Arts and Humanities Commons^™

Why Not Kinkade? An Evaluation Of The Conditions Effecting An Artists Exclusion From Academic Criticism., Kelly Drum Moran

Electronic Theses and Dissertations

Though prevalent in non-academic debate, the subject of Thomas Kinkade and his artwork is discernibly absent from the realm of academic discourse. This paper is an investigation into that condition and the circumstances for its perpetuation. Central to the issue is Kinkade's art theory and practice, which establishes his coexistence in both the art and business domains, creating inherent contradictions. Further explication is revealed through an evaluation of the contemporary criticism of four posthumously canonized artists: William Blake, Phillip Otto Runge, Vincent van Gogh, and Henri Rousseau. Consistencies among them correlate to the treatment of Thomas Kinkade, suggesting a common …

"Else-Where": Essays In Art, Architecture, And Cultural Production 2002-2011, Gavin W. Keeney

Gavin W Keeney

“Else-where” is a synoptic survey of the representational values given to art, architecture, and cultural production from 2002 through 2011. Written primarily as a critique of what is suppressed in architecture and what is disclosed in art, the essays are informed by the passage out of post-structuralism and its disciplinary analogues toward the real Real (denoted over the course of the studies as the “Real-Irreal” or “Else-where”).

The essays collected in “Else-where” cross various disciplines, inclusive of landscape architecture, architecture, and visual art, to develop a nuanced critique of an emergent formal regard in the arts that is also an …

Memory In Paintings Of Quattrocentro Renaissance Florence: Religious Paintings And Secular Portraits, Ashley Matcheck

Psi Sigma Siren

Collective memory studies as a field has always been the interdisciplinary study of how and why memories have been created. The difference between collective or cultural memory studies and that of a strictly historical study is often discussed and debated as people question whether memory or history is more valuable regarding past events. Jan Assmann explains that “in the context of cultural memory, the distinction between myth and history vanishes. Not the past as such, as it is investigated and reconstructed by archaeologists and historians, counts for the cultural memory, but only the past as it is remembered.” Assmann has …

Bleach, Kim E. Alexander Jr.

CGU MFA Theses

The work in this exhibition investigates the unique potential for drawing to articulate the ideas and attitudes of architecture and objects. Accepting drawing as operating in conceptual space, I explore experimental loops within the visual logic of that territory. The work asserts the material fact of drawing and its connection to forms of fabrication in other materials like wood, paint, metal, and plastic. Like painting and sculpting, the drawings occupy an intangible state between objects and ideas. I embrace this irresolution. Please see Download button in top right corner for the full statement.

Measured Chance, Brian R. Kluge

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

In my practice I use clay to make enigmatic, non-representational sculptures that employ reductive geometry and archetypal forms. By pressing clay into a variety of molds, it is my intention to contrast a primal crudeness with a skilled precision in my handling of the material. I fabricate objects that range in scale from handheld to human- size. In this work, I combine references to the forms of manmade things with surfaces that allude to age and wear resulting from natural patinas that occur on stone, wood, or metal. This body of work shares qualities with the Minimalist and Earth Art …

Regarding The Catherine Portrait: An Interview With Patricia Olson, Amy K. Hamlin

Amy K Hamlin

No abstract provided.

L’Évolution Du Patrimoine: Identity Politics And Cultural Policy In Contemporary Senegalese Art, 1960-2010, Hannah Shambroom

Art History Honors Papers

No abstract provided.

Regarding The Catherine Portrait: An Interview With Patricia Olson, Amy Hamlin

Art & Art History Faculty Scholarship

No abstract provided.