Art Practice Commons^™

Magic Mirrors, Jamie Ho

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

When a beam of bright light hits the convex and polished surface, an image is reflected back onto the wall. This is a description of a magic mirror, an object from the Han Dynasty (206 BC -24 AD), that embodies how Euro-America views China: both technically advanced and shrouded in mystery. The magic mirror also points to the history of photography, as this term was often used in the Victorian era to describe a camera. The image created by a camera is a mimic of reality, both all too familiar and unfamiliar.^[1] Like magic mirrors, the GIFs I create …

Femagogical Strategies In The Art School: Navigating The Institution, Barbara Knezevic, Amy Walsh

Articles

This writing aims to define and examine ‘femagogy’ and the transformative potential for an inclusive intersectional feminist teaching practice in Fine Art education in the context of the contemporary Irish art school. This writing will trace the influence of linguistic power structures and the influence of broader institutional patriarchy in an educational setting and outline the inspirations and genealogies of femagogy. This writing provides situated embodied examples of femagogy in practice. It proposes the femagogical model of teaching as one that situates itself outside prevailing patriarchal models and proposes strategies to reimagine knowledge production and navigate the prevailing structural patriarchy …

How To Be The Perfect Asian Wife!, Sophia Hill

Art and Art History Honors Projects

“How to be the Perfect Asian Wife” critiques exploitative power systems that assault female bodies of color in intersectional ways. This work explores strategies of healing and resistance through inserting one’s own narrative of flourishing rather than surviving, while reflecting violent realities. Three large drawings mimic pervasive advertisement language and presentation reflecting the oppressive strategies used to contain women of color. Created with charcoal, watercolor, and ink, these 'advertisements' contrast with an interactive rice bag filled with comics of my everyday experiences. These documentations compel viewers to reflect on their own participation in systems of power.

Raeleen Kao Interview, Beena Patel

Asian American Art Oral History Project

BIO: Raeleen Kao is a drawer, printmaker, and amateur competitive eater aka glutton residing in Chicago with a Charles Brand etching press, a red tabby, and forty plants.

Her prints and drawings have been exhibited in museums and galleries across the country most notably at the International Museum of Surgical Science, the Monmouth Museum of Art, Bert Green Fine Art, the Smith College Museum of Art, Tory Folliard Gallery, Firecat Projects, and Normal Editions Workshop. Her work has been represented at SELECT Fair New York, the Editions and Artist Books Fair in New York, the Cleveland Fine Print Fair, the …

French Women In Art: Reclaiming The Body Through Creation/Les Femmes Artistes Françaises : La Réclamation Du Corps À Travers La Création, Liatris Hethcoat

Student Scholar Symposium Abstracts and Posters

The research I have conducted for my French Major Senior Thesis is a culmination of my passion for and studies of both French language and culture and the history and practice of Visual Arts. I have examined, across the history of art, the representation of women, and concluded that until the 20^th century, these representations have been tools employed by the makers of history and those at the top of the patriarchal system, used to control women’s images and thus women themselves. I survey these representations, which are largely created by men—until the 20^th century. I discuss pre-historical …

A Language In Becoming, Camille C. Hawbaker

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

Words as I have known them are evolving concepts in the landscape of human language, where the meanings of words are interwoven with layers of history and culture. The boundaries of language are defined by words, and around the edges are instinctive sounds that precede and exceed meaning. These sounds are an interrupting force that unsettles the linguistic structure. We often use them for expression in the form of sobs, grunts, moans, murmurs, chants, obscenities and exclamations. They appear in times of spontaneous emotion that words cannot convey. They can also be used purposely, poetically, “…to shatter [one’s] judging consciousness …