art” to designate the entire category of expressive display. Some of the artistry surveyed includes yard art, home decor, personal altars, art cars, costume choice and personal adornment, and public shrines or memorials. This study reveals that there are five characteristics that are shared by artistic displays in a wide variety of contexts, created for a multiplicity of purposes. The first is that these displays are created from commonplace and easily accessible objects. Secondly, these objects are recontextualized, to serve as signs that can be both personally significant and culturally meaningful. Because recontextualization is a process that takes place within the minds of both the artist and the viewers, these displays encode idiosyncratic meanings within public displays, their third characteristic. As meaning can change depending on the perspective of the viewer, so can the physical makeup of these displays. Their fourth characteristic is that they are constantly mutable. And finally, the individually significant objects, in their physical proximity one another within the display, create a network of associations which expands, complicates and ultimately unifies their communicative qualities, creating a meaningful and aesthetic whole which is greater than the sum of its parts, one that can rightly be called “aggregate art.”

ISBN: 0493964657Subjects--Topical Terms:

528224
Folklore.

Aggregate art: Work in progress.
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245 1 0 $a Aggregate art: Work in progress.
300 $a 252 p.
500 $a Source: Dissertation Abstracts International, Volume: 63-12, Section: A, page: 4420.
500 $a Chair: Henry Glassie.
502 $a Thesis (Ph.D.)--Indiana University, 2002.
520 $a Folklorists have long realized that creativity can be expressed in a wide variety of forms and materials, including the selection, arrangement and exhibition of objects in an aesthetic display. Yet studies of arrangements of objects as folk art have tended to be sporadic, isolated and confined to individual examples or kinds of art, such as women's altars, Texas yard art or punk clothing choices. This work surveys a great many of these limited studies in order to examine how a unified aesthetic whole can be made from disparate parts, identifies the characteristics shared by very different arrangements of objects, and proposes the term “aggregate art” to designate the entire category of expressive display. Some of the artistry surveyed includes yard art, home decor, personal altars, art cars, costume choice and personal adornment, and public shrines or memorials. This study reveals that there are five characteristics that are shared by artistic displays in a wide variety of contexts, created for a multiplicity of purposes. The first is that these displays are created from commonplace and easily accessible objects. Secondly, these objects are recontextualized, to serve as signs that can be both personally significant and culturally meaningful. Because recontextualization is a process that takes place within the minds of both the artist and the viewers, these displays encode idiosyncratic meanings within public displays, their third characteristic. As meaning can change depending on the perspective of the viewer, so can the physical makeup of these displays. Their fourth characteristic is that they are constantly mutable. And finally, the individually significant objects, in their physical proximity one another within the display, create a network of associations which expands, complicates and ultimately unifies their communicative qualities, creating a meaningful and aesthetic whole which is greater than the sum of its parts, one that can rightly be called “aggregate art.”
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