Department: Art/Art History ![[clear]](close-x.png "Remove this limiter")
12 matches in the database.
These are records: 1 - 12.
1.
Bennion, Lyndsay M.
THE FUNCTIONAL PRINT WITHIN THE PRINT MARKET OF THE LATE FIFTEENTH AND EARLY SIXTEENTH CENTURY IN NORTHERN EUROPE AND ITALY.
Degree: MA, Art/Art History, 2006, Bowling Green State University
► In the fifteenth and early sixteenth century, the multiplicity of prints allowed…
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▼ In the fifteenth and early sixteenth century, the multiplicity of prints allowed for their widespread circulation. Religious prints were the first type of print to be disseminated. They were popular due to the devotional climate of early Renaissance society. Yet as the print market grew, so too did the tastes of consumers. A new type emerged who viewed the print as an art object. My intent is to view the print as a functional object whose use changed depending on the consumer who purchased it. Printmakers acknowledged the existence of these markets by producing works to appeal to consumers within each. Thus, printmakers like Albrect Dürer acted as artists and entrepreneurs. His Small and Engraved Passion series demonstrate how he created works to interest consumers in both markets. His example calls for the print to be seen less as an act of artistic genius and more as an entrepreneurial endeavor.
Advisors/Committee Members: Terry, Allison.
Subjects: Art History
Keywords: Dürer; devotional; PRINT; Small Passion; Printmakers; Engraved Passion
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2.
Brinkman, Lynn M.
From Apartheid to HIV/AIDS: The Construction of Memory, Identity, and Communication Through Public Murals in South Africa.
Degree: MA, Art/Art History, 2007, Bowling Green State University
► South African mural art is a reflection of a country in transformation…
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▼ South African mural art is a reflection of a country in transformation and in search of a new identity. Over the last three decades South Africa has gone through dramatic changes – from the end of apartheid to the building of a new post-apartheid nation to dealing with the crisis of HIV/AIDS. In the early 1990s, with the end of apartheid and with the involvement of a greater diversity of the population, painting murals became “community” events and mural themes began dealing with racial and social issues, including the need to build a new nation. By the late 1990s, the issue of HIV/AIDS became a significant mural topic, as it is today. As public art works, murals are site specific, their messages aimed at particular communities and issues they deem important. Mural placement is also a way through which certain groups or communities claim a space or area, an issue that has become important in post-apartheid South Africa. Governmental agencies and communities used murals to communicate to and educate the population about the changes taking place within the country. By portraying blacks and coloreds in positions of authority and power murals served as a means of racial empowerment. Moreover, the issue and portrayal of identity has changed from the apartheid to the post-apartheid eras. Post-apartheid murals provide a forum in which the new value systems and models of identity publicly proclaims South Africa’s redefined society.
Advisors/Committee Members: Green, Rebecca L.
Subjects: Art History
Keywords: African art; South Africa; murals; mural art; HIV; AIDS; Apartheid
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3.
Eccleston, Laura Phyllis.
The Art of Money in the Weimar Republic: German Notgeld 1921 – 1923.
Degree: MA, Art/Art History, 2011, Bowling Green State University
► Following the conclusion of World War I, Germany’s economic crisis stretched the…
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▼ Following the conclusion of World War I, Germany’s economic crisis stretched the imaginations of both artists and bankers. While artists sought to express the pain of World War I and the post-war period, banks had to deal with the effects of inflation. Notgeld, emergency money, was introduced as an integral, though ultimately unsuccessful, solution to inflation. Aside from a monetary amount, Notgeld was also imprinted with a variety of images representing various Weimar typologies which ultimately served to create a sense of national cohesion. Although historians and economists have investigated the role of Notgeld, such as Steven B. Webb and Eric E. Rowley, it has been practically ignored by most scholars of German visual culture. Building on the work of art historians of the Weimar period, such as Reinhold Heller, Sabine Rewald, and Bernd Widdig, as well as through the theoretical framework of Benedict Anderson, this thesis seeks to firmly root the imagery of Notgeld within the visual culture of Weimar Germany This thesis demonstrates how Notgeld imagery maintains a unique dialogue with contemporaneous German artists and art works, following similar artistic patterns and emulating the same German artistic masters as contemporaneous artists. This thesis also explores how Notgeld became a binding force between large groups of people – Notgeld users – creating a community in a nationalistic context. As part of the visual repertoire of Germans during the 1920s, Notgeld plays an important role in the visual culture and history of Germany. Notgeld represents a visual display of Germany during one of its most desperate times – and offer some relief spiritually and aesthetically to the harsh conditions of post World War I life, giving an example of how Germans in the 1920s used art to bolster their spirits.
Advisors/Committee Members: Hershberger, Andrew E.
Subjects: Art History
Keywords: Notgeld; Weimar Republic; German Visual Culture
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4.
Fardy, Jonathan R.
Double Vision: Reviewing Man Ray and Marcel Duchamp's 1920 Photo-Text.
Degree: MA, Art/Art History, 2008, Bowling Green State University
► In the October, 1922 edition of the Surrealist journal Littérature, Man Ray…
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▼ In the October, 1922 edition of the Surrealist journal Littérature, Man Ray and Marcel Duchamp published a collaborative work consisting of a photograph of Duchamp’s iconic work The Bride Stripped Bare by Her Bachelors Even or The Large Glass (1915-23) covered in dust along with a brief poetic text. Although the photograph, which Duchamp later titled Dust Breeding, has long intrigued scholars their intriguing photo-text work has been completely overlooked. This thesis recovers this unique work from the margins of art history. Drawing on the work of Jacques Derrida, Paul de Man, Michael Ann Holly and others this thesis examines four aspects of the photo-text’s history identified as the encounter, photograph, text and publication from a meta-critical perspective in order to illustrate the fluid relation between the binaries of subject/object and creator/beholder. This deconstruction, I argue, compels a reconsideration of the relationship between art historians and artworks that moves beyond a binary logic towards a more open, plurivocal and intertextual model of art-historical scholarship.
Advisors/Committee Members: Hershberger, Andrew E.
Subjects: Art History
Keywords: Man Ray; Marcel Duchamp; Photo-text; deconstruction
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5.
Hobert, Emilie Adele.
Antoni Tapies and Ramon Llull: Towards a Modern Art of Combination.
Degree: MA, Art/Art History, 2012, Bowling Green State University
► The works of Spanish artist Antoni Tapies (1923-2012) draw heavily from the…
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▼ The works of Spanish artist Antoni Tapies (1923-2012) draw heavily from the themes of the Spanish Civil War and the Catalan region. These topics have been widely discussed in relation to his art. Scholars also frequently examine the relationship between Tapies’s work and Eastern thought as a major theme throughout his career. While several commentators have noted the influence of Western medieval mystic Ramon Llull (c. 1232 - c. 1315) on Tapies’s art, this topic has not been given sustained critical attention. This thesis paper argues that the relationship between Tapies and Llull is not merely stylistic. A close examination of Tapies’s writings reveals a deeper metaphysical connection between Tapies’s methodology as an artist and Llull’s methodology as a theologian. I argue that Tapies employs Llull’s metaphysical model of the “Art of Combination” in his artwork to produce a deeper meaning for the viewer. I demonstrate this claim by an appeal to Tapies’s writings as well as a formal analysis of his paintings and prints. Finally, I argue that Tapies’s use of Llull’s Art of Combination can be situated in Tapies’s wider system of a secular religion, where art has replaced the social function that religion once filled.
Advisors/Committee Members: Hershberger, Andrew.
Subjects: Art History
Keywords: Antoni Tapies; Ramon Llull; art of combination; ars combinatoria; Reality; secural religion; untranscendental mysticism
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6.
Jambard-Sweet, Carolyn Jill.
CARTE-DE-VISTE CULTURE IN MANCHESTER NH: A CASE STUDY.
Degree: MA, Art/Art History, 2006, Bowling Green State University
► With little existing scholarship of cartes-de-visite, they are largely written off within…
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▼ With little existing scholarship of cartes-de-visite, they are largely written off within the history of photography as consumer-driven commodities rather than artistic objects. Even though many existing cartes-de-visite can be attributed to certain photographers, the role of the photographer as artist, and the individual photographers themselves, are disregarded in common scholarship. The following paper will address the effects of the carte-de-visite phenomenon on popular culture, the aesthetic value of the photographs, and the role of the photographer as artist. This paper will closely examine the carte-de-visite culture of a certain geographical area, Manchester, New Hampshire. Conducting such a case study clarifies the societal relations of the photographer to community and provides a specific framework in which to examine the modes in which cartes-de-visite were created and exchanged. A specific focus also allows an in-depth examination of the successes and failures of photography studios as well as the ratio of studios to adjacent populations. The photographers that produced cartes-de-visite, although behind the camera, were often prominent members of the communities they served. While these portrait photographers have been forgotten, in this study of carte-de-visite culture the photographers will be revived as authors of images. Through the examination of a particular album, the Dickey Album, containing photographs from Manchester, New Hampshire, this paper will address the role of the photographers, the climate in which the photographs were created, the subjects of the cartes-de-visite, as well as the social and familial role of the album for the individual(s) to which it belonged.
Advisors/Committee Members: Hershberger, Andrew.
Subjects: Art History
Keywords: carte-de-visite, 19th century photography, Manchester, New Hampshire, Stephen Piper, Lyman W. Colby
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7.
Jones, Russell M.
IS GRAFFITI ART?.
Degree: MA, Art/Art History, 2007, Bowling Green State University
► I used primary and secondary interviews with graffiti writers in this thesis.…
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▼ I used primary and secondary interviews with graffiti writers in this thesis. My art historical approach differed from previous writers who have used mainly anthropological and popular culture methods to examine graffiti. First, I briefly addressed the extremely limited critical literature on graffiti. In the body of the thesis, I used interviews to examine the importance of getting up to graffiti writers compared to the relative unimportance of style and form in illegal graffiti. This analysis enabled me to demonstrate that illegal graffiti is not art. Lastly, I probed the public’s reception to legal graffiti art used in galleries, public and private murals, and advertising. Although these legal modes of production are art, the public balks at full acceptance due to its associations with the problematic nature of illegal graffiti.
Advisors/Committee Members: Hershberger, Andrew E.
Keywords: Graffiti; Art; Getting Up; Illegal; Legal; Graffiti is not Art
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8.
Kaercher, Julianne C.
Female Duality and Petrarchan Ideals in Titian's Sacred And Profane Love.
Degree: MA, Art/Art History, 2009, Bowling Green State University
► Painted around 1514 in Venice, Titian's Sacred and Profane Love has long…
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▼ Painted around 1514 in Venice, Titian's Sacred and Profane Love has long been thesubject of debate in Art History. Building on previous scholarship, including work from Charles Hope, Walter Friedläender, and Rona Goffen, this essay looks into the triangulated relationship created between the two women and the viewer through real and implied gazes, and how this relationship addresses a specific patron's desire to self-fashion an identity that would be projected for a specific audience. Where previous scholars have argued that Niccolò Aurelio commissioned this painting as a wedding gift, this paper suggests a new reading of the commissioning in light of the female patron, Laura Bagarotto, and her desire to self-fashion an identity not only to her new husband, but also to the society in which she newly found herself a part. In addition to the discussion on patronage, this paper will use Petrarch's writings and influence as a frame for the examination of Titian's Sacred and Profane Love by exploring Petrarchan conceptions of the ideal woman and connecting the double figuration in the painting to Laura Bagarotto's dual roles as bride and widow. In so doing, this essay provides a new interpretation of the idealized renaissance female by drawing attention to the inherent duality of women, identified by Petrarch, as conflicting yet necessary female characteristics. Approaching this painting multi-dimensionally” looking at the influence of Petrarch, the social circumstances surrounding the commissioning, and examining other artistic representations of idealized women” it will be possible to question the assumed male patronage of the piece.
Advisors/Committee Members: Terry, Allie.
Subjects: Art History
Keywords: Titian; Sacred and Profane Love; Petrarch; patronage
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9.
Muir, Autumn M.
The Psalter Mappaemundi: Medieval Maps Enabling Ascension of the Soul within Christian Devotional Practices.
Degree: MA, Art/Art History, 2011, Bowling Green State University
► Medieval mappaemundi, world maps, have been primarily studied by geographical and cartographical…
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▼ Medieval mappaemundi, world maps, have been primarily studied by geographical and cartographical scholars as visual representations of medieval conceptions of geographical space or as an encyclopedia of biblical history. Recently, however, art historians have begun to engage with the visual aspect of medieval maps and have questioned how the viewer approached and used such works. This essay contributes to the development of an art-historical understanding of medieval cartography by investigating two maps found within the thirteenth-century manuscript known as the Psalter Mappaemundi. I argue that the two maps of the Psalter Mappaemundi operate as an interactive media, analogous to other forms of illuminated psalter manuscripts, to aid the beholder in devotional practices. To explore the performative aspects of the Psalter Mappaemundi, I place the world maps within the devotional context of a psalter and connect it to medieval concepts of vision. I, then argue that the formal aspects of the maps, including their structural formatting, imagery, and color were strategically designed to aid in devotional memory practices or in a mirrored pilgrimage. These medieval mappaemundi are not merely representations of the world created by medieval cartographers, but rather are illustrations that enable interaction between object and beholder during devotional practices.
Advisors/Committee Members: Terry-Fritsch, Dr. Allie.
Subjects: Art History; Cartography; Medieval History; Middle Ages; Spirituality
Keywords: Psalter world map; medieval mappaemundi; map functions; maps and devotional practices; English maps
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10.
Myers, Cerise.
BETWEEN THE FOLLY AND THE IMPOSSIBILITY OF SEEING: ORLAN, RECLAIMING THE GAZE.
Degree: MA, Art/Art History, 2006, Bowling Green State University
► The male gaze of Western art history objectifies women, projects standards of…
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▼ The male gaze of Western art history objectifies women, projects standards of beauty and femininity and negates an individual identity by replacing it with its own assumptions. French artist Orlan provides one of the most striking and effective critiques of this gaze through her controversial series, "The Reincarnation of Saint Orlan," in which she uses plastic surgery to appropriate the facial features of various Western art historical beauties, further exploring themes evident in her earlier performance and photographic work. Orlan’s critique of the gaze is unprecedented because she becomes the art object, from which vantage she interrogates and reclaims the way the male gaze has positioned women, on the four specific levels of objecthood, femininity, beauty, and identity. Intentionally turning her body into an object of resistant art, she rejects a tradition that equates femininity with passivity, male-imposed standards of a single, ideal beauty, and notions of a fixed identity.
Advisors/Committee Members: Hershberger, Andrew.
Subjects: Art History
Keywords: Orlan; Beauty; Carnal Art; Body Art
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11.
Pardee, Mirella Guerra.
The Iconology of Suffering: Providing a Locus of Control for the Victim in Early Modern Italy.
Degree: MA, Art/Art History, 2009, Bowling Green State University
► The focus of my thesis is on the diseased body in early…
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▼ The focus of my thesis is on the diseased body in early modern Italy. The population of Europe was decimated by plague epidemics, especially during the fourteenth through seventeenth centuries. Epidemics were considered to be a punishment from God for the sins of a society who failed to follow proscribed religious teachings. This notion was compounded by the lack of scientific knowledge regarding the etiology and appropriate treatment for this disease, as well as for a more modern disease: HIV/AIDS. The plague-afflicted were stigmatized by their diseased body and humiliated through the implementation of extreme public health measures designed, erroneously, to contain and halt the spread of the disease. The victim was ostracized from society and abandoned by family, religious and medical communities. Especially during catastrophic times, people prayed to saints: prayers were said to stave off disease or to affect a miraculous cure. The beholder entered into a visual relationship with the image of the saint and the saint acted as an intercessor. While scholars agree that the sense of sight was privileged over others, I argue that for some plague-afflicted individuals, tactile sensation was more important and efficacious than sight. The plague-afflicted victim was stripped of dignity and control over his body; the corporeal application of a saintly image provided the victim with a locus of control and served as the motivating factor to regain control of his life, to be able to die a good death, and perhaps, to affect a miraculous cure.
Advisors/Committee Members: Terry, Allison.
Subjects: Art History
Keywords: diseased body; HIV/AIDS; Foucalt; plague; miracle stories
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12.
Vasu, Casandra.
Dyeing Sutton Hoo Nordic Blonde: An Interpretation of Swedish Influences on the East Anglian Gravesite.
Degree: MA, Art/Art History, 2008, Bowling Green State University
► Nearly seventy years have passed since the series of tumuli surrounding Edith…
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▼ Nearly seventy years have passed since the series of tumuli surrounding Edith Pretty's estate at Sutton Hoo in Eastern Suffolk, England were first excavated, and the site, particularly the magnificent ship-burial and its associated pieces located in Mound 1, remains enigmatic to archaeologists and historians. Dated to approximately the early seventh century, the Sutton Hoo entombment retains its importance by illuminating a period of English history that straddles both myth and historical documentation. The burial also exists in a multicultural context, an era when Scandinavian influences factored heavily upon society in the British Isles, predominantly in the areas of art, religion and literature. Literary works such as the Old English epic of Beowulf, a tale of a Geatish hero and his Danish and Swedish counterparts, offer insight into the cultural background of the custom of ship-burial and the various accoutrements of Norse warrior society. Beowulf may hold an even more specific affinity with Sutton Hoo, in that a character from the tale, Weohstan, is considered to be an ancestor of the man commemorated in the ship-burial in Mound 1. Weohstan, whose allegiance lay with the Geats, was nonetheless a member of the Wægmunding clan, distant relations to the Swedish Scylfing dynasty. This royal family also possessed its own series of burial sites, Gamla Uppsala, Husby, Vendel and Valsgärde, which demonstrate a resemblance with Sutton Hoo in both the method of entombment and the objects uncovered within it. In point of fact, the pieces unearthed at both Sutton Hoo and the Swedish gravesites, namely the helmets and shields, possess a likeness so remarkable that many archaeologists believe the objects were cast from the same die. This paper will further examine these aforementioned literary and archaeological aspects and interpret the Swedish element that pervades the Sutton Hoo burial site.
Advisors/Committee Members: Hershberger, Andrew.
Subjects: Archaeology; Art History; English literature; Folklore; Icelandic and Scandinavian literature; Literature
Keywords: Beowulf, Vendel, Sutton Hoo, Ship-Burial, Scylding, Scylfing, Wuffing
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