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Articles 1 - 7 of 7
Full-Text Articles in Modern Art and Architecture
Stephen Antonakos: The Spiritual Tenets Of Neon, Seville Partida
Stephen Antonakos: The Spiritual Tenets Of Neon, Seville Partida
Undergraduate Research Symposium
Working without paint or brushes, Stephen Antonakos (1926—2013) created murals of neon light. These sweeping gestures of buzzing color achieve a meditative and spiritual quality yet remain accessible in their communal and urban settings. Douglas Crimp's 1981 essay, “The End of Painting '' argues that the most promising art of the time mounts a thorough critique on the myths of humanism, and consequently the cherished tropes of expressive painting. Antonakos’s career spans this period of upheaval, fraught by fears over the looming death of modernist painting as well as critical and curatorial activity that interrogated art’s structures. Although Antonakos seems …
Duchampian Authenticity And The Readymade Consumer, Terra D' An Rudisill
Duchampian Authenticity And The Readymade Consumer, Terra D' An Rudisill
Institute for the Humanities Theses
The goal of this work is to define the term Duchampian authenticity. I focus primarily on the artist Marcel Duchamp's works and philosophies in relation not only to traditional philosophies regarding authenticity but also in relation to his effect on authenticity's metamorphosis in popular culture and the mass market. I propose that the monumental paradigm shifts produced by Duchamp's conceptual and aesthetic experiments within the realm of visual art spread into our cultural bedrock, ultimately defining the consumer's ability to attain authenticity and identity through inauthentic and ephemeral commodities. Marcel Duchamp challenged traditional notions of the authentic experience and translated …
'How It Works': Stroke, Music, And Minimalism In Robert Ryman's Early Paintings, Vittorio Colaizzi
'How It Works': Stroke, Music, And Minimalism In Robert Ryman's Early Paintings, Vittorio Colaizzi
Art Faculty Publications
Robert Ryman's white paintings have, not surprisingly, been associated with minimalism, but the sensuality of his work and his disassociation from minimalism's critical discourse have also been emphasized. Art historian James Meyer's concept of the “minimal field,” or terrain of difference, allows us to forgo a debate about whether Ryman is or is not a minimalist, and instead to closely examine this painter's motivations and achievements. While Ryman shares the rigid anti‐illusionism of many artists of his generation, his work also has important connections with the jazz music that brought him to New York in the first place and with …
A Model House And A House's Model: Reexamining Frank Lloyd Wright's House On The Mesa Project, Robert Wojitowicz
A Model House And A House's Model: Reexamining Frank Lloyd Wright's House On The Mesa Project, Robert Wojitowicz
Art Faculty Publications
Examines Frank Lloyd Wright's House on the Mesa project, which, despite its familiarity to most historians of 20th-century architecture, has never been thoroughly studied within the general context of Wright's expansive oeuvre and the specific circumstances of the Museum of Modern Art's 1932 'Modern Architecture: International Exhibition.' Numerous drawings for the project survive in the Frank Lloyd Wright Archives at Taliesin West in Scottsdale, Arizona, although only photographic evidence survives of the original model. Scattered references to the project appear in Wright's writings, most notably his correspondence with wealthy Denver businessman George Cranmer, whose family served as a kind of …
The New Deal In Art: The Fine Arts Project And The Evolution Of Abstract Expressionism, Sarah Coon Stoops
The New Deal In Art: The Fine Arts Project And The Evolution Of Abstract Expressionism, Sarah Coon Stoops
Institute for the Humanities Theses
The formation of the Works Progress Administration (WPA) as part of Roosevelt's New Deal, in conjunction with the Depression and World War II, can be credited with changing the face of international art of the twentieth century. The majority of the artists who were later to be known as Abstract Expressionists participated in the Fine Arts Project (FAP) branch of the WPA in New York throughout the 1930s. This government support of the artists gave them a chance to commit to painting as a career, and their painting styles evolved drastically during this time. Through this support, the connections that …
The Appropriation Of Nietzschean Thought By Donald Kuspit In The Critic Is Artist: The Intentionality Of Art And The Existential Activist Painter: The Example Of Leon Golub, Frederic S. Bayersdorfer
The Appropriation Of Nietzschean Thought By Donald Kuspit In The Critic Is Artist: The Intentionality Of Art And The Existential Activist Painter: The Example Of Leon Golub, Frederic S. Bayersdorfer
Institute for the Humanities Theses
The prolific scholar and art critic, Donald Kuspit has frequently cited the works of Friedrich Nietzsche as a means to elucidate his art critical theories. This paper is an investigation of these citations in two of his most important works, The Critic is Artist: The Intentionality of Art, published in 1984, and The Existential Activist Painter: The Example of Leon Golub, published in 1986. In each of these two works many citations revolve around two Nietzschean concepts, the will to power and ressentiment. This paper first explores the relevance of using the philosophical work of Nietzsche as a point of …
Spatiality In Ulysses And Cubism, Lingchei Chen
Spatiality In Ulysses And Cubism, Lingchei Chen
English Theses & Dissertations
The paper is a study of James Joyce's Ulysses and Cubism in modern art. Both forms, as the paper presents, use similar techniques to establish multidimensionality in the work of art. In a spatial novel like Ulysses, because of its techniques, the reader is allowed to experience exactly what the characters experience as Joyce presents every aspect of the Dublin life simultaneously. A Cubist painting does the same. As the Cubist painter captures every side of the object and simultaneously presents these different views on the canvas, the spectator is therefore able to apprehend the object from every possible angle, …