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Articles 1 - 6 of 6
Full-Text Articles in Visual Studies
Un/Dead Animal Art: Ethical Encounters Through Rogue Taxidermy Sculpture, Miranda Niittynen
Un/Dead Animal Art: Ethical Encounters Through Rogue Taxidermy Sculpture, Miranda Niittynen
Electronic Thesis and Dissertation Repository
Beginning in 2004, the Minnesota Association of Rogue Taxidermists began an art movement of taxidermied animal sculptures that challenged conventional forms of taxidermied objects massively produced and displayed on an international scale. In contrast to taxidermied ‘specimens’ found in museums, taxidermied ‘exotic’ wildlife decapitated and mounted on hunters' walls, or synthetic taxidermied heads bought in department stores, rogue taxidermy artists create unconventional sculptures that are arguably antithetical to the ideologies shaped by previous generations: realism, colonialism, masculinity. As a pop-surrealist art movement chiefly practiced among women artists, rogue taxidermy artists follow an ethical mandate to never kill animals for the …
Cellist, Catalyst, Collaborator: The Work Of Charlotte Moorman, Saisha Grayson
Cellist, Catalyst, Collaborator: The Work Of Charlotte Moorman, Saisha Grayson
Dissertations, Theses, and Capstone Projects
When classically trained cellist Charlotte Moorman (1933-1991) moved to New York City in 1957, she swiftly positioned herself at the intersection of experimental music, performance, video, and the visual arts. She interpreted works by composers like John Cage, collaborated with artists such as Nam June Paik, and founded and organized the New York Avant Garde Festival from 1963 to 1980. This dissertation argues that Moorman’s career sheds new light on what it meant to be an artist in this post-medium-specific moment and proposes that Moorman’s deterritorialization of authorship exerts pressure on traditional art histories. The generative dynamics of her collaborations …
“The Childish, The Transformative, And The Queer”: Queer Interventions As Praxis In Children’S Cartoons, Heather Wright
“The Childish, The Transformative, And The Queer”: Queer Interventions As Praxis In Children’S Cartoons, Heather Wright
Dissertations, Theses, and Capstone Projects
In Understanding Comics: The Invisible Art, Scott McCloud considers “the simplified reality of the cartoon,” establishing a definition and theory for the medium (30). McCloud believes that cartoons possess “a special power” that is tied to their unique ability to “focus our attention on an idea” (31). Put simply, there is something about cartoons that allows for an easy exchange of concepts. Cartoons can teach. Using cartoons, a general term, to refer to both comics and animation, this thesis examines the transformative power of queer world building and intervention in recent children’s cartoons and how it functions, and can …
A Womb With A View, Briauna Marie Falk
A Womb With A View, Briauna Marie Falk
Senior Projects Spring 2018
I found my mother’s pregnancy diary when I was 12. The diary presents not only the story of my origin, but also the story of how my biological father left my mother. The diary gave me insight into what unfolded while I was growing inside her, and yet, many questions still remain unanswered. I have heard that trauma experienced by the mother is felt in utero alongside her – I worry one of the first feelings I felt was true sadness. Ideally the diary could answer my unresolved questions, but instead I am left to my imagination. The diary cannot …
#Representationmatters: A Study Of Masculinity In The Avengers Movies, Lauren F. Cooke
#Representationmatters: A Study Of Masculinity In The Avengers Movies, Lauren F. Cooke
Senior Projects Spring 2018
Senior Project submitted to The Division of Social Studies of Bard College
"It Came In Little Waves": Feminist Imagery In Chantal Akerman's Je, Tu, Il, Elle +, Staci C. Dubow
"It Came In Little Waves": Feminist Imagery In Chantal Akerman's Je, Tu, Il, Elle +, Staci C. Dubow
Honors Theses
Chantal Akerman writes, “she who seeks shall find, find all too well, and end up clouding her vision with her own preconceptions.”[1] This thesis addresses the films of Chantal Akerman from a theoretical feminist film perspective. There are many lenses through which Akerman’s rich body of work can be viewed, and I would argue that she herself never intended for it to be understood in just one way. I wish to situate Akerman’s films, in particular her 1974 Je, Tu, Il, Elle (1h 30m), within a discourse of other feminist film theorists and makers that were further rooted in …