The Jiuquan tombs, on the western frontier of China and dated to the third and early fourth centuries, deploy architecture, paintings, and burial goods to redefine space and express new concepts in mortuary art. Constructed over a period of about fifty years, the consistent rendering of distinct areas across these eleven tombs reflects a consensus in the expectations related to commemorating the dead and the division of souls in the burial process. Aboveground features show that powerful families in Jiuquan disregarded imperial edicts for austere burials. Underground, each tomb features a “screen wall” that rearranges spatial compositions to situate the celestial realm in an iconic position near the bottom of a tall tower. The front chambers are presented as courtyards under an open sky, surrounded by an estate, farms, pastures and wildernesses. Here, tomb occupants are not portrayed in a grand cosmic setting or lauded as Confucian archetypes; instead they are dynamic agents at the center of the action. Pastoral peoples are displayed within a context of harmonious co-existence and cultural exchange. These images combine to reflect an optimistic outlook that ignores the upheavals in the Chinese heartland. By contrast, the rear chambers show a retreat to traditional styles and subject matters, creating a stillness that reinforces the solemnity of laying the corpse to rest. Jiuquan’s geographic location and topography made it both stable and prosperous while precipitating contact with migrants from the Chinese heartland, the northern steppes, and the Western Regions. The vibrancy and originality of the tombs at Jiuquan, as well as what they reveal about changes in beliefs, increase appreciation for the role of peripheral zones in shaping Chinese art and history.

<p> Interviews and observations conducted with four Directors and four Teaching Artists at different nonprofit art organizations in a West Coast city within one of the largest urban areas in the country. Questions were given to further understand how these areas impact one another and why it is important to provide quality art education to the public. The study shows how despite the difference in size of each organization in the study, they all rely on the same things from their funders, and all believe their art programs provide an impact on their community. Research was done to see how Teaching Artists focus on the art education they are providing, whether they are required to perform other tasks, and how this impacts the education programs. The Directors of each organization were asked what more they would like to see from their funders. They all stated that it would benefit their program if the funders understood more about the role of their art programs. This research may benefit funders, other nonprofit art organizations, and Teaching Artists employed by nonprofit art organizations.</p><p>

This PhD by portfolio comprises of a critical commentary reflecting on a visual art practice form 1988 to 2013 with a particular focus on four series of recent work: 'Dream' (2011-13) [Appendix B], 'Wide Shut' (2013) [Appendix D], 'Self contain' (2012-13) [Appendix C] and 'L'Inconnue de la Seine' (2010-) [Appendix A] and two exhibitions, Absurd Impositions (2011, V&A's Museum of Childhood) and Self Contained (2013, Freud Museum London). In exploring how the work suggests 'the vision of others' (Hilty, 1996) might be accommodated I exploit the meanings of the word vision. Initially concerned with how the work represents sight and looking, that is both how people become objects of sight as well as how thye see, I explore vision as the formation and communication of an individual outlook or view of the world, that is as dreams, deisres and sense of identity. To map this complexity, I suggest looking, materiality, and narrativity as the core concerns of my painting. The critical commentary is in three parts. The first, Vision, explores the ways in which portraiture opens up an awareness of the ethics of looking and depiction. Framed by notions of a gendered, embodied gaze explored in my earlier painting, I discuss the dynamics of sight within the painted portrait, in particular the reciprocity of look between the artist who originates the depiction, the subject depicted and the viewer for whom the work is made. This includes a discussion of Michael Fried's notion of 'absorption' and in particular what this might mean for depictions of children. The second part, 'Re-Vision', critically assesses how the 'touch' of drawing relates to sight and sightlessness in portraiture. This examination of the materiality of the work articulated how the processes of making inflect the work's meaning. It reflects on the use of the photograph and doubled imagery and on the different forms of mark making and geture employed in the drawings that I propose are able to bring a particular quality of ambivalence to a meditation on maternal gaze. 'Imaging Narrative', the last section, examines strategies for facilitating the reading of text as image and image as text. It explores my material choices, use of juxtaposition, the work's site and a notion of return and how these are deployed to encourage certain interpretations. Here I make a claim for a method of material juxtapositions that allows for a literary overshadowing of the visual, allowing the viewer as an active, imaginative part in the construction of meaning. The idea of autobiography as a fiction is utilised (via Anne Wagner and Paul de Man) in relation to self-portraiture and art-work by women, who are positioned by their gender outside their medium's history and heritage. Through the work I argue there is a direct feminist perspective on the depiction of the gendered and maternal gaze. I draw on art historical and literary criticism to elucidate the work's potential for feminist enquiry. Ultimately these reflections tentatively propose that the work, via a feminist reading, might point the way to a recalibration of certain values within contemporary art practice in relation to genre, site and subject, and through the work's relation to portraiture, drawing, museums and children. My conclusion reflects on the difficulty of an ethical representation of others and its consequential dispersed notion of portraiture. However, I also claim that alongside what Maria Walsh has called within these works 'maternalised optics', 'a shared space of intimacy without judgement' [Walsh 2013: 69-76] there is a perverse and violent aspect to the version of the maternal gaze they propose, creating an undercurrent in the work which leads to a productive ambivalence.

This practice-led study explores the experiences of four poets in relation to specific landscapes and its inspiration on the creative practitioner. The research study focuses on tactile perception and its influence on the artistic process as both experiential and interpretative tool. It utilizes the idea of the ‘haptic intuitive’ (Di Giovine, 2015), specifically the finger pads, for a qualitative phenomenological study framed by fieldwork in nature and expressed in a 3D poetic canvas. The Flaneur methodology was applied to the approach made in the field and developed. This poetic style of walking which is historically associated with Baudelaire is chiefly applied to research in urban settings (Frisby, 1998) However, in this research study, the concept of a “Forest Flaneur” was developed as the scope of the fieldwork involved rural settings and encouraged movement (walking) in random directions primarily linked to tactile attraction in natural landscapes. The methodology developed focused on case studies of four walking poets’ inspirational landscapes (Wordsworth, Whitman, Machado and Snyder). The notion of the “Forest Flaneur” which has been developed in this study is a poetic walking style in nature, highlighting tactile memories, in rural settings. The contribution to knowledge focuses on a method of revisiting the experiences of poets in relation to their specific inspirational landscape and refining that method through exploring the tactile dimension of experience. This method of separating the tactile from the non-tactile has relevance for the creative practitioner, Furthermore, when undertaking this research I allowed a period of 15+ day’s gestation period between the haptic work in the field and the creative response to that experience on the poetic canvas in the studio. This relationship to time and what I have called ‘the looping of experience’ became a second key part of the research methodology. This methodology uses the memory of a visceral emotive ‘in situ moment’ as a stimulus - a memory formed in the somosensory cortex as a response to the 15+day gestation period. The cognitive process that is a consequence of the time lapse, or ‘time looping’ between the two events, synthesizes in the brain with the recall activity undertaken in the studio during the creative process. The research suggests that haptic experience (tactile perception) tends to enrich the creative process in both visual art and poetry.

梁志和. / 論文(藝術碩士) -- 香港中文大學硏究院藝術學部, 1997. / 參考文獻: leaves 45-46. / Liang Zhihe. / 前言 --- p.1 / 歷史意識 / 當代藝術 / 當代藝術中的歷史意識 / 歷史意識中的時間觀念 --- p.9 / 線性的時間 / 循環的時間 / 時間之謎 / 藝術創作中的歷史意識 --- p.17 / 藝術中的歷史 / 由個人至集體 / 死亡與記憶 / 不一樣的歷史觀照 / 特定的歷史空間 --- p.33 / 香港歷史 / 香港藝術中的香港歷史 / 本土歷史意識 / 結語 --- p.41 / 藝術與生活相連 / 藝術家的自我肯定 / 參考書目 --- p.45 / 圖片來源 --- p.47 / 鳴謝 --- p.48

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abstract: During the Nazi era, which is historically regarded as lasting from 1933-1945, the National Socialists both looted and made “legal” confiscations of art and artifacts they deemed “degenerate” from museums throughout occupied Europe. The art they seized was sold abroad in exchange for foreign currency that not only funded their war efforts, but also allowed for purchases of art for Hitler’s un-realized Führermuseum in Linz, Austria. The rapid transfer of objects flooded the art market, making this period one of the most prosperous times for collectors and dealers. However, due to the overall hasty nature of the displacements, the ownership history, or provenance, of the works became extremely convoluted. Institutions in the United States, as well as individual collectors, began to buy pieces, unaware of their provenance. Without this knowledge as a good-faith purchaser, many institutions never delved deeper into the background of the objects and the works remained in their collections until the present day. In this thesis, I argue that provenance research can shape a museum’s history through changing the relationship it has with its permanent collection. Insight into the ownership history of the collection must be made a priority in order for museums to remain transparent with their visitors, thus allowing for perceived notions of exclusivity, or distrust, to be eliminated. I researched two institutions, the Kunstmuseum Bern and the Krannert Art Museum, which recently examined their own holdings for incomplete attributions, with one establishment conducting a study after it became enmeshed in public scrutiny generated by a controversial bequest. Lastly, I employ both art historical scholarship and legal resources to investigate how provenance can be more widely used as a valuable asset in an increasingly globalized society. / Dissertation/Thesis / Masters Thesis Art History 2019

Argentina’s government was in and out of periods of military occupation of the government throughout the 1900s, with a notable period of stability during Juan Perón’s time as president in the 1950’s before he was exiled to Spain. Upon his return, and his rather immediate death, his wife and vice president Isabel Perón was elected to office. This was a time when the “red scare” of communism had the Americas tight in its grasp and Peronistas developed warring factions that were either more or less socialist. With Isabel Perón’s ascension, and the changing political climate, came the start of the disappearances. The torture, forced disappearances, and deaths started in 1975, with estimates of around 100 people in that year, while Isabel Perón was still in power; that el terror started with Isabel is one of the best-known state secrets in Argentina.1 Following her failure to reignite the economy, and her weakening power as an executive, the military staged a coup that lead to the worst dictatorship in Argentina’s history, with the forced disappearance and presumed death of many Argentine citizens. What impact have la dictadura y los desaparecidos had on Argentines? I will address that impact through a historical analysis of the impact of releases of declassified documents and argue that art, especially public art, has been beneficial in assisting Argentines in commemorating los desaparecidos and moving forward through the intersection of art protest and social justice.

Telemetrics: Drawing Translations began with charcoal drawings on paper, which were then converted into digital information, and finally re-rendered by three-dimensional software. This series of translations allow for a close exploration of the drawing's topography that is similar to the viewpoint of an exploratory rover. The imagery from this digital landscape was collected, exported, and translated into the mediums of print, painting, and video. This body of work was developed in reference to the telemetric systems that are currently in use to explore the cosmos. Space telescopes convert a physical stimulus (light) into electrical signals, or raw data. In order to be analyzed and understood, that information must be converted into a file that can be read over multiple representational platforms, both numerically and visually. Interpreting these data requires translation, which occurs at several levels as the astronomers prepare the data for interpretation. The resultant images, especially those presented to the public, have gone through several stages of adjustment for both informative and aesthetic reasons. In Telemetrics: Drawing Translations, the drawings function as the phenomena of the universe, all of that which can only be understood through telemetric analysis. The drawing's primacy in this system is established through its physicality, level of resolve, and the amount of interpretable information it contains. The derivatives of the drawings mirror the entropic nature of translating information across formats. Tone, contrast and an emphasis on the physical manipulation of material in the drawings formally reference the Rocky Mountain School paintings of the American West. The paintings of Thomas Moran, Albert Biertstadt, Thomas Hill and others allowed viewers to experience the sublime through an environment that was distant and imagined. It is in a similar way that telemetric systems allow us to experience otherwise untouchable places, even if the representations of these far off places is exaggerated or inaccurate.

My paintings rely on discovery-- excavating into the surface to find the painting beneath. I work in an actual space that dimensionally inhabits the picture plane. The process begins with acrylic paint applied in thick layers, creating a sedimentation of color that is later unearthed. The painting emerges as I carve, gouge and dig away dry paint to reveal and investigate a world in paint alone. The process allows for a journey through the depth of the paint, subtracting and adding to the supports until the painting is ultimately resolved. I see the layers of paint revealing their own history, some layers becoming more significant than others. Thousands of paint chips are made in the creation of each painting, which become remnants of the process. Embedding these discarded chips into my next painting allows for a sense of shared history. Some of my process is predetermined, mapping out color layered substrates and other aspects of the painting arrive through an element of surprise, thought the process itself. I want the viewer to see the painting in multiple ways - in the way our memory allows us to experience the same place again in a slightly different way. The imagery comes from fragments of memories that I have collected throughout my life. Most of the memories are related to experiences that I have had in nature and with the people around me. I grew up spending my summers at my family's cottage on the Alleghany River in Oil City, Pennsylvania. Everyday I would stare at the hills with my cousins and play across the river on various large rocks. We began to create a language about our landscape that we spent so much time discovering, naming our special places, growing up thinking hills were mountains. The series of landscapes come from my desire to be in a space of awe. When I was studying abroad I took a trip to Crete Greece. Arriving in the night made me feel anxious about a place unknown to me. My hotel was disappointing and far from the downtown, I suddenly wanted nothing to do with where I was. Frustrated by my predicament, I went to bed. In the morning I stepped outside to find that I was on the beach with mountains in the distance. I was in shock; I had never felt such relief in a reaction to a place.