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Full-Text Articles in Art and Design
Line As Site And Material, Analise Minjarez
Line As Site And Material, Analise Minjarez
Art Theses and Dissertations
This paper recounts my artistic practice over the last three years. I will describe the places, artists, artworks, and processes that have been meaningful to me in this time as I pursued my MFA and worked to understand my relationship to the living world. In the thesis Line as Site and Material, I respond to materiality and site through installation, sculpture, drawing, and video. I work with clay harvested from my hometown of El Paso, TX to connect to the personal histories of the borderlands and geological time. In the Second River Series, I walk in the empty riverbed of …
Scenes Of Screens, Scenes Of Sodomy: The Role And Impact Of The Folding Screen In Eighteenth-Century French Erotic Novels, Katherine Delony
Scenes Of Screens, Scenes Of Sodomy: The Role And Impact Of The Folding Screen In Eighteenth-Century French Erotic Novels, Katherine Delony
English Undergraduate Distinction Projects
This project provides an analysis of the folding screen as a literary agent and signifier which reflects the cultural happenings of the eighteenth century with specific emphasis on new ideas about queerness which arise in France during the eighteenth century. I will focus primarily on the Marquis de Sade’s (1740-1814) Justine, ou Les Malheurs de la vertu (1791) (as well as La Nouvelle Justine, 1797) and John Cleland’s (1709-1789) Le Fille de Joie (translated 1751) with reference to Jean-Louis Fougeret de Monbron’s (1706-1760) Margot la Ravaudeuse (1753), Sade’s Philosophie dans le boudoir Jean-François de Bastide’s (1724-1798) La …
The Nazi Aesthetic: Nuance And Contradiction In Systematic Art Theft And Collection Efforts, Katharine J. Namon
The Nazi Aesthetic: Nuance And Contradiction In Systematic Art Theft And Collection Efforts, Katharine J. Namon
Senior Theses and Projects
Nazi art collecting and looting was a strong and persistent undercurrent throughout World War II. The public and private practices of Nazi officials reveal both their aesthetic tastes and obsession with establishing themselves as highly educated, cultured patrons of the arts. Although the party’s artistic preferences are hard to define, it is evident that their stance on what constituted fine art and culture was entirely illogical, inconsistent, and incongruent. By examining their motives for acquiring such an astounding amount of art, the artistic tastes of individual Nazi officials, and the public exhibitions they held to advertise their values, one can …