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- Type:
- Student Work
- 摘抄:
- Raja Ravi Varma’s representation of apsaras is a cultural shift from the traditional Indian visual culture that focused on their bodies and promiscuity. Ravi Varma emphasizes the spiritual significance of apsaras in Hindu mythology and uses cultural symbolism to demonstrate their individual impact. Apsaras in Indian temple art are objectified and depicted as passive objects, which misrepresents their significance in Hindu mythology and spiritual enlightenment. The evolution of apsara representation is caused by cultural shifts and mythological research that centers women as independent subjects. Ravi Varma combines European and Indian art traditions to normalize the Indian culture of nudity and sensuality. He rejects the visual tradition of objectifying apsaras to emphasize their spiritual significance in Hindu stories.
- 作者:
- Bhalerao, Gargi
- 提交者:
- Gargi Bhalerao
- 上传日期:
- 05/21/2026
- 更改日期:
- 05/21/2026
- 创建:
- 2026-02-15
- 证书:
- CC0 1.0 Universal
-
- Type:
- Document
- 摘抄:
- 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
- 作者:
- Turner, Lauren
- 提交者:
- Lauren Turner
- 上传日期:
- 04/27/2026
- 更改日期:
- 04/28/2026
- 创建:
- 2026-04-27
- 证书:
- CC0 1.0 Universal
-
- Type:
- Article
- 摘抄:
- title
- 作者:
- Platts, Christopher
- 提交者:
- Christopher Platts
- 上传日期:
- 04/27/2026
- 更改日期:
- 04/27/2026
- 创建:
- 2026
- 证书:
- CC0 1.0 Universal
-
- Type:
- Student Work
- 摘抄:
- “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?
- 作者:
- Penix, Sadie
- 提交者:
- Sadie Penix
- 上传日期:
- 04/26/2026
- 更改日期:
- 04/30/2026
- 创建:
- 2026-04
- 证书:
- CC0 1.0 Universal
-
- Type:
- Document
- 摘抄:
- “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?
- 作者:
- Penix, Sadie
- 提交者:
- Sadie Penix
- 上传日期:
- 04/26/2026
- 更改日期:
- 04/27/2026
- 创建:
- 2026-04
- 证书:
- CC0 1.0 Universal
-
- Type:
- Student Work
- 摘抄:
- Throughout the seventeenth century, ideas of the occult and mystique of witchcraft consumed public interest in artistic circles in Florence, Italy. Salvator Rosa (1615-1673), an Italian artist from Naples, participated in this movement from 1640 until his death. As interests in the occult heightened during his time in Florence, he participated in suspicions of witchcraft through his Scenes of Witchcraft (1645-1649). Located at the Cleveland Museum of Art, the series consists of four tondi, each portraying a witch with harrowing spectators at different times of the day. However, to ensure his esteemed prominence, he returned to Rome and produced religious works. The macabre interests that captivated Rosa in Scenes of Witchcraft (1645-49) became a vehicle of undermining the church through The Shade of Samuel Appears to Saul (1668) when the artist returned to Rome. In this paper I propose that through shared iconography, The Shade of Samuel Appears to Saul is a painting of witchcraft, and serves to undermine the authority of the church. Witches or other necromancing subjects were accepted solely to elevate the morality of biblical characters. By giving the witch of Endor agency, Rosa is offering an alternative subject that serves to rival the power of God.
- 作者:
- Banks, Claire
- 提交者:
- Claire Banks
- 上传日期:
- 04/26/2026
- 更改日期:
- 04/26/2026
- 创建:
- April 26, 2026
- 证书:
- CC0 1.0 Universal
-
- Type:
- Article
- 摘抄:
- 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.
- 作者:
- Morriss, Ella
- 提交者:
- Ella Morriss
- 上传日期:
- 04/26/2026
- 更改日期:
- 04/26/2026
- 创建:
- 2026-04-27
- 证书:
- CC0 1.0 Universal
-
- Type:
- Article
- 摘抄:
- SAMPLE
- 作者:
- Rose, Emma
- 提交者:
- Emma Rose
- 上传日期:
- 04/26/2026
- 更改日期:
- 04/26/2026
- 创建:
- April 26, 2026
- 证书:
- CC0 1.0 Universal
-
- Type:
- Document
- 摘抄:
- By considering various depictions of the Adoration of the Magi between 1400 to 1485, I establish that the portrayal of the Magus within The Master of the Legend of Saint Lucy’s painting directly reflects the economic realities in Bruges throughout the same period. In turn, my close examination of marketplace standards alongside themes of pilgrimage, shifting racial ideals, and a growing interest in secular subjects, offers new insight into 15th century adaptations of the Adoration.
- 作者:
- Wells, Maiana
- 提交者:
- Maiana Wells
- 上传日期:
- 04/29/2025
- 更改日期:
- 04/29/2025
- 创建:
- 2025-04-30
- 证书:
- All rights reserved
-
- Type:
- Image
- 摘抄:
- Poster for Senior Seminar paper.
- 作者:
- Reisser, Kristopher
- 提交者:
- Kristopher Reisser
- 上传日期:
- 04/29/2025
- 更改日期:
- 04/29/2025
- 证书:
- Attribution-NonCommercial-ShareAlike 4.0 International