Monument lighting

Cataloged from PDF version of article.This thesis is related with the concept of monument lighting. It focuses on the interaction between two elements of art; light and the monument, and also the interaction between human and monument regarding the psychological, physical, and sociological factors. The study concentrates on the approach to the problem and discusses the facts that lighting designers and sculptors have to be concerned about in bridging the gap between public and monuments. Rather than expressing general lighting criteria, discussions are carried upon the examples to suggest a better understanding to the topic. The recommendations involve the case studies of two monuments and the evaluation of observer responses among different lighting schemes.Tural, MehmedalpM.S

Recommendations for Redesign: Revising the Rochester Museum and Science Center\u27s Native Peoples of the Americas Exhibit

This thesis proposes methods for redesigning the Rochester Museum and Science Center’s (RMSC) Native Peoples of the Americas exhibit to ensure better representation of the Native cultures it displays. Explorations of these methods include a survey of the current exhibit, focusing on specific areas and design elements that need to be addressed, as well as brief comparative surveys of other Native American and ethnographic exhibits at the RMSC as well as exhibits at Ganondagan State Historic Site and the New York and Washington branches of the National Museum of the American Indian. The literature review considers the history of Native American collections and representation in American museums and provides some suggested methods for the redesign of Native American exhibits that have been put forth by museum professionals, historians, and members of Native American communities over the past 25 years. This thesis also includes primary research in the form of an interview with the Senior Director for Collections and Exhibits at the RMSC to learn the themes and concepts anticipated by the museum in the coming years, as well as visitor observations and summary reporting conducted by the author from November 2017 through February 2018 examining how the RMSC’s visitors currently use the exhibit and how to improve their experience within it. The result of this work is a series of recommendations for the RMSC’s collections and exhibitions staff to consider as they work to redesign Native Peoples of the Americas over the next several years

Virgil Ortiz: American Indian Artist, Representational Trickster, and Identity Shapeshifter

This study opens the door for a re-thinking of how discourse shapes American Indian representation and identity. As such, contemporary American Indian artist, Virgil Ortiz, his art, and the discourse surrounding both art and artist are examined to reveal the strategies and tactics employed in his constitution of a politics of representation that broaden the spectrum of considerations of American Indian identity. Critical invention is the orientation through which two methodological approaches are intertextually applied. A critical rhetorical approach is employed to analyze both the vernacular discourse produced by Ortiz and the dominant discourse constructed by the dominant culture. Sorrells (1999) theoretical and methodological approach to reading intercultural imagery is also applied to conduct a visual analysis of Ortiz’s art. To contextually frame an understanding of Ortiz and his work, a literature review and a historical chapter are included. The literature review details the linking of American Indian cultural identity, collective identity, and cultural sovereignty to the production of American Indian art; examines art and American Indian identity; and investigates art and the production of a politics of representation. The historical chapter reveals the poetics and politics of American Indian discursive constructions by both the dominant culture and American Indians. The theme of sadomasochistic dominance and submission (SMDS) is explored in Ortiz’s art to understand how it communicatively operates through vernacular discourse. Ortiz’s marketing through branding and personal branding is analyzed to understand how Ortiz both subverts and complies with the dominant culture’s current entrenchment in commodity capitalism and in stale American Indian representations. The measure of representational sovereignty that Ortiz asserts is evident in the mediums and the media in which he participates. This study reveals that Ortiz produces a counter discourse that disturbs hegemonic notions of American Indians; promotes more prismatic considerations of American Indian identity, rather than one-dimensional stale stereotypes or two-dimensional restraining binaries; and offers alternative American Indian archetypes for consideration. Ortiz draws from the mainstream to the margins and the surface to the subterranean to create a politics of representation that promotes an understanding of multi-faceted, multi-dimensional, and multiple American Indian identity articulations, which move American Indians closer to signification self-sovereignty

Choreographing and Reinventing Chinese Diasporic Identities - An East-West Collaboration

In demonstrating Eastern- and Western-based Chinese diasporic dances as equally critical and question-provoking in Chinese identity reconstructions, this research compares choreographic implications in the Hong Kong-Taiwan and Toronto-Vancouver dance milieus of recent decades (1990s 2010s). An auto-ethnographic study of Yuri Ngs (Hong Kong) and Lin Hwai-mins (Taiwan) works versus my own (Toronto) and Wen Wei Wangs (Vancouver), it probes identities choreographed in place-constituted third spaces between Chinese selves and Euro-American Others. I suggest that these identities perpetrate hybrid movements and aesthetics of geo-cultural-political distinctness from the Chinese ancestral land ones manifesting ultimate glocalization intersecting global political economies and local cultural-creative experiences. Echoing the diasporic habitats cultural and socio-historical specificities, they are constantly (re) appropriated and reinvented via translation, interpretation, negotiation, and integration of East-West cultural-artistic and socio-political ingredients. The event unfolds such identities placial uniqueness that indicates the same Chinese roots yet divergent diasporic routes. In reviewing Ngs balletic and contemporary photo-choreographic productions of post-British colonial Hong Kong-ness alongside Lins repertories of Chinese traditional, Taiwan indigenous, American modern and Other artistic impacts noting Taiwanese-ness, the study unearths cultural roots as the core source of Chinese identity rebuilding from East Asian displacements. It traces an ingrained third space between Chinese historic-social values, Western cultural elements, and Other performing artistries of Hong Kong and Taiwanese belongings. Juxtaposing my Chinese traditional-based and transcultural Toronto dance projects with Wangs Vancouver balletic-contemporary fusions of Chinese iconicity, Chinese-Canadian identities marked by a hyphenated (third/in-between) space are associated as varying North American self-generated routes of social and artistic possibilities in a Canadian mosaic-cosmopolitical setting the persistent state of Canadian becoming. My conclusion resolves the examined choreographic cases as continually developed through third-space instigated East-West cultural-political crossings plus interpenetrative local creativities and global receptivity. Of gains or losses, struggles or rebirths, the cases of placial-temporal significations elicit multiple questions on Chinese diasporic cultural infusions, social sustenance, artistic integrity, and identity representations amid East-West negotiations my experiential reflection on the dance role and potency in the reimagining and remaking of Chinese diasporic identities

Modern Art and Modern Movement: Images of Dance in American Art, c. 1900-1950

"Modern Art and Modern Movement: Images of Dance in American Art, c. 1900-1950," considers the intersections and interrelations of two of the major artistic developments of the twentieth century, modern dance and modern art, through an examination of the paintings, sculptures, photographs, and drawings that engage simultaneously with these developing art forms. The first chapter introduces cultural attitudes toward dance performances in the United States at the beginning of the twentieth century with an examination of Everett Shinn's, Louis Kronberg's, and Malvina Hoffman's depictions of European ballet dancers, such as Russian Anna Pavlova. Chapter two discusses images of Isadora Duncan, the mother of modern dance, created by Abraham Walkowitz, John Sloan, Robert Henri, and Arthur B. Davies. Constructs of "Orientalism" and "the Other" in images of dance created by Paul Manship, Gaston Lachaise, and Alexander Calder, artists who felt the influence of the Indian dances of Ruth St. Denis and Ted Shawn and l'art n�_��gre fervor surrounding Josephine Baker, respectively, make up chapter three. Chapter four examines the of art of H. Lyman Sayen, Stanton Macdonald-Wright, Morgan Russell, and Franz Kline who were inspired by the Ballets Russes's lavish productions and consequently sought to convey the relationship between dance, costume, music, and set. Chapter five discusses depictions of the prolific choreographer and modern dancer Martha Graham by photographer Barbara Morgan, painter Paul Meltsner, and sculptors David Smith and Louise Nevelson. The concluding chapter examines the gestural abstractions of Jackson Pollock and the mobiles of Alexander Calder; artists who were not responding to individual dancers or specific dance styles, but whose involvement with dance was at a much more basic level. Pollock and Calder incorporated the fundamental element of dance, movement through time, into their works of art

Auto-America: The Automobile and American Art, Circa 1900-1950

This dissertation explores the theme of the automobile in American visual art in the first half of the twentieth century, specifically as it appears in painting and printmaking. During the period under consideration, the automobile evolved from a technological novelty owned and operated by wealthy individuals to become a ubiquitous part of American society that stretched across the nation and touched all economic classes. When present in art, the automobile serves as a pregnant image of modernity. The freedom of motion and the velocity provided by the motorcar suggests a horizontal and accelerated perception of modern life. The influence of the automobile on society is found not only in images with motorcars, but also in compositions depicting the many support systems that developed to keep the nation mobile. The greater sense of automobility includes the newly built roadways and bridges, automotive factories, garages, gasoline pumps, auto-camps and eventual motels, roadside restaurants that aimed to serve and accommodate a populace on the move. Artists working in the United States responded to the expanding presence of motor vehicles in multiple and varied ways that reflect not only individual artistic tastes and styles, but also the artists' personal experiences and associations as automobile drivers and passengers. Several artists utilized the motor vehicle as a mobile studio, with works being created on location, within the confines of the vehicle itself. My analysis explores various ways in which artists responded to the automobile and developed auto-related iconography. Depictions of the automobile's use in urban areas demonstrate its gradual acceptance and eventual dominance of city streets, while in rural areas the automobile offered opportunities for social engagement, shopping and entertainment. During the Great Depression, the motorcar served artists as a modern-day metaphor regarding the ship of state, with broken down and discarded vehicles used to address the nation's economic troubles. The study includes consideration of several artists' use of automobiles as well as depictions made of and from the road. This dissertation concludes with a brief look at artistic responses to the automotive theme that followed the period under this study

The Scientist and American Cinema: Trends and Case Studies

This thesis explores historical trends in the depiction of scientists in popular film from 1931 to present, emphasizing how both scientific developments and current events influence the characterization of movie scientists and how these popular depictions of scientists can, in turn, have real-world influence. In addition to giving a historical overview of these trends, this thesis examines case studies looking specifically at the evolving relationship between space science and cinema, the representation of historical scientists in biographical films, and the evolution of scientist characters in two scientist-starring short stories, Who Goes There? and The Fly, and their respective film adaptations and subsequent remakes

PAINTING THE MOUNTAINS: AN INVESTIGATION OF TOURIST ART IN NORTH AMERICA

This study examines the use of regional cultural icons, like hillbillies, nineteenth century pioneer caricatures, and rural/wilderness landscapes, in paintings from an Appalachian tourist center. These icons, produced by the public media’s portrayal of the Appalachian region over several generations, contribute to a sense of cultural difference associated with people of Appalachia. The research question driving this project is: would cultural distinctiveness exist if cultural stereotypes were not a part of the tourist center’s local economics, politics, and social life? Building on ideas from consumption studies, this project explores consumption practices of artists and tourists as they interact with icons in art galleries and other commercial spaces located in a popular vacation destination. Artists and tourists both play out the role of consumer because they choose and make use of icons. This project also draws on ethnographies from tourism and tourist art and from theories of ritual and performance studies. Data gathered from formal interviews, gallery surveys, content analysis of paintings, observations, and participant-observation is analyzed to describe the kinds of images consumed in an Appalachian tourist art market, as well as the marketing techniques employed by business owners to facilitate the tourist’s consumption of images, the performative qualities of consumer behavior and gallery spaces, the various meanings signified by images to consumers, and the structural ways individuals are taught to associate certain meanings with images. This project deconstructs notions of cultural distinctiveness associated with the Appalachian region, while showing some cultural icons to be personally important to artists and tourists. Showing how the tourism industry affects cultural perceptions of marginalized groups, this research also reveals the ways dominant cultural assumptions, like racial and class categories as well as experiences with the past, are communicated via art images. Recounting artists’ stories of working within a tourism context enables this research to describe how individuals and communities employ sales strategies to minimize their perceptions of economic risks. This project concludes that the perpetual use of stereotypes is motivated by the need for a tourist setting to seem different and by the values stereotypes bear for consumers’ personal identities and preferences

Visualizing Anna Karenina

Incorporated into contemporary culture through high-, middle-, and lowbrow manifestations, Tolstoi's Anna Karenina repeatedly demonstrates its ubiquity. The novel's reincarnations in various cultural forms consistently privilege the Anna-Vronskii story line over the parallel narrative of Kitty and Levin, thus "liberating" the adultery myth from its novelistic shackles. This remarkable diffusion and myth-oriented interpretation of Anna Karenina largely stems from the cinema's fascination with the novel. The freedom with which filmmakers handle the allegedly well-known novel reveals the discrepancy between the literary text and its idea in the collective unconscious. This freedom also indicates that in popular awareness visual embodiments of Anna Karenina have become more authoritative than the novel itself. While shedding light on dramatic changes that have occurred in the "collective" idea of Tolstoi's novel, cinema—as a medium aiming at a mass audience—also manifests its essential connection with a myth of love that is stronger than death. The filmmakers' constant maneuvering between myth and novel defies the latter as an unequivocal source of adaptation and thus justifies the approach I advocate in my dissertation: namely, bypassing the rigid binary opposition "the literary source versus its screen version." Interpreted as vehicles for recycling an old story of adulterous love, films of Anna Karenina reveal two overarching tendencies in their attempts to transpose the nineteenth-century text to the screen—tendencies they share independently of their production date, country of production, and film format. The first strengthens the underlying myth of adultery by stripping the literary text of everything "irrelevant" to the mythical skeleton. The second disguises that skeleton by reproducing the accompanying subplots from the literary source. Yet even versions deeply rooted in the literary source are influenced by a myth-oriented perspective. Though my principal emphasis falls on screen adaptations, I also analyze the novel's recasting as a comic book. Unlike screen adaptations, this postmodernist revision of the novel was undertaken with the hope of undermining the novel's elevated status as well as the fame of its creator, thus signaling a successful completion of its long journey into the mass unconscious