Founded in 1932, the Department of Painting and Design, or “Studio,” at the Santa Fe Indian School was the first official, government-run boarding school program to promote pictorial paintings based exclusively North American Indian arts and culture. It was yet another program designed to bring about the assimilation of Indians into the economy and society of American, but progressive influences had introduced a change in orientation to Indian Policy by the beginning of the 1930s; instead of demeaning Indian cultures by demanding cultural assimilation, a beneficent stance was adopted that promoted them and their assimilation as American Indians into the ethnic diversity of society. As the Studio experience unfolded, it became a unique art world in which Indian artist-students from various cultures and non-Indian educators and patrons engaged in a cross-cultural effort to carry forward ancient Indian decorative arts to shape what became know as traditional modern American Indian painting. But the Studio also became a forum in which its young artists engaged in a cross-cultural search for an American art and identity with their non-Indian educators and patrons. As such, the Studio is a unique social microcosm for studying the nature and formation of the modern American identity of both its young Indian artists and of it non-Indian progenitors. This v study will examine the personal and collective identities that arose through this cross- cultural interaction during the formative years of the Studio – the tenure of its first “guide,” Dorothy Dunn, from 1932-1937. In order to gain a fuller understanding of the concept of identity formation, individual members of that art world are prominently portrayed against the background of BIA education policies concerning indigenous arts and the Studio’s unique historical position in that regard. A selection of 150 Studio paintings is examined to detect ways in which the artist-students chose to depict themselves and their cultures, i.e., their identities. And on that score, the Studio artist- students expressed themselves and their cultures, however marginal they were then and now to American society, and they shared with the non-Indians a new understanding of how they both were Americans. / text

Butas-studija ("loft'as") - Lietuvoje sparčiai populiarėjantis būsto tipas. Šis darbas yra pavyzdys, kaip galima buvusią gamyklą rekonstruoti į gyvenamąjį būstą. / Loft is getting popular quite fast in Lithuania. This work is an example how it is possible to reconstruct an industrial building to individual habitation.

This paper is intended to serve as a supporting document for the exhibition This Site Is Under Construction that was held at the University of Waterloo Art Gallery, University of Waterloo, April 17th – May 14th, 2010. The work explores the ways in which we constitute and mediate our specific place in a space that is constantly changing. It is concerned with notions surrounding how we make and perceive images now in our computerized visual culture and the ways in which we can mark a subjective painting aesthetic and visual vocabulary. The painting installation, “This Site Is Under Construction”, investigates the effects of new media and digitization on experiential perception, and the nature of making and re-configuring images. The title alludes not only to the on-line, virtual space of the computer, but also to the physical spaces of building and urban development sites. The subjects for the paintings are spaces in flux – specific locales of construction and building sites that are in-between states of development – placing emphasis on the mechanized devices that fabricate the new structures. The paintings themselves reveal seemingly spontaneous and optically warped immersive spaces; alternative architectural environments which subvert interpretations of two-dimensional and three-dimensional forms of visual presentation and recognition. The work aims to contrast outward appearance and illusionistic staging as it relates to both the picture and its support.

No description available.

Open Studio: A Phase in Six Years of my Art Education is a true-to-scale reproduction of my graduate studio space, populated by a meticulously constructed life-size, wax self-portrait. Evoking Romantic imagery of the artist in the studio, the uncanniness of the wax figure creates an experience of the type that Mike Kelley has described as “banal [and] emptied of magic.” The figure’s eyes are closed and his gesture is as vulnerable as it is defensive. Almost teetering, but balanced within the space, the work poetically falls apart upon close inspection and reveals a narrative that’s open to interpretation.

Physis presents eight digitally constructed photographic images and one video installation that were created through mixing and sampling a variety of representations of built environments, visual languages and processes. What results from this image compositing are ambiguous, dreamlike, in-between spaces that mine the relationship between nature and contemporary culture. Through the creation of poetic, ambiguous images viewers are able to form their own response to the individual images and the exhibition as whole. My approach of creating an experience that is more poetic than didactic was born out of a response to contemporary and historical photographs and writings, and to the directness found in images belonging to contemporary media culture. While Physis does allow for multiple interpretations, for me, this body of work references ideas of interconnectedness, transmission and the redefinition of space through connections between studio processes, the body, the digital and the visual.

Thesis--University of Wisconsin. / eContent provider-neutral record in process. Description based on print version record. Bibliography, l 358-364.

This dissertation explores transitions in women's photographic practice in the United States from roughly 1885 to 1915. I examine the work of three photographers who negotiated the path from the more traditional and private Victorian ideal of womanhood to turn-of-the-century advanced ideas of a more public New Woman: Alice Austen (1866-1952), Catharine Weed Barnes Ward (1851-1913), and Frances Benjamin Johnston (1864-1952). Concurrently, a shift occurred within photography as women encountered changing definitions regarding what it meant to be an amateur, and it became increasingly acceptable for them to work as professionals. Finally, in the last decades of the nineteenth century women's photographic workspaces also transformed from makeshift home studios to professional spaces outside the home. I center my focus in the place where these three transitions merged: Victorian to New Woman, amateur to professional, and home to studio. I analyze how women photographers actively and creatively negotiated gender and used domestic ideology as a catalyst for personal advancement. Austen used her home, and the homes of her friends, as the stage for private performances and tableaux mocking Victorian conventions. Chapter One focuses on her use of the parlor and bedroom as photographic sites. The subject of Chapter Two, Barnes Ward established her first studio in the family attic yet wrote public articles advocating for women photographers and served as a national editor for The American Amateur Photographer. She considered interior photography the purview of women, yet wrote tirelessly for gender equality across the medium. Johnston, the subject of Chapter Three, opened a fully professional photographic studio in Washington D.C., an elaborate two-story addition behind her parents' home including studio, darkroom, and personal office space. References to the Arts and Crafts movement, the colonial revival, and Kodak informed the decoration of her studio and her identity as a professional photographer. All three photographers used current domestic ideologies and spaces as empowering tools to further their photographic work rather than as a cage trapping them within a gendered role. Each will be considered within a wider social network rather than as exceptional figures who veered far from the norm.

My central argument is that mainstream British cinema of the 1951 – 1965 period marked the end of the paternalism, as exemplified by a professional ‘officer class’, as consumerism gradually came to be perceived as the norm as opposed to a post-war enemy. The starting point is 1951, the year of the Conservative victory in the General Election and a time which most films were still locally funded. The closing point is 1965, by which point the vast majority of British films were funded by the USA and often featured a youthful and proudly affluent hero. Thus, this fourteen year describes how British cinema moved away from the People as Hero guided by middle class professionals in the face of consumerism. Over the course of this work, I will analyse the creation of the archetypes of post-war films and detail how the impact of consumerism and increased Hollywood involvement in the UK film industry affected their personae. However, parallel with this apparently linear process were those films that questioned or attacked the wartime consensus model. As memories of the war receded, and the Rank/ABPC studio model collapsed, there was an increasing sense of deracination across a variety of popular British cinematic genres. From the beginning of our period there is a number films that infer that the “Myth of the Blitz”, as developed in a cinematic sense, was just that and our period ends with films that convey a sense of a fragmenting society.

Saab har utvecklat en produkt, Remote Tower, som tillåter flygledningen att fjärrstyra en flygplats, det vill säga att övervaka och kontrollera en flygplats på distans. Ett viktigt verktyg för flygledarna är VCS, Voice Communication System, som är Saabs egna röstkommunikationssystem, där både radio- och telefonkommunikation ingår. VCS används för att kommunicera med piloter och markpersonal på flygplatsen. Målet är att i framtiden kunna fjärrstyra fler flygplatser samtidigt, och då finns ett behov att visualisera de inkommande samtalen från de olika flygplatserna i realtid. Detta för att undvika ett scenario där flygledaren missar ett samtal. Ett system har utvecklats för just detta ändamål vars huvuduppgift är att visualisera de samtal som VCS producerar. Systemet kan hantera tre flygplatser samtidigt, och varje samtal kan spelas upp genom att klicka på de inkommande samtalen.