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Full-Text Articles in Art Practice
The Persistence Of Hope In The Art Of Donald Keefe, Donald Keefe, Bonnie Dwyer
The Persistence Of Hope In The Art Of Donald Keefe, Donald Keefe, Bonnie Dwyer
Achieve
Artist Donald Keefe is interviewed about his work and artistic development. His artwork Untitled Construct No. 4 is featured on the front cover of the magazine issue, and through out the interview section, pgs. 70-77. A biography and artist statement is also included in the inside cover of the publication. Other artworks featured are Mythos, Waiting, Consolation, Out-of-Work Horse, Revival, Autumn No. 2, Alone (Not Alone), and The Inauspicious Present No. 2.
The Persistence Of Hope In The Art Of Donald Keefe, Donald Keefe, Bonnie Dwyer
The Persistence Of Hope In The Art Of Donald Keefe, Donald Keefe, Bonnie Dwyer
Faculty Works
Artist Donald Keefe is interviewed about his work and artistic development. His artwork Untitled Construct No. 4 is featured on the front cover of the magazine issue, and through out the interview section, pgs. 70-77. A biography and artist statement is also included in the inside cover of the publication. Other artworks featured are Mythos, Waiting, Consolation, Out-of-Work Horse, Revival, Autumn 2, Alone (Not Alone), and The Inauspicious Present No. 2.
"It Could Have Been Me": The 1983 Death Of A Nyc Graffiti Artist, Erik Nielson
"It Could Have Been Me": The 1983 Death Of A Nyc Graffiti Artist, Erik Nielson
School of Professional and Continuing Studies Faculty Publications
"It could have been me. It could have been me."
These were the words uttered by painter Jean-Michel Basquiat, who was deeply shaken after he heard the story of a black graffiti artist who was beaten to death by New York City police. Seeing his own life reflected in the death of a fellow artist, Basquiat went on to create Defacement (The Death of Michael Stewart), not only to commemorate the young man's death, but also to challenge the state-sanctioned brutality that men of color could face for pursuing their art in public spaces.
Transcendent Materiality, Lauren E. Mabry
Transcendent Materiality, Lauren E. Mabry
School of Art, Art History, and Design: Theses and Student Creative Work
I make painterly, abstract, ceramic objects. My obsession with surface and materiality compels me to investigate the relationship between images and objects through the inherent qualities of ceramic material. Primarily my work communicates directly, through its formal and aesthetic qualities, but it may also be understood in relationship to abstract painting, minimal work, and process art. I exploit the intrinsic qualities of ceramic material producing works that are warm, seductive, and surprising. Ultimately, my work is a synthesis of intuitive, expressive surfaces and elemental forms.
In this body of work there are two main forms: cylinders and curved planes- as …
Stitching As Knowing: Mapping Nebraska With Textiles And Thread, Elizabeth Ingraham
Stitching As Knowing: Mapping Nebraska With Textiles And Thread, Elizabeth Ingraham
School of Art, Art History, and Design: Faculty Publications and Creative Activity
Mapping Nebraska is a drawn, stitched and digitally imaged cartography of the state (physical, social, cultural, sociological) where I live. The interrelated components of this on-going project are:
- A 15 foot wide hand-drawn “Locator Map” of Nebraska, with every city, town, park, railroad, river, lake and creek drawn to scale on 95 Tyvek sections which were then stitched together.
- Terrain Squares, quilted and embroidered fabric relief forms of the physical topography of selected locations, using software to be able to see the terrain at a much larger scale (1 inch = 596 feet) than the Locator Map.
- Surveys, or on-the-ground …
Drawing A Line In The Sand: Copyright Law And New Museums, Megan M. Carpenter
Drawing A Line In The Sand: Copyright Law And New Museums, Megan M. Carpenter
Law Faculty Scholarship
Over the last twenty years, audience attendance at museums, galleries, and performing arts institutions in the United States has decreased dramatically. Major museums and galleries are considering ways to add engaging and meaningful value to the user experience with technology, from incorporating user-generated content to creating multimedia installations billed as “collaborative” works.
In 2010, the Dallas Museum of Art’s Coastlines: Images of Land and Sea exhibition featured landscapes from 1850 to the present, as well as a sound installation composed by students and faculty in the Arts and Technology program at the University of Texas at Dallas, which played on …