Arts and Humanities Commons^™

Citizens United V The Federal Election Commission, Inverted Totalitarianism And Contemporary Fiction, Cory R. Chambers

PSU McNair Scholars Online Journal

In this paper I will explore the results of the 2010 Supreme Court Citizens United vs The Federal Election Commission as reflected in the contemporary literature. I will look at the role the corporation plays in American politics post Citizens United. My primary texts is the novel Super Sad True Love Story. My research question is: did the Citizens United decision open the door for ‘inverted totalitarianism’ to seep through the cracks of American society Using the allegorical novel Super Sad True Love Story by Gary Shteyngart, I will show how Citizens United, the political theory of …

Kisses Sweeter Than Wine. Öyvind Fahlström And Billy Klüver: The Swedish Neo-Avant-Garde In New York, Per Bäckström

Artl@s Bulletin

The Swedish artist Öyvind Fahlström moved to New York in 1961, where he meet the Swedish engineer Billy Klüver, and became part of the international neo-avant-garde movement. Fahlström’s performance, New York 1966, part of Klüver’s performance series 9 Evenings, is my point of departure for an analysis of the role of migration for the neo-avant-gardes in the 1960s. As intermediaries, Fahlström and Klüver brought new ideas both to New York and Stockholm, thus challenging the established view that American art was exported to the periphery. In reality, the New York art scene grew out of ideas and experiences arriving …

Artistic Emigration From Portugal To Paris In The First Half Of The 1960s: Six Portuguese Painters From Paris Revisited, Joana Baião

Artl@s Bulletin

This paper proposes to revisit some issues related to the impact of emigration on the paths followed by a group of six Portuguese painters who settled in Paris between 1958 and 1961. To do that, it will analyze and contextualize the evolution of their work in the first half of the 1960’s, and it will recall the small exhibition Seis Pintores Portugueses de Paris that opened in 1966 in Lisbon with the purpose of highlight the particularities of the artistic research that was being developed by those artists in Paris, integrating them into the international artistic movements of the period.

The Reception Of Modern European Art In Calcutta: A Complex Negotiation (1910s-1940s), Julia Madeleine Trouilloud

Artl@s Bulletin

This article analyzes the reception of Modern European Art in Calcutta in the early decades of the twentieth century. In the initial years, the knowledge of the European avant-gardes was limited. It then got rejected as a legitimate source of influence by the Bengal School ideologues close to the nationalist movement. In the early 1930s, the painter Jamini Roy paved the way for a new aesthetics which rejected the Bengal School ideological project and turned to folk arts as models. The style he pioneered naturally appealed to the global modern sensibility. The 1940s are marked by a phase of enthusiasm …

Sample Assignments

Colby College Museum of Art

No abstract provided.

Backward Course Design

Colby College Museum of Art

No abstract provided.

Special Collections & Archives

Colby College Museum of Art

No abstract provided.

Bcma Information For Faculty

Colby College Museum of Art

No abstract provided.

List Of Participants

Colby College Museum of Art

No abstract provided.

Workshop Program

Colby College Museum of Art

No abstract provided.

Workshop Announcement

Colby College Museum of Art

No abstract provided.

Indian Head Rock Subject Of Independent Film Set For Ket, Ket2, Staff Reporter

Indian Head Rock Project

Article in the Ashland Daily Independent on Steve Middleton's film documentary on the Indian Head Rock published on June 20, 2017.

Practicing Prayerful Communication, Gwen R. Marra

Faculty Work Comprehensive List

"When I come to God in prayer, more often than not, I am changed."

Posting about bringing our worries to God­­­­­­­­ from In All Things - an online journal for critical reflection on faith, culture, art, and every ordinary-yet-graced square inch of God’s creation.

http://inallthings.org/practicing-prayerful-communication/

I Was Taught To Yell Fire, Marina Gutierrez

Honors Theses

From a very young age my mother always told me to yell, “Fire,” if I was ever in a situation where I needed help from a potential attacker, but I never understood why I couldn’t just yell, “Help.” Her reasoning was that many people will run towards a fire to help put it out or save potential victims, but when someone yells for help others will shy away because they don’t want to get involved. I would just nod and promise to yell fire not really understanding the underlying meaning she had just explained to me.

It wasn’t until I …

Promethia Literary Arts Magazine [Ca. 1979-1980 Date Unknown], Oral Roberts University

Promethia

No abstract provided.

Promethia 1982, Oral Roberts University

Promethia

No abstract provided.

« Dégénérés » En France. Tentatives De Définition D'Une Identité Collective Par Les Artistes Germaniques Exilés En France À La Fin Des Années 1930, Hélène Duret

Artl@s Bulletin

Cet article examine les stratégies d'identification mises en œuvre par les artistes allemands et autrichiens exilés en France au moment où les expositions d'art « dégénéré » circulent dans l'Allemagne hitlérienne. Dans un contexte de tensions internationales et d'accueil méfiant des réfugiés allemands en France, certains collectifs d'artistes se définissent tour à tour comme fers de lance de l'« autre Allemagne », d'un héritage français de liberté artistique ou d'une « Internationale » artistique. En revanche, ces artistes ne franchissent pas le pas d'un « retournement du stigmate » (Goffman) vis-à-vis du qualificatif nazi « dégénéré ».

Nothing To Do With Politics, Only Art? On Wassily Kandinsky's Work In Paris, From 1934 Until The Outbreak Of The War, Kate C. Kangaslahti

Artl@s Bulletin

Following his move to Paris at the end of 1933, Wassily Kandinsky clung to his conviction that art must remain free of politics. The purpose of this essay is to consider both the limitations and advantages of this position in the polarized political climate of the French capital and to chart the aesthetic path he embarked on after his arrival, with particular reference to the personal ties and artistic alliances that he forged (or not) in this complex cultural terrain. Far from having nothing to do with politics, the transformation his painting underwent in Paris, the period he dubbed “synthetic,” …

Unwanted By Both The Political Left And Right: Interwar Europe’S Hungarian Migrating Artists, Eva Forgacs

Artl@s Bulletin

A little known group of Hungarian artists who were students at the Hungarian Academy of Fine Arts, Budapest in 1927-1930, joined by a few artists from outside the Academy, were modernists, explored the Soviet Russian avant-garde and abstraction, and therefore were rejected by the mainstream, official art in Hungary. However, the strictly principled left-wing Munka (Work) Circle of Lajos Kassák was not hospitable to therm, either. Members of “The Progressives” group left Hungary in 1930. The increasingly classicist Hungarian avant-garde did not tolerate bias; thus the idiosyncratic poet and artist Tamkó-Sirató had to leave Hungary, too and develop his Dimensionism …

From Foix To Dalí: Versions Of Catalan Surrealism Between Barcelona And Paris, Enric Bou

Artl@s Bulletin

The purpose of this article is to illustrate a little known episode of Salvador Dalí’s initial intervention in the surrealist movement: his relationship with Catalan writer Josep Vicenç Foix. To what extent writers such as Foix adapted Surrealism in his own writing and what kind of exchanges he had with Paris? Was Foix a predecessor of Dalí’s surrealist writing? As early as 1918, J.V. Foix made an impact in Catalan literary circles and one of the first imitators of Apollinaire (and maybe Breton). After 1926 Foix he developed a close relationship with Dalí and helped him with the publication of …

Distance And Distortion: Amadeo Souza Cardoso's And Joan Miró'S War-Years Painting And The Words That Fail Them, Joana Cunha Leal

Artl@s Bulletin

This essay considers art historical discourses on the work produced during the First World War by two painters born and living in the Iberian Peninsula: the Portuguese Amadeo de Souza Cardoso (1887–1918) and the Catalan Joan Miró (1893–1983). It considers the dialogues and relations maintained by these painters in their war-affected national artistic milieus and with the equally disrupted, international avant-garde circles, while discussing historiographical biased assumptions about production-places and their meanings, namely how localness was read as expressing isolation, distance, and lack of aesthetic significance.

Les Recueils D'Ornements Latino-Américains. Instrumentalisations Nationales Et Internationales (1923 - 1947), Élodie Vaudry

Artl@s Bulletin

L'étude des recueils d'ornements latino-américains publiés au cours de la première moitié du xx^e siècle propose une nouvelle lecture de l'indigénisme et une approche spécifique des processus de resémantisation des motifs précolombiens à l'époque contemporaine. Cette analyse permet de cerner la volonté des gouvernements d'Amérique latine d’établir un socle culturel national mais aussi continental et de les étudier comme une des manifestations plastiques des processus indigénistes. Ce sujet tente de montrer, par le biais de l’ornement, les dynamiques communes et l’hybridation diachronique et diasporique de la culture visuelle latino-américaine.

Dropping Question Marks: War Art, Leadership, The Canadian Forces And Afghanistan, Gertrude Kearns

Canadian Military History

As a contemporary war artist, Gertrude Kearns presents interpretive challenges to the commemoration and contextualization of controversial aspects of Canadian military history, both from her personal perspective and in terms of the institutional responsibilities associated with meaningful public presentations of war art. In the context of her decade-long Afghan War senior leadership series, and with reference to earlier Somalian and Balkan works, in this article she discusses the appropriateness of her selected subject matter as well as her own responsibility as a war artist in dealing with everything from disturbing and regular subjects to mission concept. Kearns reviews accountability, her …

Promethia 2014, Oral Roberts University

Promethia

No abstract provided.

Promethia 2013, Oral Roberts University

Promethia

No abstract provided.

Promethia 2010, Oral Roberts University

Promethia

No abstract provided.

1976, Promethia Unbound

Promethia

No abstract provided.

Promethia 2016-2017, Oral Roberts University

Promethia

No abstract provided.

Promethia 2006, Oral Roberts University

Promethia

No abstract provided.

Promethia 2005, Oral Roberts University

Promethia

No abstract provided.