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- All Subjects: 19765
- All Subjects: Art History
- Creators: School of Art
- Member of: Barrett, The Honors College Thesis/Creative Project Collection
The aim of this creative project was to explore the ideas of impermanence and transience through the lens of different, largely non-western cultural backgrounds, and to incorporate what I learned into my own work as a painter. As part of this, I focused on the materials, techniques, visual strategies, and philosophies that guided the creation of these works. The project consisted of a discrete research phase, during which time I gathered information and materials related to my topic, and a creation phase, when I focused largely on the production of oil paintings and ink paintings whose technique and/or subject matter pertained to impermanence. Research for the most part was conducted by utilizing online and physical collections of work to analyze the formal elements of the work along with the cultural context in which it was created. Ultimately the creative project resulted in a product of three oil paintings and five ink paintings.
This thesis is concerned with the political implications of two of Jacques-Louis David's paintings: Oath of the Horatii (1784) and The Lictors Bringing to Brutus the Bodies of His Sons (1789). In this thesis, I argue that David’s pre-Revolutionary work contained political anticipations of Revolutionary France articulated in his Neoclassical forms, the classical stories he chose to paint, his own narrative innovations using light, color, gender, unusual scenes and the thematic conflict of the state vs the individual and family.
SYSTEMA NERVOSUM is an interdisciplinary personal narrative on design, music, and identity. The project is composed of eleven parts, each addressing the themes of interconnection, the power of the human body, internal and external misunderstanding, and fear. The goal of SYSTEMA NERVOSUM was to create a body of work that reflected the very essence of creative and interdisciplinary thinking.
In addition, the artists’ sexualities are reflected in their pieces through their representation of their bodies. Often, this requires the interpretation of subtle visual clues and crucial images of androgyny, cross-dressing, and the dandy aesthetic. Queer artists often embraced clothing and accessories to express their identity and signal to others adept at recognizing such identifiers that they are queer. The painter Gluck exemplifies how androgynous clothing can be used as a statement of her sexuality in self-portraits as visual signifiers to those in queer circles. Through salons held in their homes, or a hidden back room of their studio in the case of Marie Høeg and Bolette Berg, artists created communities to inspire each other’s achievements and unique styles. In this paper I intend to shed light on how the portraits I am explicating are declarations of queerness, and how they present the artists’ deviations from gender norms to the art world and broader society.
Each chapter of this thesis closely studies a different object of a different medium to trace relationships between Constructivist objects and Soviet community. El Lissitzky’s PROUN Manifesto illuminates the creation of an artistic community. Alexander Rodchenko’s print Propaganda communicates between a state and its people. Varvara Stepanova’s Sportswear designs facilitate a society of workers. Alexandra Exter’s Marionettes combine common everyday objects and children’s theater. Vladimir Tatlin’s Monument to the Third International, envisions the ideal Soviet society as place in which socialists could convene. And Liubov Popova’s Painterly Architectonics relates the functional and aesthetic goals of Constructivism from Russia to the international art world. Benedict Anderson’s Imagined Communities, Bruno Latour’s Reassembling the Social, and Pierre Bourdieu’s Distinction each provide the framework for discussing the intersections of art objects and community. Anderson explores nationhood through the lens of language and print media, Latour studies how social interaction on an individual basis might rely upon the physical objects around them, whereas Bourdieu addresses hierarchies in distinguishing objects of art in class-based societies by outlining the conflicts between cultural capital and tastemaking in the analysis of objects.
Through the exploration of each Constructivist object, this thesis explores individual, national, and international communities while considering their changing political, social contexts.
As creations made for purely personal interests, OCs are an excellent elevator pitch to talk one creative to another, opening up opportunities for connection in a world where communication is at our fingertips but personal connection is increasingly harder to make. OCs encourage meaningful interaction by offering themselves as muses, avatars, and story pieces, and so much more, where artists can have their characters interact with other creatives through many different avenues such as art-making, table top games, or word of mouth.
In this thesis, I explore the worlds and aesthetics of many creators and their original characters through qualitative research and collaborative art-making. I begin with a short survey of my creative peers, asking general questions about their characters and thoughts on OCs, then move to sketching characters from various creators. I focus my research to a group of seven core creators and their characters, whom I interview and work closely with in order to create a series of seven final paintings of their original characters.
The following project is cut into three major parts: Color Theory in Film, An Analysis of Symbolic Color, and the Technical Applications of Color in Film. Part One gives the necessary background on color theory, light theory, color mixing, color associations, and color palettes needed to understand the rest of the project. Part Two examines color symbolism and color psychology in three films, detailing their importance to the storylines in-depth. Part Three looks at the ways filmmakers employ color during post-production, principal photography, and post-production. By looking at production design, the history of color grading, and the power of lighting and cinematography, one is able to discern the different effects color creates and how that effect is created.