Capstone 2016 Art and Art History Senior Projects

This booklet profiles Art Senior Projects by Maura B. Conley, Caroline G. Cress, Carolyn E. McBrady, Alesha R. Miller, Emma S. Shaw, Eleanor E. Soule, Katherine G. Warwick, and Rebecca T. Wiest. This booklet profiles Art History Senior Projects by Deirdre E. D\u27Amico, Rebecca S. Duffy, Megan R. Haugh, Molly R. Lindberg, Kelly A.B. Maguire, and Lucy K. Riley

Capstone 2014 Art and Art History Senior Projects

It gives us great pleasure to introduce the Gettysburg College Art and Art History senior Capstone projects for 2014. These projects serve as the culmination of the Studio Art and Art History majors. They are as rich and varied as the students themselves and exemplify the commitment the Department of Art and Art History places on creativity and scholarship in a liberal arts education. [excerpt] This booklet profiles Art Senior Projects by Bailey K. Beardsley, Lisa R. Del Padre, Tobi C. Goss, Rebecca A. Grill, Anna B. Heck, Japh-O\u27Mar A. Hickson, Danielle T. Janela, Lauren E. Kauffman, Megan P. Quigg, Justin Rosa, Angela M. Schmidt, Erin E. Slattery, and Caroline E. Volz. This booklet profiles Art History Senior Projects by Niki Erdner, Emily A. Francisco, Rose C. Kell, Katherine G. Kiernan, Tara K. Lacy, Shelby A. Leeds, and Molly E. Reynolds

Capstone 2019 Art and Art History Senior Projects

This booklet profiles Art Senior Projects by Angelique J. Acevedo, Arin Brault, Bailey Harper, Sue Holz, Yirui Jia, Jianrui Li, Annora B. Mack, Emma C. Mugford, Inayah D. Sherry, Jacob H. Smalley, Laura Grace Waters and Laurel J. Wilson. This booklet profiles Art History Senior Projects by Gabriella Bucci, Melissa Casale, Bailey Harper, Erin O\u27Brien and Laura Grace Waters

UNO Website Art and Art History UNO Art Gallery

Opened in 1992, the UNO Art Gallery is a professional exhibition spaces consisting of two large galleries (1,500 square feet) and a Hexagon gallery (675 square feet) plus adjoining offices, a kitchen, and a storage facility

Quintessence: The Alternative Spaces Residency Program Number 3

The gallery guide discusses the works involved with the Alternative Space Residency Program that was sponsored by the Dayton City Beautiful Council and Wright State University. Quintessence number three showcases the third year of a six year long project.https://corescholar.libraries.wright.edu/restein_catalogs/1008/thumbnail.jp

The Art History Canon and the Art History Survey Course: Subverting the Western Narrative.

Art History enrollments at the college level are declining as students flock to STEM majors and perceive Art History as dated and of little use in today’s modern, scientific world. Yet Art History classes can teach valuable skills. When taught in a broad context, the objects art history studies engage critical thinking and can generate new forms of knowledge. However, the pedagogical structure and content of introductory art history survey course does not always offer students the creative leeway to make these connections. Instructors at the college level often retreat to the methods and content that have been a part of the discipline since its inception in the late 19thcentury; the professor as expert authority on the western canon of objects and the grand narrative of progressive development that accompanies them. As university students are becoming more ethnically and socially diverse, the objects covered in the survey continue to speak to a white, European audience that is no longer the only audience listening. While art history remains useful, its canon of objects has become problematic, and reinforces the othering of the non- western world. This essay will first examine how the modern canon and art history’s pedagogical practices came to be by examining the history of the discipline, and the theories, methods and texts that developed alongside academic art history. It will then take a brief look at how modern philosophy, primarily the conceptual ideas of Deleuze and Guattari, can provide a new framework for examining how the teaching of art history can be globalized and taught in a more meaningful way

Introduction : photography between art history and philosophy

The essays collected in this special issue of Critical Inquiry are devoted to reflection on the shifts in photographically based art practice, exhibition, and reception in recent years and to the changes brought about by these shifts in our understanding of photographic art. Although initiated in the 1960s, photography as a mainstream artistic practice has accelerated over the last two decades. No longer confined to specialist galleries, books, journals, and other distribution networks, contemporary art photographers are now regularly the subject of major retrospectives in mainstream fine-art museums on the same terms as any other artist. One could cite, for example, Thomas Struth at the Metropolitan Museum in New York (2003), Thomas Demand at the Museum of Modern Art (MoMa) (2005), or Jeff Wall at Tate Modern and MoMA (2006–7). Indeed, Wall’s most recent museum show, at the time of writing, The Crooked Path at Bozar, Brussels (2011), situated his photography in relation to the work of a range of contemporary photographers, painters, sculptors, performance artists, and filmmakers with whose work Wall considers his own to be in dialogue, irrespective of differences of media. All this goes to show that photographic art is no longer regarded as a subgenre apart. The situation in the United Kingdom is perhaps emblematic of both photography’s increasing prominence and its increased centrality in the contemporary art world over recent years. Tate hosted its first ever photography survey, Cruel and Tender, as recently as 2003, and since then photography surveys have become a regular biannual staple of its exhibition programming, culminating in the appointment of Tate’s first dedicated curator of photography in 2010. A major shift in the perception of photography as art is clearly well under way