Arts and Humanities Commons^™

Veiled Victorian Vampires: What Literary Antagonists Reveal About Societal Fears Of 19th Century England, Jenna Harford

Honors Theses

In my thesis paper I look at three primary texts, Charlotte Brontë’s Jane Eyre, Charles Dickens’ Great Expectations, and Oscar Wilde’s The Picture of Dorian Gray to analyze their main antagonists through a vampiric lens. I explain how the characters of Bertha Mason, Miss Havisham, and Dorian Gray are all written with veiled vampiric traits that revolve around themes of sexuality, secrecy and seclusion, and unbridled physical and emotional violence. Although none of these texts is obviously a “vampire novel”, the authors lean into vampire tropes including eerie physical description, doubled relationships, and other vampire lore that can be best …

Growing Up In Civil Rights Richmond: A Community Remembers, N. Elizabeth Schlatter, Ashley Kistler, Laura Browder, Richard Waller, Myra Goodman Smith, Elvatrice Belsches, Michael Paul Williams

Exhibition Catalogs

Published on the occasion of the exhibition Growing Up in Civil Rights Richmond: A Community Remembers, Joel and Lila Harnett Museum of Art, University of Richmond Museums, January 17 to May 10, 2019.

Organized by the University of Richmond Museums, the exhibition was developed by Ashley Kistler, independent curator, and Laura Browder, Tyler and Alice Haynes Professor of American Studies, University of Richmond. The exhibition, related programs, and publication are made possible in part with funds from the Louis S. Booth Arts Fund and with support from the University’s Cultural Affairs Committee. The printed exhibition catalogue was made possible in …

[Introduction To] Almost Eternal: Painting On Stone And Material Innovation In Early Modern Europe, Piers Baker-Bates, Elena Calvillo

Bookshelf

Almost Eternal: Painting on Stone and Material Innovation in Early Modern Europe gathers together an international group of ten scholars, who offer a novel account of the phenomenon of oil painting on stone surfaces in Northern and Southern Europe. This technique was devised in Rome by Sebastiano del Piombo in the early sixteenth century and was practiced until the late seventeenth century. This phenomenon has attracted little attention previously: the volume therefore makes a significant and timely contribution to the field in the light of recent studies of materiality and the rise of technical Art History.

Crooked Data: (Mis)Information In Contemporary Art, N. Elizabeth Schlatter

Exhibition Catalogs

The University of Richmond Museums exhibited Crooked Data: (Mis)Information in Contemporary Art on February 9 through May 5, 2017, in the Joel and Lila Harnett Museum of Art. The exhibition features art by twenty-one contemporary artists and studios who work with data in nontraditional ways. Some artists incorporate data from known sources, using it as an aesthetic device divorced from its originally intended interpretive function. Others gather and manifest data that might normally be considered not worthy of collecting. And some of the works explore alternatives to standard data visualization forms and practices.

Some of the works featured in Crooked …

Anti-Grand: Contemporary Perspectives On Landscape, N. Elizabeth Schlatter, Kenta Murakami

Exhibition Catalogs

Anti-Grand: Contemporary Perspectives on Landscape

Joel and Lila Harnett Museum of Art University of Richmond Museums, VA
January 15 to March 6, 2015

Anti-Grand: Contemporary Perspectives on Landscape features 24 contemporary, international artists, artists’ collectives and game developers who examine, challenge, and re-define the concept of landscape while simultaneously drawing attention to humanity’s hubristic attempts to relate to, preserve, and manage the natural environment. Anti-Grand includes 33 works of art, with video, installation, video games, and traditional two- and three-dimensional work.

All of the works in the exhibition were created since 2000 to focus on art made well after the …

Flow, Just Flow: Variations On A Theme, N. Elizabeth Schlatter, Richard Waller, Sarah Matheson

Exhibition Catalogs

Flow, Just Flow: Variations on a Theme
Joel and Lila Harnett Museum of Art
University of Richmond Museums, VA January 29 to June 28, 2013

Psychologist Mihaly Csikszentmihalyi first used the term “flow” in 1975 to describe “being completely involved in an activity for its own sake. The ego falls away. Time flies. Every action, movement, and thought follows inevitably from the previous one, like playing jazz.” Accordingly, this experience of single-minded immersion in an activity that is continuously challenging and rewarding is the secret to a vigorous and satisfying life.

Also referred to as “being in the zone,” this …

Art=Text=Art: Works By Contemporary Artists, N. Elizabeth Schlatter

Exhibition Catalogs

Art=Text=Art: Works by Contemporary Artists

Wednesday, August 17 to Sunday, October 16, 2011
Joel and Lila Harnett Museum of Art

On view in the Harnett Museum of Art, University of Richmond Museums, from August 17 to October 16, 2011, Art=Text=Art: Works by Contemporary Artists features 72 works created between 1960 and 2011, that include text or reference textual elements. Many of the works reflect developments in modern and contemporary art and critical theory, and relate to concurrent politics, history, and philosophy. Among the more than 40 artists included in the exhibition are Alice Aycock, Trisha Brown, Dan Flavin, Jane Hammond, …

The Reconsideration Of Jean-Michel Basquiat's Work From The Hybrid Cultural Perspective, Alaina Young Mosny

Master's Theses

In his short 27years, iconic artist Jean-Michel Basquiat produced thousands of works of art that were quickly sold and bought on the New York art market of the 1980s. During the height of the demand for his work, Basquiat was generally appreciated as a young street artist who broke his way into the main stream art world. Much of his success was due to critics/ dealers capitalizing upon his identity, rather than considering the complex cultural influences in his life and art. His primary achievement seems to be that he was a black artist, representing black themes, and successfully selling …

The True Water Of The Universe: Orlove Linnik, Joseph C. Troncale

Languages, Literatures, and Cultures Faculty Publications

No abstract provided.

The Space Of Freedom: Apartment Exhibitions In Leningrad, 1964-1986, Joseph C. Troncale, Evgeny Orlov, Sergei Kovalsky

Exhibition Catalogs

The Space of Freedom: Apartment Exhibitions in Leningrad, 1964-1986

Joel and Lila Harnetl Museum of Art, University of Richmond Museums, VA

September 16 to December 3, 2006

We are very pleased to present this traveling exhibition of artwork from the collection of the Museum of Nonconformist Art, Pushkinskaya 10 Art Centre, St. Petersburg, Russia, presented within the context of a re-created "apartment" exhibition from Leningrad. [...]

To our knowledge, [...] The Space of Freedom is the first exhibition organized in the United States to focus on both the artwork shown in communal apartments and on the exhibition space of the …

Art Of The Scholar-Poets: Traditional Chinese Painting And Calligraphy, University Of Richmond Museums

Exhibition Brochures

Art of the Scholar-Poets: Traditional Chinese Painting and Calligraphy

April 01 to May 09, 1998

Marsh Art Gallery, University of Richmond Museums

Introduction

Chinese culture developed one of the world's most enduring artistic traditions, literati painting, based upon a unique idea about the purposes of art. The art of the scholar-poets is centered in calligraphy and poetry, which the literati learned at an early age as part of their basic education. Painting was done with the same tools as poetry and calligraphy - brush, ink, and paper - and it was an easy step to express poetic sensibilities in visual …

French Aesthetics: Contemporary Painting Theory, Gary Shapiro

Philosophy Faculty Publications

One peculiar feature of the Anglo-American reception of French thought since about 1970 is the view that the variety of thinkers and tendencies involved reduces everything to language. One crucial place to test such a reading is with regard to a set of texts devoted to painting and the visual arts, for the latter would seem to be situated at or beyond the boundaries of language, a place that Julia Kristeva calls the semiotic. The alleged reductionism of the French is usually construed as the claim that language is a seamless whole in which all meanings are defined in terms …

Deaths Of Art: David Carrier's Metahistory Of Artwriting, Gary Shapiro

Philosophy Faculty Publications

This essay is a critical examination of David Carrier's Artwriting (1987), which offered a philosophical account of the implicit strategies of narrative and presentation deployed by a wide range of art historians and critics. Here, this author raises some questions concerning Carrier's attempt to describe or define a genre of 'art-writing' distinct from philosophical aesthetics; he also discusses Carrier's views in the context of those writers whom Carrier examines in Artwriting.

High Art, Folk Art, And Other Social Distinctions, Gary Shapiro

Philosophy Faculty Publications

Most discussions of the arts by critics and philosophers could be characterized in terms of a rather studied neglect of folk and popular art. This neglect is hardly absolute, however, for it is important in order to articulate a specific conception of aesthetic taste, beauty, or style to contrast the standard being used or praised with some other, less desirable, even degraded way of producing or appreciating something similar. It is perhaps more than a historical coincidence that the formation of the modern concept of taste and aesthetic judgment, in the eighteenth century, coincides roughly with the discovery and valorization …

Entropy And Dialectic: The Signatures Of Robert Smithson, Gary Shapiro

Philosophy Faculty Publications

It has been the fate of a number of twentieth-century artists that the stronger their attacks on the history and traditions of art, the more joy is taken by the guardians of that history and tradition in demonstrating that their work and thought can be incorporated within it. This can be illustrated briefly by juxtaposing Robert Smithson's apparently radical rejections of art history, humanism, biologism and formalism, with some recent attempts to recuperate his work for a tradition. Smithson, you will recall, sought alternatives to museum culture in a series of actual and projected works that aim at effecting a …

The Miller-Matisse Connection: A Matter Of Aesthetics, Suzanne W. Jones

English Faculty Publications

When Tropic of Cancer was published in Czechoslovakia in 1938, a working drawing from Bonheur de vivre by Henri Matisse appeared on the cover. While the choice of illustration certainly reflects the admiration for Matisse's work that Henry Miller expresses within the novel, Miller's interest in Matisse as an artist also reveals much about the novelist's aesthetics.

Gadamer, Habermas And The Death Of Art, Gary Shapiro

Philosophy Faculty Publications

Since the appearance of Jurgen Habermas's critical review of Hans-Georg Gadamer's Truth and Method [Wahrheit und Methode], there has been talk of the ‘Gadamer-Habermas debate' among those who are interested in the nature of historical understanding and social rationality. More recently a number of philosophers have come to see that the issues involved are of wider scope, and that the opposition of the two can be seen as emblematic of two very general styles or approaches to philosophy, which are at the centre of contemporary discussion. As one might expect, differences at fundamental levels concerning truth and understanding …

Michelangelo's Sistine Ceiling : A Portrait Of The Renaissance, Anne A. Ferris

Honors Theses

Because a single theological interpretation of the Sistine Ceiling cannot be made, the ceiling is a portrait of Renaissance concepts. Besides the personal struggles of the Pope and Michelangelo between 1508 and 1512, the ceiling is representative of the whole century before its creation. Michelangelo has mingled both civic and religious sentiments into the ceiling. Michelangelo has combined his experiences in the Medici circle with his personal beliefs. The ceiling with its most basic depiction of the fundamental concept of man's aspiration of redemption becomes almost a chaotic representation of the history of man, but which contrasts with the beauty …