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  • The Dual Representation of Apsaras in Indian Culture: Raja Ravi Varma’s Subversion of Traditional Patterns

    Student Work thumbnail: The Dual Representation of Apsaras in Indian Culture: Raja Ravi Varma’s Subversion of Traditional Patterns
    Type:
    Student Work
    Description/Abstract:
    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.
    Creator/Author:
    Bhalerao, Gargi
    Submitter:
    Gargi Bhalerao
    Date Uploaded:
    05/21/2026
    Date Modified:
    05/21/2026
    Date Created:
    2026-02-15
    License:
    CC0 1.0 Universal

  • A Golden Artist: Thomas Lanigan-Schmidt’s Life and Art During the Stonewall Era

    Document thumbnail: A Golden Artist: Thomas Lanigan-Schmidt’s Life and Art During the Stonewall Era
    Type:
    Document
    Description/Abstract:
    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
    Creator/Author:
    Turner, Lauren
    Submitter:
    Lauren Turner
    Date Uploaded:
    04/27/2026
    Date Modified:
    04/28/2026
    Date Created:
    2026-04-27
    License:
    CC0 1.0 Universal

  • Ethical Implications in Marina Abramović’s "Rhythm 0"

    Student Work thumbnail: Ethical Implications in Marina Abramović’s "Rhythm 0"
    Type:
    Student Work
    Description/Abstract:
    “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?
    Creator/Author:
    Penix, Sadie
    Submitter:
    Sadie Penix
    Date Uploaded:
    04/26/2026
    Date Modified:
    04/30/2026
    Date Created:
    2026-04
    License:
    CC0 1.0 Universal

  • Ethical Implications in Marina Abramović’s "Rhythm 0"

    Document thumbnail: Ethical Implications in Marina Abramović’s "Rhythm 0"
    Type:
    Document
    Description/Abstract:
    “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?
    Creator/Author:
    Penix, Sadie
    Submitter:
    Sadie Penix
    Date Uploaded:
    04/26/2026
    Date Modified:
    04/27/2026
    Date Created:
    2026-04
    License:
    CC0 1.0 Universal

  • The Language of the Self: Rejecting the Surrealist focus on Psychoanalysis in Leonora Carrington’s Self-Portrait (Inn of the Dawn Horse)

    Article thumbnail: The Language of the Self: Rejecting the Surrealist focus on Psychoanalysis in Leonora Carrington’s Self-Portrait (Inn of the Dawn Horse)
    Type:
    Article
    Description/Abstract:
    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.
    Creator/Author:
    Morriss, Ella
    Submitter:
    Ella Morriss
    Date Uploaded:
    04/26/2026
    Date Modified:
    04/26/2026
    Date Created:
    2026-04-27
    License:
    CC0 1.0 Universal

  • Globalization of The Adoration: Pilgrimage, Trade, and Shifting Perspectives within The Master of the Legend of Saint Lucy’s 'Adoration of the Magi' (c. 1480-85)

    Document thumbnail: Globalization of The Adoration: Pilgrimage, Trade, and Shifting Perspectives within The Master of the Legend of Saint Lucy’s 'Adoration of the Magi' (c. 1480-85)
    Type:
    Document
    Description/Abstract:
    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.
    Creator/Author:
    Wells, Maiana
    Submitter:
    Maiana Wells
    Date Uploaded:
    04/29/2025
    Date Modified:
    04/29/2025
    Date Created:
    2025-04-30
    License:
    All rights reserved

  • 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.

    Article thumbnail: 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.
    Type:
    Article
    Description/Abstract:
    The young boy in Francisco de Zurbarán’s (1598-1664) Saint Peter Nolasco Recovering the Image of the Virgin of El Puig (1630) has been suggested to be either Zurbarán’s son, Juan de Zurbarán (1620–1649), or the son of James I of Aragon, Alfonso of Castile (1229–1260). Despite visual dominance, most scholars do not address the boy, and those who do offer conflicting identifications. 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. By drawing parallels between 17th-century Spanish colonialism contemporary to Zurbarán’s time and 13th-century Reconquista depicted in the painting, Zurbarán uses this composite figure to assert a vision of his lineage as triumphant and divinely favoured. Ultimately, this paper continues and expands upon Soria’s writings on the subject, and places Zurbarán within a Baroque tradition of artists, such as Velázquez, who used painting to assert their profession as divinely-inspired, nobel, and distinct from craftsmen.
    Creator/Author:
    Krimmer, Ruby
    Submitter:
    Ruby Krimmer
    Date Uploaded:
    04/28/2025
    Date Modified:
    04/28/2025
    Date Created:
    April 25, 2025
    License:
    All rights reserved

  • Globalization of The Adoration: DAAPworks Poster 2025

    Image thumbnail: Globalization of The Adoration: DAAPworks Poster 2025
    Type:
    Image
    Description/Abstract:
    Maiana Wells, Department of Art History, University of Cincinnati (DAAPworks).
    Creator/Author:
    Wells, Maiana Lynn
    Submitter:
    Maiana Wells
    Date Uploaded:
    04/28/2025
    Date Modified:
    04/28/2025
    Date Created:
    2025-04-27
    License:
    All rights reserved

  • How can a memorial garden or greenspace be effectively designed to assist adults grieving the loss of a loved one?

    Document thumbnail: How can a memorial garden or greenspace be effectively designed to assist adults grieving the loss of a loved one?
    Type:
    Document
    Description/Abstract:
    This research demonstrates the positive effects of gardens on the well being of those grieving the loss of a loved one in the United States. This project creates a guideline for constructing an effective memorial garden using components such as motion, stillness, privacy, community, plant choice, and other design elements. The author also includes a recommended plant list for the Midwest United States and reading recommendations for garden design.
    Creator/Author:
    Rettig, Ethan
    Submitter:
    Ethan Rettig
    Date Uploaded:
    04/09/2025
    Date Modified:
    04/16/2025
    Date Created:
    2025-04-09
    License:
    Attribution 4.0 International

  • Listing of theses on interior design submitted by members of the Senior class of the College of Design, Architecture, Art and Planning, University of Cincinnati

    Document thumbnail: Listing of theses on interior design submitted by members of the Senior class of the College of Design, Architecture, Art and Planning, University of Cincinnati
    Type:
    Document
    Description/Abstract:
    This is an excel file of the interior design senior theses with student's name, title of project, description of project and date. Physical access to the works can be requested here  https://uclid.uc.edu/record=b1239197~S39.
    Creator/Author:
    Meyer, Elizabeth A.
    Submitter:
    Elizabeth A. Meyer
    Date Uploaded:
    08/29/2024
    Date Modified:
    04/18/2025
    Date Created:
    complied 2024
    License:
    Public Domain Mark 1.0