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Pottery Is King: Bevel Rim Bowls And Power In Early Urban Societies Of The Ancient Near East, Arianna M. Stimpfl 2017 Binghamton University--SUNY

Pottery Is King: Bevel Rim Bowls And Power In Early Urban Societies Of The Ancient Near East, Arianna M. Stimpfl

Graduate Dissertations and Theses

This thesis is about how material objects, specifically ceramics, are used to create and perpetuate political power of the ruling class. My research will demonstrate how bevel rim bowls were a form of structural violence in the Uruk/Protoliterate period Mesopotamia by forcing the people to create the very vessels they needed to obtain their rations. These vessels were widely used throughout the region, and as of yet their exact function is unknown. The Uruk period in Mesopotamia was a time of great change. Large urban centers were being formed and people were coming together in a new way to live …


Graff' And The City: Towards A Socially Conscious Aesthetic Theory Of Graffiti, Eric Chavez 2017 University of Texas at El Paso

Graff' And The City: Towards A Socially Conscious Aesthetic Theory Of Graffiti, Eric Chavez

Open Access Theses & Dissertations

Art is one of the most universal and oldest human activities; it is a human impulse rather than a skill. The invention of art and language occurred about 30,000 to 70,000 years ago. This “cognitive revolution”, going from homo sapiens to homo sapien sapiens, gave us the imaginative powers of language and art. No society as far as we know of thus far has been able to live without some form of art. Yet its exact definition is hard to jot down, much less explain. Art’s constant movement, transformations, its disappearances/reappearances, and even its proclaimed “death” throughout history has always …


Waldensian Tour Book, Kathleen Demsky 2017 Andrews University

Waldensian Tour Book, Kathleen Demsky

All Books

No abstract provided.


Restoration, Shannon M. Slaight-Brown 2017 Virginia Commonwealth University

Restoration, Shannon M. Slaight-Brown

Theses and Dissertations

The marks I make in clay have different characteristics, and the physical mark of one’s fingertips or visual record of the hand is personal and intimate. This visible activity is the evidence of my constant presence and control within each object. Its repetitive meditation produces a private relief from my persistent anxieties. This exploration for me is not only visual, but also physical. This is the start of my infatuation with the idea of pattern. It has its own discrete visual language and modes of communication; and through my research I am developing a method of intercommunication.


Monstrous Allure: Polyphemus In Pompeii, Glenda Swan 2017 Valdosta State University

Monstrous Allure: Polyphemus In Pompeii, Glenda Swan

Art Inquiries

No abstract provided.


Francis Picabia: Our Heads Are Round So Our Thoughts Can Change Direction, Jordan Amirkhani 2017 University of Tennessee-Chattanooga

Francis Picabia: Our Heads Are Round So Our Thoughts Can Change Direction, Jordan Amirkhani

Art Inquiries

No abstract provided.


Art Inquiries, Xvii:2, Full Issue, 2017 Virginia Commonwealth University

Art Inquiries, Xvii:2, Full Issue

Art Inquiries

No abstract provided.


Pilgrims To Tourists: Evolution Of Travel In South Sinai In The 19th And 20th Century, Daniele Salvoldi Dr. 2017 The American University in Cairo AUC

Pilgrims To Tourists: Evolution Of Travel In South Sinai In The 19th And 20th Century, Daniele Salvoldi Dr.

Faculty Journal Articles

Since Late Antiquity, South Sinai has been anattraction or travellers. For centuries, the fortune the region had laid in its holy character for both Christianity and Islam. It is only in the 19thcentury that other motivations arose and what wasa traditional pilgrimage turned often into leisure travel. In the words of Joseph Hobbs: “All who travelled overland to Mount Sinai emphasized the hazards along the way. From the early 19th century such obstacles became an attraction in themselves, a reason to travel.” 1 The main difference between pilgrims and travellers was the motivation: “Pilgrimage formost was necessity, penance, exile, suffering …


Drivers Of Demographic And Socioeconomic Shifts At The Bridge River Site (Eerl4), British Columbia, Sarah Nowell 2017 University of Montana, Missoula

Drivers Of Demographic And Socioeconomic Shifts At The Bridge River Site (Eerl4), British Columbia, Sarah Nowell

Graduate Student Theses, Dissertations, & Professional Papers

ABSTRACT

Nowell, Sarah, M.A. Spring 2017 Anthropology

Drivers of Demographic and Socioeconomic Shifts Regarding the Bridge River II – Bridge River III Transition at the Bridge River Village (EeRl4), British Columbia

Chairperson: Dr. Anna Marie Prentiss

The Bridge River site is located near the confluence of the Bridge and Fraser Rivers in the Mid-Fraser canyon near Lillooet, British Columbia. This region has long been popular for archaeologists seeking to understand the emergence of wealth-based inequality in complex hunter-gatherers. Housepit 54 is one of over 80 pithouses or s7ístken that was continuously occupied throughout most of the village history. It …


Shattered Landscapes: Revolutionary Ruins In The Virginian Watercolors Of Benjamin Henry Latrobe, Julia A. Sienkewicz 2017 Roanoke College

Shattered Landscapes: Revolutionary Ruins In The Virginian Watercolors Of Benjamin Henry Latrobe, Julia A. Sienkewicz

Art Inquiries

No abstract provided.


The West Virginia New Deal: Blanche Lazzell’S Mural In Morgantown, Kendall J. Martin 2017 Cape Fear Community College

The West Virginia New Deal: Blanche Lazzell’S Mural In Morgantown, Kendall J. Martin

Art Inquiries

No abstract provided.


Insecurities: Tracing Displacement And Shelter, Elizabeth Berkowitz 2017 City University of New York (CUNY)

Insecurities: Tracing Displacement And Shelter, Elizabeth Berkowitz

Art Inquiries

No abstract provided.


Architecture And Memory In Jacques-Louis David’S Sabine Women, Heidi E. Kraus 2017 Hope College

Architecture And Memory In Jacques-Louis David’S Sabine Women, Heidi E. Kraus

Art Inquiries

No abstract provided.


After Caravaggio; Caravaggio And The Creation Of Modernity, Donald Schrader 2017 Virginia Commonwealth University

After Caravaggio; Caravaggio And The Creation Of Modernity, Donald Schrader

Art Inquiries

Book review of After Caravaggio, by Michael Fried, and of Caravaggio and the Creation of Modernity, by Troy Thomas.


Artemisia Gentileschi E Il Suo Tempo (Artemisia Gentileschi And Her Times), Marjorie Och 2017 University of Mary Washington

Artemisia Gentileschi E Il Suo Tempo (Artemisia Gentileschi And Her Times), Marjorie Och

Art Inquiries

No abstract provided.


Cross Country: The Power Of Place In American Art, 1915-1950, Naomi Slipp 2017 Auburn University at Montgomery

Cross Country: The Power Of Place In American Art, 1915-1950, Naomi Slipp

Art Inquiries

No abstract provided.


Arts: A Guide For Conservators, Curators, And The Curious, Kari Rayner 2017 National Gallery of Art

Arts: A Guide For Conservators, Curators, And The Curious, Kari Rayner

Art Inquiries

Book review of Arts: A Guide for Conservators, Curators, and the Curious, by Roy S. Berns.


Back Matter, 2017 Virginia Commonwealth University

Back Matter

Art Inquiries

No abstract provided.


Marilyn Minter: Pretty/Dirty, Susan Richmond 2017 Georgia State University

Marilyn Minter: Pretty/Dirty, Susan Richmond

Art Inquiries

No abstract provided.


Radical Dissonance And Haunted Gestures: Rupture And Reverence In The Artwork Of Aja Mujinga Sherrard, Aja M. Sherrard 2017 University of Montana

Radical Dissonance And Haunted Gestures: Rupture And Reverence In The Artwork Of Aja Mujinga Sherrard, Aja M. Sherrard

Graduate Student Theses, Dissertations, & Professional Papers

This paper serves to establish the studio practice of Aja Mujinga Sherrard within the framework of conceptual art, touching on the flexible use of media, the subversive or political nature of the work, and its relationship to movements and disciplines such as Feminism and Poststructuralism.

The section entitled “Race and Incoherence” addresses the practice of Radical Dissonance—or the creation of ruptures within commonly accepted concepts and social constructions—through the Costuming Kinship Series, 13≠12≠12.2 (Genetics Project), and Body Double. The section entitled ”Art, Loss, and the Unspeakable” traces an emotional shift in her work and speaks directly to the pieces …


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