{"response":{"docs":[{"system_create_dtsi":"2026-04-27T06:20:01Z","system_modified_dtsi":"2026-04-28T17:44:28Z","has_model_ssim":["Document"],"id":"qb98mh204","accessControl_ssim":["8716c285-0f7e-4f3e-a252-4301cd521102"],"hasRelatedMediaFragment_ssim":["736666383"],"hasRelatedImage_ssim":["736666383"],"depositor_ssim":["turne2lr@mail.uc.edu"],"depositor_tesim":["turne2lr@mail.uc.edu"],"title_tesim":["A Golden Artist: Thomas Lanigan-Schmidt’s  Life and Art During the Stonewall Era"],"date_uploaded_dtsi":"2026-04-27T06:19:59Z","date_modified_dtsi":"2026-04-28T17:43:54Z","isPartOf_ssim":["admin_set/default"],"time_period_tesim":["Stonewall Era"],"college_tesim":["Design, Architecture, Art and Planning"],"department_tesim":["Art History"],"creator_tesim":["Turner, Lauren"],"publisher_tesim":["University of Cincinnati"],"subject_tesim":["Thomas Lanigan-Schmidt","Queer Art","The Stonewall Riots","Art History"],"language_tesim":["English"],"description_tesim":["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"],"license_tesim":["http://creativecommons.org/publicdomain/zero/1.0/"],"date_created_tesim":["2026-04-27"],"thumbnail_path_ss":"/downloads/736666383?file=thumbnail","suppressed_bsi":false,"actionable_workflow_roles_ssim":["admin_set/default-default-depositing"],"workflow_state_name_ssim":["deposited"],"member_ids_ssim":["736666383","vm40xt41c"],"file_set_ids_ssim":["736666383","vm40xt41c"],"visibility_ssi":"open","admin_set_tesim":["Default Admin Set"],"sort_title_ssi":"GOLDEN ARTIST THOMAS LANIGANSCHMIDTS LIFE AND ART DURING THE STONEWALL ERA","human_readable_type_tesim":["Document"],"read_access_group_ssim":["public"],"edit_access_group_ssim":["admin"],"edit_access_person_ssim":["turne2lr@mail.uc.edu"],"nesting_collection__pathnames_ssim":["qb98mh204"],"nesting_collection__deepest_nested_depth_isi":1,"_version_":1863737167549825024,"timestamp":"2026-04-28T17:44:29.224Z","score":0.00049999997},{"system_create_dtsi":"2026-04-26T23:24:12Z","system_modified_dtsi":"2026-04-30T02:17:42Z","has_model_ssim":["StudentWork"],"id":"5999n502t","accessControl_ssim":["51f715f6-e99e-4261-89ff-73fc0152d0e6"],"hasRelatedMediaFragment_ssim":["2801ph921"],"hasRelatedImage_ssim":["2801ph921"],"depositor_ssim":["penixse@mail.uc.edu"],"depositor_tesim":["penixse@mail.uc.edu"],"title_tesim":["Ethical Implications in Marina Abramović’s \"Rhythm 0\""],"date_uploaded_dtsi":"2026-04-26T23:24:12Z","date_modified_dtsi":"2026-04-30T02:17:08Z","isPartOf_ssim":["admin_set/default"],"alternate_title_tesim":["N/A"],"geo_subject_tesim":["N/A"],"advisor_tesim":["Platts, Christopher"],"degree_tesim":["BA Art History"],"college_tesim":["Design, Architecture, Art and Planning"],"department_tesim":["Art History"],"genre_tesim":["White Paper"],"time_period_tesim":["1970s"],"required_software_tesim":["N/A"],"note_tesim":["N/A"],"creator_tesim":["Penix, Sadie"],"publisher_tesim":["N/A"],"subject_tesim":["Art History"],"language_tesim":["English"],"description_tesim":["“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?"],"license_tesim":["http://creativecommons.org/publicdomain/zero/1.0/"],"date_created_tesim":["2026-04"],"related_url_tesim":["N/A"],"thumbnail_path_ss":"/downloads/2801ph921?file=thumbnail","suppressed_bsi":false,"actionable_workflow_roles_ssim":["admin_set/default-default-depositing"],"workflow_state_name_ssim":["deposited"],"member_ids_ssim":["2801ph921","ft848s182"],"file_set_ids_ssim":["2801ph921","ft848s182"],"visibility_ssi":"open","admin_set_tesim":["Default Admin Set"],"sort_title_ssi":"ETHICAL IMPLICATIONS IN MARINA ABRAMOVIS RHYTHM 0","human_readable_type_tesim":["Student Work"],"read_access_group_ssim":["public"],"edit_access_group_ssim":["admin"],"edit_access_person_ssim":["penixse@mail.uc.edu"],"nesting_collection__pathnames_ssim":["5999n502t"],"nesting_collection__deepest_nested_depth_isi":1,"_version_":1863860054984228864,"timestamp":"2026-04-30T02:17:43.814Z","score":0.00049999997},{"system_create_dtsi":"2026-04-26T23:14:59Z","system_modified_dtsi":"2026-04-27T02:10:23Z","has_model_ssim":["Document"],"id":"9306t122q","accessControl_ssim":["63bf9ab9-3304-4566-9d2d-668061b2a8bd"],"depositor_ssim":["penixse@mail.uc.edu"],"depositor_tesim":["penixse@mail.uc.edu"],"title_tesim":["Ethical Implications in Marina Abramović’s \"Rhythm 0\""],"date_uploaded_dtsi":"2026-04-26T23:14:58Z","date_modified_dtsi":"2026-04-27T02:10:23Z","isPartOf_ssim":["admin_set/default"],"alternate_title_tesim":["N/A"],"geo_subject_tesim":["N/A"],"genre_tesim":["Report"],"time_period_tesim":["20th century","1970's"],"required_software_tesim":["N/A"],"note_tesim":["N/A"],"college_tesim":["Design, Architecture, Art and Planning"],"department_tesim":["Art History"],"creator_tesim":["Penix, Sadie"],"publisher_tesim":["N/A"],"subject_tesim":["Marina Abramović","Performance Art ","Art History"],"language_tesim":["English"],"description_tesim":["“In my opinion, wherever there is a public, there is a sacred place. 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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. 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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."],"license_tesim":["http://rightsstatements.org/vocab/InC/1.0/"],"thumbnail_path_ss":"/downloads/2514nn02t?file=thumbnail","suppressed_bsi":false,"actionable_workflow_roles_ssim":["admin_set/default-default-depositing"],"workflow_state_name_ssim":["deposited"],"member_ids_ssim":["2514nn02t"],"member_of_collections_ssim":[" Keeping Up Appearances: A Lacanian Perspective on American Mythmaking in Augustus Saint-Gaudens’ 'The Puritan' (1886)"],"member_of_collection_ids_ssim":["d791sh47x"],"file_set_ids_ssim":["2514nn02t"],"visibility_ssi":"open","admin_set_tesim":["Default Admin Set"],"sort_title_ssi":"KEEPING UP APPEARANCES A LACANIAN PERSPECTIVE ON AMERICAN MYTHMAKING IN AUGUSTUS SAINTGAUDENS THE PURITAN 1886","human_readable_type_tesim":["Document"],"read_access_group_ssim":["public"],"edit_access_group_ssim":["admin"],"edit_access_person_ssim":["paigekr@mail.uc.edu"],"nesting_collection__ancestors_ssim":["d791sh47x"],"nesting_collection__parent_ids_ssim":["d791sh47x"],"nesting_collection__pathnames_ssim":["d791sh47x/4f16c474g"],"nesting_collection__deepest_nested_depth_isi":2,"_version_":1830712138392403968,"timestamp":"2025-04-29T05:05:47.118Z","score":0.00049999997},{"system_create_dtsi":"2025-04-28T15:27:09Z","system_modified_dtsi":"2025-04-28T15:28:09Z","has_model_ssim":["Article"],"id":"79407z76m","accessControl_ssim":["ec17c35b-8507-4faf-9ac4-0319ef280c3a"],"hasRelatedMediaFragment_ssim":["1g05fd14r"],"hasRelatedImage_ssim":["1g05fd14r"],"depositor_ssim":["krimmerm@mail.uc.edu"],"depositor_tesim":["krimmerm@mail.uc.edu"],"title_tesim":["Saints and Sons: Painting Power, Piety, and the Performance of Nobility in Zurbarán’s Saint Peter Nolasco Recovering the Image of the Virgin of El Puig. 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This paper bridges the gap between these varying opinions, and concretely identifies the most formally important figure in this commission that defined Zurbarán’s career. The argument is built on the writings of Zurbarán scholar Martin S. Soria, as well as a comparison to Zurbarán’s body of work at large, primarily his tendency to create from life, and his suspected self-portrait, The Crucified Christ with a Painter (1650). I conclude that the child in the piece is likely a culmination of Juan and Alfonso and explore the implication of Zurbarán depicting his child in the noble and pious role of James the Conqueror’s son, paying witness to the rediscovery of the Virgin of El Puig. The combined figure of Juan and Alfonso gains significance through an exploration of historical context surrounding the legend of the Virgin of El Puig and its key figures. 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