A Documentary-Material Approach For Performance, 2018 University of Malta
A Documentary-Material Approach For Performance, Marc Kosciejew
Proceedings from the Document Academy
This article begins a conceptual discussion about the relationship between documentation, performance, and materiality. It argues that a documentary approach helps show the roles played by documents and practices with them in performance’s materialization and constitution. It presents the start of a documentary approach for analyzing performance by discussing some ways in which documentation helps provide a material basis for performance beyond its enactment whilst simultaneously materializing and constituting it in and for other diverse contexts.
Enacting The Glastonbury Pilgrimage Through Communitas And Aural/Visual Culture, 2018 Graduate Theological Union, Berkeley and the Jesuit School of Theology of Santa Clara University
Enacting The Glastonbury Pilgrimage Through Communitas And Aural/Visual Culture, Kathryn R. Barush
International Journal of Religious Tourism and Pilgrimage
The sacred sites of Glastonbury in Somerset, England have long been places of pilgrimage, connected to the legend of the journey of Joseph of Arimathea to the British Isles, and have fired the imagination from the Middle Ages to today - inspiring the Arthurian legends, folk-stories and song, and visual representations. In response to the question ‘What is Pilgrimage,’ this essay seeks to explore the conjunction of artistic representations and geographic journeys to and among the ancient topography and mysterious structures of Glastonbury, with a particular focus on how sacred travel, and especially an experience of communitas, can be engendered through ...
Biblical Assyria And Other Anxieties In The British Empire, 2018 James Madison University
Biblical Assyria And Other Anxieties In The British Empire, Steven W. Holloway
Steven W Holloway
The successful “invasion” of ancient Mesopotamia by explorers in the pay of the British Museum Trustees resulted in best-selling publications, a treasure-trove of Assyrian antiquities for display purposes and scholarly excavation, and a remarkable boost to the quest for confirmation of the literal truth of the Bible. The public registered its delight with the findings through the turnstyle- twirling appeal of the British Museum exhibits, and a series of appropriations of Assyrian art motifs and narratives in popular culture - jewelry, bookends, clocks, fine arts, theater productions, and a walk-through Assyrian palace among other period mansions at the Sydenham Crystal Palace ...
“After-Ozymandias”: The Colonization Of Symbols And The American Monument, 2018 CUNY Hunter College
“After-Ozymandias”: The Colonization Of Symbols And The American Monument, H. R. Membreno-Canales
School of Arts & Sciences Theses
After-Ozymandias examines the visual rhetoric of American patriotism through its many symbols, including flags and monuments. My thesis project consists of photographs of empty plinths, objects, products and archival materials. Countless relics remain today memorializing leaders and empires that inevitably declined, from antiquity to modern times. Looking back at distant history feels like a luxury, though: the question for our time in America is whether we have the strength of mind as a society to scrutinize our history, warts and all.
Radical Social Ecology As Deep Pragmatism: A Call To The Abolition Of Systemic Dissonance And The Minimization Of Entropic Chaos, Arielle Brender
Student Theses 2015-Present
This paper aims to shed light on the dissonance caused by the superimposition of Dominant Human Systems on Natural Systems. I highlight the synthetic nature of Dominant Human Systems as egoic and linguistic phenomenon manufactured by a mere portion of the human population, which renders them inherently oppressive unto peoples and landscapes whose wisdom were barred from the design process. In pursuing a radical pragmatic approach to mending the simultaneous oppression and destruction of the human being and the earth, I highlight the necessity of minimizing entropic chaos caused by excess energy expenditure, an essential feature of systems that aim ...
Four Sights Of The Patient (Ophelia), 2018 Washington University in St. Louis
Four Sights Of The Patient (Ophelia), Cecily Ann Fergeson
Graduate School of Art Theses
I make work in a variety of media, largely dealing with the imagery and material of the human body. My current work attempts to reckon with the following subjects: a reclamation of the notion of the so-called medical gaze and its historical record in photography; the idea that receiving the medical gaze transforms patients’ bodies; the idea of illness as an uncanny and intimate experience; and, finally, the act of metaphorically retracing the body’s material journey through the medical institution as it exists today. In this text, I discuss my practice in the context of critical theory, a recent ...
Literarische Filmsimulation: Heinrich Eduard Jacobs Medienphilosophische Filmästhetik In "Blut Und Zelluloid", 2018 Washington University in St. Louis
Literarische Filmsimulation: Heinrich Eduard Jacobs Medienphilosophische Filmästhetik In "Blut Und Zelluloid", Paula Vosse
Arts & Sciences Electronic Theses and Dissertations
Heinrich Eduard Jacob´s novel Blut und Zelluloid was published in 1929 and therefore mostly reviewed as a critical artwork regarding European film-propaganda before the outbreak of the Second World War. This thesis provides the interested scholar with a different approach: It discusses Jacob´s media-philosophical method to simulate the upcoming medium film in literature. With his implicitly and explicitly organized systems of diverse media, he circumvents constraints of the Paragone-discourse and offers a well-balanced literary construction.
Jacob´s method is compared with Pinthus´ Kinobuch and Pirandello´s Shoot!, while Simmel and Benjamin provide the thesis with a fundament to ...
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 ...
Hidden Mickey: Animation's Exclusion From Art History, 2018 University of Colorado, Boulder
Hidden Mickey: Animation's Exclusion From Art History, Molly Mcgill
Art History Theses & Dissertations
Despite being one of the most prevalent forms of entertainment in the twentieth century, commercial animation has long been excluded from serious art historical discourse, only considered within the disciplines of film studies or visual studies. As a drawn-medium, reliant on a team of artists for completion, I argue animation warrants discussion within the discipline of art history, particularly to address modernism within the vernacular consumer in the early twentieth century. This thesis operates as a proponent for animation's inclusion in art history, as well as a historiography of the fraught relationship between animation and the art world. Animation ...
"Itfannan": The Case For A Public Art Committee In The City Of Amman, 2018 University of Pennsylvania
"Itfannan": The Case For A Public Art Committee In The City Of Amman, Zein Zu'bi
CUREJ - College Undergraduate Research Electronic Journal
Los seres humanos somos por naturaleza artistas, por ende, el origen del arte comienza con el origen de la humanidad. No cabe una duda que el arte es importante en la sociedad. Una sociedad privilegiada con una infraestructura de arte bien desarrollada – la cual le ofrece a la gente la oportunidad de visitar museos, galerías, exposiciones, instalaciones publicas (tanto permanentes como temporales), y participar en programas de arte – se ve más dispuesta a expresarse, y a exponerse a nuevas ideas y a escuchar las de los otros.
Seria un crimen negarles a los individuos de una sociedad la oportunidad de ...
Profanation, 2018 CUNY Hunter College
Profanation, Tsahi Zac H. Hacmon
School of Arts & Sciences Theses
This paper attempts to provoke an Israeli American dialogue that comes through profanity of conventional architecture. I am creating this dialogue by displaying two main subjects in proximity to each other: border architecture from Israel and institutional architecture or non-places in New York.
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.
The Work Of Living Art, Empathy, And The Creation Of An Aesthetics Of Perception In The Early Twentieth Century, 2018 University of Arkansas, Fayetteville
The Work Of Living Art, Empathy, And The Creation Of An Aesthetics Of Perception In The Early Twentieth Century, Sarah Peil Winstead
Architecture Undergraduate Honors Theses
Adolphe Appia (1862-1928), theorist and pioneering voice of the New Stagecraft Movement in twentieth century theatre, was a transformative influence on the history of scenic design. This paper looks at the links between Appia’s theories in theatre scenic design and contemporaneous German aesthetic theory. At the time German theorists like Adolf Hildebrand and August Schmarsow developed an aesthetic theory, Einfülung or empathy theory, based on the connection between the human body and perception. I will argue this theory influenced not only Appia and his contemporaries it also shaped the landscape of mid-century theatre design. Appia’s own theories revolved ...
The Disjointed Moment : Marking, Mapping, And Making The Real In William Eggleston's Election Eve (1976)., 2018 University of Louisville
The Disjointed Moment : Marking, Mapping, And Making The Real In William Eggleston's Election Eve (1976)., Joel Darland
Electronic Theses and Dissertations
This thesis analyzes the photographic book Election Eve (1976) produced by photographer William Eggleston. Eggleston’s photographs represent a complex network of connections between material objects and the potential truth of depiction. The often-nondescript locations that Eggleston photographed in Sumter County, GA in October 1976 appear specific at the outset, but quickly lose their adherence to the supposed realities that they depict. Since his first major exhibition in the mid 1970s, Eggleston’s photographs have presented difficulty because they from often-disparate material sources. Despite of the complexity of Eggleston’s engagement with both art and non-art photography, scholarship continues describe ...
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 ...
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 ...
Virginia Woolf And The 'Objective' Camera: The Relationship Between Text And Image In Three Guineas And Orlando, 2018 College of William and Mary
Virginia Woolf And The 'Objective' Camera: The Relationship Between Text And Image In Three Guineas And Orlando, Meilan Solly
Undergraduate Honors Theses
Though photography offers a claim to objectivity that writing and painting cannot ostensibly equal, Virginia Woolf’s Three Guineas and Orlando: A Biography argue that the camera is not an unmediated form of documentation.Three Guineas’ images of a patriarchal society and Orlando’s more personal portraits reflect their photographers’ inherent subjectivity, and the photographs’ placement in and relationship with the texts further question the veracity of representation. Whereas Three Guineas derives its power from the contrast between reproduced and described photographs, Orlando uses images to present a counter-narrative contradicting the purported reliability of biographical accounts.
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.