Search Constraints

Start Over
Filtering by: Type of Work Student Work Remove constraint Type of Work: Student Work Subject Art History Remove constraint Subject: Art History

Search Results

  • 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

  • Fashioning the Cloisters: A Reflection on the Metropolitan Museum of Art’s Exhibition Heavenly Bodies: Fashion and the Catholic Imagination

    Student Work thumbnail: Fashioning the Cloisters: A Reflection on the Metropolitan Museum of Art’s Exhibition Heavenly Bodies: Fashion and the Catholic Imagination
    Type:
    Student Work
    Description/Abstract:
    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.
    Creator/Author:
    Fridlund, Katherine
    Submitter:
    Katherine Fridlund
    Date Uploaded:
    04/19/2024
    Date Modified:
    04/23/2024
    Date Created:
    2024-04-18
    License:
    All rights reserved

  • Views from the Window: Conveying Harmony Under Different Atmospheric Conditions in Camille Pissarro’s Boulevard Montmartre Series

    Student Work thumbnail: Views from the Window: Conveying Harmony Under Different Atmospheric Conditions in Camille Pissarro’s Boulevard Montmartre Series
    Type:
    Student Work
    Description/Abstract:
    The only artist to be featured at all eight Impressionist Exhibitions in Paris was Camille Pissarro. The Impressionist movement emerged during a period of rapid social change and growing industrialization with more people moving to cities. In Pissarro’s works, he specifically concentrated on the conditions of different weather and times of day to alter how he painted scenes of a city. My paper focuses on the Boulevard Montmartre series and his use of building tonal relationships and skill of lighting placement across the fourteen paintings in order to establish a harmonious composition where the day’s essence radiates off the canvas.
    Creator/Author:
    Reinhold, Emily
    Submitter:
    Emily Reinhold
    Date Uploaded:
    04/25/2023
    Date Modified:
    04/25/2023
    Date Created:
    2023-04-20
    License:
    Public Domain Mark 1.0

  • “Then I am Praying”: War, Religion, and Shared Suffering in the Pechstein and Kollwitz Prints at the University of Cincinnati Art Collection

    Student Work thumbnail: “Then I am Praying”: War, Religion, and Shared Suffering in the Pechstein and Kollwitz Prints at the University of Cincinnati Art Collection
    Type:
    Student Work
    Description/Abstract:
    The University of Cincinnati Art Collection houses prints by two early 20th century German Expressionist printmakers, Max Pechstein (1881-1955) and Käthe Kollwitz (1867-1945). Pechstein’s Das Vater Unser (The Lord’s Prayer) series (1921) originally a portfolio of twelve, is represented in the University of Cincinnati Art Collection with nine of the bold woodcut prints. Kollwitz’s small postcard lithographs, Two Chatting Women with Two Children (c. 1930) and The Hospital Visit (c. 1926), are intimate and show the artists soft touch. Though formally very different, these prints share a common subject, the suffering of Germans during the interwar period (1918-1939). Both artists personally experienced both World Wars and their tragedies, and while Pechstein rarely addressed it directly, Kollwitz’s career was full of her antiwar sentiments. The prints grapple with the grief, political turmoil, and financial difficulties associated with the interwar period and each artist turns to their own form of religion to exercise their pain.
    Creator/Author:
    O'Deens, Shannon
    Submitter:
    Shannon O'Deens
    Date Uploaded:
    04/07/2022
    Date Modified:
    04/26/2022
    Date Created:
    April 20, 2022
    License:
    All rights reserved

  • DRAFT EXHIBITION

    Student Work thumbnail: DRAFT EXHIBITION
    Type:
    Student Work
    Description/Abstract:
    Draft of capstone class final project. Includes file of images and wall labels for DRAFT of the exhibition. Includes prints from the UC art collection from the 16th century, 17th century, 18th century, 19th century, and 20th century. The representation of architecture within art is a main theme for artists of all time periods. Within the UC Art Collection, prints display different stylistic approaches from abstract to realistic when portraying architecture. This exhibit will display five prints that compare and contrast the idea of stylistic approach. By viewing these artworks, there is the question as to why artists chose to portray the two types differently. Does the style dictate the importance or function of the architecture? Through exploration, one could say that there is a correlation between the type of architecture and its stylistic rendering. When viewing the examples of the collection, architecture that is considered monumental, such as cathedrals or government buildings, seem to be portrayed with realistic detailing and perspective, leaving no room for artistic expression in the portrayal. On the other hand, common architecture is portrayed with more abstraction but allows more freedom of expression from the artist to interpret the structure. Is one better than the other or do these two separate approaches give their subjects individualized attention to their charms?
    Creator/Author:
    Roades, Gracie
    Submitter:
    Gracie Roades
    Date Uploaded:
    03/31/2022
    Date Modified:
    04/07/2022
    Date Created:
    2022-03-31
    License:
    All rights reserved

  • Hokusai’s Great Wave and its Impact on the Culture of Western Art

    Student Work thumbnail: Hokusai’s Great Wave and its Impact on the Culture of Western Art
    Type:
    Student Work
    Description/Abstract:
    A visual analysis of the Kanagawa-oki Nami, or the Great Wave off Kanagawa by the Japanese ukiyo-e printmaker Katsushika Hokusai and its impact of Western Art culture following the Meiji Restoration of 1867
    Creator/Author:
    Gray, Joe
    Submitter:
    Joe Gray
    Date Uploaded:
    03/31/2022
    Date Modified:
    04/24/2022
    Date Created:
    3/31/2022
    License:
    All rights reserved

  • Clarity and Ambiguity in Félix Bracquemond’s View of Reality: Le Haut d’un battant de porte (The Top of a Door)

    Student Work thumbnail: Clarity and Ambiguity in Félix Bracquemond’s View of Reality: Le Haut d’un battant de porte (The Top of a Door)
    Type:
    Student Work
    Description/Abstract:
    This essay investigates the complex subject matter and the significance of Félix Bracquemond’s etching Le Haut d’un battant de porte (The Top of a Door) through a biographical approach, visual analysis, and examination of the artist’s creative process and intentions. The investigation demonstrates that this etching is not only unusual for its clarity, but also for its ambiguity. The seemingly contradictory yet complementary characteristics – clarity and ambiguity – coexist in this work. It is the coexistence and interaction of clarity and ambiguity that makes this work more significant and intriguing.
    Creator/Author:
    Lai, Sufang
    Submitter:
    Sufang Lai
    Date Uploaded:
    03/31/2022
    Date Modified:
    04/21/2022
    Date Created:
    2022-04-20
    License:
    All rights reserved

  • Allegorical Women Figures in Renaissance Prints

    Student Work thumbnail: Allegorical Women Figures in Renaissance Prints
    Type:
    Student Work
    Description/Abstract:
    Why do the majority of allegorical figures in art take on a female form? What does this tell us about the way women were viewed in their societies? This essay examines the relationship of the female form in allegorical prints and European Renaissance society in the 15th century.
    Creator/Author:
    King, Emilie
    Submitter:
    Emilie King
    Date Uploaded:
    03/31/2022
    Date Modified:
    04/26/2022
    Date Created:
    April 21, 2022
    License:
    All rights reserved

  • Research projects—Art History Senior Seminar, Spring 2020

    Student Work thumbnail: Research projects—Art History Senior Seminar, Spring 2020
    Type:
    Student Work
    Description/Abstract:
    Documentation of research projects by art history Senior Seminar students, Spring Semester, 2020. DAAPworks, Spring, 2020.
    Creator/Author:
    Andrus, Kyla; Thomas, Morgan (editor); Pittman, Isabella; Pitney, Auturmn; Hensler, Devon ; Hamilton, Amy , and Applegate, Jazmine
    Submitter:
    Morgan Thomas
    Date Uploaded:
    04/10/2020
    Date Modified:
    05/12/2020
    Date Created:
    2020-04-27
    License:
    All rights reserved

  • MFA Show 2015 — Projects and Texts by MFA students with Art Education and Art History graduate students

    Student Work thumbnail: MFA Show 2015 — Projects and Texts by MFA students with Art Education and Art History graduate students
    Type:
    Student Work
    Description/Abstract:
    UC SCHOOL OF ART MFA GRADUATING SHOW 2015 — TEXTS AND PROJECTS This collection of texts and images brings together the work of graduate students and faculty in art history, art education, and fine arts at the University of Cincinnati in the spring of 2015. We invited students in art education and art history to write accompanying texts for the final projects of their peers in the fine arts graduate program – projects encompassing everything from multimedia installation, abstract painting, video animation, fiber-based sculptural assemblages, photography, and drawing. The students’ projects were presented at the Contemporary Arts Center, Cincinnati, as part of the School of Art’s MFA Thesis Exhibition, which ran from April 1 and April 25, 2015. A process of looking, talking, looking again, writing, reading, and re-writing unfolded. Shorter versions of the texts were shown at the CAC alongside the artworks at the CAC. The process created a working space for artists and writers in dialogue, giving rise to new ideas and projects in turn. Morgan Thomas Vittoria Daiello [from Foreword] Design: Sso-Rha Kang
    Creator/Author:
    Stenger, Kate; Spires, Lauren; Thomas, Morgan; Daiello, Vittoria; Norton, Ben; Kang, Sso-Rha; Lang, Gabrielle; Johnson, Leigh; Wyatt Bauman, Emily; Karimi, Saeide; Tinney, Ross; Turner, Miles; Oswald, Sean; Klimesh, Colin; Asadipour, Saeedeh; Girandola, Joe; Morren, Samuel; Drout, Julie; Wolhoy, Rick, and Horwitz, Ian
    Submitter:
    Morgan Thomas
    Date Uploaded:
    09/20/2018
    Date Modified:
    05/23/2019
    Date Created:
    2015-04-27
    License:
    All rights reserved