History of Art, Architecture, and Archaeology Commons^™

Re-Evaluating Egalitarian Design In Contemporary Danish Society, Alice Baughman

Undergraduate Honors Theses

This study examines the discourses and practices of egalitarian architecture in contemporary Denmark. Denmark’s long standing comprehensive welfare system promotes, for all citizens, equal access to education, healthcare, and public services, and other opportunities. Similarly, its own brand of socially progressive, egalitarian architecture encourages spatial designs intended for use by all people regardless of social disparities. Drawing on a range of sources from government documents to architectural magazines to design projects themselves, this study defines the historical development of this discourse going back to Modernist and Functionalist movements in the 1930s. By revealing the cultural and demographic assumptions on which …

The Architecture Of Clothing: Notions Of Public And Private Space, Savannah Orsak

Undergraduate Honors Theses

Space, as defined as a three dimensional extent in which objects and events have relative position and direction, is conversely bound through clothing, architecture, and other margins that organize humanhood for everyday purpose. Continually, clothing imposes and extends itself into everyday experiences and dictates notions of interaction between both people and objects. In this written body of work, my intention is to explore public and private spatial influences within clothing and the ways in which these influences can be curated to reflect and evoke notions of interaction and identity. Following three related studies on space, form, and curation, a survey …

The Line Of Dichotomy: Standpoints And Meaning In Anne Truitt's Art, Charles J. Parsons

Undergraduate Honors Theses

Some of Anne Truitt’s formal strategies—such as using the separate faces of the work to force the viewer to engage in it sequentially—build or depend on real or literal facts of the “situation” of the artwork. If this is the case, how do such works escape being reducible to their objecthood, their literal properties of size and shape? And how do they produce effects that are not mere experience or mere affective response? The answer I offer is that they depend on conventions and interpretation.

Much of my analysis focuses on the ways Truitt makes her intentions visible through form, …

Farago’S Global Art History, Charles J. Palermo

Arts & Sciences Articles

"Anyone who’s been paying attention for the past two decades has noticed that art history (just like the other humanities) has been furiously globalizing itself. From fighting Eurocentrism to tracing global networks of exchange, to acknowledging the incommensurability of multiple modernities, to challenging the category of art itself as an ideological mystification developed in modern Europe—which continues to reproduce power structures and to project them onto other cultures and peoples—turning global is a move with a lot of sponsorship, both intellectual and institutional. These different attacks on an art history variously understood as blinkered, racist or Eurocentric have been canonized …

The Surrealist Collection: Ghosts In The Laboratory, Katharine Conley

Arts & Sciences Book Chapters

Excerpt from book chapter: "Surrealism was forged by poets and artists who intentionally surrounded themselves with objects of philosophical significance to them, objects whose arrangement refracted back to them elements of their own beliefs. André Breton, author of the manifestoes of Surrealism, was the movement’s exemplary collector and his practice of collection yielded the movement’s mystery‐laden backdrop to the development of the principles of Surrealism just as his apartment on the rue Fontaine in Paris provided the setting for gatherings of the group’s meetings..."

Value And Hidden Cost In André Breton’S Surrealist Collection, Katharine Conley

Arts & Sciences Articles

André Breton’s collection provides a unique perspective on the environment within which the principles of surrealism were crystallized. In addition to his collection of European paintings, Breton’s Oceanic object collection grew during World War Two in New York. In essays from the 1950s and 1960s, Breton ascribed a “poetic view” and “prestige” to these things with no reference to their monetary value. And yet his history of acquisition and de-acquisition of such things and paintings show that he also understood collecting as a form of investment, despite his avowed objection to the forces of French colonialism that made it accessible …

André Masson: Into The ‘Humus Humaine', Charles J. Palermo

Arts & Sciences Book Chapters

Much of how World War I is understood today is rooted in the artistic depictions of the brutal violence and considerable destruction that marked the conflict. Nothing but the Clouds Unchanged examines how the physical and psychological devastation of the war altered the course of twentieth-century artistic Modernism. Following the lives and works of fourteen artists before, during, and after the war, this book demonstrates how the conflict and the resulting trauma actively shaped artistic production. Featured artists include Georges Braque, Carlo Carrà, Otto Dix, Max Ernst, George Grosz, Ernst Ludwig Kirchner, Oskar Kokoschka, Käthe Kollwitz, Fernand Léger, Wyndham Lewis, …

Review Of "Picasso, Braque And Early Film In Cubism", Charles J. Palermo

Arts & Sciences Articles

"Pace Wildenstein’s exhibition Picasso, Braque and Early Film in Cubism ran from 20 April to 23 June 2007 in New York. Those lucky enough to have seen it will surely recall a nice selection of well-known works and less widely published works, including pictures from private collections and from major museums in the United States and abroad. I expect the show itself would have ranked as a proud achievement for most museums. In addition to the fi ne selection of works on view, though, the gallery included specimens of early cinematographic equipment, which, while they may well be familiar to …

Tactile Translucence: Miró, Leiris, Einstein, Charles J. Palermo

Arts & Sciences Articles

"One might be tempted to see the background of Joan Miro's Head of a Catalan Peasant IV for what it is (albeit in a certain limited sense): the Miro's physical encounter with the canvas. This scumbled blue ground -which I will call the background even though it often refuses or complicates the organization of a deep space- records in some detail the application of a thin layer of paint. Variations in the density of the paint even across the trajectory stroke appear in Head of a Catalan Peasant with exemplary clarity, so that t position of such brush strokes makes …