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- Type:
- Document
- Descripción/Resumen:
- This paper explores queer artist Thomas Lanigan-Schmidt (b. 1948) and his piece titled Allegory of the Stonewall Riot (Statue of Liberty Fighting for Drag Queen, Husband, and Home) (1969). I take a biographical approach to the paper, dissecting Lanigan-Schmidt’s childhood and young adult life living as a queer street kid in the 1960s. I follow him to New York City, where he continued creating his kitsch style art and started getting recognized for it. Outside of his artistic endeavors, Lanigan-Schmidt would catch himself hanging out at The Stonewall Inn, a gay bar on Christopher Street. In the early hours of June 28, 1969, The Stonewall Inn was unexpectedly raided by the police. At a time when being queer was criminalized, the patrons of Stonewall had had enough and fought back against the police, sparking a riot that turned into a weeks-long protest. Lanigan-Schmidt was in attendance that night and joined the fight for gay liberation. It was this night that inspired his creation, Allegory of the Stonewall Riot (Statue of Liberty Fighting for Drag Queen, Husband, and Home). By analyzing the contextual importance of The Stonewall Inn and the riots that ensued, I show how Allegory of the Stonewall Riot reflects queer life in the 1960s. In the art historical canon, queer art is largely underrepresented. However, in this paper I show how Thomas Lanigan-Schmidt and Allegory of the Stonewall Riot deserve a place in the art historical canon
- Creador/Autor:
- Turner, Lauren
- Peticionario:
- Lauren Turner
- Fecha modificada:
- 04/27/2026
- Fecha modificada:
- 04/28/2026
- Fecha de creacion:
- 2026-04-27
- Licencia:
- CC0 1.0 Universal
- Type:
- Student Work
- Descripción/Resumen:
- “In my opinion, wherever there is a public, there is a sacred place. When there is no public, there is no performance because there is no dialogue,” claimed Marina Abramović (b. 1946) in conversation with Italian art critic and contemporary art historian Achille Bonito Oliva. For Abramović, the presence of an audience is constitutive to performance. Performance art has frequently been defined by its provocative impulse, functioning as a responsive and unstable form that artists have turned to when engaging with political, cultural, or social pressures, and when seeking to unsettle the conventions of more established artistic disciplines. These sentiments are conveyed by her first performance works, The Rhythm Series (1973-1974). Over the course of two years, she completed five separate performances that explored the physical limits of the body and the relationship between performer and audience. Abramović performed Rhythm 0 (1974), the fifth and final work, at the gallery Studio Morra in Naples, Italy, from 8 pm to 2 am. She placed seventy-two objects on a table that could cause the human body extreme pleasure or pain, including but not limited to objects like a comb, lipstick, paint, a feather, a bone of lamb, cake, and a gun. Instructions posted on the wall declared: “I am the object. During this period I take full responsibility.” This experiment used the art space to expose what audiences are capable of when social inhibition is suspended and moral responsibility is left unguided. This paper asks, in her performance Rhythm 0, how does Abramović's deliberate surrender of bodily agency transforms the audience from passive observers into ethically implicated subjects, forcing an intersubjective encounter with the artist that exposes unconventional, if not revolutionary, social conditions governing the art space?
- Creador/Autor:
- Penix, Sadie
- Peticionario:
- Sadie Penix
- Fecha modificada:
- 04/26/2026
- Fecha modificada:
- 04/30/2026
- Fecha de creacion:
- 2026-04
- Licencia:
- CC0 1.0 Universal
- Type:
- Document
- Descripción/Resumen:
- “In my opinion, wherever there is a public, there is a sacred place. When there is no public, there is no performance because there is no dialogue,” claimed Marina Abramović (b. 1946) in conversation with Italian art critic and contemporary art historian Achille Bonito Oliva. For Abramović, the presence of an audience is constitutive to performance. Performance art has frequently been defined by its provocative impulse, functioning as a responsive and unstable form that artists have turned to when engaging with political, cultural, or social pressures, and when seeking to unsettle the conventions of more established artistic disciplines. These sentiments are conveyed by her first performance works, The Rhythm Series (1973-1974). Over the course of two years, she completed five separate performances that explored the physical limits of the body and the relationship between performer and audience. Abramović performed Rhythm 0 (1974), the fifth and final work, at the gallery Studio Morra in Naples, Italy, from 8 pm to 2 am. She placed seventy-two objects on a table that could cause the human body extreme pleasure or pain, including but not limited to objects like a comb, lipstick, paint, a feather, a bone of lamb, cake, and a gun. Instructions posted on the wall declared: “I am the object. During this period I take full responsibility.” This experiment used the art space to expose what audiences are capable of when social inhibition is suspended and moral responsibility is left unguided. This paper asks, in her performance Rhythm 0, how does Abramović's deliberate surrender of bodily agency transforms the audience from passive observers into ethically implicated subjects, forcing an intersubjective encounter with the artist that exposes unconventional, if not revolutionary, social conditions governing the art space?
- Creador/Autor:
- Penix, Sadie
- Peticionario:
- Sadie Penix
- Fecha modificada:
- 04/26/2026
- Fecha modificada:
- 04/27/2026
- Fecha de creacion:
- 2026-04
- Licencia:
- CC0 1.0 Universal
- Type:
- Article
- Descripción/Resumen:
- This project will explore the artist Leonora Carrington’s Self-portrait (Inn of the Dawn Horse, ca. 1937-38) and its relationship to and rejection of the male-centric, sexist ideology of psychoanalysis that governed the Surrealist movement. As outlined in Andre Breton's First Manifesto of Surrealism (1924), Freudian psychoanalysis had a great influence on Breton, the movement's founder (1896-1966). He believed in Freud's tenets and theories regarding dreams and the unconscious as a liberating and radical force that could tear down society’s systems of oppression. Yet there is a willful ignorance in Breton’s philosophy on the deep-rooted misogyny of Freud’s psychology and how the institution of psychoanalysis ignores the realities of female development and existence within inherently sexist societal structures of that period. However, Leonora Carrington rejected psychoanalytic theory as it pertained to her art. She refused to be categorized within sexist ideologies and asserted herself as a creative artist with her own interpretations of her work, positing her own ideologies in the process. She demonstrated her identity through her work and found liberation by developing her own feminist consciousness. Through researching Carrington's work, I want to expand on her ability to challenge the sexist paradigms of Surrealism and to reaffirm how her rejection demonstrates that female nonconformity is not only revolutionary but also necessary for female artistic freedom today. Other scholars have delved into this driving aspect of Carrington’s work but I will be utilizing Helene Cixous’ concept of “ecritutre feminine” in order to demonstrate how Carrington developed a “pictorial language” of her own within her work Self-Portrait (Inn of the Dawn Horse). I will use Cixous’ seminal work, "The Laugh of the Medusa," to expand on this idea and how Carrington developed that language, constituted of her own personal symbols, which is on full display in her self-portrait.
- Creador/Autor:
- Morriss, Ella
- Peticionario:
- Ella Morriss
- Fecha modificada:
- 04/26/2026
- Fecha modificada:
- 04/26/2026
- Fecha de creacion:
- 2026-04-27
- Licencia:
- CC0 1.0 Universal
5. SAMPLE
- Type:
- Article
- Descripción/Resumen:
- SAMPLE
- Creador/Autor:
- Rose, Emma
- Peticionario:
- Emma Rose
- Fecha modificada:
- 04/26/2026
- Fecha modificada:
- 04/26/2026
- Fecha de creacion:
- April 26, 2026
- Licencia:
- CC0 1.0 Universal
- Type:
- Image
- Descripción/Resumen:
- Poster for Senior Seminar paper.
- Creador/Autor:
- Reisser, Kristopher
- Peticionario:
- Kristopher Reisser
- Fecha modificada:
- 04/29/2025
- Fecha modificada:
- 04/29/2025
- Licencia:
- Attribution-NonCommercial-ShareAlike 4.0 International
- Type:
- Document
- Descripción/Resumen:
- Beneath the severe bronze of Saint-Gaudens' 'The Puritan' (1886) lies a fracture in an American myth. This paper reads the statue through the Lacanian concept of the Name-of-the-Father, revealing a national fantasy subtly unraveling at its seams. What at first conveys ancestral virtue is exposed as a compensatory myth-- an Imaginary projection built atop repression. Through patronage, iconography, and psychoanalysis, this study brings to light the scaffolding of Gilded Age mythmaking.
- Creador/Autor:
- Reisser, Kristopher
- Peticionario:
- Kristopher Reisser
- Fecha modificada:
- 04/29/2025
- Fecha modificada:
- 04/29/2025
- Licencia:
- All rights reserved
- Type:
- Student Work
- Descripción/Resumen:
- The exhibition "Heavenly Bodies: Fashion and the Catholic Imagination," staged by the Metropolitan Museum of Art and Fashion Institute, showcased a fusion of Catholic iconography with contemporary fashion. The exhibition served as an immersive experience within the Met Cloisters, blending architecture, artworks, and garments to elevate clothing to the status of art. Attire was transformed into an earnest expression of spirituality and cultural identity through thematic organization. "Heavenly Bodies: Fashion and the Catholic Imagination" exemplifies the potential of fashion as a medium for artistic exploration and cultural discourse, challenging conventional perceptions and redefining boundaries between art and apparel.
- Creador/Autor:
- Fridlund, Katherine
- Peticionario:
- Katherine Fridlund
- Fecha modificada:
- 04/19/2024
- Fecha modificada:
- 04/23/2024
- Fecha de creacion:
- 2024-04-18
- Licencia:
- All rights reserved
- Type:
- Document
- Descripción/Resumen:
- The paper discusses how death and Memento Mori were displayed in the visual culture of the Northern European societies. The paper explores how the representation of the death evolves through the Middle Ages into the Baroque period and the reasons for such changes. The work follows research on the culture of these times and how they effected the representations of death that became so popular during the time. The thesis will also touch on how emergence of the importance of Still Life during this time can partially be attributed to this same culture.
- Creador/Autor:
- Moore, Sara
- Peticionario:
- Sara Moore
- Fecha modificada:
- 04/19/2024
- Fecha modificada:
- 04/19/2024
- Licencia:
- Public Domain Mark 1.0
- Type:
- Document
- Descripción/Resumen:
- This 12th Century B.C.E. Bronze Wine Vessel comes from the Anyang Province in China, dating to the Shang Dynasty, one of the earlier dynasties that ruled in ancient China. The shape of the vessel is a rectangular prism with a square base and 4 thick legs. The lid of this Fangyi is a roughly pyramidal shape with a knob that echoes the shape of the lid. This wine vessel was used for ceremonial purposes, most likely for ancestral worship. Not particularly used for only wine, these vessels also held cooked and raw meat, and grains or other foods, as an offering to the gods and ancestors. Alcohol held in the Fangyi was a liquor, made out of a grain called millet. Comprised of three registers each face of the vessel the same, the bronze is cast and carved to have dragon motifs, taotie masks, and a consistent thunder pattern spiral across the body of the Fangyi. The lid of the Fangyi also has taotie masks on each of sides. The dragons on the body of this vessel represent many things, but most importantly, a harbinger of good luck, prosperity, and consistent success. The taotie masks are elusive in Chinese culture- their original meanings have been lost, but they are thought to represent “animalistic energies… to heal and to offer solace in a world full of diffuse and supernatural forces,” or the finality of death. The spiral pattern is meant to emulate clouds and rolling thunder, symbolizing life-giving rain and abundance.
- Creador/Autor:
- Crossman, Emma
- Peticionario:
- Emma Crossman
- Fecha modificada:
- 08/29/2023
- Fecha modificada:
- 08/29/2023
- Fecha de creacion:
- 2020-11-19
- Licencia:
- Public Domain Mark 1.0