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ContributorsChang, Ruihong (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-29
Description
The display methods of the gallery, "Witnesses to a Surrealist Vision," makes the Menil Collection in Houston, Texas, unique among modern art institutions in the United States. It is also an anomaly within the Menil Collection itself. The "Witnesses" room is located near the back of the wing that houses the museum's large Surrealism collection. Both objects that the Surrealists owned and objects similar to those they collected are showcased in the gallery by means of an array of eclectically displayed ethnographic objects and other curiosities. Curated by anthropologist Edmund Carpenter, this single-room exhibition seems to recreate a surrealist collection. "Witnesses" is a permanent exhibition within the Menil's Surrealism collection and not an independent wing or gallery. All of the objects contained in "Witnesses" belonged either to the curator Edmund Carpenter or to the de Menils, whose larger collection of ethnographic objects are displayed in separate African, Oceanic, and Pacific Northwest Coast galleries within the museum. The Surrealists often utilized a heterogeneous style of both collecting and display, which the de Menils also took up. They mixed surrealist art freely with ethnographic and other types of found objects. This style of collecting and display contrasts sharply with the modern display methods that are standard to American art museums, and which are dictated by a hierarchy based on the cultural provenance of each object as high art. This thesis examines Carpenter's "Witnesses" exhibition in the Menil Collection to establish its display as a legacy of surrealist collecting--a close connection which is not seen in the permanent collections of any other art museum in the United States. Thus, by noting and annotating the Surrealists' collecting and display methods that can be located in Carpenter's installation of "Witnesses," I argue that Carpenter challenges many of the formal qualities typical of museum institutional practices and radically expands its very definition of what constitutes art, even in our own time.
ContributorsStrange, Kristen (Author) / Mesch, Ulrike (Thesis advisor) / Swensen, Thomas (Committee member) / Toon, Richard (Committee member) / Arizona State University (Publisher)
Created2014
Description
Reduced space is an important theme in the works of the Marquis de Sade including his epic novel The New Justine and his pornographic performance piece Philosophy in the Bedroom including the political/social treatise "Frenchmen, yet another effort is needed if you want to be a Republic". Through out his life Sade attempted to overcome reduction of space with writing. Tragically, his writing often prolonged the reduction of his space by sending him to or keeping him in prison. It is my theory that his violent, pornographic writing style is "une écriture de surjouissance" or "a writing of over-coming". Surjouissance is my theory for Sade's method, based on textual analysis of Sade's main works, that he combines through his syntactic structure, narrative voice, and semantic themes the orgasm of the mind represented by philosophical discourse with the orgasm of the body represented textually by orgiastic scenes and the language of orgasm to reach an ultimate state of complete freedom. In the political pamphlet "Frenchmen yet another effort..."Sade attempts to set this theory of sur-jouissance, or this transcendent state reached through the combination of physical and philosophical orgasm, as the political foundation for a new republic. Does he succeed in creating a viable political formula for a sustainable republic? My argument states absolutely not. His aristocratic elitism narrows his voice. But he does propose the combination of sexual, literary, and intellectual freedoms as a possible polemic against any form of reduced space.
ContributorsSwankie, Ryan James (Author) / Mullet, Isabelle (Thesis advisor) / Canovas, Frédéric (Committee member) / Bahtchevanova, Mariana (Committee member) / Arizona State University (Publisher)
Created2011
Description
Four Souvenirs for Violin and Piano was composed by Paul Schoenfeld (b.1947) in 1990 as a showpiece, spotlighting the virtuosity of both the violin and piano in equal measure. Each movement is a modern interpretation of a folk or popular genre, re- envisioned over intricate jazz harmonies and rhythms. The work was commissioned by violinist Lev Polyakin, who specifically requested some short pieces that could be performed in a local jazz establishment named Night Town in Cleveland, Ohio. The result is a work that is approximately fifteen minutes in length. Schoenfeld is a respected composer in the contemporary classical music community, whose Café Music (1986) for piano trio has recently become a staple of the standard chamber music repertoire. Many of his other works, however, remain in relative obscurity. It is the focus of this document to shed light on at least one other notable composition; Four Souvenirs for Violin and Piano. Among the topics to be discussed regarding this piece are a brief history behind the genesis of this composition, a structural summary of the entire work and each of its movements, and an appended practice guide based on interview and coaching sessions with the composer himself. With this project, I hope to provide a better understanding and appreciation of this work.
ContributorsJanczyk, Kristie Annette (Author) / Ryan, Russell (Thesis advisor) / Campbell, Andrew (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2015
Description
In the 1930s, several key fashion photographers were practicing Surrealists: Man Ray, Georges Hoyningen-Huené, Horst P. Horst, Cecil Beaton, and Erwin Blumenfeld. Each photographer explored surrealist-influenced fashion photography and drastically changed the way fashion was seen in the pages of Harper’s Bazaar and Vogue magazine. While scholars believe the assimilation of surrealist aesthetic devices in fashion photography commercialized Surrealism during the thirties, such photographic output has yet to be assessed in relation to surrealist thought and practice. This thesis argues that Ray, Hoyningen-Huené, Horst, Beaton, and Blumenfeld did not photograph fashion in the surrealist style to promote desire for the commercial product. Instead, they created new pictures that penetrated, radicalized, and even destroyed conventions of mass culture from inside the illustrated fashion magazine.
ContributorsXepoleas, Lynda May (Author) / Mesch, Claudia U. (Thesis advisor) / Toon, Richard (Committee member) / Hoy, Meredith (Committee member) / Sewell, Dennita (Committee member) / Arizona State University (Publisher)
Created2018
ContributorsWhite, Aaron (Performer) / Kim, Olga (Performer) / Hammond, Marinne (Performer) / Shaner, Hayden (Performer) / Yoo, Katie (Performer) / Shoemake, Crista (Performer) / Gebe, Vladimir, 1987- (Performer) / Wills, Grace (Performer) / McKinch, Riley (Performer) / Freshmen Four (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-27
ContributorsRosenfeld, Albor (Performer) / Pagano, Caio, 1940- (Performer) / ASU Library. Music Library (Publisher)
Created2018-10-03
Description
This thesis is an experiment in confessional academic writing, an attempt to read two surrealist texts closely and critically while simultaneously employing creative, lyrical prose and narration. The thesis, in both style and content, has bridged the realms of academic and creative writing in order to fully embody the concepts explored within: abstractions of the self, how abstracted selves interact with space, and how such abstractions lead to an ever-evolving and contactable conceptualization of personhood. Further, the thesis explores and reaches for a submergence of selves into space and other abstracted selves while grappling with and resisting against the occasional failure of language and spatial experience, which leads to a detrimental distance between the self and its experience in the world. Surrealism's advocacy for blind submission, for indulging the dream and embracing dream-like modes of appearance, and for locating an unconscious and automatic medium for expression (as seen in André Breton's first Surrealist Manifesto in 1924 and his 1928 novel Nadja) licenses an understanding of being that allows for multidimensional embodiment through one's presence and absence and through indistinctions between the self and space. The thesis recognizes and works through potentially problematic power dynamics within such notions of possession and dispossession while articulating a full faithfulness in the imagination's ability to uncover expansive personhood and the ways this kind of personhood is more wholly enabled to authentically and productively connect the disparity between persons, space, language, and reality. While analytical and textually supported, and accompanied by a photo essay that explores the aforementioned concepts visually, this thesis indulges in poetic impulses and offers a critical and personal investigation on being which allows us to consider ourselves as things that are endlessly becoming.
ContributorsDenson, Tabitha (Author) / McGregor, Francine (Thesis director) / Hanlon, Christopher (Committee member) / Mann, Annika (Committee member) / School of Humanities, Arts, and Cultural Studies (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05