Arts and Humanities Commons^™

Unity And Continuity In Jon Lee’S Abstract Woodblock Prints, Michael Schreyach

Michael Schreyach

No abstract provided.

‘I Am Nature’: Science And Jackson Pollock, Michael Schreyach

Michael Schreyach

An attempt has been made to determine the authenticity of some newly discovered paintings that may be by Jackson Pollock on the basis of a belief that his art incorporates fractal patterns seen in the natural world. This is only the latest in a long line of interpretations of his works in terms of references to nature, as Michael Schreyach discusses.

Mining And Civilization, Fathi Habashi

Fathi Habashi

Not-I/Thou: The Other Subject Of Art And Architecture, Gavin W. Keeney

Gavin W Keeney

Not-I/Thou: The Other Subject of Art and Architecture is a series of essays delineating the gray areas and black zones in present-day cultural production with, in Part One (The Gray and the Black), an implicit critique of neoliberal capitalism and its assault on the humanities through the pseudo-scientific and pseudo-empirical biases of academic and professional disciplines. Initially surveying the shift from Cultural Ecology to Cultural Studies to Cognitive Capitalism, the essays of Part Two (What is “Franciscan” Ontology?) return to certain lost causes in the historical development of modernity and post-modernity, foremost the recourse to artistic production as both a …

5th Annual Afro-Latino Lecture Series - Dr. Guillermina Ramos Cruz, Aajay Murphy

Aajay Murphy

A poster for "Afro-Cuban Art from the Diaspora," a lecture by Dr. Guillermina Ramos Cruz, in conjunction with the 5th Annual Afro-Latino Lecture Series.

Heather Saunders: The "Freaky Friday" Series, Matthew Ryan Smith, Ph.D.

Matthew Ryan Smith, Ph.D.

Desire and sex and lust. The conflation of signifiers of sensuality and femininity in female clothing points to a rigorous sexualization of the body beginning in girlhood, through their dress and the way it’s worn. Lace, fishnet, silk, leather, satin, chiffon and latex are shown in their various iterations in children’s fashion. The same materials, fabrics and the words used to describe them host different meanings and associations in adulthood. Yet, somewhere in this liminal divide, childhood and adulthood speak to each other, and the conversation is uncomfortable, like the first time you heard about the birds and the bees.

"Else-Where": Essays In Art, Architecture, And Cultural Production 2002-2011, Gavin W. Keeney

Gavin W Keeney

“Else-where” is a synoptic survey of the representational values given to art, architecture, and cultural production from 2002 through 2011. Written primarily as a critique of what is suppressed in architecture and what is disclosed in art, the essays are informed by the passage out of post-structuralism and its disciplinary analogues toward the real Real (denoted over the course of the studies as the “Real-Irreal” or “Else-where”).

The essays collected in “Else-where” cross various disciplines, inclusive of landscape architecture, architecture, and visual art, to develop a nuanced critique of an emergent formal regard in the arts that is also an …

Regarding The Catherine Portrait: An Interview With Patricia Olson, Amy K. Hamlin

Amy K Hamlin

No abstract provided.

Art As "Night": An Art-Theological Treatise, Gavin W. Keeney

Gavin W Keeney

Art as “Night” proposes a type of a-historical dark knowledge (a-theology and theology, at once) crossing painting since Velázquez, but reaching back to the Renaissance, especially Titian and Caravaggio. As a form of formalism, this “night” is also closely allied with forms of intellection that come to reside in art as pure visual agency or material knowledge while invoking moral agency, a function of art more or less bracketed in modern art for ethical and/or political agency.

Not a theory of meta-painting, Art as “Night” restores coordinates arguably lost in painting since the separation of natural and moral philosophy in …

Internet Killed The Copyright Law: Perfect 10 V. Google And The Devastating Impact On The Exclusiive Right To Display, Deborah B. Morse

Deborah Brightman Morse

Never has the dissonance between copyright and innovation been so extreme. The Internet provides enormous economic growth due to the strength of e-commerce, and affords an avenue for creativity and the wide dissemination of information. Nevertheless, the Internet has become a plague on copyright law. The advent of the digital medium has made the unlawful reproduction, distribution, and display of copyrighted works essentially effortless. The law has been unable to keep pace with the rapid advance of technology. For the past decade, Congress has been actively attempting to draft comprehensible legislation in an effort to afford copyright owners more protection …

Surrealist Masculinities: Gender Anxiety And The Aesthetics Of Post-World War I Reconstruction, Amy Lyford

Amy Lyford

No abstract provided.

Noguchi's Multiform Modernism, Amy Lyford

Amy Lyford

The article reviews the book "The Life of Isamu Noguchi: Journey without Borders," by Masayo Duus, translated by Peter Duus.

Noguchi, Sculptural Abstraction, And The Politics Of Japanese American Internment, Amy Lyford

Amy Lyford

Focuses on Japanese American sculptor Isamu Noguchi and his works. Remarks from editor Thomas Hess on Noguchi's work entitled Kouros; Reason the work entitled Death attracted attention; Modernist sculptural technique of Noguchi.

Advertising Surrealist Masculinities: André Kertész In Paris, Amy Lyford

Amy Lyford

No abstract provided.

The Aesthetics Of Dismemberment: Surrealism And The Musée Du Val-De-Grâce In 1917, Amy Lyford

Amy Lyford

No abstract provided.

Shirley Moskowitz At Seventy-Five, Samuel D. Gruber Dr.

Samuel D. Gruber Dr.

Essay about the life and art of Shirley Moskowitz for catalog of retrospective exhibit.

The Work Of Ai-Hasan B. Muhammad, Die Engraver At Isbahan And Al-Muhammadiyya, Carol Bier

Carol Bier

Four Buyid coins in t he collection of t he American Numismatic Society, struck between 358- 68H. /A.D. 968- 79 at two mints in Jibal province, illustrate a phenomenon unique in the history of Islamic coinage.! They concern the status of a die engraver named al-Hasan b. Muhammad. A silver dirham bearing his signature was first noted by George C. Miles and published in 1938. It was at that time the only Islamic coin known to bear t he signature of a die engraver. More recently, four additional coins have been located which shed more light upon the career of …