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# Title Semester Author Description Access Restrictions
1 The Following is a True Story: Fiction, Bunkerization and Cinema in Post-Socialist Albania 2015 Spring Reilly, Alison Bunkerization in the late 1970s and early 1980s under Albanian leader Enver Hoxha's regime is the subject of Kujtim Çashku's film,...
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Bunkerization in the late 1970s and early 1980s under Albanian leader Enver Hoxha's regime is the subject of Kujtim Çashku's film, Kolonel Bunker. The film, made in 1996 as Albania transitioned from forty years of Hoxha's rule, is based loosely on the life of Albanian army officer and engineer Josif Zegali who was tasked with overseeing the construction of hundreds of thousands of concrete bunkers. My analysis contextualizes Kolonel Bunker within the history of both the extensive bunker building program and the institutionalized system of cinema in Albania. Çashku spent the 1970s and 1980s working for state-run Kinostudio Shqipëria e Re, but his travels to other Balkan countries also contributed to his emergence as an independent filmmaker after the collapse of Hoxha's government. In comparing the systems of power at play in both the bunker building program and Kinostudio, I question how fictions of the state operate in the name of truth. Using political theorists Lisa Wedeen and Václav Havel's texts, I investigate the role of complicity in the formation of fiction. Çashku's Kolonel Bunker serves as a case study in the investigation of the poetics and visual tropes of socialist and post-socialist societies. Throughout my analysis, I consider the absence of Hoxha's figure in socialist realist films such as The Warm Hand (Dora e ngrohtë, Kujtim Cashku, 1983) and Tomka and His Friends (Tomka dhe shokët e tij, Xhanfise Keko, 1977), and I elucidate the role of the viewer in constructing fiction.
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This thesis is only viewable on the SAIC campus.
2 Great Scott! Picturing The Past Through The Waverley Novels 2016 Spring Elliott, Lillian M. With over two hundred years between the Waverley Novels and us, it is difficult to understand just what Walter Scott- Wizard of the North...
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With over two hundred years between the Waverley Novels and us, it is difficult to understand just what Walter Scott- Wizard of the North, Laird of Abbotsford, the Enchanter, the Great Unknown, and, of course, the beloved Author of Waverley- meant to the nineteenth century. Critical discussions about Scott and the literary and social contexts in which he lived abound. However, these extant studies ignore the numerous modes of visual reproduction that were influenced by or sought to replicate the Waverley Novels throughout the progression of the nineteenth century. Furthermore, what these creative endeavors have had to say about Scott as an author has, for the better part of a century, gone unnoticed- until now. This thesis seeks to legitimize Scott's role as an active force within the purview of popular nineteenth century visual culture. It is through this lens that the present study breaks new ground. I focus on the aesthetic principles that guided much of Scott's literary output and explore the subsequent morphing of his texts into a number of different visual media. Each of these derivative forms, I argue, has played an integral part in the collective understanding of Scott's works and can be useful in fleshing out the multiplicity of meanings that were once, or still are, attached to his fictional oeuvre. The three chapters that constitute the body of this thesis have been organized in such a way as to offer a profound sense of the different visual platforms that drive his legacy.
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This thesis is only viewable on the SAIC campus.
3 The Afterimage and the Afterlife: The Art of Ivan Albright 2014 Spring Becker, Mel Ivan Albright's (1897-1983) rejection of the idealized figure and exposure of the frailty of the human form pushed his work to the edge...
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Ivan Albright's (1897-1983) rejection of the idealized figure and exposure of the frailty of the human form pushed his work to the edge of contemporaneous practices of art in North America and into the realm of medical illustration, disturbing both the critics and the public. Albright's representation of the metaphysical through the flesh on the canvas was definitively derived from his experience as a medical draftsman in World War I. His use of the skin of his subjects to speak to the trauma and the inevitable death of the human body can be seen throughout his oeuvre, beginning with his drawings in his medical sketchbooks completed during the war. To assist in his metaphysical and spiritual goals for the viewer of his works, Albright developed a painting tool, his color wands. Either through motion or prolonged staring, he hoped the afterimage colors on the canvas would activate the viewer's "subconscious." Spurred on by the growing public awareness of the changing scientific vision at the turn of the century, Albright equipped himself with the ability to reveal larger truths about our world, and worked to uncover the mystery that is color.
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This thesis is only viewable on the SAIC campus.
4 Destruction and Reconstruction: The Art of Hung Liu 2014 Summer Rosenberg, Julie The compositional arrangements in Hung Liu's (born 1948) work are complex and the subject matter conceptual in nature, as there are...
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The compositional arrangements in Hung Liu's (born 1948) work are complex and the subject matter conceptual in nature, as there are layers of meaning that are not entirely evident upon casual glance. The primary focus in Liu's paintings is taken from historical photographs or vintage propaganda film stills from China. She depicts figures in a realism style inspired by Chinese Socialist Realism with an overlay of traditional Chinese signs and symbols, such as, birds, flowers, and insects, as well as other characters. As the figures, signs, and symbols are rendered, Liu applies a linseed oil and pigment wash to her monumental size compositions, which causes parts of the paintings to disintegrate with bits and pieces destroyed entirely. The destruction in Hung Liu's art may be understood as a link to the destruction in Chinese society during the Great Leap Forward (1958-1961) and the Great Proletarian Cultural Revolution (1966-1976) and is a metaphor for the corruption of the time, history, and memory of the Chinese culture.
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This thesis is only viewable on the SAIC campus.
5 Under This Name, Another: The Presentation of Self and Naming with Hannah Wilke and Senga Nengudi 2018 Summer Burke, Alden Nowell In 1974, Hannah Wilke iteratively posed for one of her most recognized works, S.O.S Starification Object Series. That same year, Senga...
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In 1974, Hannah Wilke iteratively posed for one of her most recognized works, S.O.S Starification Object Series. That same year, Senga Nengudi stretched, filled, and danced through the performative sculptures of her Repondez S'il Vous Plaft series for the first time. Despite both artists working with everyday materials that consider and interact with the body, dematerialize over time, and who center their personal, corporal selves within their work, the two artists have only been shown together twice in exhibition and seen no scholarship that puts them in direct conversation with one another. Under This Name, Another: The Presentation of Self and Naming with Hannah Wilke and Senga Nengudi is a comparative project that uses use the power of juxtaposition as a tool to generate dialogue exploring the overlapping but distinct practices of Wilke and Nengudi throughout their careers. Building off scholarship on their most-recognized works, I consider and extend each artist's signature material concerns from the tangible forms of gum and nylons, respectively, to include the conceptual and intangible nature of a name. By incorporating their chosen names into their artistic practice, Wilke and Nengudi thus position names as a material in and of themselves, to be shaped, formed, played with, removed, or applied in order to challenge concrete or conclusory readings of self.
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This thesis is only viewable on the SAIC campus.
6 Keep in Touch: Reading and Relationships in Moyra Davey's 'Burn the Diaries,' 'My Saints,' and 'Of Jane' 2016 Spring Dorenbaum, Frances Claire This thesis considers the relationship between artistic narratives and their viewers in contemporary photography through the work of...
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This thesis considers the relationship between artistic narratives and their viewers in contemporary photography through the work of Moyra Davey. In 2014, Davey exhibited three works together in an exhibition titled 'Burn the Diaries' at the Institute of Contemporary Art at the University of Pennsylvania in Philadelphia and at the Museum modemer Kunst Stifung Ludwig Wien in Vienna. 'Burn the Diarie's (2014), is an autofictive book with two texts, one by herself and the other by Alison Strayer, both embedded with Davey's images. 'Of Jane' (2013), is a series of photographic mailers of books, paper, cemeteries, cafes, and interiors. 'My Saints' (2014) is a thirty-minute video analyzing a passage from Jean Genet's 'The Thief's Journal.' The autonomous pieces are iterations of one specific narrative about a betrayal in friendship, together forming a larger story. Each work centers on the idea of relationships and their continuous evolution. This thesis aims to position Davey's work within contemporary photography by suggesting that her works encourage an alternative way of looking, or reading, images from other works of today. Because she places her images within the context of literature and text, she asks readers to take time with the work. By involving artistic forms that include movement, such as mailers through the post office, or books that are passed around, or literally moving images, there is a durational component that also supports this slow form of reading. Finally, with the specific mediums and her inclusion of others' interpretations of the overarching narrative in the works, she invites a form of reading and creating images that is collective and therefore ongoing, active, and focused on the present. Even though her images and text look to the past, their nature is one of continuous development that emphasizes the subjective and slow experience of creating visual narratives. Chapter 1 focuses on the photographic mailers that make 'Of Jane,' and demonstrates how the relationship between images and text allows these images to supersede a Barthesian photographic death as they connect readers through their haptic qualities. Chapter 2 looks at the relationship between writing and reading, or writer and reader, through an examination of the reading process when engaging with 'Burn the Diaries.' Chapter 3 considers 'My Saints' from a Kleinian perspective, focusing on the concept of reparation in order to explore the relationship between artist and narrative.
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This thesis is only viewable on the SAIC campus.
7 Transmission as Medium: Fernsehgalerie Gerry Schum and Videogalerie Schum, 1968-1973 2014 Spring Farrell, Robyn In 1969 Gerry Schum unhinged the conventional course of exhibition with the broadcast of contemporary artist films on television. Like...
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In 1969 Gerry Schum unhinged the conventional course of exhibition with the broadcast of contemporary artist films on television. Like many working in the arts during this period, Schum-a documentary filmmaker for West German broadcast television-saw the traditional hierarchies of painting and sculpture as outdated, and the institutions in which they circulated as an inaccessible system. Together with his wife Ursula Wevers, Schum sought ways to challenge what he referred to as "the eternal triangle of studio, gallery, collector," and employ network systems via conceptual means to achieve new forms of communication. The Fernsehgalerie Gerry Schum- TV Gallery in English-represented a radical model that marked out a mass-media space for the production and exhibition of art. Conflating film, video technology, and broadcast television, Schum's concept collapsed traditional definitions of art, privileging the act of transmission as a new medium for contemporary art. The apogee of this strategy decentralized the commodification of art and reclaimed the agency of artists and audiences from the institutional confines of a gallery or museum. Despite this innovation there has been very little critical writing outside of Europe about Schum and his pioneering experiments in television and video distribution. This thesis will thus serve as a lens to re-examine the activities of the Fernsehgalerie Gerry Schum (1968-1970) and Videogalerie Schum (1971-1973), exploring issues of art collaboration, curatorial practice, and distribution. Offering an exploratory set of historical projects and contemporary observations, this thesis aims to recover and suggest the depth of Schum's aesthetic endeavor through electronic transmission and distribution circa 1970. Ultimately, this thesis argues for the influence of Schum's interventions on the small screen- disseminating art that relies on its mediation through visual representation-as especially relevant to the ever-changing landscape of contemporary art today. Employing Gerry Schum as a starting point, my thesis offers an alternative view to an otherwise American-centric history of media art, tracing the philosophy and practice of one European effort to realize a new medium.
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This thesis is only viewable on the SAIC campus.
8 Markets and Mystics: The Institutional Reception of Contemporary Asian Art with Religion as Subject 2014 Spring Kupferman, Rachel Arguably, since the Enlightenment, religion has less and less of a role to play in art. As secularism dictates, religion does not have a...
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Arguably, since the Enlightenment, religion has less and less of a role to play in art. As secularism dictates, religion does not have a place in the art world. However, there is a new space, where religious art is accepted in major art world institutions. In these cases, the works are by non-Euro-American artists. This thesis looks at the art and the public presence of three artists of different religious backgrounds, geographies and art practices to investigate their crossover nature. The artists of focus are Zhuan Huan (Performance and sculptural work, China), Sopheap Pich (Sculpture, Cambodia), and Adi Nes (Photography, Israel). Through a study it is possible to find that contemporary religious art creates a new space where secularism can accommodate mysticism. Unfortunately, the Western art world's exclusive embrace of non-Euro-American works suggests traces of Orientalism and Exoticism. This presents a counter-argument: an artist's integration into the market could be seen as a version of colonialism and market-driven exoticism. Should this suggestion be confirmed, these barrier breaking Asian artists would not prove that contemporary religious art creates a new space where secularism can accommodate the sacred. This neo-colonialist attitude is a point of critique for the global contemporary art world that sees itself through an egalitarian lens.
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This thesis is only viewable on the SAIC campus.
9 Technologies of Remembrance: Unresolved Historical Situations in Emily Jacir and Walid Raad's Video Installations 2014 Summer Sakwall, Zohra This thesis is only viewable on the SAIC campus.