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Ayant comme point de départ les premières expérimentations de Nam June Paik avec les téléviseurs au début des années 1960, cette étude suit l’évolution historique de l’installation vidéo en parcourant cinq décennies de création. La problématique de l’espace, fil conducteur de cette recherche, nous amène d’abord à la constitution d’une typologie. Fruit de l’étude de l’évolution des formes principales de l’installation vidéo, cette classification a pour objet l’œuvre sous sa forme aboutie, c’est-à-dire installée. Néanmoins, cet état n’est que le résultat final d’un long processus. Divisée en quatre étapes, l’étude de la mise en espace de l’œuvre soulève des questions cruciales liées à l’acquisition, l’exposition et la conservation de l’installation vidéo. Une fois que l’œuvre est installée, elle s’articule autour d’un espace-temps virtuel, celui de l’image vidéographique, et d’un espace-temps réel, celui du dispositif plastique, analysés dans la troisième et dernière partie. Cette étude met l’accent sur la dimension historique de l’installation vidéo tout en la contextualisant au sein de l’histoire de l’art du vingtième siècle. / Having as a starting point Nam June Paik’s experimentations with televisions in the early 1960s, this essay traces the history of the video installation spanning five decades. The question of space is the basic thread of the analysis. It has led to the constitution of a typology that examines the evolution of the main forms of the video installation. This classification focuses on the artwork that is already installed. However, this state is the outcome of a complicated procedure. Divided into four steps and thoroughly examined, this process raises some crucial questions concerning the acquisition, the exposition and the conservation of the video installation. When installed, the artwork acquires two spatiotemporal dimensions, namely the virtual space and time of the video image and the real space and time of the installation, both analysed in the third chapter. This essay stresses the historical aspect of the video installation by situating it within the broader context of the 20th century history of art.

incongruent ilk is a thesis exhibition of formally and conceptually linked situations that by their distilled nature initiate deeper contemplation of topics that are often just examined superficially. For my thesis exhibition I set out to produce curated arrangements of objects and materials because I believe something important is revealed about ourselves when we engage with common and banal objects in the material world. The exchange between the human experience and the unique nature of specific objects can connect us to each other by highlighting shared, yet subjectively interpreted experiences. The linear connections in this body of work give way to incongruent and contradictory contexts. incongruent ilk has undertones and overtones of leisure, travel, and warning that are delivered by humor, subversion, and the formal arrangements of materials. There is an intersection between objects and images that drips with subjective judgment; this subjectivity is crucial to incongruent ilk. The audience excavates the depth of potential metaphor, analogy, or concept naturally and artificially existing in the work by how deeply they are willing to consider what is presented visually.

Residual Residence is an account of my process and how it is shaped and informed by the language of architecture and abstraction. It pinpoints shifts from a predominately drawing-based practice to one sensitive to the possibilities of drawing within physical space. Formal gestures of erasing, overlapping, layering and stacking are employed to play with relationships of space. For my thesis work, Residual Residence, I use the visual language of architecture and the literal physicality of building materials to create collaged drawings and site-specific installations.

Sunyata: Transfigurations in Silk was a live-process art event featuring silk painting, costume creation and dance. The event took place in the B. Iden Payne Theatre Lobby on the University of Texas at Austin campus over the course of a week, during which I endeavored to paint 560 square feet of white silk suspended in the space. The images I painted formed a personal creation narrative, inspired by the lived experience creating and archetypical themes from creation mythology, cosmogony and human development. Throughout the event, a steady stream of visitors passed through the installation, contributing inspiration to the process in the form of images, ideas, quotes and stories, and witnessed the active creating unfold over time. On the seventh day of the event, upon the completion of the painting process, the silk was cut into pieces and transformed into costumes on live dancer’s bodies. Inspired by ritual wall painting and sand painting from Indian, Tibetan and Navaho cultures and the temporally bound work of contemporary action-based artists, the project was an assay into the transitory nature of the artistic process and an exploration of transformative properties of silk (a material that is central to my work as textile artist and costume designer). The event also explores how a personal creative process can become public, performative and participatory. / text

This paper was an exploration of the history of portraiture and how that history related to the Senior Thesis show of studio art major Rachel Dahl. The focus of the paper is on the nostalgic and commemorative tendencies of portrait art throughout its history--namely the Italian Uomino Famosi of the fifteenth century, paintings commissioned of favorite horses and dogs, the portraits of recently deceased people, and the miniature eye portrait fad in Europe in the eighteenth and nineteenth centuries--and how these historic examples of portraiture influenced her work.

Heavy vehicles are major emitters of noise. Especially at idle or low vehicle speeds a large portion of the noise emanates from the fan that forces the flow through the cooling module. The aim of this work is to investigate and reveal aerodynamic and acoustic installation effects linked to the cooling package. This introduces a multidisciplinary approach involving examination of the flow field, sound generation and sound propagation. The work includes two main parts: an experimental and a numerical part. The cooling module used throughout this work, named reduced cooling module, primarily includes a radiator, a shroud, a fan and a hydraulic engine to simplify the aeroacoustics analysis. The experimental part comprises measurements of the sound emanated from the cooling package. A new approach to the spectral decomposition method is developed yielding the fan sound power or spectrum to be formulated as a product of a source part and a system part scaling with the Strouhal number and the Helmholtz number. Also, a separate determination of the transmission loss of the radiator is performed. The impact of the radiator on the transmitted noise was found to be negligible. The numerical part incorporates comparisons from two aeroacoustics studies; a configuration where the fan is forced to operate at a fixed operation point and measured flow and turbulence statistics are available and the reduced cooling module. A hybrid turbulence modeling technique, IDDES, is adopted for the flow simulations. The sound propagation is calculated by the Ffowcs-Williams and Hawkings acoustic analogy when assuming a free-field sound propagation and by a finite element solver in the frequency domain to capture the installation effects. The simulated SPL conforms to the measured SPL and the blade response to the turbulent inflow and to the tip resolution, respectively, produce noise which spectral shape distribution is modified in accordance with earlier experimental findings published. Furthermore, the influence of an upstream radiator in close contact with the fan on the flow and sound fields is investigated. Here, the simulated aeroacoustic characteristics were found to change similarly to the acoustic measurements with and without radiator.

Renewable energy studies are becoming increasingly important as world energy demand rises and current energy sources are increasingly questioned. Solar photovoltaics (PV) are the focus of this study as a renewable industry still in its infancy. This research examines the geography of solar panel installation and manufacturing from 2007 to 2010 in California and New York. California is the larger of the two markets and has implemented more policy support; programs that appear to have increased the pace of installations, reduce the size of the subsidy, and help lower total costs. Similar trends are observable in New York. US based companies are still making solar panels, but foreign competitors, most notably from China and Mexico, are capturing an increasing share of the market.

Decisive moments and their fleeting experiences are born from an individual’s interaction within a defined physical space. It is here at the intersection of environment and context that my work in site-specific art begins. I endeavor to create an examination of socio-political and environmental issues through a manipulation of materials, thereby altering one’s private, communal, and cultural response to them. My installations are comprised of slip casted multiples which reference the human form. I place these forms in galleries and specific exterior locations, and incorporate materials that are charged with societal discord, such as used motor oil and post-consumer detritus, in order to still the blur of contemporary life. This allows for a contemplative pause that pulls into focus the effect of pursuing our individual wants and desires against the consequences of these pursuits on the larger society and environment.

This analysis explores the progression of my work over the past three years of study. My initial pursuits involved ideas that revolved around contemporary feminism, however, with time I expanded upon those ideas by exploring other subjects. I realized the connection in all of my work lies in the use of manipulated found imagery, and the desire to release this imagery from the confines of traditional pictorial space. With this discovery, I became free to utilize any manner of subjects, as the subject matter relied heavily on the finding and re-interpreting of these disparate images into the language of paint. Moreover, specific modes of thought, such as Feminism, were allowed to become single threads in a diverse, complex tapestry.