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Emanating from a large, gaseous star forming the center of the universe - commonly referred to as the sun - light colors the world. Light is a mystifying, transient element, a source of energy and life that has transfixed mankind for centuries. Also seduced by the wonders of light (and color) is contemporary artist, Spencer Finch. He has embarked on a quixotic mission of trying to measure, capture, and replicate the temporal qualities of light and color. His interest lies in capturing the fleetingness of the moments he experiences. To some extent Finch is successful in his impossible quest. Even in failure, his artworks become a vehicle for exploring the intricacies of human vision and perception. Mixing scientific inquiry and art, Finch utilizes remnants of the past - iconic sites and figures, famous literary texts, etc. - to reflect on personal memories and experiences. His artwork is a means of working out his own questions and ideas about vision and perception. By grounding his work in the known, Finch allows the viewer to enter and understand his works. Viewers are offered a unique chance to consider the ways in which the world is seen and understood. In the end, Finch hopes he is able to offer an almost out-of-body, or maybe just deeply insightful, experience in which vision is called into question, allowing an insight into understanding what it means to perceive. / Art History

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<p> This thesis explores anatomical rendering as an impetus for contemporary art practices. It examines societal assumptions about the body and its relationship to mental health using drawing and printmaking as allegorical tools. </p>

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<p>This research project analyzes the history between fashion and art and investigates several recent collaborations between designers and artists, with the intention to distinguish the benefits each brand receives through the affiliation with one another. In today?s cultural and commercial market, there are an abundance of new collaborations between designer brands and artists continuously developing. Artists are recognized through gallery and museum exhibitions, as well as through auctions, but what many fail to observe is that artists are being acknowledged through the fashion industry as well. Although there are several collaborations that have already been extensively researched and analyzed, there are countless others that need the same scholarly attention. Through the process of research and interviews, both artists and designers are studied and questioned in regards to their participation within the collaboration. The case studies included analyze the benefits and outcomes of the brand alliance between designers and artists.

Thesis (Ph.D.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / The purpose of the dissertation is to specify the meaning and consequences of the following proposition: A great work of art is an inductive game. I consider three axioms: the first states that an accurate induction is; the second asserts that the essential activity of a human organism is making accurate inductions; and the third asserts that a work of art is an inductive game which exercises the deepest habitual responses of the organism. Since the meaning of the latter two axions depends upon the meaning of the first, I begin by constructing a formal logic of induction and illustrating its application to an inductive situation. I then specify the meaning of the latter two axioms. Lastly, I discuss and illustrate the stractural consequences of the axioms with respect to the traditional formal canons of the arts, distinguishing between narrative and non-narrative arts. [TRUNCATED] / 2031-01-01

This study forms a meta-narrative exploring the educational experiences of Black and Brown elementary students in public schools. The goal is to decenter and dismisses racism and mis-education frequently found in majoritarian stories using methods similar to Faith Ringgold's art and artistic processes. Together students and teacher crafted a telling of Black and Brown elementary school students' stories. Storytelling is both my research content and approach. The goal is to create a positive narrative about Black and Brown students' culture in public school settings. Informed by Paulo Freire's (1993) Critical Pedagogy, Critical Theory and Critical Art a category I have defined as a composition of visual elements that are composed to engage and/or provoke the viewer to examine, critique, or question her reality, we offer a critical perspective on social issues, provokes thought, conversation, and action on a personal, communal, or global level to help in gaining freedom, justice, or equality. Race, gender, poverty, identity and education are common and important considerations in this category. The resulting written and visual meta-narrative presents a new perspective, giving way to a deepened understanding of the educational experiences of African American children public K-8 school (Barone & Eisner, 2012). / A Dissertation submitted to the Department of Art Education in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Fall Semester 2018. / November 14, 2018. / Art Education Theory and Practice, Arts Based Education Research, Critical Art, Critical Pedagogy / Includes bibliographical references. / Sara Scott Shields, Professor Directing Dissertation; Jerrlyn McGregory, University Representative; Jeff Broome, Committee Member; Antonio Cuyler, Committee Member.

Since the digital revolution, media studies has repositioned celluloid in media archaeology while drawing attention to new media, new visual, and new spectatorship. We could then conceive 'what is/was cinema?' by 're-placing' rather than replacing such film theory concepts as apparatus, image, and subjectivity in a feedback circuit between past and present. In this context, the new media term interface seems inspiring; its notion of contact surface between humans and/or machines has evolved in various ways to redefine cinema, screen, and body. But I find interfacial elements or aspects to be inherent in film (studies), given the term's specificity (compared to 'apparatus'), flexibility (applicable to 'sur/face'), universality (implying 'relationality''), and intermediality (rooming 'interdisciplinarity'). A creative adaptation of interface could then serve to discover and invent a synthetic, multi-faceted notion of interfaciality that seems to underlie both image and subjectivity. For this project, I rearticulate a variety of film and interdisciplinary theories such as ontology of image, narratology of material, psychoanalysis of the real, phenomenology of body, cognitivism of mind, ethics of the other, aesthetics of appearance, and sociology of the digital. Ultimately, I propose to remap film studies through the prism of this interface theory. / I introduce cinematic interface as any contact surface mediating two sides through spatial difference (object/medium/subject) and temporal deferment (recording/editing/projection). Then, the cinematic apparatus appears as a conveyer belt of interfaces from the single surface (object) through the triple medium-interface (camera/film/screen) to the double body-interface (eye/mind). This model allows us to combine Sigmund Freud's and Henri Bergson's still resonating ideas on perception and memory in a way of reshaping the former theories of apparatus, ideological or analytical. / Drawing on a wide range of films, five chapters then investigate the interfaces on screen: (1) the direct appearance of a camera/filmstrip/screen, (2) the character's bodily contact with such a medium-interface, (3) the object's surface and (4) the subject's face as 'quasi-interfaces,' and (5) image and subjectivity as such. In each chapter, interfaciality leads us beyond its basic notion of neutral mediation or transparent communication toward the inherent disequilibrium, intrinsic dialectics, inhuman dimension, and implosive dynamics between two sides of an interface, between object and subject. I elaborate on these inner qualities in terms of ''asymmetrical mutuality,' 'ambivalent tactility,' 'immanent virtuality,' 'multiple directionality,' and 'para- index'/'indexivity'--- five keywords correspondent to five crucial concepts in film theory: suture, embodiment, illusion, signification, and indexicality , which I continue to reframe through different methodologies, unearthing hidden niches and latent constellations between them. / Opening with Michael Haneke's Cache, Chapter 1 not only argues that its video-interface 'desutures' classical seamless narrative, but also locates the multiple suture/desuture dialectics in semiotic suture theory, renewed psychoanalysis, enunciation theory, narratography, etc. This process then leads to interfaciality not just before, but also immanent in the eye asymmetrically related to the inhuman Gaze in matter, while moving from the Lacanian to Deleuzian ontology of perception. Likewise, Chapter 2 takes Rossellini's Virginity as a springboard for rethinking the touch of the screen in the history of spectatorship theory: from psychoanalysis through early Rube film study to phenomenology of embodiment. Ambivalently tactile, embodied interfaciality is here found in the skin in terms of 'screen as body' and 'body as screen.' / Chapter 3 examines how the surface of an object can appear like a pseudo-camera, a virtual filmstrip, and a flat/fluid/fluorescent screen, as suggested in Apichatpong Weerasethakul's Syndromes and a Century. Questioning the aesthetics of illusion, I here shed light on illusion of interfaciality immanent in the world, the cognitive effect of 'as if it is becoming interface.' On the opposite side, after looking at Kim Ki-duk's Time, Chapter 4 analyzes how the face can function as a multi-directional interface: a 'readerly window' to the character, a 'writerly mirror' for the viewer, a 'machinic simulacrum' of asubjectivity, and an 'uncanny icon' toward otherness. I accordingly trace the notion of signification from semiotics to phenomenology to ontology to ethics. / In the final chapter I readdress indexicality in two ways: the image as 'para-index' that only partially, impossibly indicates the absent but immanent Real, and subjectivity as 'indexical activity,' the act of indication for information or participation through our digits' tactile experience of digital interfaces. In this way, my upward trajectory from the infrastructure of apparatus through the superstructure of onscreen images to the apex of image itself goes back down to the actual ground of interface, geared up to our new media world. In so doing I suggest that interface might serve for a general theory of image and subjectivity through a meta-critical reengagement with film theory.

Thesis (M.A.)--Ohio State University. / Bibliography: leaves 59-60. Available online via OhioLINK's ETD Center