Contemporary Art Commons^™

Logiques Urbaines Dans Les Arts Plastiques : De La Filiation De Jean-Michel Basquiat Au Sénégal, Massamba Mbaye

Présence Francophone: Revue internationale de langue et de littérature

ertain Senegalese painters, including Soly Cissé, Camara Guèye, Birame Ndiaye and Samba Fall draw their inspiration from the city’s structure. Attentive to the tensions it produces as well as the daily struggles to survive, they transpose urban walls in their paintings to better transgress them, go beyond pre-imposed limits. One can therefore ask what is the influence of a painter like Basquiat on these contemporary painters ? Approaches and needs found in Senegal differ greatly from those found in the United States ; however interesting links can be traced that allow for a better understanding of present Senegalese art.

Politique Culturelle : Tradition, Modernité Et Arts Contemporains Au Sénégal, 1960-2000, Kinsey Katchka

Présence Francophone: Revue internationale de langue et de littérature

This essay approaches contemporary arts in Senegal and their exhibition from the perspective of cultural policy. This is an especially salient approach in Senegal, where policy has played a significant role in exhibition and creative practice since the colonial period. This history is conventionally examined through a distinctly nationalist framework that reveals the government’s clear distinction between "tradition" and "modernity". State exhibition practice and rhetoric have reinforced this dichotomy, serving to position the Senegalese state as purveyor, definer, and arbiter of cultural heritage. However, diverse creative expressions throughout the capital city of Dakar call into question nationalist rhetoric’s rigid distinction …

La Dimension Cachée De L’Art Sénégalais Contemporain, Allen F. Roberts, Mary Nooter Roberts

Présence Francophone: Revue internationale de langue et de littérature

For nearly fifty years now, Dakar has been an epicenter of contemporary art, not just for continental Africa but for the entire world. Senegalese artists are well known internationally through participation in biennials, exhibitions, and gallery shows ; and many argue that they are contemporary artists from Senegal rather than “Senegalese artists” defined or constrained by their african identity. Among these, however, some match the global techniques and aesthetics of their works with local meanings derived from mystical Islam. Indeed, this “hidden side” can be very significant to the artists themselves even though it may be ignored by cosmopolitan connoisseurs.

Projets De Collection Et D’Exposition D’Art Sénégalais : Être Mécène D’Art À Dakar, Joanna Grabski

Présence Francophone: Revue internationale de langue et de littérature

The collection of Bassam Chaitou and its recent exhibition in Dakar offers a focal point to examine issues associated with private projects of collecting and exhibiting Senegalese art in Dakar. This article considers the relationship of Dakar’s collectors to historical patronage under Senghor and Dakar’s contemporary art scene. It proposes that private Dakar-based projects of collecting make visible a story about local propositions and dialogues about art. Dakar-based projects of collecting reveal a great deal about the city’s art scene, its history, artists, and trends.

Biennale Et Effervescence Artistique Au Sénégal : Conjonctions Et Passerelles, Hélène Tissières

Présence Francophone: Revue internationale de langue et de littérature

The Dakar Biennial, Dak’Art, plays a key role and is the only event of this kind on the african continent. Held in a country where there is an abundant artistic production, it prolongs Senghor’s objectives (underlining the importance of the collective, intertwining art forms, investing mystical positions). Made of an “In” and “Off”, its structure dismantles divisions between popular/theoretical, accessible/obscure, autodidact/trained and promotes a dialog between people and approaches. Many Senegalese artists proceed in a similar fashion, assembling concepts (orality, signs, cultural references, categories), drawing from the world at large. Inscribing memory, they invite us to interrogate our future beyond …

Downing, Joseph Dudley, 1925-2007 (Sc 1660), Manuscripts & Folklife Archives

Manuscript Collection Finding Aids

Finding aid only for Manuscripts Small Collection 1660. Letters from Joseph Dudley "Joe" Downing to "friends at the Kentucky Museum"; one discusses at length a Downing painting titled "Saint Francis of Assisi Uside Down, and Several Colleagues Agape."

The Art Of The Pink Nun: Evangelical Christianity And The Performance Of Capitalism, Sonia M. Hazard

Religious Studies Honors Projects

The Pink Nun is an underground feminist performance artist, chastity advocate and pious evangelical Christian. In her artwork, the Pink Nun ironically deploys the methodologies and visual vocabulary of late American consumer capitalism, such that the evangelical Christian values of chastity and sexual purity become products to be bought and sold. In this unorthodox appropriation of capitalism, the Pink Nun finds an alternative way to preach her message, engage a self-announcing secular culture, and perhaps ultimately “harvest souls.” I argue that religion here does not perform in a conventionally “religious” way; it may be manifest more subtly, entwined with and …

This Bridge Called Imagination: On Reading The Arab Image Foundation And Its Collection, Dore Bowen

Faculty Publications

This essay examines the benefits and disadvantages of using imagination as a method of historical research in the archive. Employing Jean-Paul Sartre's notion of “image-consciousness” in The Psychology of Imagination, imagination is defined and explored as a form of perception based upon temporal absence or suspension. This method is then discussed in relation to the exhibition “Not Given: Talking of and Around Photographs of Arab Women” (2006), curated by the author with artist Isabelle Massu. The installation was assembled with the cooperation of the Arab Image Foundation in Beirut and traveled from Marseille (2005-06) to San Francisco (2007). The author …

George D. Green: Influences Behind His Work, Dustin Klein

The Journal of Undergraduate Research

NOTE: This paper is part of a collective project that is published online in the Michigan based Undergraduate Research Journal for the Human Sciences, 2008 Special Edition: “Eye Deceptions: The Evolution of George Green’s Painting from the Late 1970’s to the Present” (http://www.kon.org/urc/v7/v7a/george-d-green-painting-evolution.html). Our sincere gratitude to Dr. Dorothy I. Mitstifer, Executive Director of the Undergraduate Research Journal for the Human Sciences, the Honors Society Kappa Omicron Nu and the Association of College Honor Societies, for authorizing the separate publication of this paper, as individual contribution, in the 2008 SDSU Journal of Undergraduate Research. All the reproduced images of paintings …

Art Without Cultural Borders: Reflections On Qin Feng's Art, Curtis Carter

Philosophy Faculty Research and Publications

No abstract provided.

William Pope L. At Santa Monica Museum Of Art, Micol Hebron

Art Faculty Articles and Research

This article focuses on William Pope's three part installation Art After White People: Trees, Time & Celluloid.

Elizabeth Tremante At Central Utah Art Center, Micol Hebron

Art Faculty Articles and Research

This article focuses on painter Elizabeth Tremante and her exhibit that showcases art of the discord between urban and rural viewpoints.

Vija Celmins At The Hammer Museum, Micol Hebron

Art Faculty Articles and Research

This article focuses on Vija Celmins drawings and photography that deals with the theme of finding one's place in the universe.

Wack! Art And The Feminist Revolution At Moca, Micol Hebron

Art Faculty Articles and Research

This article focuses on an art exhibit featuring works of feminist art throughout the 1960s and 1970s.

Program Booklet: 18th Annual James Porter Colloquium, Department Of Art

18th Annual James Porter Colloquium

No abstract provided.

Review Of Paul Pfeiffer At Mc Kunst, Micol Hebron

Art Faculty Articles and Research

This article focuses on Pfeiffer's "Four Horsemen of the Apocalypse" series as they explore notions of spectacle and spectatorship.

Against The Grain : The Works Of Minnie Adkins, Minnie Adkins, Kentucky Folk Art Center

Kentucky Folk Art Center Exhibition Catalogs

2007 Kentucky Folk Art Center exhibition catalog of artist Minnie Adkins.

The Function Of Dysfunction, Dore Bowen

Faculty Publications

No abstract provided.

Dark Skate, Lia Halloran

Art Faculty Creative Works – Exhibitions

"The ten photographs on view were taken at night in various Los Angeles locations ranging from spaces appropriated by skateboarders, such as the Los Angeles River, to skate parks and backyard ramps.

The works blur the boundaries of photography and become self-portraits and drawings as well as records of performances. Light is used to form the drawing line while HALLORAN skateboards at night through different venues. The resulting images are each a trajectory of the artist’s movements over time. The photographs pair urban environments with lines of light which behave as physical objects or break apart into flurries of abstraction. …

This Bridge Called Imagination: On Reading The Arab Image Foundation, Dore Bowen

Faculty Publications

No abstract provided.

The True Water Of The Universe: Orlove Linnik, Joseph C. Troncale

Languages, Literatures, and Cultures Faculty Publications

No abstract provided.

Program Booklet: 15th Annual James Porter Colloquium, Department Of Art

15th Annual James Porter Colloquium

No abstract provided.

The Space Of Freedom: Apartment Exhibitions In Leningrad, 1964-1986, Joseph C. Troncale, Evgeny Orlov, Sergei Kovalsky

Exhibition Catalogs

The Space of Freedom: Apartment Exhibitions in Leningrad, 1964-1986

Joel and Lila Harnetl Museum of Art, University of Richmond Museums, VA

September 16 to December 3, 2006

We are very pleased to present this traveling exhibition of artwork from the collection of the Museum of Nonconformist Art, Pushkinskaya 10 Art Centre, St. Petersburg, Russia, presented within the context of a re-created "apartment" exhibition from Leningrad. [...]

To our knowledge, [...] The Space of Freedom is the first exhibition organized in the United States to focus on both the artwork shown in communal apartments and on the exhibition space of the …

Participation, Claire Bishop

Publications and Research

An anthology of key writings on the topic of participation in art, from the 1950s to the 2000s.

Art Is Dead?: A Criticial Analysis Of Arthur Danto's End Of Art Theory, Laura M. Ginn

Honors Theses

The idea of art as a reductive process is not new within the art world. In 1953, Robert Rauschenberg created the piece "Erased DeKooning" for which he erased a painting by DeKooning and displayed the end product (a blank canvas). The author found herself considering the way in which art has changed over the course of the twentieth century. The 20th century could be viewed as a time in which the main purpose of art was to destroy all artistic conventions and redefine art. Some would say art has come out unfocused and without a purpose. The author explores the …

Program Booklet: 16th Annual James Porter Colloquium, Department Of Art

16th Annual James Porter Colloquium

No abstract provided.

Art Walk Map & Works On Loan, Gallery Of Contemporary Art

Sacred Heart University Art Collection

Photos and descriptions of some of the outdoor sculptures on display on the campus of Sacred Heart University and a map of the locations of these and other works of art.

Art Walk, Gallery Of Contemporary Art

Sacred Heart University Art Collection

The Collection is comprised of a wide range of donatedart works—paintings, prints and sculpture. Works in The Collection are installed on campus so thatstudents, faculty, staff and visitors encounter original works of art everywhere—in public areas, such as hallways and common rooms, as well as in private offices throughout the University. As a result, art has become apart of the daily lives of everyone at Sacred Heart University.

To assist in appreciating a selection of the art displayed on campus, the essay Looking at Contemporary Art is included in this brochure.

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You Must Withstand The Wind : Transformation Of The Urban Landscape By Mark Anthony Mulligan, Albertus Gorman, Adrian Swain

Kentucky Folk Art Center Exhibition Catalogs

2005 Kentucky Folk Art Center exhibition catalog of artist Mark Anthony Mulligan.

San Francisco. Exhibit: Irreducible: Contemporary Short Form Video: California College Of The Arts/Wattis Institute Of Contemporary Art, Logan Galleries, Dore Bowen

Faculty Publications

No abstract provided.