Art and Design Commons^™

Making It Work: Supporting Contemporary Artists In Ulaanbaatar, Mongolia, Michael Curran

Independent Study Project (ISP) Collection

Following the country’s political transition to democracy in the 1990s, a generation of Mongolian artists constructed an art movement rooted in the issues of the new society: transitional national identity, corrupt political and economic systems, and a growingly complex relationship with nature. The liberalization of the economy, however, hasn’t nurtured sustainable creative resources or helped artists reach domestic or international markets, pressuring them to find alternative ways to create livelihoods out of their craft. This study considers how emerging multidisciplinary artists sustain themselves through both formal and informal means, and the motivations behind their creative lifestyles.

Central to the study …

Una Mueca Irónica: !El Travestismo Como Recurso Artístico De Las Yeguas Del Apocalipsis / An Ironic Grin: ! Cross-Dressing As An Artistic Resource Of The Apocalypseof The Yeguas, Sophia Cantizano

Independent Study Project (ISP) Collection

The Yeguas del Apocalipsis (Mares of the Apocalypse), were an art collective consisting of two men, Pedro Lemebel and Francisco Casas, who revolutionized the way transvestism was used in performance art. Active between 1988 and 1997, the Yeguas lit the way out of the dictatorship and into the post-regime transition period. For this reason, the context in which Lemebel and Casas made their art was more conducive to their own open criticism and explicit commentary of the political and social landscape, than that of the performance artists who functioned during the authoritarian dictatorship itself. This gave the Yeguas’ performances a …

Talking Walls: Freeing Art In Bali, Indonesia, Lila Chu

Independent Study Project (ISP) Collection

In some ways Bali’s street art manifests everywhere, in the form of abundant banten, decorations for Galungan and Kuningan, shrines, temples, ornaments, and the black and white checkered cloth draped over scared statues, rocks, and banyan trees. This aesthetic pleasure moves beyond the sacred, and into the street—peering out among Bali’s intricate ornaments and decorations. Declarations of Bali Tolak Reklamasi, and images of a Balinese woman sporting a gas mask circulate Bali’s cityscapes, along with other marks, writings, and murals finding homes on grey walls.

Welcome To The Streets: Tracing The Development Of Street Art In Nepal Since 2010, Malik Earle

Independent Study Project (ISP) Collection

Graffiti is a process. There really is no beginning or ending to a piece. Graffiti art is practicing a design, bringing it to a wall, letting it take shape, and allowing it to interact with the environment. What makes graffiti unique, among other things, is its interaction with the environment. When international graffiti influences and local conditions drove inspired artists to bring their art to the streets, a new art form emerged in Nepal. “Local conditions” labels the forces ranging from personal drive to the history of public art in Nepal, which fuel the movement. The present study aims at …