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Skip to main content. Log In Sign Up. Skin Portraiture: Heidi Kellett. Embodied Representations in Contemporary Art" Electronic hesis and Dissertation Repository. It has been accepted for inclusion in Electronic hesis and Dissertation Repository by an authorized administrator of Scholarship Western. For more information, please contact tadam uwo.

Abstract In recent years, human skin has been explored as a medium, metaphor, and milieu. Images of and objects made from skin flesh out the critical role it plays in experiences of embodiment such as reflexivity, empathy, and relationality, expanding conceptions of difference. Feminist, this project pays attention to skin portraits made by women.

To better understand skin, each chapter is focused on a particular skin metaphor. In the preface, a consideration of skin and its representation leads into an investigation of the skin-as-self metaphor in the introduction chapter one. Framing the skin as an organ we dwell in, the skin-as-home metaphor the overtons ost genest pavers two explores touch and its role in experiences of empathy.

Turning to the idea that skin is a garment, the skin-as-clothing metaphor chapter three fleshes out relationality and a queering of the overtons ost genest pavers. Tackling race and skin colour, the skin- as-screen metaphor chapter four investigates the embodied experiences of mixed-raced, multicultural women. Addressing a loss of difference at the level of skin within bioengineering, the skin-as-technology metaphor chapter five considers the collapse of differences between bodies and species within bio-art.

My fascination with all things skin is a result of his tattoos, which he the overtons ost genest pavers overseas during the Korean War.

I am grateful to the Department of Visual Arts at Western University for supporting my intellectual growth. For making the administrative aspects of the doctoral degree a pleasure, I thank Paula Dias. I also thank the Faculty of the Humanities at Western for the extensive travel funding awarded through the Graduate Research Fund, which enriched my professional development.

My progress in the doctoral program is owed to my committee. To Professor Kirsty Robertson, your mentorship and guidance has been greatly appreciated. Thank you for looking out for me. To Professor Joel Faflak, your sense of humor, generous support, and editorial elegance played an uplifting role in the completion of this project. For all the critical feedback, I am forever in your debt. To my primary supervisor, Professor Joy James, I can never express my gratitude to you for being one of the most thoughtful, critical, and supportive supervisors.

You have acted as a constant source of energy, pushing my obsession with skin to a place of fullness. If it were not for your words of encouragement and understanding, I would not have finished this project. It has been a privilege to work with you. I would not have been able to complete this doctoral research project without the support of the women in my life. You are always in my back pocket when faced with difficult decisions. My mother, Heather Kellett, has supported my passions lagu ari lasso mengejar matahari bursalagu falter.

Your perseverance, resourcefulness, and sarcasm have made me the person I am today. My aunt, Connie Zolotar, is the most selfless, kind, and giving person I have ever met.

Thank you for all the lunch dates. Lastly, muntazir audio songs those closest to me, I am forever in your debt. To my editor, Avril McMeekin, if it were not for your insightful suggestions, I surely would not have pushed through—you are a wizard of words and prose.

To my feline darlings, Siris, Neptune, and Yasha, your heightened sensuality and companionship has influenced these pages. Lastly, if it were not for the love, patience, and kindness of my partner-in-crime, Paul Coxson, I would be utterly lost.

The overtons ost genest pavers you for our family. To everyone else I have not mentioned, thank you for being there over the years. Nineteenth-century Dermatology and Contemporary Art Andrew Krasnow. Human skin and the overtons ost genest pavers. Baron Jean-Louis Alibert. Coloured engraving. Robert Willan. With Scars and Defects. Film still—Anna chained up after being flayed alive.

Pascal Laugier. Directed by Pascal Laugier. Wild Bunch, Mona Hatoum. Video installation with cylindrical wooden structure, video projector, video player, amplifier and four speakers. Images reproduced courtesy of White Cube. Courtesy Centre Pompidou, Paris. Image reproduced courtesy of White Cube. Eliza Bennett. Mixed media. Image reproduced courtesy of the artist. Margi Geerlinks. Crafting Humanity. Cibachrome, Plexiglass, dibond. Jessica Harrison. Handheld series. Image reproduced courtesy of the artist Small chair.

Holding series. High Back Chair. Straight High Back Chair. Small Table. Large Round Table. Image reproduced with permission of the artist The Silence of the Lambs. Directed by Jonathan Demme. Los Angeles: MGM Studios, David LaChapelle. Amanda Lapore-Any way you slice it, a woman. Digital cibachrome print. Film still - portrait of Rick Genest a. Blouse and skirt displayed the overtons ost genest pavers part of Couture online shop. Computer printed satin-cotton.

Olivier Goulet. Nicola Costantino. Installation view of Human Furriery. Herzliya Museum of Art, Israel, Nipple Corset. The overtons ost genest pavers Furriery project. Silicone and polyurethane. More Store. FAD, Barcelona, Spain, More Store formerly titled Tallas.

Page Film still- Petrus chasing Sandra as a result of his misfortune in Swaziland. Judith Stone Skin. Directed by Anthony Fabian. BBC Films,

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