That Some of Sol Lewitt's Later Wall Drawings Aren't Wall Drawings

Sol LeWitt is probably most famous for wall drawings. They are an extension of work he had done in sculpture and on paper, in which a simple rule specifies permutations and variations of elements. With wall drawings, the rule is given for marks to be made on a wall. We should distinguish these algorithmic works from impossible-to-implement instruction works and works realized by following preparatory sketches. Taking the core feature of a wall drawing to be that it is algorithmic, some of LeWitt's later works are wall drawings in name only

That Some of Sol Lewitt's Later Wall Drawings Aren't Wall Drawings

Sol LeWitt is probably most famous for wall drawings. They are an extension of work he had done in sculpture and on paper, in which a simple rule specifies permutations and variations of elements. With wall drawings, the rule is given for marks to be made on a wall. We should distinguish these algorithmic works from impossible-to-implement instruction works and works realized by following preparatory sketches. Taking the core feature of a wall drawing to be that it is algorithmic, some of LeWitt's later works are wall drawings in name only

Maren Hassinger: Lives

Gettysburg College’s Schmucker Art Gallery is pleased to present Maren Hassinger: Lives, an exhibition of the artist’s films, sculptures, and installations held in conjunction with the Central Pennsylvania Consortium Africana Studies Conference, “Public Health, Human Prosperity, and Justice: Public Policy in the African Diaspora,” and co-sponsored by the Eisenhower Institute in Gettysburg, Pennsylvania February 26 and 27, 2010. Hassinger’s work provides a contemplative perspective on complicated issues of nature, culture and identity in relation to broader themes of race, gender, as well as politics, and social policy. Ethereal and evocative installations of branches, plastic bags, and twisted newspapers powerfully reveal the tenuous intersection of the mass-produced and the organic. Complimenting the coiled strands, circular forms, and ascending paths of Hassinger’s sculptures are projections and films that similarly examine notions of circularity and biological (or natural) connectivity, in addition to linearity and lineage. These installations compellingly address the various complexities of lives: personal and public identities, Hassinger’s autobiographical lineage, and the legacies of broader African-American experiences. [excerpt]https://cupola.gettysburg.edu/artcatalogs/1001/thumbnail.jp

The Unsung Vigilance: A History of Sentinel

At risk of over using a popular cliché, there are objects everywhere on the Gettysburg College campus that are “hidden in plain sight.” For some objects, it is easy to stay hidden in this manner. Though we as college students and faculty pass them each day, they are simple plaques embedded in the cement paths we walk on, or the porticos of the academic buildings we enter without even thinking. Yet for other objects, it remains a perpetual mystery as to how even the infamously dense mind of the modern young adult could fail to, at least notice. The sculpture Sentinel, the massive conglomeration of stone and mortar standing 10 feet tall, is one such object. The plaque that is embedded in the ground at the foot of this monstrosity provides only vague enlightenment. [excerpt] Course Information: Course Title: HIST 300: Historical Method Academic Term: Fall 2009 Course Instructor: Dr. Michael J. Birkner \u2772 Hidden in Plain Sight is a collection of student papers on objects that are hidden in plain sight around the Gettysburg College campus. Topics range from the Glatfelter Hall gargoyles to the statue of Eisenhower and from historical markers to athletic accomplishments. You can download the paper in pdf format and click View Photo to see the image in greater detail.https://cupola.gettysburg.edu/hiddenpapers/1008/thumbnail.jp

Levels of reality: portraiture in African art

African Studies Center Working Paper No. 3

Beyond Rodin: Revisiting the Legacy of Camille Claudel

French sculptress Camille Claudel has gained recognition in the past 30 years due to a focus on her tragic life rather than her artistic talent. Despite critical acclaim and respect amongst her peers during the late 19th and early 20th centuries, her affair with Auguste Rodin and her struggles with mental illness have cast a dark, dramatic shadow over modern interpretations of Claudel’s oeuvre. Considering how difficult it was for a woman to be working as an artist at this time, Claudel’s sculptures should not be outweighed by her personal life. In order to challenge the reader not to accept a simple biographical analysis of her oeuvre, I am looking at select works and considering how Claudel incorporated other art genres, daily life and literature references. Just as Claudel is often overlooked in a biography of Rodin, this investigation into Claudel’s inspirations does not simply accept him as the driving force behind her pieces, but instead chooses to go beyond Rodin in search of a renewed acclaim, and a new legacy, for Camille Claudel

Artemis: Depictions of Form and Femininity in Sculpture

Grecian sculpture has been the subject of investigation for centuries. More recently, however, emphasis in the field of Art History on the politics of gender and sexuality portrayal have opened new avenues for investigation of those old statues. In depicting gender, Ancient Greek statuary can veer towards the non-binary, with the most striking examples being works depicting Hermaphroditos and ‘his’ bodily form. Yet even within the binary, there are complications. Depictions of the goddess Artemis are chief among these complications of the binary, with even more contradiction, subtext, and varied interpretation than representations of Amazons. The numerous ways Artemis has been portrayed over the years highlight her multifarious aspects, but often paint a contradictory portrait of her femininity. Is she the wild mother? The asexual huntress? Or is she a tempting virgin, whose purity is at risk? Depictions of her in sculptural form, deliberately composed, offer answers. Though as separate depictions they sometimes contradict one another, as a whole, they reveal just how Artemis the female was thought of

Taxonomy of the Crematogaster degeeri-species-assemblage in the Malagasy region (Hymenoptera: Formicidae)

We revise the species-level taxonomy of the Crematogaster (Crematogaster) degeerispecies-assemblage, a group of related ants occuring in Madagascar and the wider Malagasy region, and further provide an identification key to all species-groups of the genus Crematogaster in this region. Within the C. degeeri-assemblage, we recognize twelve species based upon morphological data from worker, queen and male ants, as well as genetic data from the barcode region of cytochrome oxidase I. Seven new species are described: Crematogaster alafara Blaimer sp. nov., C. bara Blaimer sp. nov., C. mafybe Blaimer sp. nov., C.maina Blaimer sp. nov., C. malahelo Blaimer sp. nov., C. masokely Blaimer sp. nov., C. ramamy Blaimer sp. nov. Crematogaster tricolor Gerstäcker, 1859 (stat. rev.) and C. dentata Dalla Torre, 1893 (stat. nov.) are raised to species level, and the following new synonymies are proposed: Crematogaster degeeri lunaris Santschi, 1928 as a synonym of C. degeeri Forel, 1886; Crematogaster sewelli improba Forel, 1907 and C. sewelli mauritiana Forel, 1907 as synonyms of C. dentata Dalla Torre, 1893, and C. pacifi ca Santschi, 1919 as a synonym of C. lobata Emery, 1895. Species descriptions, images, and distribution maps and identification keys based on worker ants, as well as on queen ants where available, are presented for all twelve species. In addition, we present a molecular gene tree for cytochrome oxidase I and summarize levels of sequence divergence within and between species of the C. degeeri-species-assemblage. Our findings are discussed in the light of previous work on Malagasy Crematogaster ants