The experience of New York and Beijing: Destabilizing studio art practices, cultural sites and educational processes.

摘要

This practice-based research dissertation is reflective of my art and studio practices in Beijing and New York. I am approaching this research as an artist, and by this there is a strong visual component, and referencing both of my work and the work of other artists in this art-research project. While this research will focus on New York and Beijing as site, I have also exhibited in the United States and internationally where my recent New York exhibitions at OK Harris Gallery are reflective of some of the art documented in this dissertation.;This practice-based research project has provided me with an opportunity to consider the context of site, my usage of materials, and the political referents of these materials in relation to my studio practice. By this, I am referring to materials as varied as the images and writings from the Cultural Revolution, road maps of the United States, and studio materials such as paint, paper, and canvas. My usage of paper-based and digital images is placed within a context where art projects such as the Film series can be considered within a painterly and media framing.;The context of sight is a critical aspect of my studio practice where the significance of art projects such as the WTC and Pineapple series are reflective of the political referents of the World Trade Center and Tiananmen Square, respectively. This practice-based dissertation explores structures of painting, film, and the political in my art, and by this explores the theory of my studio practice.