Art Practice Commons^™

"Mr. Lee", Bin Li

CGU MFA Theses

My paintings are a territory where I express, fight, question and discover what is happening around me. Each element in them struggles with others. They reveal a world almost entirely comprised by conflict and confusion. My goal is to build a connection between my work and myself, to communicate with viewers and to question myself and my audience by representing my personal experience in ways that are revealing and new to me. Somehow, this also offers viewers the opportunity to rethink their relationships to the world around them.

Presentation Of The Issue On The Artist Researcher, Ludivine Allegue, Ivan Magrin-Chagnolleau

Presidential Fellows Articles and Research

Ivan Magrin-Chagnolleau : Ludivine, I am delighted to start the adventure of the journal p-e-r-f-o-r-m-a-n-c-e with an issue co-edited with you on one hand, and on the theme of the artist researcher on the other hand. Can you tell me why this theme of the artist researcher is so important to you?

Ludivine Allegue: I had the opportunity to work on the Practice as Research in Performance project in UK. This was a fascinating phase in my research: finally the essential role of artistic practice was taken into consideration in the Art research context, with the avowed aim of …

In Praise Of The Artist Researcher, Ivan Magrin-Chagnolleau

Presidential Fellows Articles and Research

I will start by defining the terms artist, researcher and artist researcher and then give some examples of artist researchers: Leonardo da Vinci, Constantin Stanislavski, Bertolt Brecht and Lee Strasberg. Finally, I will address the issue of artist researcher from my own perspective, as an actor and director in particular. I will thus demonstrate the benefits of linking the practice of art with a more theoretical research of this practice, and how these two aspects – art and research – are mutually reinforcing and help creativity to flourish.

01:04:30:08:34:25 Retrospectively, Jo Anna Rose Zelano

CGU MFA Theses

To regenerate. Things break down, get destroyed. We rebuild. We rebuild our mental worlds and our material worlds. I make remnants, collect remnants, of performances and sculptures, and of process. The remnants become the work, the physical and the video, the scars and the tattoo; the evidence is subjected to understanding. What lives through us is not what happens to us, but what remnants we hold on to. What remnants we hold on to in our physical world, what remnants we hold on to in our mental world.

Work For '10 Squared: 100 Artists Celebrate Utep's Centennial', Anne Giangiulio

Selected Works Temporary Series

I was invited as one of 100 artists to create a 10" x 10" work to commemorate the Centennial of the University of Texas at El Paso as part of the exhibition "10 Squared" by the Rubin Center for the Visual Arts. I created an original design proclaiming "Go Miners!" in reverse backstitch embroidered on stretched burlap. All proceeds from the sale supported the Rubin Center's education and outreach programming, bringing the experience of contemporary art to a diverse and growing audience of all ages.

Dark Inventory, Abdul Mazid

CGU MFA Theses

Using a conceptual framework to explore the presence of conflicting ideologies, power structures, and paradigms; Mazid transforms well-known materials and imagery into unexpected and charged artistic declarations, working across a wide range of media, including drawing, painting, video, installation, and sculpture. Pulling freely from a range of sources—personal, historical, social, economic and political—his visual language is simultaneously layered, sensitive, controversial, radical, and banal. His art addresses the underlying cause and effects of globalized society on the individual, often using his own personal circumstances as a point of departure.

All The Things Left Unsaid, Philip Kim

CGU MFA Theses

I search in my paintings a state of constant glide; meditational state by flooding my senses as my eyes wander from scene to scene onto a daze of perpetual visual stimuli.

They are the frozen amalgamation of its transient state – A crosscut of fog condensing into honey. And the burning shadows of a golden hour vaporizing into electric haze. I try to keep the image in perpetual limbo, confused by their nature, wondering if they will be pickled in the vinegar of the web as digital ghosts or finally disintegrate from being a substance. I want to capture in …

Spragga, Johnny Guerrero

CGU MFA Theses

I produce experience generators: mystifying, quirky entities capable of creating their own atmosphere, making subtle but implacable demands for recognition and interaction. In order to cultivate work as evocative as it is provocative, I hybridize, bastardize and stylize any and everything I find interesting with special attention given to objects that have been discarded, forgotten or broken. These become hybrid creatures--not quite paintings, not quite sculptures--that teeter between form and formlessness, between coming together and falling apart, between blind hubris and aching vulnerability.

Rope-A-Dope, Gabriel L. Perez

CGU MFA Theses

I create from everyday items, coming from everyday people. I do not think that what I create is too difficult for anyone to understand but I know that although I created it, it eludes me. Plastic containers, disposables, and clothing reach out to eyes that see them differently. I’m not trying to make people see things differently; I’m just trying to make you look. Call it theatrics but with a history of various performance experiences, I am not above pulling a cheap trick to get your attention. Nor will I shun the lingo and logic of decoration since I am …

The White Room Disruption, Jamaal Hasef Tolbert

CGU MFA Theses

My artistic practices range from sculpture, video art, performance, and painting. Streaming most of my ideas from the African Diaspora and the American Social Structure, I introduce my viewers to a world of topics that are not often discussed in society. I invite viewers to think about how they have been trained to stereotype and label skin tones. This opens up conversation on everyone’s unconscious minds and socially structured beliefs, which often touch up on the topic of race issues. I also use the media whether it is the internet or social media to reach viewers globally and to engage …

Borders, Anwar I. Alzeer

CGU MFA Theses

Abstraction provides me with great freedom. Mixing abstraction and imagery introduces emotions and feelings. Color plays a vitally important role in my paintings. It can sway your thinking, change your actions, and cause reactions. It can irritate or soothe your eyes, raise your blood pressure or suppress your appetite, when used in the right ways.

The Effect Of Periodicity On Temporal Attention, Mickeal Nelay Key

All-Inclusive List of Electronic Theses and Dissertations

Currently, there is a gap in the literature in terms of the relationship between implicit learning and temporal attention. This study set out to discover whether implicit learning could influence the modulation of temporal attention. Employing the Rapid Serial Visual Presentation (RSVP) task, 42 volunteers from Indiana State University participated in the 45-minute experiment. The RSVP stream consisted of 11 uppercase letters, with a stimulus duration of 17ms and a presentation rate of 10Hz. Participants were asked to identify one blue target among 10 white distractors for 10 practice trials and 462 experimental trials. There were three independent variables. The …

The Artist In The Library: Research Services For Creators, Kristina Keogh, John Glover

VCU Libraries Faculty and Staff Presentations

At Virginia Commonwealth University Libraries we serve a variety of disciplines. This poster session focuses on outreach initiatives by the Visual Arts Research Librarian and the Humanities Research Librarian to provide research services to a unique group: students and faculty who create new and unique objects and texts. The needs of artistic researchers in such diverse areas as interior design, painting, and creative writing overlap in many ways, both expected and unexpected.

Our efforts to reach out to creators and offer support for their distinctive research needs have included such activities as taking classes within particular programs and embedding ourselves …

Abstracts And Presenter Biographies From 14th Biennial

Textile Society of America: Symposium Proceedings

No abstract provided.

Coast Salish Spinning: Looking For Twist, Finding Change, Liz Hammond-Kaarremaa

Textile Society of America: Symposium Proceedings

Coast Salish textiles from the Pacific Northwest (northwest Washington state and southwest British Columbia) are relatively rare and unknown yet are masterpieces of sophisticated weaving and spinning techniques. Coast Salish blankets and robes, and the tools used to make them, have been the subjects of a few seminal works (Gustafson 1980; Loughran-Delahunt 1996; Marr 1979; Vanderburg 1953), but other than the occasional recording of the direction of twist, the spinning characteristics of the yarn itself have not been the focus of research. This gap is curious, given the uniqueness of Coast Salish spinning tools, the corresponding techniques, and the fibres …

Needle Lace To Valley Walking: İğne Oyası As Landscape Ornamentation, Olivia Valentine

Textile Society of America: Symposium Proceedings

In 2012-13, I lived and worked in Turkey, researching the traditional needle lace edging of İğne Oyası and creating relationships between this textile edge, the contemporary urban fabric, and the rural landscape of Turkey. In this paper, I will speak about my time in Turkey, presenting my research into the traditional needle lace edge of oya and my studio production, where I used my research to create this needle lace edge at new scales and in new materials and contexts.

Dressing The Leader, Dressing The Ancestor: The Longue Durée In The South Central Andes, Ann H. Peters

Textile Society of America: Symposium Proceedings

The preservation and adornment of the dead in the South Central Andes can be traced over some twelve thousand years. The potential for preservation of human bodies and fine textiles in desert sands and high altitude caves contributed to a continuing social and political role of the dead in the lives of the living. Colonial period documents describe well-dressed mortuary bundles that participated in public ritual and could be cited as proof of heritage and validation of social leadership. However, the nature of social and political ancestry and its relationship to power change over time with the development of large-scale …

An American Textile Company To The Trade: The Corporate History And Textile Collection Highlights Of Kravet Inc., Deborah E. Kraak

Textile Society of America: Symposium Proceedings

Historic textiles “live” in museums and private collections, carefully stored for research and exhibition. Those in the archives of furnishing fabric companies live in a different way: reinterpreted for the consumer, either in exact reproductions or more loosely in fabrics that adapt historic motifs or are inspired by them.1 One of the largest and most important collections of historic American and European printed fabrics belongs to Kravet Inc., an American textile company to the trade based in Bethpage, New York. More than 52,000 historic textile documents belong to Kravet through its own holdings and the archives of the textile firms …

The Secrets Of Alorese ‘Silk’ Yarn: Kolon Susu, Triangle Trade And Underwater Women In Eastern Indonesia1, Emilie Wellfelt

Textile Society of America: Symposium Proceedings

Eastern Indonesia is known for a great variety of textiles. One part of the region that has been largely overlooked in the literature is textiles of the Alor archipelago. However, the literature does recognise and speculate about the unusual silky character of some Alorese cloths that have entered Western museum collections. Based on fieldwork among weavers in the village Uma Pura, situated on a small island in the Pantar strait, this paper reveals the secret behind the characteristic shiny finish of the ‘silk’ sarongs from Alor. Ruled by necessity rather than choice weavers used to mix cotton with fibres from …

Conversationa And Encounter, Belinda Von Mengrsen

Textile Society of America: Symposium Proceedings

Textile artists often use items of traditional textile material culture as sites for primary research or encounter within their conceptual and physical practice. This research practice is, however, far more than aesthetic or visual analysis: rather, it allows for the observation of that border territory in which a new work of art begins and ends—the very place from which the ideas come—and also of how influences are layered, and evolve within our psyche. Ruth Hadlow, has described the use of traditional West-Timorese woven textiles as “a ‘tool’ with which to think?” (Hadlow, 2013). Through such tools, primary research may operate …