Artists' Genres: A Brief Introduction To Post-Medieval Western Art History, 2018 University of Kentucky
Artists' Genres: A Brief Introduction To Post-Medieval Western Art History, Robert Jensen
Art & Visual Studies Faculty Book Gallery
Artists' Genres is a brief introduction to the history of post-medieval Western art organized by the major genres. The book is designed as a basic textbook for high school- or introductory college-level courses or for individuals simply looking for an interesting guidebook into the art of this period and geographical region.
Fallen Fruit: How Social Practice Art Adapts To Success, 2018 Louisiana State University and Agricultural and Mechanical College
Fallen Fruit: How Social Practice Art Adapts To Success, Caroline Marie Giepert
LSU Master's Theses
This thesis will discuss the development of socially engaged art collective Fallen Fruit (active 2004 – present) in regards to their community-oriented projects, museum exhibitions, and recent online artwork Endless Orchard (2017). Fallen Fruit presents an interesting example of a social practice art group since they straddle both an activist agenda as well as the commercial world of mainstream institutions and the Internet. This paper will analyze the rationale for Fallen Fruit’s manner of adapting to commercial success by considering their progression from localized projects in the communities of Los Angeles to curated exhibitions in well-known museums and venture into ...
Strange Woods, 2018 Washington University in St. Louis
Strange Woods, Song Park
Graduate School of Art Theses
I am interested in searching for images of women that have not been adequately represented in visual art. As a visual artist, I am directed by my sense of sight to investigate and know something. I like to challenge myself to visualize things that do not already have a visual representation. It has been frustrating for me to create images of women, and I have experienced a deep ambivalence in response to the different images of women I have encountered. The socially and culturally constructed images of women that I have internalized and those that have developed from my own ...
Misassembled Monsters, 2018 Washington University in St. Louis
Misassembled Monsters, Jenn Brown
Graduate School of Art Theses
This thesis is a narrative of personal and material history. Through my work in painting, sculpture, and installation, I seek to share my story of emotional armoring in an attempt to connect to an audience. In my work, I look to my personal memories of growing up in a small, midwestern town and armoring myself with emotional barriers against its social construct of “normalcy.” Inspired by Medieval suits of armor and the characteristics of Goth culture throughout history, I employ my work to present the stage of a theatrical battleground. Creating each of my pieces is a fight for the ...
Cellist, Catalyst, Collaborator: The Work Of Charlotte Moorman, 2018 The Graduate Center, City University of New York
Cellist, Catalyst, Collaborator: The Work Of Charlotte Moorman, Saisha Grayson
All Dissertations, Theses, and Capstone Projects
When classically trained cellist Charlotte Moorman (1933-1991) moved to New York City in 1957, she swiftly positioned herself at the intersection of experimental music, performance, video, and the visual arts. She interpreted works by composers like John Cage, collaborated with artists such as Nam June Paik, and founded and organized the New York Avant Garde Festival from 1963 to 1980. This dissertation argues that Moorman’s career sheds new light on what it meant to be an artist in this post-medium-specific moment and proposes that Moorman’s deterritorialization of authorship exerts pressure on traditional art histories. The generative dynamics of ...
The Commodity Club: Commodity Fetishism In Modern Art And Tattoos, 2018 East Tennessee State University
The Commodity Club: Commodity Fetishism In Modern Art And Tattoos, Shelby Maiden
Undergraduate Honors Theses
The current culture of commodity fetishism that surrounds both modern art and tattoos are disproportionately a part of the perpetuation of an artificial sense of society and community. It promotes the notion that by simply by inking the deeper layers of their skin or by spending millions on a painting that somehow one becomes elevated and enters an elite space, or club, of people like them.
Lauretta Vinciarelli In Context: Transatlantic Dialogues In Architecture, Art, Pedagogy, And Theory, 1968-2007, 2018 The Graduate Center, City University of New York
Lauretta Vinciarelli In Context: Transatlantic Dialogues In Architecture, Art, Pedagogy, And Theory, 1968-2007, Rebecca Siefert
All Dissertations, Theses, and Capstone Projects
This dissertation centers on the interdisciplinary work of Italian-born artist, architect, teacher, and theorist Lauretta Vinciarelli (1943-2011), a key yet relatively unknown figure who occupies a historic place in the 1970s revival of architectural drawings, Columbia University’s housing studio, Peter Eisenman’s influential Institute of Architecture and Urban Studies (IAUS) in New York, and architectonic trends in contemporary painting. She was the first woman to have drawings acquired by the Department of Architecture and Design at the Museum of Modern Art (MoMA, in 1974), she was among the first women to teach architecture studio courses at Columbia University (hired ...
Think Natural ! Une Nécessité Qui Ne Se Cache Plus, 2018 Kinshasa Arts and craft Institute
Think Natural ! Une Nécessité Qui Ne Se Cache Plus, Cedrick Nzolo Ngamobu
This contribution raises questions regarding the search for mediation and transition found in pedagogy and the creative process. This can be posed as a response to an affirmation of identity, coupled with a search for philosophical autonomy. The need for mediation or transition is a necessity that we all seek in different ways and according to our respective contexts. In teaching in a school of art or fashion, it is a question with different variables that leaves the field open to all forms of questioning and brings to the fore the confrontation of modes of expression.
Au-Delà Des Rivalités Provinciales : Poétiques Visuelles Tropicalistes Et Autres Projets D’Art Étendu Depuis La Perspective Du Nord-Est Brésilien, 2018 Universidade Federal do Recôncavo da Bahia
Au-Delà Des Rivalités Provinciales : Poétiques Visuelles Tropicalistes Et Autres Projets D’Art Étendu Depuis La Perspective Du Nord-Est Brésilien, Ayrson Heráclito
This text is a compilation of writings published during the course of our research for the 3rd Biennale of Bahia (2014), for which we worked in the curatorial team. These investigations reflect on the genealogy of Northeast Brazil’s contemporary art, seeing this region as unrestricted and non-essentialist. The production of certain artists is considered within an expanded context. To this end, we employed the idea of PEBA (Pernambuco-Bahia), while attempting to come to terms with the possibility of existence of a family, united by the desire for a poetic turn in the tropics.
The Lubumbashi Biennial: Towards New Protagonisms, 2018 4e Biennale de Lubumbashi, RDC; Escola de Artes Visuais do Parque Lage, Rio de Janeiro
The Lubumbashi Biennial: Towards New Protagonisms, Daniella Géo
This article reflects on the role and relevance of the Lubumbashi Biennial (DR Congo), taking into account its specificities, context and modus operandi, as well as making brief parallels with other recurring art events in an attempt to situate the Congolese biennale within the histories of contemporary art biennales. The text provides first-hand commentary on the Lubumbashi Biennial, in particular its fourth edition in which the author formed part of the curatorial team.
Histoire Picturale De Laurent-Désiré Kabila (1997-2001), 2018 Université de Lubumbashi
Histoire Picturale De Laurent-Désiré Kabila (1997-2001), Donatien Dibwe Dia Mwembu
This article considers the story of the late Laurent-Désiré Kabila, President of the Democratic Republic of Congo, as told by the popular painters of the city of Lubumbashi. Its shows how popular painting contributes to the knowledge of LD Kabila's reign, by serving as a support for oral history. Indeed, the commentaries of the paintings made by their authors or by critics unveil a chapter of history. Placed next to each other according to their theme and chronological order, popular paintings depict the highlights of the history of a given region in a specific area such as politics, economy ...
Le Paradigme « Art Africain » : De L’Origine À Sa Physionomie Actuelle, 2018 Académie des beaux-arts de Kinshasa
Le Paradigme « Art Africain » : De L’Origine À Sa Physionomie Actuelle, Henri Kalama
This study relooks at the problematic concept of "African Art". The conceptual evolution of "African Art" coincides with three realities: firstly, that the art discovered in Africa was described as uncivilized; secondly, that this art capitulated with the colonial past of Africa; finally, that this art of an underdeveloped continent. In such a context of emergence, this art has been or is still exploited by ambitious and interested promoters. Hence, there is an imperative need for contemporary artists to overcome all these influences to produce works whose ontological values and universality cannot be challenged.
Les Nouveaux Défis Du Métier D’Artiste En République Démocratique Du Congo, 2018 Institut National des Arts, Kinshasa
Les Nouveaux Défis Du Métier D’Artiste En République Démocratique Du Congo, André Yoka Lye
The history of art institutions in D.R. Congo is relatively old compared to the rest of Africa. This justifies the know-how of Congolese artists since 1930-40’s, even if the general trend was, for a long time, reliant on amateurism and mimetism of European production. With the integration of art institutes into university education level since 1971, the issues and challenges became precise and appeared to be possible to overcome: professionalization, rooted and applied research, community building and international competitiveness, with the urge of solidarity with countries and experiences from the South.
Strange Multitudes, 2018 Dickinson College
Strange Multitudes, Becky Deihl, Julianne Gortakowski, Sammy Holden, Megan Mcculloh, Amanda Patterson, Rowan Price, Lucy West, Anthony Cervino, Trout Gallery, Dickinson College
Student Scholarship & Creative Works By Year
Catalogue of an exhibition at the Trout Gallery, April 27 - May 19, 2018
Senior Exhibit, Art and Art History Department, Prof. Anthony Cervino, Dickinson College.
The seven graduating studio art majors chose Strange Multitudes as the title of the exhibition not only to allude to their shared devotion to making art, but also to their personal identities and modes of expression. While the seniors work together as a community of artists, the artwork that emerges from their own studios varies widely in both content and creative media. Yet, more than a few common threads unite the students’ ambitious approaches to ...
How To Be The Perfect Asian Wife!, 2018 Macalester College
How To Be The Perfect Asian Wife!, Sophia Hill
Art and Art History Honors Projects
“How to be the Perfect Asian Wife” critiques exploitative power systems that assault female bodies of color in intersectional ways. This work explores strategies of healing and resistance through inserting one’s own narrative of flourishing rather than surviving, while reflecting violent realities. Three large drawings mimic pervasive advertisement language and presentation reflecting the oppressive strategies used to contain women of color. Created with charcoal, watercolor, and ink, these 'advertisements' contrast with an interactive rice bag filled with comics of my everyday experiences. These documentations compel viewers to reflect on their own participation in systems of power.
I Am A Magic Carpet: Life In A Liminal Space, 2018 University of Colorado, Boulder
I Am A Magic Carpet: Life In A Liminal Space, Yasmin Mazloom
Art Practices MFA Theses
The life of immigrants is discussed in two chapters: living in the country of origin and living abroad. The space that exists in between these two countries and places, is diminished and not discussed because it is not physical but more of a mental space that is rarely recognized unless it is experienced firsthand. Even though only a minority of people will understand this liminal space, it is important to be aware of its existence. Those who reside in this space need to recognize they are not alone, even if their liminal space is different from others, so that they ...
Collecting, Organizing, And Teaching The Ephemera Of Art Biennials, 2018 University of Colorado Boulder
Collecting, Organizing, And Teaching The Ephemera Of Art Biennials, Alexander Watkins, Jane Thaler
University Libraries Faculty & Staff Contributions
Art fairs and biennials have become an essential part of the story of contemporary art and architecture. Ephemeral handouts, pamphlets, and posters—a hallmark of these gatherings—have the potential to help students and researchers understand these events if preserved for future use. However, libraries and archives that want to collect ephemeral material from biennials face several challenges, including the difficulty of collecting these materials remotely, developing appropriate methods to best organize this type of material, and determining the best way to present these materials to students and scholars. This article describes a case study at the University of Colorado ...
The Influence Of Politics On Modern Art: A Curated Exhibit Of Art Reflecting The 2016 Presidential Election, 2018 University of Rhode Island
The Influence Of Politics On Modern Art: A Curated Exhibit Of Art Reflecting The 2016 Presidential Election, Naama Malomet
Senior Honors Projects
This project explores the ways in which recent politics in America has inspired contemporary artists to engage in the current political climate and use art as a means of expressing political ideals. Art has been, and always will be, used as one of the ways artists express opinions and ideas. Art engages individuals in visual dialogue, creating conversations between the artist and viewer. It has the power to influence and inspire viewers, directing them towards new ideas and opinions as well as new perspectives on social and political issues. Throughout the history of art, politics and social issues have inspired ...
Socially Engaged Practice: Three Artists, 2018 Lesley University
Socially Engaged Practice: Three Artists, Susan Ashbrook
Lesley University Community of Scholars Day
In recent years many artists have turned to ‘socially engaged practice,’ striving to effect social or political change through community-based or participatory projects outside of traditional gallery spaces. In my presentation I will review projects by three contemporary artists who work with underserved communities to develop creative responses to social injustices they face and to help them develop powerful tools to impact their lives
Suzanne Lacy, one of the original California feminists of the 1970s, is well-known for her performance pieces and installations that engage with social issues through conversation within communities. Rape and violence against women have been a ...
Ode To The Sea: Art From Guantanamo, 2018 John Jay College, City University of New York
Ode To The Sea: Art From Guantanamo, Erin L. Thompson, Charles Shields, Paige Laino
Publications and Research
Exhibition catalogue for “Ode to the Sea: Art from Guantánamo” (October 16, 2017-January 26, 2018, President's Gallery, John Jay College of Criminal Justice, New York). Detainees at the United States military prison camp known as Guantánamo Bay have made art from the time they arrived. The exhibit displays some of these evocative works, made by eight men: four who have since been cleared and released from Guantánamo, and four who remain there. They paint the sea again and again although they cannot reach it. The catalog includes contributions by Trevor Paglen, Solmaz Sharif, Natasha Trethewey, Jericho Brown, and current ...