This paper presents an investigation in how a jewelry artist understands the life and death, permanence and impermanence of human, objects, and other creatures, by communicating still life in the form of jewelry. I will bring up a fact that death and impermanence have been forgotten by my peers, and use still life and contemporary jewelry to discuss it. The paper mainly talks about: my opinion upon life and death in modern society, why and how did I related them with still life paintings, how did I make my jewelry based on still life, and discusst a dilemma I met: how will jewelry be when they are on and not on people’s body.

No description available.

My degree project has been developed through my research on the topics of originality, consumption, vanitas and consumer culture. It referneces the politics of consumption, desire, pollution, waste, the passing of time, the effect of decay, and death. The scene is a reconstruction of a "still life" scene, referencing Baroque painting. The light-box installation comprises coloured sculptures which are emblems of consumerism. The hanmade and the organic are joined in composition, as if united in ruin and decay. The sculptures resemble the still life genre and allude to memento-mori. The project also addresses the industrial food system. It emphasises efficiency, profit and power in ways that are narrowly constructed, sometimes at the expense of other environmental and social values. It consist of a glass-cast modern cornucopia. The glass captures decomposing traces and makes them solid and everlasting. Even with something so fragile and temporary as life, the material can freeze it in time. The glass captures life.

My dissertation contributes to the material and sensorial interest in the humanities by focusing on the beholder’s phenomenological experience of multi-panel paintings by Gerrit Dou (1613-1675), Rembrandt’s first and most financially successful pupil. Dou has long been hailed as the founder of the Leiden fijnschilders (fine painters), who brought mimesis to the height of artistic achievement around mid-century. Archival documents reveal that at least eight of Dou’s paintings were once fitted within cases that featured highly illusionistic still life paintings on the outer surfaces of their hinged doors or sliding lids. While only two of the recorded covers survive, they feature both common and luxury objects with varied surface textures and lighting effects that exhibit a level of artifice true to the goal of painting professed by Philips Angel: schijn zonder sijn (“semblance without being”). Projecting out of the darkness of false shallow niches, the objects addressed the viewer in a trompe l’oeil mode and with a startling mimetic force that invited closer scrutiny. Yet, Dou’s still life works are rarely the subject of critical analysis and remain on the periphery of seventeenth-century Dutch art historical scholarship, overshadowed by his novel achievements in genre painting. Scholars most often interpret Dou’s still lifes as protective mechanisms for and allegorical glosses on the paintings they concealed. Instead, I argue that these approaches have limited our understanding of their significance. The disassembly and loss of most of these painted covers has further obscured their functions and meanings. My phenomenological approach underscores the ways in which these painted still life covers fostered an embodied relationship with the beholder in the context of the art collections for which they were destined. In Chapter 1, I gather evidence of Dou’s extant and lost still life covers and quantify this practice and consider these paintings together as an understudied corpus in concert with the paintings they covered. In Chapter 2 and 3, I provide historical and theoretical contexts for Dou’s nested paintings to ground them in pictorial and material traditions of concealment and revelation that permeated early modern culture (Netherlandish, German, and Italian) from the fourteenth- to the late seventeenth century. I consider them modern adaptations of the illusionistic images on the exterior of devotional diptychs and triptychs, insisting on their presence in the liminal space that connects the painted and real world. In Chapter 4, I analyze Dou’s painted still life covers as “meta-paintings,” characterizing them as theoretical objects charged with their own agency and the ability to invite the beholder to “think” with both their mind and body. Ultimately, I explore the ways in which Dou’s still life covers and René Descartes’s natural philosophy exhibit a shared and contemporaneous distrust of the senses through an epistemology of doubt and deceit, a premise that expanded the horizons of their respective fields in the seventeenth century. / 2025-09-21T00:00:00Z

No description available.

Liminal Perspective refers to an alternative theoretical framework for understanding the interpretation of pictorial space in visual art when influenced by new technologies. Creating the illusion of depth on a two-dimensional surface has relied on the theory of linear perspective created in the renaissance. Leon Battista Alberti, in his landmark work De Pictura, created a geometric system for the illusion of deep space that uses orthogonals and a vanishing point to allow objects to diminish as they move backwards in space. This theory placed humans at the center of perception and the singular vantage point of pictorial space. Alberti's theory marked a huge philosophical shift from a god-centric worldview to a human-centric one. Technology, however, is rapidly changing our functional relationship to perspective and allows an expanded understanding of perception. Humans are no longer single vantage points but rather exist in tandem with technological augmentations like smart phones. The body of work discussed in this paper imagines alternative artwork-viewer relationships to what have been historically proposed by still-life painters in classical history such as those in the Dutch Golden Age. Using 3D animation in combination with computer vision and physical computing, Liminal Perspective explores new interpretations of pictorial space and how our perceptual philosophies might evolve to keep up with technology's evolution. / Master of Fine Arts / Liminal Perspective is a paper and body of visual art that uses interactive 3D animation to examine the historical genre of still-life painting. Creating the illusion of depth on a two-dimensional surface has relied on the theory of linear perspective created in the renaissance. This theory placed humans at the center of perception and the singular vantage point of pictorial space. Technology, however, is rapidly changing our functional relationship to perspective and allows an expanded understanding of perception. Humans are no longer single vantage points but rather exist in tandem with technological augmentations like smart phones. The body of work discussed in this paper imagines alternative artwork-viewer relationships to what have been historically proposed by still-life painters in classical history such as those in the Dutch Golden Age. Using 3D animation in combination with computer vision and physical computing, Liminal Perspective explores new interpretations of pictorial space and how our perceptual philosophies might evolve to keep up with technology's evolution.

This exegesis is an exploration of meditative process in painting and drawing and accompanies an exhibition of paintings and large drawings called What Lies Beneath. The text contains several passages, called &quotmeditations,&quot which accompany the themes approached in the chapters and give insight into the thoughts and practices of the artist. The methodology involves the examination of the evidence of the work produced by selected artists, looking at the words of artists in notebooks, diaries and interviews and surveying a small number of local contemporary artists. The text opens up the possibilities of drapery and garments and of still life as paths to meditative practice in painting and drawing. The qualities that characterize meditative process/practice, derived from my observations, are categorized. Some of the strengths of these processes are revealed through the examination of the work of artists, both contemporary and historical. The work of Vermeer, Sanchez Cotan, Francisco Zurbaran and contemporary artists Anne Judell, Simon Cooper, Jude Rae, Alison Watt and Eva Hesse highlight different aspects of the meditative process in painting and drawing. The art works in the exhibition are documented and bring out the meditative processes that have contributed to their creation, including the use and meaning of the subject (drapery and the garment as a form of still life).

<p>The purpose of this paper is to analyse how work by Swedish artist Ylva Ogland (born in 1974) function as an eye-opener for the social marginalisation of people identified with homosexuality, prostitution and drug addiction. Although highly present in reality, these phenomena were historically, and are still today, hidden from view in public discourse. I have focused on the installations Rapture and Silence and Things Seen, and the still-life painting called Xenia. I argue that these artworks carefully represent the above-mentioned marginalised groups, by way of references to comparable motives in the history of art, from neoclassicism in France, to realism and romanticism.</p>

The purpose of this paper is to analyse how work by Swedish artist Ylva Ogland (born in 1974) function as an eye-opener for the social marginalisation of people identified with homosexuality, prostitution and drug addiction. Although highly present in reality, these phenomena were historically, and are still today, hidden from view in public discourse. I have focused on the installations Rapture and Silence and Things Seen, and the still-life painting called Xenia. I argue that these artworks carefully represent the above-mentioned marginalised groups, by way of references to comparable motives in the history of art, from neoclassicism in France, to realism and romanticism.

Submitted by Edileide Reis (leyde-landy@hotmail.com) on 2013-04-09T17:08:28Z No. of bitstreams: 2 Lígia 2.pdf: 3381746 bytes, checksum: 253ceaf4171afa46f392ca545a8c304d (MD5) Lígia 1.pdf: 2573838 bytes, checksum: fed74fe15519e90f3d6de6ed52a36cae (MD5) / Approved for entry into archive by Lêda Costa(lmrcosta@ufba.br) on 2013-04-18T12:36:23Z (GMT) No. of bitstreams: 2 Lígia 2.pdf: 3381746 bytes, checksum: 253ceaf4171afa46f392ca545a8c304d (MD5) Lígia 1.pdf: 2573838 bytes, checksum: fed74fe15519e90f3d6de6ed52a36cae (MD5) / Made available in DSpace on 2013-04-18T12:36:23Z (GMT). No. of bitstreams: 2 Lígia 2.pdf: 3381746 bytes, checksum: 253ceaf4171afa46f392ca545a8c304d (MD5) Lígia 1.pdf: 2573838 bytes, checksum: fed74fe15519e90f3d6de6ed52a36cae (MD5) Previous issue date: 2011 / Esta dissertação detalha as etapas do processo criativo para a concepção de um painel modular de uma Coleção de pinturas figurativas de objetos singulares, constituído por 72 telas de 40 X 40 cm cada, apresentado no Museu de Arte Contemporânea do Paraná, em 2011. As seguintes ações processuais delinearam a pesquisa: uma coleta fotográfica de objetos de escolha pessoal e, ou, pertencentes a diversos indivíduos, nas cidades de Curitiba, no Paraná e de Salvador, na Bahia, acompanhada pelos depoimentos dos participantes, registrados em fichas individuais. A seguir, os objetos fotografados tornaram-se os modelos para as 72 pinturas das „coisas inanimadas‟, em referência ao gênero denominado Natureza Morta. O processo que reuniu objetos / sujeitos / interações/ pesquisadora encontra-se aqui circundado pela poética de Gaston Bachelard, apoiado nos conceitos da semiologia dos objetos a partir de Jean Baudrillard, da crítica do design, em Deyan Sudjic e observa as considerações de Gilles Lipovetsky a respeito das culturas da moda e do consumo. Georges Perec e Walter Benjamin foram buscados para assegurar os respectivos respaldos, literário e conceitual, dos significados de „coleção‟, entre abordagens igualmente verificadas junto a outros autores complementares para, metodologicamente organizar as bases das discussões teóricas relativas aos tensionamentos plásticos propostos. Ao abrir as portas para sair da intimidade de um atelier e percorrer outros territórios e lugares, os objetos encontrados revelaram-se não apenas modelos para pintura, mas matérias mediadoras da persistência do tempo que separa os homens das suas coisas ou que, por alguns breves instantes, os une. / Salvador