Painting Commons^™

Resistance, Catita Guardado

The Tuxedo Archives

No abstract provided.

In The Archives: The Artist’S Scrapbook, Molly Mcclain

History: Faculty Scholarship

The article discusses the scrapbook created by artist Charles A. Reiffel (1862-1942), a landscape painter working in early twentieth-century San Diego.

Where Are The Women? A Feminist Field Guide To The Museum, Taylor Weaver

Theses

Linda Nochlin’s seminal 1971 essay, “Why Have There Been No Great Women Artists?” was at the fore of the great battle cries of many feminist scholars that drew attention to the limitation’s that female artist’s face in the art world. Women have systematically been left out of the art historical narrative while their male counterparts remain at the forefront.

There are many women that are very prominently represented in museums. They are largely nude and have been represented by male artists. While I do not argue that nudity in paintings should not exist, I do insist that museum goers become …

Bonded By Nature: The Prevalence Of Landscape Subjects Within Abstract Expressionism And Their Sources In American Art, Aileen F. Marcantonio

Theses and Dissertations

Landscape subjects reappear throughout Abstract Expressionism. Although it is often overlooked, landscapes were perhaps a natural subject for a group of artists that were known to work from their environment. When we focus on the landscape subjects, we gain a better understanding of Abstract Expressionism and its place within the canon of American art.

Painting Outside Of The Lines: How Race Assignment Can Be Rethought Through Art, Giovanni Mella-Velazquez

Gettysburg Social Sciences Review

For centuries art has been used to make us think about our own human experiences. Unfortunately, works usually reflect the era which they were painted in; this has led to various artists showing, maintaining, and therefore reinforcing racist thoughts in our cultures. Art can be used to create a new narrative for our race assignments and their meanings. The idea of loving one's roots has been prevalent in many cultures, but in art form a disconnect between history and the everyday experience can arise which could miss the mark in helping us redefine our own race. Therefore, artwork which empowers …

The Anxiety Of Presenting Identity, Savannah Fleming

PANDION: The Osprey Journal of Research and Ideas

This work explores aspects of Queer identity, historical reflection, and acceptance through painting, printmaking, and collage. Savannah Fleming's artwork intends to reclaim art history and alter it to include those excluded from its canon. Through the use of prints, paint, and collage, they create works that address the bias of art history, while tackling contemporary problems of identity and acceptance. References and alterations to art history are her way of addressing the erasure of Queer and BIPOC (Black, Indigenous, and people of color) from the art historical canon, while battling with modern-day confines on individuality.

Arid Visions, Casey Miller

All Graduate Plan B and other Reports, Spring 1920 to Spring 2023

“The vibration of this light, the spaciousness of these skies enthralled me. I knew there was a spirit in nature as in everything else, but here in the desert it was an especially bright light.”

-Agnes Lawrence Pelton

Arid Visions is inspired by my experiences exploring the deserts of southern Utah. The desert landscape is a bounty of diverse flora that appear alien-like. My work celebrates these plants, honoring them for more than what they are sometimes perceived to be. The desert can be an unforgiving place… where an agave’s mesmerizing layered leaves lure you in, but get too close …

Sulfur And Sage, John Swincinski

LSU Master's Theses

Sulfur and Sage is a body of abstract paintings created out of memories of time spent immersed in the wilderness of the Rocky Mountains and the Yellowstone Caldera during the summer of 2020. The paintings reflect specific places, experiences, and insights, which occurred as I sought solitude by returning to the one place where I feel most at peace with the universe – the woods.

Each painting is augmented by a written vignette, describing the occurrence it is based on. Should the viewer choose to include these short stories as they encounter the artwork, they provide the jumping off point …

Ikkuma: An Artistic Vr Storytelling Experience, Yangli Liu

Frameless

Ikkuma is an interactive storytelling experience utilizing Tilt Brush and Unity. It is about a land being swallowed by the sea, where conflict cracks ice and fire tears families apart. Ikkuma is the Inuvialuit word for fire, a central element to the work. The fundamental theme of Ikkuma is global warming and its impact on the Arctic ecosystem. The players must learn to tame the fire in their hearts and the Inuit traditional knowledge if they hope to survive the harsh yet fragile Arctic tundra.

The Literary Controversies Of Michelangelo's Sistine Ceiling, Victoria Duehring

The Forum: Journal of History

This literary review will focus on Michelangelo’s most significant work of color: the Sistine ceiling. Michelangelo’s work has spawned a plethora of literature, but this paper will focus on three main controversial topics: assistants (or lack thereof), the ignudi’s purpose, and restoration. I will also apply a psycho-historical approach to these controversies and identify potential avenues for future research.

Before Beachie Creek, Raine Welterlen

Anthós

An account of the biodiversity observed on a hiking trip in July 2020, three months before devastating wildfires destroyed much of the Opal Creek Wilderness

Material Encounters: Making Memory Beyond The Mind, Ariel Wills

Masters Theses

Can acts of making carry the memories of our embeddedness within the world? This thesis explores how making things can nurture a sense of kinship that cuts across the organic and inorganic, erasing the distinction between living and dead, material and spiritual. Through handwork such as art-making, sewing, knitting, cooking, woodworking, and beyond, the burden of remembering and of archiving is shared across human and non-human bodies, cultivated through practices of making, and through the materials themselves. By recounting the stories of my family’s experience as Jewish immigrants in the United States, I aim to reveal how their domestic practices …

Untitled, Mahi Sutaria '23

Heliotrope: IMSA's Arts & Literary Magazine

No abstract provided.

Cool Sunset, Michael Trombetta '21

Heliotrope: IMSA's Arts & Literary Magazine

No abstract provided.

Records Of (Un)Learning, Gregory Deddo

Masters Theses

The internal processes by which we remember and learn (mnēmē) are in tension with the exterior mnemonic devices of writing, photography, and archives (hypomnēsis). Attempts to accurately record and document our lives often disrupt the living, intersubjective memory it is meant to aid. This dichotomy plays out in both the interpersonal sphere of relationships and identity, and in the socio-political sphere of history, governance, and economics. Our contemporary postmodern condition, as shaped by technologic developments, is marked by an increased skepticism about testimony, witness, and experience and a greater reliance on data-driven information and the structure …

Blue Loops, Rebecca Senn

Masters Theses

I started threading wires between objects in an attempt at connecting the fragments of my life, winding forms into spiraling webs of meaning. Bluebirds, cartoon toys, Jewish kitsch, 90’s teen angst, immaterial feeling. Wires are squeezed with plaster and smothered in paint, tightly wound, mummified, squeezed to death, or post-death, suspended in an oxygenless void, as if time stopped and all at once we could feel the simultaneity of things — the star hurtling through space, a swimmer falling into water, raindrops sliding off a pair of glasses. I spin wires, squeeze them with wet plaster, mummify them, until they …

Like Water Taught By Thirst, Emily Wilker

Masters Theses

I am interested in the practice of painting as a way to deepen one’s relationship with nature and its many ecosystems. To me, art not only illustrates these experiences of entanglement, but also is a realm for a sensorial engagement that surpasses representation. During my time at RISD, I have learned that painting can act as a generative tool, a therapeutic ritual, a release of energy, and a place to bridge connections to other facets of my life. It is through the conception, envelopment, and evolution of materials and their relationship to an anthropocentric society that I continue to investigate …

Everyone I Have Every Crowed With 2021-, Hannah Lutz Winkler

Masters Theses

I started taking walks at sunset to feel better. It was January of 2021, nearly a year into the COVID pandemic. On these antidepressant walks, I kept running into crows, participating in their own sunset ritual, hundreds of them in a raucous shimmering black net. They flew around the city, my hometown, gathering, gossiping, and ultimately sleeping together in trees. I was both intoxicated by and jealous of the nightly crow party—standing under them was my only crowd experience in nine months. For the next three months, I tracked them every night I could. My solo practice of paying the …

The Broken Thought Machine [Broh-Kuhn Thawt Muh-Sheen], Michael Dispensa

Masters Theses

A bulky, inflamed, excess volume of overactive targeted neuron choking nonsense that profits off creating fear-induced high-speed bowel movements.

My current work seeks to create space for intrusive thoughts and images that repeat, disturb, distress, and contaminate. The source of these intrusions is called the Broken Thought Machine(BTM). I use multimedia practices of drawing, sculpture, performance, and video to unearth the origins and properties of the BTM to then perpetuate its product to an absurd degree. This obsessive reiteration brings negativity to a threshold where horror and detachment can spontaneously metamorphose into humor and compassion.

The BTM can be an …

Dive, Aparna Sarkar

Masters Theses

In my thesis paintings, abstracted bodies collide with sticky shapes and residues in otherworldly spaces to form a queer, diasporic mythology. Bodies are slick, crusty, diaphanous, partial, chunky, other—they vary in legibility, suspended in emergence and expulsion from the environment. Multiple selves make these works. One asks sensorial questions of painting: what feelings, memories, and experiences can I transmit through color and material? I embed the smell of marigolds, the swi!t temperature change of the California desert, or the thick haze of a three a.m. dance floor make-out. My trusting self follows visions of color and shape, believing that they …