specialcollections@tulane.edu / 1 / Allison Conn

This dissertation is a comprehensive and analytical study of drawings and prints produced by artists and architects between the fifteenth and early seventeenth centuries showing Roman ruins. The unprecedented interest in classical antiquity that emerged in the fifteenth century, which came to define the artistic, architectural, and cultural evolution of the Renaissance, was the catalyst for the production of such ruin-based images, of which thousands of examples survive. Because these drawings and prints were all inspired by and depict Roman ruins, they have often been treated as a single, cohesive genre of image. In this dissertation, however, these ruin-based images are categorized as architectural or archaeological studies, vedute of ruinous land- or cityscapes, architectural treatise and guidebook illustrations, topographical maps, and imaginative reconstructions of antique monuments. They are examined according to distinct criteria such as media, methods of representation, and the different purposes for the creation of said works. As a result, a better understanding of the complexities of early modern antiquarian interests is revealed, especially in regards to the contributions of artists and architects to the early study of ancient architecture. This dissertation addresses how artists and architects were innately fascinated with the architectural remains of ancient Rome, and how the medium of drawing proved to be the ideal method for studying, understanding, and interpreting ruins. The reciprocal relationship between artists, architects, and antiquarians is also addressed with the result that many extant ruin-based images found in museums and art collections throughout the world can now be understood as an integral part of a widespread antiquarian movement that shaped the Renaissance and early Baroque periods, especially in Rome. / Thesis (Ph.D, Art History) -- Queen's University, 2013-04-29 15:23:15.07

Thesis (Ph. D.)--University of Chicago, Dept. of History, August 2002. / Includes bibliographical references. Also available on the Internet.

"Manufacturing Ruin" argues that the most important moments in the history of the concept and consciousness of "American ruin" accompany volatile episodes of progress and decline in American manufacturing. This dissertation attends to the construction of "American ruin" in response to the rise of manufacturing in the early to mid-nineteenth century and the decline of industrial capitalism in the twentieth and twenty-first centuries. Americans have manufactured picturesque ruins and spectacular episodes of ruination both to conceal and reveal and to "contain" and "harness" destructive forces inherent to capitalism. In some cases, ruins have been represented in ways that conceal processes of ruination inherent to their own destruction. In other instances, episodes of destruction demonstrate that in attending to particular processes of ruination, Americans have intentionally ignored others. / text

Thesis (M.F.A.)--Rochester Institute of Technology, 1982. / Typescript. Includes bibliographical references (leaves 80-81).

Title from PDF of title page (University of Missouri--Columbia, viewed on Feb 25, 2010). The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Dissertation advisor: Dr. Devoney Looser. Vita. Includes bibliographical references.

Andrew Moore’s series of photographs, Detroit Disassembled (2010), debuted in the United States in the midst of an escalating recession, mortgage and foreclosure crisis, and political fallout from federally-backed bank and automaker bailouts. Due to their subject matter, a number of viewers have interpreted the photographs as apt visualizations of contemporary crises. The photos depict the ruins of a cityscape scarred by decades of deindustrialization, economic decline, and significant outmigration. Shown in galleries, museums, on the Web, and published in a popular photo book, Moore’s images have circulated relatively widely. Viewers have responded to the photos through a variety of media outlets, and their impressions of the images have been melancholic, visceral, distressed, and deeply uncertain. Some viewers have attacked Moore for exploiting and aestheticizing Detroit’s suffering, others have perceived the images as a disturbing commentary on the state of the nation, and many have found the images beautiful, if desolate. The tensions between viewer responses, carrying the inflections of contemporary concerns, provide a valuable snapshot of how Moore’s photographs of Detroit have furnished a flashpoint and modulated a public discourse encompassing a number of interconnected apprehensions about the economy, deindustrialization, the environment, and social responsibility. However, Detroit’s protracted experience of decline and abandonment has made the intersection of aesthetics and urban politics in Moore’s photographs particularly controversial and troubling for some viewers. Because photographs are only partial glimpses of social and spatial phenomena, Moore’s images have proven versatile in their ability to distill and illustrate multifarious viewer concerns. / text

Thesis (M Arch)--Montana State University--Bozeman, 2008. / Typescript. Chairperson, Graduate Committee: Christopher Livingston. Includes bibliographical references (leaves 163-170).

Orientador: Ivanir Cozeniosque Silva / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-19T21:31:02Z (GMT). No. of bitstreams: 1 Gutlich_GeorgeRembrandt_D.pdf: 21498544 bytes, checksum: bb250b81549717a97005e9b96c8dfd01 (MD5) Previous issue date: 2011 / Resumo: Neste estudo propus a circunscrição e a análise de minhas gravuras em metal e xilogravuras produzidas entre os anos de 1989 e 2011, cujo modelo central foram ruínas. O assunto que alinhava esta idéia é a busca de uma genealogia para o tema em questão, tratado neste contexto como um desdobramento da paisagem com edifício, como um desenvolvimento deste gênero. Na intenção de tornar lícita a busca de uma genealogia para o conjunto de imagens escolhidas, procuro explorar tanto o desenvolvimento do tema quanto as razões retóricas deste desdobramento da paisagem, além de evidenciar afinidade das ruínas estabelecida na gravura em metal a partir de meados do século XVIII. A fim de tornar compreensível a construção de uma poética por intermédio deste tema optei por associar as referências históricas à minha produção, enunciadas por uma associação expressiva e tipológica. Desta monta a tese se encontra dividida em duas abordagens: uma de caráter particular, ou de portfólio do autor, e outra, geral, que compreende os pressupostos históricos e a análise de procedimentos técnicos associados às idéias e ao contexto em que surgiram / Abstract: In this study I consider the circumscription and analysis of my etchings and woodcuts produced between 1989 and 2011 whose model was the ruins.The subject that tacks this idea is dealt with as an unfolding the landscape with building, as a development of this theme. In the intention to become allowed the search of a genealogy for the set of chosen images, I look for a way to explore the development of the subject inside the rhetorical reasons of this expansion from the landscape, beyond evidencing affinity of the ruins established in the engraving since middle of eighteenth century. In order to become understandable the construction of a poetical project worked under this theme (the ruins) I opted to associating historical references to the portfolio, enunciated for an expression and typological association.Of this sum the thesis was divided in two boarding: one of particular character, or portfolio of the author, and another, one that I tried to understand the historical meanings, with analysis of the procedures technician, ideas and the context where they had appeared / Doutorado / Artes Visuais / Doutor em Artes

La « défonctionnalisation » d’une architecture transforme intégralement la lecture de l’objet: les traces d’usure ont une charge symbolique et expressive qui en modifient sa réception. Les «ruines modernes» renvoient à une obsolescence précoce qui caractérise une époque dans laquelle l’industrialisation des procédés de construction incite au remplacement de l’ancien par le nouveau et multiplie les destructions. Elles sont étroitement liées au progrès et à l’accélération du renouvellement des constructions urbaines. Les architectures des grands ensembles sont les derniers symboles de l’ère moderne menacés par la destruction ; elles intriguent et fascinent par leur fragilité et leur monumentalité. La photographie artistique peut-elle proposer une contribution critique qui invite à porter un autre regard tout en cherchant à susciter un questionnement sur les ruines comme composantes du paysage urbain actuel ? Il semble que la reconsidération des ruines par la création est possible. L’objet de recherche de cette thèse n’est pas la ruine en elle-même, mais ses représentations par la photographie. Il ne s’agit pas de proposer une méthodologie, ni un guide pour photographier les ruines, mais de présenter les questionnements émergeant de pratiques photographiques des espaces en déshérence, en tant qu’expériences spatiales, culturelles et sensibles. / The « Defunctionalization » of architecture completely transforms the reading of the object : traces of erosion have a symbolic and expressive charge that modifies its interpretation. «Modern ruins» refer to early obsolescence, characteristic of the industrialization of building process which encourages the substitution of old things by new ones and increase destructions. They are closely linked to progress and the acceleration of urban renewal. Tower blocks of social housing appear to be the ultimate symbols of modern structures threatened by destruction; their monumentality and weakness intrigue and fascinate. How could artistic photography offer a critical contribution that changes the way we gaze at ruins as a component of actual urban landscape? It seems that reconsidering ruins through creation is possible. The subject matter of this thesis is not the ruin itself but its representations through photography. It’s not about proposing a methodology neither a guide to photograph ruins, but to present some questions that arises from photographic practices of derelict spaces as spatial, cultural and sensitive experiences.