Department: Design, Architecture, Art and Planning: Art History ![[clear]](close-x.png "Remove this limiter")
17 matches in the database.
These are records: 1 - 17.
Did you mean instcode:ucii?
1.
Adams, Amanda Dalla Villa.
“An Alternative Narrative: Memorial Culture, Mourning, and Death in the Work of Felix Gonzalez-Torres, 1987-1995”.
Degree: MA, Design, Architecture, Art and Planning: Art History, 2011, University of Cincinnati
► In this study, I have offered a theoretical analysis of Felix Gonzalez-Torres’…
(more)
▼ In this study, I have offered a theoretical analysis of Felix Gonzalez-Torres’ (1957-1996) work. A Cuban-American site-specific installation artist, Gonzalez-Torres culled strategies from appropriation art, activist collectives, and 1960s Minimalism, to create works that responded to the context around him. Working during the devastating AIDS crisis, Gonzalez-Torres sought an alternative to traditional mourning with his art. With suspicion cast on to master narratives, Gonzalez-Torres rejected notions of progress and attempted to create a new and living language through hybridization. With reference to the notion of memorial culture as theorized by Adrian Parr I have examined Gonzalez-Torres’ work and collective processes of mourning loss using deconstructive and socio-historical methodologies. Previously, theorist Nicolas Bourriaud has analyzed Gonzalez-Torres’ artwork under the umbrella term “relational aesthetics,” or spectator art, and his influential understanding has overshadowed the work’s initial reception. Therefore, my study revisits initial discussions of the work by critics and authors, such as activist Simon Watney and historian Robert Storr, and explores how Gonzalez-Torres’ work involved mourning, memory, and forgetting. Thus, I have examined how the work relates to memorial culture, queer theory, the fragment, historical materialism, death as an “unexperienced experience,” post-structuralist theory, allegory, and sites of memory. Specifically, I have addressed the writings of: Adrian Parr, Walter Benjamin, Maurice Blanchot, and Jacques Derrida. Through the course of three chapters, I have suggested that Gonzalez-Torres created this language by: providing transitory and fluctuating memorials, challenge linear notions of time, and disorienting the notion of the monument/anti-monument. With these methods, Gonzalez-Torres offered works that rely on intimacy, friendship, and optimism.
Advisors/Committee Members: Paice, Kimberly.
Subjects: Art History
Keywords: Felix Gonzalez-Torres; memorial culture; queer theory; mourning; Adrian Parr; historical materialism
More Like This
2.
Berger, David S.
Modern Paintings of the Prodigal Son: Depictions by James Tissot, Max Slevogt, Giorgio de Chirico, Aaron Douglas, and Max Beckmann, 1882-1949.
Degree: MA, Design, Architecture, Art and Planning: Art History, 2012, University of Cincinnati
► The parable of the Prodigal Son (Luke: 15:11-32) conveys the Christian…
(more)
▼ The parable of the Prodigal Son (Luke: 15:11-32) conveys the Christian message of acceptance of sinners who have returned to righteous ways. The theme has been very popular in the history of art since the thirteenth century with scores of artists giving their interpretations. From the 1880s through the 1940s, representations became more modern and secular. Their was a greater emphasis on modern manners, psychology, the perception of time, and individuality. I analyze these factors in case studies of five artists of the period through formal analysis of their works and by exploration of social, historical, and philosophical aspects. I also examine relevant biographical information and iconography. The first chapter concerns two serial works by James Tissot and Max Slevogt. This serial nature of paintings of the parable was apparently new for the 1880s. In these narratives, Tissot explored modern manners in a near-photographic style of four canvases while Slevogt conceived a psychological portrait about extreme depravation in a triptych. In the second chapter, I argue that Giorgio de Chirico attempted to transcend time by the reanimation of the mannequin and statue, objects integral to his metaphysical art. The final chapter deals with a variation on the theme, the Prodigal Son in scenes of debauchery, taken up by Max Beckmann and Aaron Douglas. Their paintings depict the struggle to be an individual, on the one hand, and the hedonism 1920s Harlem, on the other. Each of these artists’ depictions of the Prodigal Son are good representations of the period, showcasing its modern complexity and diversity of style. The fact that modern artists continue to work on the theme show that its moral message is still important today.
Advisors/Committee Members: Leininger-Miller, Theresa.
Subjects: Art History
Keywords: Modernism; Prodigal Son
More Like This
3.
Boswell Schiefer, Ellen W.
Miracle at Monte Oliveto Renaissance Benedictine Ideals and Humanist Pictorial Ideals in Perspective.
Degree: MA, Design, Architecture, Art and Planning: Art History, 2012, University of Cincinnati
► Abstract The Chiostro Grande or Great Cloister of the Abbey of Monte…
(more)
▼ Abstract The Chiostro Grande or Great Cloister of the Abbey of Monte Oliveto, a Benedictine Abbey, is decorated with a fresco cycle depicting the life of Saint Benedict who lived approximately between 480 and 547 C.E. This fresco cycle was painted by two Italian Renaissance artists, Luca Signorelli (c.1444-1523) and Giovanni Bazzi, called Il Sodoma (1477-1549). It is the most comprehensive fresco cycle of the life of Saint Benedict painted in Italy during the Renaissance period and it can be considered an artistic masterpiece and treasure of the Renaissance. In this thesis, I examine the distinct characteristics of the fresco cycle. I demonstrate that the painters of this fresco cycle, Luca Signorelli and Il Sodoma, were influenced by humanists of the period, and in particular, by Leon Battista Alberti’s treatise, On Painting. In this writing, Alberti identifies the ideal painting and its composition. I show that Signorelli and Il Sodoma incorporate rhetorical theory as a model for painting. The fresco cycle was constructed using Albertian ideals of painting, and it was meant to perpetuate the Benedictine Rule as originally composed by Saint Benedict. The fresco cycle is an expression of idealism: an ideal spiritual way of life composed by ideal principles of painting communicated by Alberti in the mid-fifteenth century and painted by Signorelli and Il Sodoma in the late fifteenth century. A discussion of monasticism and the Benedictine observant reform movement is included.
Advisors/Committee Members: Nelson, Kristi Ann.
Subjects: Art History
Keywords: Saint Benedict; Monte Oliveto; Luca Signorelli; Il Sodoma; Alberti; fresco cycle
More Like This
4.
Dunham, Amy.
Towards Collaboration: Partnership Between Indigenous and Non-Indigenous Australians in Art from 1970 to the Present.
Degree: MA, Design, Architecture, Art and Planning: Art History, 2011, University of Cincinnati
► The situation of Indigenous people in Australian society is marked by the…
(more)
▼ The situation of Indigenous people in Australian society is marked by the problematic historical context of colonization, racial and constitutional discrimination, as well as exploitation. I examine three specific cases of collaboration to explain how collaborative efforts between Indigenous and non-Indigenous Australians complicate interpretations of Indigenous Australian art, how the artistic pieces often subvert the assumed dichotomy between Indigenous and non-Indigenous identities within a contemporary Australian context, as well as how the notion of artistic authority influences the nature of cross-cultural collaborations. In chapter one, I discuss the collaborative efforts between Indigenous and non-Indigenous artists in the making of the Weaving the Murray exhibition (2002), and how cross-cultural collaboration during the development of the exhibition seems to have underlined rather than overcome the boundaries of cultural understanding. In chapter two I address the artistic relationships between Tim Johnson (b. 1947) and Western Desert artists Clifford Possum Tjapaltjarri (c. 1932), Tim Leura Tjapaltjari (c. 1929-1984), Michael Nelson Jagamara (c. 1949), and Turkey Tolson Tjupurrula (c. 1942) to demonstrate why these are unusual and noteworthy cross-cultural interactions in a context that is shaped by Australia’s tumultuous history of colonization, dispossession, displacement, violence, and degradation. In the final chapter I focus on the collaboration between Latvian-Australian artist Imants Tillers (b. 1950) and Michael Nelson Jagamara to explore how notions of artistic authority inform their interactions and their artwork. Collaboration is a common practice in traditional Indigenous Australian societies, especially in art making and ceremonial practices. Collaboration in art internationally provided artists the opportunity to experiment and to move outside cultural boundaries. The examples of collaborative practice that I consider in the following chapters inevitably involve Indigenous practices and collaborative initiatives that are bound up with current developments (including collaboration) in contemporary art. Taking these factors into consideration, I explore the political, ethical, social, and artistic implications of collaborative undertakings between Indigenous and non-Indigenous artists.
Advisors/Committee Members: Thomas, Morgan.
Subjects: Art History
Keywords: Indigenous; Australia; art; Collaboration; cross-cultural; Aboriginal
More Like This
5.
Ehresmann, Erin E.
Variations on a Theme: Berthe Morisot’s Reinterpretation of the “Woman at the Piano” Motif in Her Images of Girls at the Piano, 1888–1892.
Degree: MA, Design, Architecture, Art and Planning: Art History, 2011, University of Cincinnati
► In this study, I examine Le Piano (1888) and Lucie Léon au…
(more)
▼ In this study, I examine Le Piano (1888) and Lucie Léon au Piano (1892) by Berthe Morisot (1841-1895) and the significant ways in which these two paintings depart from the established tradition of female piano portraiture in nineteenth-century France. Charlotte Eyerman has explored the importance of the “woman at the piano” theme and its role in the construction of femininity but limits her study to the work of male artists. Morisot’s piano portraits offer an unusual female perspective on a theme primarily created and perpetuated by male artists. My analysis elucidates the manner in which these works drew upon the tradition of the woman at the piano motif and the specific ways in which the artist subverted the passivity and superficiality that characterized male-produced versions of the theme. Le Piano evokes the tradition of female bourgeois education in nineteenth-century France and the importance of the piano in the development of femininity. However, Morisot enriched the commonplace act of playing the piano with an intellectualism not part of the superficial, socially-ordained reasons for playing in a unique manner that was largely absent from its representations in visual tradition. In Le Piano, by painting the confident figure of her daughter, Julie, nonchalantly leaning on the piano and looking out at the viewer as her cousin, Jeannie Gobillard, plays, Morisot communicated the fulfilling and enjoyable role music-making played in these girls’ lives. In Lucie Léon au Piano, the visual emphasis of the tensed musculature of Léon’s hands and arms invites associations with the conventions of male piano portraiture. While female pianists were generally prized for their charm and delicacy, male pianists, especially the male virtuoso, were conceived of as powerful, insightful, and active musicians. Morisot departed from the static and amateurish qualities common in the woman at the piano motif to create images whose subjects are physically engaged with the act of making music. In both Le Piano and Lucie Léon au Piano, Morisot reversed the conventional subject/beholder relationship. Not only do her pianists look directly out at viewers, thereby denying the right to look without being seen, but the concomitant flattening of pictorial space and insistence of the medium itself confronts the beholder. Drawing upon Michael Fried’s theory of “facingness,” I posit that Morisot’s painterly technique and self-aware subjects work in tandem to create entirely new and assertive images of woman at the piano scenes in the late nineteenth-century Impressionist milieu. Through Le Piano and Lucie Léon au Piano, Morisot articulated a fresh pictorial vocabulary of female pianism that emphasized agency and self-awareness over the traditional measures of femininity.
Advisors/Committee Members: Leininger-Miller, Theresa.
Subjects: Art History
Keywords: Berthe Morisot; woman at the piano; piano; Impressionism; nineteenth-century gender roles; women's studies
More Like This
6.
Fijalkovich, Bryan.
The Rise of Rustic Genji in Edo and Its Intertextuality.
Degree: MA, Design, Architecture, Art and Planning: Art History, 2011, University of Cincinnati
► During the Edo Period (1600-1867), a fresh conception of the Tale of…
(more)
▼ During the Edo Period (1600-1867), a fresh conception of the Tale of Genji, a novel by Lady Murasaki (c. 1000), arose in the realm of woodblock prints or ukiyo-e (prints of the floating world). This new conception represented the romantic escapades of the shining prince Genji, the epitome of courtly elegance, as the quintessential playboy. By tracing the transposition of Genji from high court culture to the floating world of Edo, I illuminate how Edoites preferred him as a philanderer in the pleasure quarters. This contemporary Genji peaked with An Imposter Murasaki and a Rustic Genji (Nise Murasaki Inaka Genji, 1829–1842) authored by Ryutei Tanehiko (1783 – 1842) and illustrated by Utagawa Kunisada (1786–1864). The wide distribution of Kunisada’s Rustic Genji prints bolstered the new conception of Genji to iconic proportions. Through the concept of intertextuality, I contextualize Rustic Genji media, explaining its allure in nineteenth-century Edo. By analyzing Rustic Genji’s images and story, I contribute to the rectification of a marginalized area of scholarship.
Advisors/Committee Members: Hirayama, Mikiko.
Subjects: Art History
Keywords: Rustic Genji; Edo; The Tale of Genji; Intertextuality; ukiyo-e; Utagawa Kunisada
More Like This
7.
Hagen, Lindsay M.
Exemplifying the Modern Spirit: Japanization and Modernization in the Ceramic Art of Miyagawa Kozan (1842-1916), Shirayamadani Kitaro (1865-1948), and Itaya Hazan (1872-1963).
Degree: MA, Design, Architecture, Art and Planning: Art History, 2012, University of Cincinnati
► This thesis explores the modern spirit in Japanese ceramics from 1871 to…
(more)
▼ This thesis explores the modern spirit in Japanese ceramics from 1871 to 1927. More specifically, I examine how modernity affected the designs and approaches of three influential ceramic artists, Miyagawa Kozan (1842-1916), Shirayamadani Kitaro(1865-1948), and Itaya Hazan (1872-1963) as evidence that Japanese ceramic art in the modern period represents a reinterpretation of tradition and modernity, fused with Western influences. Moreover, these three key artists provide insight into the development of the ceramic arts in Japan as they transformed from domestic tea wares to export wares and ultimately to objects of modern artistic expression and creativity through the contributions of Kozan, Shirayamadani, and Hazan. In chapter one I provide historical context to describe pre-modern Japan and how aspects of society and visual arts transformed in the modern period. In chapter two I introduce four stages of development that characterize the transformations of the ceramic arts from the Meiji period until the turn of the century: initial fascination among foreign audiences, their mass consumption, marketing by the Japanese targeted at western audiences, and finally, artists bridging Eastern traditions and Western techniques to create fresh, modern designs that often stretched the perceived limits of the ceramic medium. I introduce artists Kozan, Shirayamadani, and Hazan, highlighting their contributions and significance. I also describe the ways in which their works reflect the phases of development that transpired in the modern period. In chapter three I discuss a central component of modernity in relation to Kozan, Shirayamadani, and Hazan's works: reinterpretation of Japanese traditions fused with Western influences of technological advances. Chapter four investigates the spirit of individualism and its impact from the late Meiji to the Taisho period. In Japan, increased individualism helped elevate the profile of ceramics as an artistic medium, and the position of the ceramic maker to that of artist. The inclusion of ceramic arts as a category in the government-sponsored Imperial Art Academy Exhibition (Teiten) in 1927 marked a major turning point in the attitude towards ceramic art in modern Japan. A discussion of Kozan, Shirayamadani, and Hazan highlights connections in their stylistic approaches, responses to the modern age and shifting demands of the ceramic industry. Although their works represent sequential periods of the modern era, I argue that all three ceramic artists responded to fluctuating tastes, both domestically and internationally. They embraced modernism and created fresh interpretations and designs that were guided by a sense of their individual artistic potential. In turn, this led to a new kind of ceramic art that explored the vast possibilities of their ceramic medium. Miyagawa Kozan represents the transitional potter who began the efforts to stretch the perceived limits of the ceramic medium in the Meiji period. Japanese-American decorator Shirayamadani Kitaro played a critical role in the Art Pottery Movement in America which became a source of great inspiration to later Japanese ceramic artists, including Itaya Hazan, who, as Japan's first independent studio artist, exemplifies the fulfillment of this development in ceramic art.
Advisors/Committee Members: Hirayama, Mikiko.
Subjects: Art History
Keywords: Miyagawa Kozan; Shirayamadani Kitaro; Japanese ceramics; modern Japan; Meiji; Itaya Hazan
More Like This
8.
Krugh, Laura A.
An Annunciation for Today: The Use of Imagery of the Annunciation in Contemporary Art.
Degree: MA, Design, Architecture, Art and Planning: Art History, 2011, University of Cincinnati
► According to the account given in the Bible (St. Luke, I: 26-38),…
(more)
▼ According to the account given in the Bible (St. Luke, I: 26-38), the annunciation is known as the meeting between the angel Gabriel and the Virgin Mary. During this encounter, Gabriel reveals to Mary that she will give birth to the “son of God.” Visually depicting this mysterious event has captivated artists for many centuries, and its representation became particularly prevalent during the Renaissance. Six hundred years later contemporary artists continue to depict this event. In this thesis I analyze how contemporary artists use the annunciation scene to communicate present-day ideals. In the first chapter I discuss versions of the annunciation that depict Mary as nude or highly sexualized and how this treatment may redefine Mary’s role in Christianity. In the second chapter I address the ways in which the annunciation can represent visual and transcendental systems of authority. In the third chapter I broaden the scope to discuss how concepts within the traditional annunciation scene links to the analysis of contemporary relationships between artist, beholder, and creation.
Advisors/Committee Members: Thomas, Morgan.
Subjects: Art History
Keywords: annunciation; christianity; second Eve; contemporary annunciation; contemporary art; perspective
More Like This
9.
Lester, Charlie.
The New Negro of Jazz: New Orleans, Chicago, New York, the First Great Migration, and the Harlem Renaissance, 1890-1930.
Degree: PhD, Design, Architecture, Art and Planning: Art History, 2012, University of Cincinnati
► The Harlem Renaissance is often remembered for its cultural achievements, but scholars…
(more)
▼ The Harlem Renaissance is often remembered for its cultural achievements, but scholars often place too much attention on literary and visual artists with little regard for the musicians of the period. When scholars do make the connection between jazz and the Harlem Renaissance, the work of jazz artists in cities outside of Harlem play second fiddle. In fact, New Orleans and Chicago could just as easily stake the claim as the nation’s jazz capital in this period, and so many early jazz innovators emigrated to Chicago’s South Side from New Orleans that the Windy City could arguably boast a more vibrant music scene than Harlem. Thanks in no small part to the First Great Migration, when over one million African Americans left the South to stake their claim on the American Dream in the urban North, jazz transitioned from a regional to the national music in the 1910s and 1920s. A number of scholars of the Great Migration have shed light on the grass roots leadership that facilitated northern emigration. In the first few decades of the 20th century, African Americans in scores of cities across the country were busy forging a new collective identity, known as the “New Negro”, as expressed in the visual and performing arts, political protest, and economic enterprise culminating in the Harlem Renaissance. Thanks to several historians the political activism of the literary component of the Harlem Renaissance is well known. Unfortunately, few have made the same connections in regard to the musicians of the period. Jazz made its own Great Migration on the backs of a cadre of grass roots musician leaders whose political awareness has yet to be fully appreciated. These considerations suggest that a deeper analysis of jazz, the Great Migration, the Harlem Renaissance, and the political activism of musicians beyond 135th Street and Lenox Avenue is necessary to uncover the “New Negro” of black music. This dissertation examines the Great Migration through the lens of jazz to explore why New Orleans musicians left the Crescent City at the turn of the twentieth century, why Chicago and New York were such attractive places to ply their crafts, and what relationship New Orleans, Chicago, the Great Migration, and jazz have to the Harlem Renaissance. As a result, this work synthesizes the scholarly traditions of Urban, African American, and Jazz histories, and challenges the traditional interpretations of the Harlem Renaissance. While jazz was a central cultural component of life in Harlem, it was also crucial to scores of cities across the country as African Americans journeyed north during the Great Migration. Jazz musicians were also just as active politically as other migrants. Despite a common stereotype that characterizes musicians as apolitical, my work seeks to demonstrate that the musicians of the period were no different than their counterparts in the literary arts by shedding new light on the grass roots activism that emerged alongside the music.
Advisors/Committee Members: Stradling, David.
Subjects: American History
Keywords: Jazz; Great Migration; Harlem Renaissance; New Orleans; Chicago; New York City
More Like This
10.
Nolting, Jonathan R.
The Julius Rosenwald Fellowship Program for African American Visual Artists, 1929-1948.
Degree: MA, Design, Architecture, Art and Planning: Art History, 2012, University of Cincinnati
► As the co-owner of Sears, Roebuck and Company, Julius Rosenwald established the…
(more)
▼ As the co-owner of Sears, Roebuck and Company, Julius Rosenwald established the Julius Rosenwald Fund in 1917 for “the well-being of mankind” and, by way of a unique fellowship program, supported African Americans and white southerners in a variety of scientific, academic, and cultural fields. Designed specifically to facilitate the accomplishments of “Negro creative workers,” the Rosenwald Fellowship Program became one of the most important sources of funding for black visual artists during the 1930s and 1940s. Although most discussions of patronage by whites during the Harlem Renaissance are limited to figures such as Carl Van Vechten and Charlotte van der Veer Quick Mason, who focused primarily on supporting writers and musicians, only recently have scholars investigated the assistance offered to visual artists. In fact, most information regarding patronage of the visual arts is restricted to isolated reviews and to monographs of individual artists. In this thesis I conduct an in-depth analysis of the creation and administration of the Rosenwald Fellowship Program, not only examining its methods of selection and distribution of financial aid, but also its impact on the development of African American painters, sculptors, and photographers with particular attention to Augusta Savage, William Edouard Scott, Richmond Barthé, Aaron Douglas, Charles Alston, William Ellisworth Artis, and Haywood “Bill” Rivers, respectively.
Advisors/Committee Members: Leininger-Miller, Theresa.
Subjects: Art History
Keywords: Julius Rosenwald; Harlem Renaissance; New Negro movement; Rosenwald Fund; Rosenwald Fellowship Program; African American visual artists
More Like This
11.
Reeves, Chris M.
United Front and Action vs. Beautiful Coffee Cups: Fluxus Through the Publications of George Maciunas and Dick Higgins.
Degree: MA, Design, Architecture, Art and Planning: Art History, 2012, University of Cincinnati
► By examining publications of two key Fluxus producers, George Maciunas (1931-1978) and…
(more)
▼ By examining publications of two key Fluxus producers, George Maciunas (1931-1978) and Dick Higgins (1938-1998), this thesis explores their different ideas of Fluxus. Through this analysis, I argue that Higgins’ publications allowed more freedom and artistic autonomy and broadened Fluxus’ definition of what it could do and be. Maciunas’ more hegemonic positioning of Fluxus has lead to a misunderstanding of Fluxus’ historical legacy, in particular, with the prevailing narrative that Fluxus artists were anti-art. Chapter One focuses on how Maciunas used graphic design and typography to brand the group. In Chapter Two, I examine Higgins’ publishing press, comparing his presentation of Fluxus to that of Maciunas. Finally, in Chapter Three I analyze the overall effects in art history of the different visions of Fluxus Maciunas and Higgins had.
Advisors/Committee Members: Thomas, Morgan.
Subjects: Art History
Keywords: Fluxus; George Maciunas; Dick HIggins; 20th Century Art; Artist Books; Al Hansen
More Like This
12.
Robinson, Stuart T.
Essences of Charleston: The Tropical Landscape Paintings of Louis Remy Mignot, 1857-1859.
Degree: MA, Design, Architecture, Art and Planning: Art History, 2010, University of Cincinnati
► In 1857, Hudson River School painter Louis Remy Mignot (1831-1870) traveled to…
(more)
▼ In 1857, Hudson River School painter Louis Remy Mignot (1831-1870) traveled to Ecuador with, and at the request of, Frederic Edwin Church (1826-1900). The two artists spent most of their time exploring the Andes mountains, yet, from 1857 to 1859, Mignot painted mainly low-horizon river scenes of Ecuador. In this study, I explain that the artist’s childhood in Charleston, South Carolina influenced this pictorial preference. In chapter one, I use theories of perception found in environmental psychology and human geography to argue that the landscape of one’s childhood remains as an ever-present prism through which future landscapes are viewed. Drawing from the work of phenomenologist Maurice Merleau-Ponty (1908-1961), I argue that, in art, the childhood landscape is traceable through the “essences,” defined as the identifiable characteristics of a landscape that congeal in memory. Essences include elements of topography, climate, and vegetation. In chapter two, I examine Mignot’s depictions of Charleston’s three essences – rivers, humid skies, and tropical plant life. I argue that Mignot recreated the essences of Charleston in his tropical landscape paintings from 1857 to 1859. Mignot left a scant written record about his art and life. Therefore, in both chapters I use the letters, sketches, and paintings of South America by Church to reflect on Mignot’s tropical landscape paintings. Church, who was born in Hartford, Connecticut, represents the Northern counterpart to Mignot’s Southern perception of South America.
Advisors/Committee Members: Leininger-Miller, Theresa.
Subjects: Art History
Keywords: Louis Remy Mignot; Frederic Edwin Church; Landscape Painting; South America; Nineteenth Century; Ecuador
More Like This
13.
Schuttey, Kirsten C.
Recognition at Last: The Woman's Building and the Advancement of Women at the 1893 Chicago World's Columbian Exposition.
Degree: MA, Design, Architecture, Art and Planning: Art History, 2010, University of Cincinnati
► The 1893 Chicago World’s Columbian Exposition offered America an opportunity to showcase…
(more)
▼ The 1893 Chicago World’s Columbian Exposition offered America an opportunity to showcase her cultural, intellectual, and scientific progress to the world. For the citizens of Chicago especially, the exposition provided the means to demonstrate that their city was an advanced metropolis at a time when many deemed it to be second rate. To achieve this goal, many forward-thinking women throughout the United States were successful in ensuring that the exposition included a separate exhibition space for women to showcase their talents in art and industry. The 1893 Woman’s Building was not the first to exist at a world’s fair, but it was the first that visibly symbolized women’s advancement. Unlike former women’s buildings, this Woman’s Building was built by and controlled by women. This thesis explores the specific strategies that were used to make this building a success. It also draws attention to the fact that while the Woman’s Building was only temporary, it was the first museum dedicated to women artists and it laid the groundwork for the National Museum for Women in the Arts in Washington D.C., which functions as a separate, but equal museum representing women in the arts.
Advisors/Committee Members: Paice, Kimberly.
Subjects: Art History
Keywords: 1893 World's Columbian Exposition; Woman's Building and World's Columbian Exposition; Women in the Arts; Women's Advancement in the Arts; Women and Museums; Women's Museums
More Like This
14.
Shipe, Rebekah C.
Authenticity, Originality and the Copy: Questions of Truth and Authorship in the Work of Mark Landis, Elizabeth Durack, and Richard Prince.
Degree: MA, Design, Architecture, Art and Planning: Art History, 2012, University of Cincinnati
► As contemporary artists transgress accepted definitions of authenticity and challenge ideas of…
(more)
▼ As contemporary artists transgress accepted definitions of authenticity and challenge ideas of originality and creativity, we must re-evaluate our understanding of these concepts. By focusing on three illuminating case studies, I examine how recent practices complicate basic concepts of authorship and artistic truth. Chapter One explores the case of art forger, Mark Landis (b. 1955), to illuminate the ambiguity of the copy and the paradoxical aura of forgeries in the wake of postmodernism. Focusing on the case of Australian artist Elizabeth Durack (1915-2000), who created and exhibited paintings under the fictitious persona of an Aboriginal artist, Eddie Burrup, Chapter Two links the controversies surrounding her work to key theoretical explorations of aura, reproducibility, and originality. Chapter Three deals with the self-conscious deployment of postmodern notions of originality and authorship in the re-photographed photographs of notorious ‘appropriation artist’ Richard Prince (b. 1949). The thesis aims to draw out a number of key patterns with regard to notions of the copy, authenticity, and originality in contemporary culture: the slipperiness of the line drawn between the fake and the original (for example, a kind of excess of ‘uniqueness’ that carries over into the copy); the material interplay between ‘old’ technologies such as painting and new reproductive (e.g. digital) visual technologies in the manufacture and/or counterfeiture of artistic authenticity; and the ambivalence of media narratives relating to appropriation, forgery, and the copy.
Advisors/Committee Members: Thomas, Morgan.
Subjects: Art History
Keywords: authenticity; copy; forgery; appropriation; postmodernism
More Like This
15.
Silberstein, Edward.
And Moses Smote the Rock: The Reemergence of Water in Landscape Painting In Late Medieval and Renaissance Western Europe.
Degree: MA, Design, Architecture, Art and Planning: Art History, 2010, University of Cincinnati
► This thesis undertook the analysis of the realistic painting of water within…
(more)
▼ This thesis undertook the analysis of the realistic painting of water within the history of art to examine its evolution over four millennia. This required a detailed discussion of what realism has meant, especially over the centuries of the second millennium C.E. Then the trends in the painting of water from Cretan and Mycenean eras, through Hellenistic and Roman landscape, to the limited depiction of landscape in the first millennium of the Common Era, and into the late medieval era and the Renaissance were traced, including a discussion of the theological and philosophical background which led artists to return to their attempts at producing an idealized realism in their illuminations and paintings. To reduce or avoid the subjectivity inevitable in my analysis of the relative quality of the 266 images of water which I found in texts and museums, a semi-quantitative scale was devised. The scale provided descriptions and images of four levels of quality in areas of hue, luminosity, reflection, motion, immersion, and perspective. The criteria were designed to be used by any observer, although the verbal scale and accompanying illustrative images would be used in any attempt to assess interobserver variability. The examination of my intraobserver variability was crucial to this thesis, since the data have no validity if they cannot be reproduced. Both the six individual components and the summed scores (resulting from adding these components) were found to have a high degree of reproducibility on statistical testing. This fact permitted a quantitative analysis of the trends in the development of the painting of water in the medieval era where the scores were very low until the criterion of hue first rises in the duecento. Not until the fifteenth century do the slopes of the six components graded for the quality of water painting all rise significantly. The subject matter of these images changes from having secular content in about 10% of images in the fourteenth century to 50% in the next century Comparisons were undertaken between the levels of quality scores between Italian and Northern European artists. No differences were found in the summed scores between paintings and illuminations of the two regions except in the component of reflection, which received higher quality scores in Northern European painting than in Italian works. An analysis of which region produced the highest quality scores earlier revealed that the Northern European artists dominated in this area, led by Jan van Eyck.
Advisors/Committee Members: Nelson, Kristi Ann.
Subjects: Art History
Keywords: water; landscape; painting; medieval; Renaissance
More Like This
16.
Tucker, Ashton.
Virtual and Physical Environments in the work of Pipilotti Rist, Doug Aitken, and Olafur Eliasson.
Degree: MA, Design, Architecture, Art and Planning: Art History, 2012, University of Cincinnati
► The common concerns of artists Pipilotti Rist (b. 1962), Doug Aitken (b.…
(more)
▼ The common concerns of artists Pipilotti Rist (b. 1962), Doug Aitken (b. 1968), and Olafur Eliasson (b. 1967) are symptomatic of key questions in contemporary art and culture. In this study, I examine key works by each artist, emphasizing their common interest in the interplay of virtual space and physical space and, more generally, their use of screen aesthetics. Their focus on the creative interplay of virtuality and physicality is indicative of their understanding of the fragility and uncertainty of physical perception in a world dominated by screen-based communication. In chapter one, I explore Pipilotti Rist’s Pour Your Body Out (7354 Cubic Meters) and argue that the artist creates work where screen based projection and installation are interrelated elements due to her interest in creating spaces that engage the viewer both physically and virtually. In chapter two, I discuss Doug Aitken’s work and argue that he democratizes the viewing experience in a more radical way than Pipilotti Rist. In the final chapter, I discuss the work of Olafur Eliasson as it relates to California Light and Space art and the phenomenological aspects of the eighteenth-century phantasmagoria. Informed primarily by phenomenology, this study argues that the artists share common aesthetic beliefs related to their generation of artists.
Advisors/Committee Members: Thomas, Morgan.
Subjects: Art History
Keywords: Pipilotti Rist; Doug Aitken; Olafur Eliasson; installation art; phenomenology; virtuality
More Like This
17.
Whitson, Catherine.
Haunted Spaces: Architecture and The Uncanny in the Work of Rachel Whiteread, Thomas Demand, and Gregory Crewdson.
Degree: MA, Design, Architecture, Art and Planning: Art History, 2011, University of Cincinnati
► In this thesis I explore the use of “uncanny” architecture and space…
(more)
▼ In this thesis I explore the use of “uncanny” architecture and space in the work of three contemporary artists: British sculptor Rachel Whiteread (b. 1963), German sculptor/photographer Thomas Demand (b. 1964), and American photographer Gregory Crewdson (b. 1962). I demonstrate how concerns with psychologically charged urban and domestic spaces associated with early and mid-twentieth-century modernist art and visual culture, often suggesting feelings of desolation, emptiness, or melancholy, resurface in contemporary art practice of the late twentieth-century and early twenty-first century. I investigate how contemporary artists deploy effects of the “uncanny” to evoke social and economic changes in urban, suburban and domestic landscapes, and their effects on those who inhabit or move through these spaces. My analysis of the uncanny in the work of these three artists, whose work has not been grouped together before, leads the way for a new examination and understanding of the context of the “uncanny” and “haunted space” in contemporary art. In the first chapter, “Minimalism and Haunted Architecture”, I explore the notion of the void in the post-minimalist sculptures of Whiteread. I examine Closet (1988), Ghost (1990), House (1993), and Embankment (2005) to demonstrate how they operate to embody negative space, a constant theme that shows the familiar imprint of wear and tear produced by inhabitants on objects that surround them. In the second chapter, “Appropriated and Haunted Memories”, I examine the role of the uncanny and anti-realist architectural spaces in the sculptures-turned-photographs of Demand. I examine Demand’s photographs, Corridor (1995), Bathroom (1997), and Terrace (1998), to demonstrate the “haunted” and suburban spaces that Demand constructs in order to document the history and memory of domestic urban spaces in the late twentieth-century. In the third and final chapter, “Ordinary Cinematic Wonder”, I focus on the role of haunted space in the cinematic photographs of Crewdson. I analyze Crewdson’s photographs Untitled (Ophelia) (2001), Untitled (Esther Terrace) (2006), and Untitled (Brief Encounter) (2006), to further examine the concept of the “uncanny” and “hauntedness” in American suburbia, already explored by Edward Hopper (1882–1967) in paintings such as Second Story Sunlight (1960). Despite the differences in the contexts of their artistic work and their approaches to media and materials, Whiteread, Demand, and Crewdson share common concerns relating to the affective and psychological aspects of urban and domestic interiors, architecture, and street scenes, echoing the concerns of Hopper’s mid-twentieth-century paintings.
Advisors/Committee Members: Thomas, Morgan.
Subjects: Art History
Keywords: Rachel Whiteread; Thomas Demand; Gregory Crewdson; Architecture; uncanny; Art History
More Like This
