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Art and Design Commons

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2019

Rhode Island School of Design

Painting

Articles 1 - 6 of 6

Full-Text Articles in Art and Design

Spontaneous Laughter, Laughter Without Reason, Evan Gilbert May 2019

Spontaneous Laughter, Laughter Without Reason, Evan Gilbert

Masters Theses

What is the function of humor in today's society? What is the role of the comedian in increasingly clownish times? How does humor challenge power structures in contemporary life and art? How can painting deploy these methods in an effective manner?

The archetype of the trickster has appeared in myth and literature around the world for many centuries. In all instances it represents the disruptive side of the human imagination, a being that lives outside the rules of conventional behavior who seems to have hidden knowledge or secret understanding of how society truly functions. The archetype of the trickster can …


Icarus : How To Survive The Fall, Emile Stark-Menneg May 2019

Icarus : How To Survive The Fall, Emile Stark-Menneg

Masters Theses

In this writing I will explore several films, videos, performances, and photographs from the past century that resist capitalism’s tendency to crush hubris, exaltation, and indetermination. But first, I would like to reimagine the Greek myth of Icarus. How has the myth shaped our understanding of escape? Daedalus, Icarus’s father, attempts to escape exile from the island of Crete by building his son a pair of wax wings. He warns his son not to fly too close to the sun because the wax will melt, and not to fly too close to the sea because the wings will become waterlogged. …


The Person-Less Portrait, Katelyn Ledford May 2019

The Person-Less Portrait, Katelyn Ledford

Masters Theses

In an age of digital technologies, contemporary portraits look different than their predecessors did. Portraiture does not have to continue to rely only on the idea of physical likeness, even though that is generally how portraiture is conceived. Through our virtual lives, we build new versions of ourselves, gain an abundance of information, and consume technological visuals. These newfound engagements and understandings shape the portraits we build of ourselves and of other groups at large. In my painting practice, portraiture is a way to explore the contemporary landscape around me as a woman and a painter who engages in digital …


The Line That Splits, Zahra Jewanjee May 2019

The Line That Splits, Zahra Jewanjee

Masters Theses

The body of work I have created since beginning my MFA has been informed and impacted by my research into various inter-connected subject matters: subcultural spaces, the behaviours of crowds, micro and macro and territories and systems. These have been the philosophical and conceptual rationale of my studio practice. Meditation on these concepts is an important part in the preliminary stages of my process and the praxis of my studio work has been to interpret and implement these ideas. In many ways, this process suggests its own direction. I had no exact endpoint in mind but wanted to be driven …


Where We Are : Where We Thought We Were Going, Nathan Prebonick May 2019

Where We Are : Where We Thought We Were Going, Nathan Prebonick

Masters Theses

In this thesis I will discuss ideas of place, space and repurposing as they relate to my paintings. By tying these ideas back to specific hometown sites, I will trace the evolution of ideas back to their genesis to provide context for the aesthetics of the work. I reference the texts of Robert Smithson and Tim Cresswell, who wrote about transitive notions of place, as well as David Joselit, who’s “Painting Beside Itself” essay focused on painters concerned with the question of how painting enters a network. I hope to use these texts, in conjunction with personal descriptions of sites …


Addicts Of Nostalgia, Samuel Robert Campbell Drake May 2019

Addicts Of Nostalgia, Samuel Robert Campbell Drake

Masters Theses

In this thesis, I will reflect on issues of nostalgia through a series of work based upon the landscape where I grew up. I discuss how my paintings stage themes and negotiate criticality towards memory. The writing analyses my engagement towards the collaging of documentary and fictional sources: and how my paintings seek to dispel legibility and embrace slippage. Alongside discussions of personal experiences, I talk about the relationship of distancing in my practice, concerning tangible and geographic detachment. The thesis expresses my adoration for the history of British painting, and my efforts to internalize its traditions. Moreover, this investigation …