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CUT-OUTS KILLEEN by FRANCIS POUND
A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in Art History, University of Auckland, 1991

TITLE PAGE, ABSTRACT, ILLUSTRATION LISTS


Chapter list

1. WHAT I DO HERE

2. BEGUN IN THE NEW ZEALAND LANDSCAPE TRADITION AND BEGUN WITH McCAHON

3. FIRST FISSURES-AND SHARPENING, FRAGMENTING AND CROPPING

4. KILLEEN'S SUBURBIA

5. MORE CROPS: THE FRAME REFUSED?

6. FURTHER FISSURES AND RUPTURES IN THE VIEW

7. I WILL NOT SERVE: REALISM REFUSED

8. I WILL NOT SERVE: GOD AND THE STATE REFUSED

9. CHANCE AS A MEANS OF ORDERING, AND AS THE AUTHOR'S SIMULACRUM

10. THE END OF CHANCE, THE COUNTERFEITING OF CHANCE,AND THE CUT-OUTS TO COME

11. NO VIEW AND THE COLLOCATION OF THINGS

12. FOR YOU, IF YOU LIKE IT YOU CAN HAVE IT: POINTING AND SPECTATOR FIGURES

13. FRAMED

14. N.Z. TITLES, N.Z. FRAMES

15. FRAME/GROUND: FIGURATION ABSTRACTION

16. ACROSS THE VISTULA: MARKS ON THE GROUND

17. PRINTS, STAMPS AND SIGNATURE

18. COMBS OVER THE GROUND

19. INTO ABSTRACTION!

20. GRIDS OVER THE GROUND

21. THE LACES AND THE OEUVRE AS LACY BODY

22. GRIDS VARIOUS

23. BUGS IN THE GRID

24. THE SAMPLERS, THE OEUVRE, AND MONOGRAPHING

25. NATURE'S REVENGE: CROWDING OUT THE GROUND

26. GRIDS ON ALUMINIUM: 1978

27. MEANINGS OF THE GRID

28. KILLEEN AND WALTERS

29. KILLEEN THE CANONISER

30. PLACING THE ALUMINIUM GRIDS IN THE OEUVRE

31. THE FIRST CUT-OUTS

32. THE AMERICAN CONNECTION

33. THE WHITE SPACES BETWEEN

34. AN EVER INCREASING DISINTERGRATION

35. CHANCE AND INEVITABILITY

36. MIGRATIONS THROUGH THE VARIANT

37. FRAMEWORKS

38. CONCRETIONARY STRUCTURES

39. SUBJECTIVE ATTACHMENTS, PRIOR KNOWLEDGE, POOLED MEMORY AND APPROPRIATION FROM ONESELF

40. DARWINISM

41. THE ACOPOPE

42. BORN ALIVE IN NEW ZEALAND: KILLEEN AND THE REGIONALIST TRADITION

43. A MAN WITH A LANDSCAPE IN HIS HEAD: KILLEEN AND THE REGIONALIST

44. FLAMING STUMPS: KILLEEN AND THE REGIONALIST

45. KILLEEN THE PHOTOCOPIER AND KILLEEN AND MACPAINT

46. FEMINIST MOMENTS IN KILLEEN

47. SOCIAL DOCUMENTS

48. FEMINIST CUT-OUTS

49. PAINTING ON FRAGMENTS