Art and Design Commons^™

In The Valley With Jeffrey Vallance, Damon Willick

Art & Art History Faculty Works

No abstract provided.

William Hodges And Thomas Daniell: Picturesque Representations Of “Hindoostan”, Nathaniel Fitch

Independent Study Project (ISP) Collection

This independent research project is a case study and investigation of William Hodges (1744-1797), Thomas Daniell (1749-1840), and his nephew William Daniell (years). Through the mediums of drawings, oil on canvas paintings, and aquatints prints, these artists created representations of colonial India during the last quarter of the eighteenth century. As such images of India were lacking before they traveled to India, investigating their work is fruitful to addressing the power, challenge, and impact of representation.

This research begins with a description of these artists, the art aesthetic and political context in which they worked. Then, the question of how …

The Abstract Text: Adinkra Symbolism As A Narrative In Drawing, Sherae Rimpsey

Independent Study Project (ISP) Collection

Objectives:

i. Discuss the history of Adinkra textiles and its processes.

ii. Establish the origin and significance of Adinkra symbols.

iii. Situate the Adinkra symbols within Abstraction and examine its narrative potential as a non-discursive mode of communication in drawing.

iv. Create iconography to be in dialog with Adinkra symbols as part of a constructed narrative.

Methodology: I utilized the three key principles of methodological research – participation, observation, and interview in order to have direct experience with Adinkra cloth processes. I felt that this was necessary in order to effectively make sense of and analyze Adinkra symbols. I interviewed …

Baye Fadioul Niang: A Brief Biography Of An Ebeniste In Senegal, Katie J. Niang

Interior Design: Student Creative Activity

Baye Fadioul Niang described himself as a traditional European designer of wood furniture, doors, and trim. In 1945, at age 22, Fadioul began designing furniture as an apprentice in the state labor department of Kaolack. He settled in Dakar, where Fadioul not only designed and constructed furniture, but was a popular informal educator in the business. His furniture shop became a center for education in Menuserie and Ebenisterie, which is the art of furniture making. In 2005 Fadioul retired from furniture making because of deteriorating eyesight.

Includes photos taken in February 2013 in Dakar, Senegal.

Hamza Salim Interview, Julian Coleman

Asian American Art Oral History Project

Bio: Hamza J. Salim is a Palestinian artist, architect, and community based activist from Chicago, Illinois. He earned his masters in Architecture from the University of Illinois at Chicago and his work has been exhibited nationally and internationally in New York, Chicago, Los Angels, London and Dubai. He is currently serving as the Project Director of the 12th Chicago Palestine Film Festival and is the Immigrant Community Coordinator at a non-for-profit social service agency, Arab American Family Services.

Bio from facebook.com/HamzaJSalimStudio/info

See also: http://www.hamzajsalim.com/

The Ambiguous Graveyard: Religious Sympathy And Erotic Desire In Sir John Everett Millais's The Vale Of Rest, Greg W. Spangler

School of Art, Art History, and Design: Theses and Student Creative Work

The Vale of Rest, 1859, despite or because of its oddities—two nuns digging a grave—was in its own day understood as a touchstone for Sir John Everett Millais and his career. Its critical reception in 1859 was hostile, with charges of “ugliness,” but by 1897, it was hanging in the Tate museum. Scholars and biographers have accordingly seen it as a turning point in Millais’s abandonment of Pre-Raphaelite realism for a more aestheticized and bourgeois style. The subject of nuns has led other scholars to investigate Millais’s sympathies with the Oxford Movement, the midcentury effort to reform the Anglican …

Detritus In Situ, Ariel R. Lavery

Masters Theses 1911 - February 2014

This thesis paper explores some of the cultural phenomena that influence my conceptual framework and describes the logic behind the formal decision-making that defines my work. Beginning with a description of the nature of the materials and environments I appropriate, this thesis aims to deconstruct the layered system of binaries that build the logic behind my work. The concerns in my work circulate around domestic consumption and the objects detritus, a term coined in the paper, that are produced as a result. However, rather than allow the objects detritus to remain cast-aways of a culture of excess, my work …

Michael Zansky: Of Giants & Dwarfs (Exhibition Catalogue), Sam Yates, Max Weintraub

Ewing Gallery of Art & Architecture

Michael Zansky is an American artist working in installation art, sculpture, painting and photography. He has been represented by the Nicholas Robinson Gallery in New York since 2003. In addition to his art making, he is also a set designer, working with films and television shows such as, Law and Order: SVU, The First Wives Club, The Sopranos, Donnie Brasco, The Juror, and Fatal Attraction.

Review Of Collecting Across Cultures: Material Exchanges In The Early Modern Atlantic World, Amy Buono

Art Faculty Articles and Research

A review of Collecting Across Cultures: Material Exchanges in the Early Modern Atlantic World, edited by Daniela Bleichmar and Peter C. Mancall.

Personal Profile: Amanda Ndemo Archeological Accessibility Through 3-D Laser Scanning, Rebekah Rifareal

Auctus: The Journal of Undergraduate Research and Creative Scholarship

The familiar signs that chide visitors to refrain from touching historical artifacts in museums would have no place in Dr. Bernard Means’ Virtual Curation Laboratory. Thanks to the innovative, fast-paced world of 3-D scanning, senior Amanda Ndemo had an archeological site at her fingertips, all while staying in Richmond for the VCU Honors Summer Undergraduate Research Program (HSURP).

Carrington's Kitchen, Katharine Conley

Arts & Sciences Articles

This essay argues that the objects in Leonora Carrington’s kitchen, as represented in her writing and painting, are comparable to the objects in Breton’s study, as he writes about them and has them photographed. Her most emblematic object - the cauldron - epitomizes the way she mixes the ingredients of her art, creating new substances through a literal process of embodiment. In comparison, Breton predominantly matches the ingredients of his art, through his strategy of juxtaposition, following the combinatory principle of the surrealist image, the spark that stimulates automatism’s flow. Both sets of objects reflect the spaces that house them …