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dc.contributor.advisorLin, Jennyen_US
dc.contributor.authorPhillips, Maddelaineen_US
dc.date.accessioned2014-09-29T17:52:20Z
dc.date.available2014-09-29T17:52:20Z
dc.date.issued2014-09-29
dc.identifier.urihttp://hdl.handle.net/1794/18419
dc.description.abstractThis thesis aims to reexamine the index as a sign that generates meaning in the sculptural oeuvre of contemporary British artist Antony Gormley. The artist has consistently proclaimed his work to be indexical but has never offered clarification of the term. Rather, he adheres to the definition developed in the late nineteenth century by the term's originator, Charles Sanders Peirce. This is problematic because it gives false meaning to the indexical sign in a contemporary context. By comparing Gormley's use of the term in his sculptural practice to Peirce's theories and those of art historian Rosalind Krauss, who was the first to significantly and convincingly relate the index to art, this study will attempt to provide a contemporized definition of the index. This thesis aims to offer a clarification in the meaning of Antony Gormley's sculpture and demonstrate the index's ability to offer resolution to what is contemporary about contemporary art.en_US
dc.language.isoen_USen_US
dc.publisherUniversity of Oregonen_US
dc.rightsAll Rights Reserved.en_US
dc.subjectAntony Gormleyen_US
dc.subjectCharles Peirceen_US
dc.subjectContemporaryen_US
dc.subjectGlobalizationen_US
dc.subjectIndexen_US
dc.subjectRosalind Kraussen_US
dc.titleAntony Gormley: Contemporizing the Indexen_US
dc.typeElectronic Thesis or Dissertationen_US
thesis.degree.nameM.A.en_US
thesis.degree.levelmastersen_US
thesis.degree.disciplineDepartment of the History of Art and Architectureen_US
thesis.degree.grantorUniversity of Oregonen_US


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