DOCSLIB.ORG

FBA Page 13 (List of Works with Blanks for Contexts)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

February Break Assignment Assignment: Please read through the following pages of my notes about the AP College Board 250 piece numbers 119-152 (this covers through the end of Content Area 4, Later Europe and Americas). While you read through the notes, your assignment is to write down a piece of art that can be considered the context for each piece (you may want to write down a small explanation of a word or two explaining why the compare/contrast). Note: YOU WILL NOT BE REQURIED TO RE-WRITE ALL OF THESE NOTES (although it is recommended). You will hand in the following two pages with written out contexts on February 27th. Enjoy your extra long February Break! Due Date: 02.27.17 List of Works: 119. The Burghers of Calais, Auguste Rodin _______________________________________________________________________________________________________________ 120. The Starry Night, Vincent van Gogh _______________________________________________________________________________________________________________ 121. The Coiffure, Mary Cassatt _______________________________________________________________________________________________________________ 122. The Scream, Edvard Munch _______________________________________________________________________________________________________________ 123. Where do we come from? What are we? Where are we going?, Paul Gauguin _______________________________________________________________________________________________________________ 124. Carson, Pirie, Scott and Company Building, Louis Sullivan _______________________________________________________________________________________________________________ 125. Mont Sainte-Victoire, Paul Cézanne _______________________________________________________________________________________________________________ 126. Les Demoiselles d'Avignon, Pablo Picasso _______________________________________________________________________________________________________________ 127. The Steerage, Alfred Stieglitz _______________________________________________________________________________________________________________ 128. The Kiss, Gustav Klimt _______________________________________________________________________________________________________________ 129. The Kiss, Constantin Brancusi _______________________________________________________________________________________________________________ 130. The Portuguese, Georges Braque _______________________________________________________________________________________________________________ 131. The Goldfish, Henri Matisse _______________________________________________________________________________________________________________ 132. Improvisation 28 (second version), Vasily Kandinsky _______________________________________________________________________________________________________________ 133. Self-Portrait as a Soldier, Ernst Ludwig Kirchner _______________________________________________________________________________________________________________ 134. Memorial Sheet of Karl Liebknecht, Käthe Kollwitz _______________________________________________________________________________________________________________ 135. Villa Savoye, Le Corbusier _______________________________________________________________________________________________________________ 136. Composition with Red, Blue and Yellow, Piet Mondrian _______________________________________________________________________________________________________________ 137. Illustration from The Results of the First Five-Year Plan, Varvara Stepanova _______________________________________________________________________________________________________________ 138. Object (Le Déjeuner en fourrure), Meret Oppenheim _______________________________________________________________________________________________________________ 139. Fallingwater, Frank Lloyd Wright _______________________________________________________________________________________________________________ 140. The Two Fridas, Frida Kahlo _______________________________________________________________________________________________________________ 141. The Migration of the Negro, Panel no. 49, Jacob Lawrence _______________________________________________________________________________________________________________ 142. The Jungle, Wilfredo Lam _______________________________________________________________________________________________________________ 143. Dream of a Sunday Afternoon in Alameda Central Park, Diego Rivera _______________________________________________________________________________________________________________ 144. Fountain, Marcel Duchamp _______________________________________________________________________________________________________________ 145. Woman I, Willem de Kooning _______________________________________________________________________________________________________________ 146. Seagram Building, Ludwig Mies van der Rohe, Philip Johnson _______________________________________________________________________________________________________________ 147. Marilyn Diptych, Andy Warhol _______________________________________________________________________________________________________________ 148. Narcissus garden, Yayoi Kusama _______________________________________________________________________________________________________________ 149. The Bay, Helen Frankenthaler _______________________________________________________________________________________________________________ 150. Lipstick (Ascending) on Caterpillar Tracks, Claes Oldenburg _______________________________________________________________________________________________________________ 151. Spiral Jetty, Robert Smithson _______________________________________________________________________________________________________________ 152. House in New Castle County, Robert Ventura, John Rausch and Denise Scott Brown _______________________________________________________________________________________________________________ 1800-1850 Romanticism 1850-Present Realism 1870-1970 Modern Art 1886-1940 Symbolism 1880s-1890s Naturalism 1869-1890 Impressionism 1884 Neo-Impressionism (Pointilism) 1885-1900 Post-Imporessionism 1890-1910 Art Nouveau 1900-1930 Classical Revival in Modern Art 1900-Present Expressionism Art History 1920s Primitivism/Primitive Art 1908-1914 Cubism 1909-1915 Futurism 1916-1930 Dada 1917-1921 Constructivism 1917-1931 De Stijl 1920s-1903s Social Realism 1920s Surrealism 1870 to 1980 19402-1950s Abstract Expressionism 1870 to 1980 1960s Pop Art 1970-Present Post-Moderism Movements: 1870 to 1930 Constuctivism Fauvism Futurism De Social Realism Stijl Suprematism 1870 1880 1890 1920 1930 1900 1910 Impressionism Symbolism Art Nouveau Cubism Dada Surrealism Post-Impressionism Expressionism `Bauhaus Movements: 1940 to 1980 Conceptual Art Photorealism Kinetic and Earth Art Color Field Painting Op Art 1940 1960 1970 1980 1950 Post- Abstract Expressionism Neo-Dada Pop Art Minimalism Post-Modernism Minimalism Neo-Expresionism Performance Art Feminist Art depict the incidental, momentary ImpressionismImpressionism and passing aspects of reality 1 The Saint-Lazare Station Claude Monet, 1877, oil on canvas, 2.5’x3.5’ - a very contemporary and urban scene - part of 12 other inked paintings (although the fact of being a series is debated), 6-8 of which was a part of the 3rd Impressionist Exhibition - convveys the energy and vitality of Paris’ modern transportation system - themes: play of light filtered through smoke, billowing steam & locomotives - paint application reflects the energy of urban life at the time - captures all of the senses of the audience, smell, sight, sound & emotion The Burghers of Calais Auguste Rodin, 1884-1895, bronze, 6.6’x6.7’x6.4’ - commissioned by the French city of Calais to commemorate the heroism of Eustache de Saint-Pierre - Rodin followed the story as written down by Jean Froissart, a 14th c. French chronicler - the story goes... during the 100 Year’s War, King Edward III of England made a deal with Calais that if they wanted to save themselves and their city, they were to give up the keys to the city and six prominent members of the city council - then men are, Eustache (the leader), Jean de-Aires (carrying the giant set of keys), Andrieu de’Andres, Jean de Fiennes, and Pierre and Jacques de Wissant - the artist decided to represent the moment as they were about to leave the city to surrender their lives (which were all spared, little did they know!) - the patrosn were unhappy with the final result... they only wanted Eustache and in a glorified, triumphant pose - Rodin’s detail in the clothing of the men and it’s weighty-ness and connection to the ground reflects their struggle with wanted to live but also wanting to save their city - Rodin also created the men about lifesize and on a level that which the viewers could connect with the piece emotionally - patron unhappy and placed on a pedestal so the sculpture could be viewed heroically - artist took many risks!!! The Coiffure Mary Cassat, 1890-1891, drypoint and aquatint on paper, 1.4’x1’ - inspired by the École des Beaux-Arts’s (School of Fine Arts in Paris) showcas of an exhibition of Japanese woodblock prints - this piece was oen of hundreds that she made - the phrase “la coiffure” evokes the image of a wealthy woman going through the rituals of grooming, dressing, and preparing one’s hair - a bit of a voyeuristic approached that can be compared to La Grand Odalisque - desired
Recommended publications
  • The Creative Arts at Brandeis by Karen Klein

    The Creative Arts at Brandeis by Karen Klein

    The Creative Arts at Brandeis by Karen Klein The University’s early, ardent, and exceptional support for the arts may be showing signs of a renaissance. If you drive onto the Brandeis campus humanities, social sciences, and in late March or April, you will see natural sciences. Brandeis’s brightly colored banners along the “significant deviation” was to add a peripheral road. Their white squiggle fourth area to its core: music, theater denotes the Creative Arts Festival, 10 arts, fine arts. The School of Music, days full of drama, comedy, dance, art Drama, and Fine Arts opened in 1949 exhibitions, poetry readings, and with one teacher, Erwin Bodky, a music, organized with blessed musician and an authority on Bach’s persistence by Elaine Wong, associate keyboard works. By 1952, several Leonard dean of arts and sciences. Most of the pioneering faculty had joined the Leonard Bernstein, 1952 work is by students, but some staff and School of Creative Arts, as it came to faculty also participate, as well as a be known, and concentrations were few outside artists: an expert in East available in the three areas. All Asian calligraphy running a workshop, students, however, were required to for example, or performances from take some creative arts and according MOMIX, a professional dance troupe. to Sachar, “we were one of the few The Wish-Water Cycle, brainchild of colleges to include this area in its Robin Dash, visiting scholar/artist in requirements. In most established the Humanities Interdisciplinary universities, the arts were still Program, transforms the Volen Plaza struggling to attain respectability as an into a rainbow of participants’ wishes academic discipline.” floating in bowls of colored water: “I wish poverty was a thing of the past,” But at newly founded Brandeis, the “wooden spoons and close friends for arts were central to its mission.
  • VILLA SAVOYE: DESTRUCTION by NEGLECT July 2 - 2K, 1966

    VILLA SAVOYE: DESTRUCTION by NEGLECT July 2 - 2K, 1966

    ^r he Museum of Modern Art I yygst 53 street, New York, N.Y. 10019 Circle 5-8900 Cable-. Modernart VILLA SAVOYE: DESTRUCTION BY NEGLECT July 2 - 2k, 1966 WALL LABEL The Villa Savoye was built In open farmland In Polssy^ some kO kllotoeters outside Paris. From theicoment it was completed in I950, admirers of the emerging new archi­ tecture hailed it as a revolutionary masterpiece. In the years since then the Villa Savoye has become world famous — a classic that can be compared with the most brilliant achievements of the past. It demonstrates perfectly Le Corbusier's theories of design and planning^ but it is more than a demonstration: it is a unique and glorious work of art. That is why its slow destruction through neglect is scandalous. During World War II the Villa Savoye was occupied successively by German and American forces. When the Germans left they poured concrete down the toilets; when the Americans arrived they shot bullets through the windows. Mme. Savoye, widowed and impoverished by the war, moved to a nearby farm. But she refused to sell the house because she hoped her grandson would one day be able to restore it. Mieanwhile the quiet village of Poissy was linked to Paris by a super highway. It is now a crowded suburb. For many years Vtae, Savoye farmed the land, using the building as a barn. Although it was closed to the public, visitors who were able to get in picked their way over potatoes and hay, admiring an architectural composition so powerful and subtle that it could survive all indignities.
  • National Endowment for the Arts Annual Report 1982

    National Endowment for the Arts Annual Report 1982

    Nat]onal Endowment for the Arts National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1982. Respectfully, F. S. M. Hodsoll Chairman The President The White House Washington, D.C. March 1983 Contents Chairman’s Statement 3 The Agency and Its Functions 6 The National Council on the Arts 7 Programs 8 Dance 10 Design Arts 30 Expansion Arts 46 Folk Arts 70 Inter-Arts 82 International 96 Literature 98 Media Arts: Film/Radio/Television 114 Museum 132 Music 160 Opera-Musical Theater 200 Theater 210 Visual Arts 230 Policy, Planning and Research 252 Challenge Grants 254 Endowment Fellows 259 Research 261 Special Constituencies 262 Office for Partnership 264 Artists in Education 266 State Programs 272 Financial Summary 277 History of Authorizations and Appropriations 278 The descriptions of the 5,090 grants listed in this matching grants, advocacy, and information. In 1982 Annual Report represent a rich variety of terms of public funding, we are complemented at artistic creativity taking place throughout the the state and local levels by state and local arts country. These grants testify to the central impor­ agencies. tance of the arts in American life and to the TheEndowment’s1982budgetwas$143million. fundamental fact that the arts ate alive and, in State appropriations from 50 states and six special many cases, flourishing, jurisdictions aggregated $120 million--an 8.9 per­ The diversity of artistic activity in America is cent gain over state appropriations for FY 81.
  • 2 0 0 Jt COPYRIGHT This Is a Thesis Accepted for a Higher Degree of the University of London

    2 0 0 Jt COPYRIGHT This Is a Thesis Accepted for a Higher Degree of the University of London

    REFERENCE ONLY UNIVERSITY OF LONDON THESIS Degree Year Name of Author 2 0 0 jT COPYRIGHT This is a thesis accepted for a Higher Degree of the University of London. It is an unpublished typescript and the copyright is held by the author. All persons consulting the thesis must read and abide by the Copyright Declaration below. COPYRIGHT DECLARATION I recognise that the copyright of the above-described thesis rests with the author and that no quotation from it or information derived from it may be published without the prior written consent of the author. LOAN Theses may not be lent to individuals, but the University Library may lend a copy to approved libraries within the United Kingdom, for consultation solely on the premises of those libraries. Application should be made to: The Theses Section, University of London Library, Senate House, Malet Street, London WC1E 7HU. REPRODUCTION University of London theses may not be reproduced without explicit written permission from the University of London Library. Enquiries should be addressed to the Theses Section of the Library. Regulations concerning reproduction vary according to the date of acceptance of the thesis and are listed below as guidelines. A. Before 1962. Permission granted only upon the prior written consent of the author. (The University Library will provide addresses where possible). B. 1962- 1974. In many cases the author has agreed to permit copying upon completion of a Copyright Declaration. C. 1975 - 1988. Most theses may be copied upon completion of a Copyright Declaration. D. 1989 onwards. Most theses may be copied. This thesis comes within category D.
  • Villa Savoye Poissy, France [ the House Will Stand in the Midst of the Fields Like an Object, Without Disturbing Anything Around It

    Villa Savoye Poissy, France [ the House Will Stand in the Midst of the Fields Like an Object, Without Disturbing Anything Around It

    Villa Savoye Poissy, France [ The house will stand in the midst of the fields like an object, without disturbing anything around it. ] Le Corbusier Villa Savoye Lying on the outskirts of Paris, France, and completed in 1931, Villa Savoye was designed as a private country house by the Swiss-born architect, Le Corbusier. It quickly became one of the most influential buildings in the International style of architecture and cemented Le Corbusier’s reputation as one of the most important architects of the 20th century. Architectural significance When the construction of Villa Savoye began in 1928, Le Corbusier was already an internationally known architect. His book Vers une Architecture (Towards a New Architecture) had been translated into several languages, while his work on the Centrosoyuz Building in Moscow, Russia, had brought him into contact with the Russian avant-garde. As one of the first members of the Congrès International d’Architecture Moderne (CIAM), he was also becoming known as an important and vocal champion of modern architecture. Villa Savoye would be the last in a series of white ‘Purist villas’ designed and © Fondation Le Corbusier constructed by Le Corbusier and his cousin Pierre Jeanneret in and around the city of Paris during the 1920s. Encouraged by the Savoye family’s open brief, Le Corbusier ensured that the design of the house would become the physical representation of his ‘Total Purity’ ideals. © Fondation Le Corbusier 2 The villa was to be constructed according to the emblematic ‘Five Points’ Le Corbusier had developed as guiding principles for his modernist architectural style: 1.
  • Issue 5 • Winter 2021 5 Winter 2021

    Issue 5 • Winter 2021 5 Winter 2021

    Issue 5 • Winter 2021 5 winter 2021 Journal of the school of arts and humanities and the edith o'donnell institute of art history at the university of texas at dallas Athenaeum Review_Issue 5_FINAL_11.04.2020.indd 185 11/6/20 1:24 PM 2 Athenaeum Review_Issue 5_FINAL_11.04.2020.indd 2 11/6/20 1:23 PM 1 Athenaeum Review_Issue 5_FINAL_11.04.2020.indd 1 11/6/20 1:23 PM This issue of Athenaeum Review is made possible by a generous gift from Karen and Howard Weiner in memory of Richard R. Brettell. 2 Athenaeum Review_Issue 5_FINAL_11.04.2020.indd 2 11/6/20 1:23 PM Athenaeum Review Athenaeum Review publishes essays, reviews, Issue 5 and interviews by leading scholars in the arts and Winter 2021 humanities. Devoting serious critical attention to the arts in Dallas and Fort Worth, we also consider books and ideas of national and international significance. Editorial Board Nils Roemer, Interim Dean of the School of Athenaeum Review is a publication of the School of Arts Arts and Humanities, Director of the Ackerman and Humanities and the Edith O’Donnell Institute of Center for Holocaust Studies and Stan and Art History at the University of Texas at Dallas. Barbara Rabin Professor in Holocaust Studies School of Arts and Humanities Dennis M. Kratz, Senior Associate Provost, Founding The University of Texas at Dallas Director of the Center for Asian Studies, and Ignacy 800 West Campbell Rd. JO 31 and Celia Rockover Professor of the Humanities Richardson, TX 75080-3021 Michael Thomas, Director of the Edith O’Donnell Institute of Art History and Edith O’Donnell [email protected] Distinguished University Chair in Art History athenaeumreview.org Richard R.
  • Rise of Modernism

    Rise of Modernism

    AP History of Art Unit Ten: RISE OF MODERNISM Prepared by: D. Darracott Plano West Senior High School 1 Unit TEN: Rise of Modernism STUDENT NOTES IMPRESSIONISM Edouard Manet. Luncheon on the Grass, 1863, oil on canvas Edouard Manet shocking display of Realism rejection of academic principles development of the avant garde at the Salon des Refuses inclusion of a still life a “vulgar” nude for the bourgeois public Edouard Manet. Olympia, 1863, oil on canvas Victorine Meurent Manet’s ties to tradition attributes of a prostitute Emile Zola a servant with flowers strong, emphatic outlines Manet’s use of black Edouard Manet. Bar at the Folies Bergere, 1882, oil on canvas a barmaid named Suzon Gaston Latouche Folies Bergere love of illusion and reflections champagne and beer Gustave Caillebotte. A Rainy Day, 1877, oil on canvas Gustave Caillebotte great avenues of a modern Paris 2 Unit TEN: Rise of Modernism STUDENT NOTES informal and asymmetrical composition with cropped figures Edgar Degas. The Bellelli Family, 1858-60, oil on canvas Edgar Degas admiration for Ingres cold, austere atmosphere beheaded dog vertical line as a physical and psychological division Edgar Degas. Rehearsal in the Foyer of the Opera, 1872, oil on canvas Degas’ fascination with the ballet use of empty (negative) space informal poses along diagonal lines influence of Japanese woodblock prints strong verticals of the architecture and the dancing master chair in the foreground Edgar Degas. The Morning Bath, c. 1883, pastel on paper advantages of pastels voyeurism Mary Cassatt. The Bath, c. 1892, oil on canvas Mary Cassatt mother and child in flattened space genre scene lacking sentimentality 3 Unit TEN: Rise of Modernism STUDENT NOTES Claude Monet.
  • Abstract Expressionism Titles Title Author Call # Notes 33 Mcdougal

    Abstract Expressionism Titles Title Author Call # Notes 33 Mcdougal

    Abstract Expressionism Titles Title Author Call # Notes 33 Mcdougal Alley: The Interlocking Sculpture of Isamu Noguchi, I. NB237.N6 A4 2003 Noguchi A Tradition of Excellence UH Dept of art 927.969 T73 multiple artists Abstract Expressionism (Movements in Modern Art Balkin, D.B. 709.04 B186 Series) Abstract and Surrealist Art in America Janis, S. 750.096 J33a multiple artists Abstract Expression: The Critical Developments Auping, M… ND212.5.A25 A22 1987 Abstract Expressionism Anfam, D. N6512.5.A25 A89 1990 multiple artists Abstract Expressionism and the American Experience: A Sandler, I. 759.0652 S217 Reevaluation Abstract Expressionism: Other Politics Gibson, A.E. N6512.5.A25 G53 1997 multiple artists Abstract Expressionism: The Formative Years Hobbs, R.C. 759.13 H682 1978 multiple artists 759 M / ND212.N395 Abstract Painting and Sculpture in America Ritchie, A.C. 1951 Abstraction-Geometry-Painting: Selected Geometric Auping, M… 759.13 A164 1984 multiple artists Abstract Painting in America Since 1945 Action/ Abstraction: Pollock, De Kooning, and American Kleeblatt, N. N 6512.5 .A25 A33 2008 Art 1946-1976 American Art at Mid-Century: The Subjects of the Artist Carmean, E. 709.73 C287 multiple artists Ansei Uchima: Symphony of Colors and Wind Uchima, A. NE539,U24 A4 2015 Art in Embassies Art I Embassies Exhibition N6512.A7666 2015 Isami Doi Program Kenzo Okada, Art in The Encounter of Nations: Japanese and American Saburo Winther-Tamaki, B. 709 W789 Artists in the Early Postwar Years Hasegawa, Isamu Noguchi Art Since Mid-Century: The New Internationalism: 709.407 A784v1971 v1, multiple artists Abstract Art v2 Isami Doi, Satoru Artists of Hawaii 927.969bA78 Abe, Reuben Tam Artists/Hawaii Clarke, J.
  • Art 150: Introduction to the Visual Arts David Mccarthy Rhodes College, Spring 2003 414 Clough, Ext

    Art 150: Introduction to the Visual Arts David Mccarthy Rhodes College, Spring 2003 414 Clough, Ext

    Art 150: Introduction to the Visual Arts David McCarthy Rhodes College, Spring 2003 414 Clough, Ext. 3663 417 Clough, MWF 11:30-12:30 Office Hours: MWF 2:00- 4:00, and by appointment. COURSE OBJECTIVES AND DESCRIPTION The objectives of the course are as follows: (1) to provide students with a comprehensive, theoretical introduction to the visual arts; (2) to develop skills of visual analysis; (3) to examine various media used by artists; (4) to introduce students to methods of interpretation; and (5) to develop skills in writing about art. Throughout the course we will keep in mind the following two statements: Pierre Auguste Renoir’s reminder that, “to practice an art, you must begin with the ABCs of that art;” and E.H. Gombrich’s insight that, “the form of representation cannot be divorced from its purpose and the requirements of the society in which the given language gains currency.” Among the themes and issues we will examine are the following: balance, shape and form, space, color, conventions, signs and symbols, representation, reception, and interpretation. To do this we will look at many different types of art produced in several historical epochs and conceived in a variety of media. Whenever possible we will examine original art objects. Art 150 is a foundation course that serves as an introduction for further work in studio art and art history. A three-hour course, Art 150 satisfies the fine arts requirement. Enrollment is limited to first- and second-year students who are not expected to have had any previous experience with either studio or art history.
  • Modernism and Identity in the Indian Subcontinent: a Sketch of Minnette De Silva and Her Works

    Modernism and Identity in the Indian Subcontinent: a Sketch of Minnette De Silva and Her Works

    Modernism and Identity in the Indian Subcontinent: A Sketch of Minnette de Silva and her Works A thesis submitted to the Graduate School of the University of Cincinnati in partial fulfilment of the requirements for the degree of Master of Science in Architecture In the School of Architecture and Interior design of the College of Design, Architecture, Art and Planning By Anam Akhter (B.Arch) M.S. Architecture University of Cincinnati July 2018 Committee Chair: Jeff Tilman, PhD Committee Member: Rebecca Williamson, PhD i /Abstract Problem: How does national politics affect architecture and how are architects an important influence in not only the design process (as an opposition to the prevalence of ‘process’ in architectural design), but also as politically conscious individuals that can determine and act on social issues and make an impact or contribution? The Thesis focuses on the life and work of post-independent Sri Lanka’s first Modernist architect Ms. Minnette de Silva and her contribution to Regional Modernism which was an attempt to synthesize modernism with vernacular forms and crafts of the country. By looking at de Silva’s work through several lenses like national politics, identity issues, Modernism & CIAM, it will be shown how crucial developments in architecture have taken place (and could take place in the future), due to these influences, and the agency of the architect. More specifically, it will be shown how the question of IDENTITY came about in politics and hence in architecture (due to the influence of the Indian Independence movement whose ethos lay in asserting an ‘Indian-ness’ that was radically different from the colonial power), how de Silva asserted herself as a new voice in Sri Lankan architecture as a modernist trained form the AA, and how the identity of de Silva touched aspects of the ‘exotic’ – which has political connotations in itself, and how modernism figured out in her designs that sought to be modern as well as regional.
  • Ludwig Mies Van Der Rohe's Richard King Mellon Hall of Science and Michael Graves's Erickson Alumni Center

    Ludwig Mies Van Der Rohe's Richard King Mellon Hall of Science and Michael Graves's Erickson Alumni Center

    Graduate Theses, Dissertations, and Problem Reports 2011 Classicism as Foundation in Architecture: Ludwig Mies van der Rohe's Richard King Mellon Hall of Science and Michael Graves's Erickson Alumni Center Elizabeth Stoloff Vehse West Virginia University Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Vehse, Elizabeth Stoloff, "Classicism as Foundation in Architecture: Ludwig Mies van der Rohe's Richard King Mellon Hall of Science and Michael Graves's Erickson Alumni Center" (2011). Graduate Theses, Dissertations, and Problem Reports. 848. https://researchrepository.wvu.edu/etd/848 This Thesis is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. Classicism as Foundation in Architecture: Ludwig Mies van der Rohe’s Richard King Mellon Hall of Science and Michael Graves’s Erickson Alumni Center Elizabeth Stoloff Vehse Thesis submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Master of Arts in Art History Kristina Olson, M.A., Chair Janet Snyder, Ph.D.
  • Size, Scale and the Imaginary in the Work of Land Artists Michael Heizer, Walter De Maria and Dennis Oppenheim

    Size, Scale and the Imaginary in the Work of Land Artists Michael Heizer, Walter De Maria and Dennis Oppenheim

    Larger than life: size, scale and the imaginary in the work of Land Artists Michael Heizer, Walter De Maria and Dennis Oppenheim © Michael Albert Hedger A thesis in fulfillment of the requirements for the degree of Doctor of Philosophy Art History and Art Education UNIVERSITY OF NEW SOUTH WALES | Art & Design August 2014 PLEASE TYPE THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname or Family name: Hedger First name: Michael Other name/s: Albert Abbreviation for degree as given in the University calendar: Ph.D. School: Art History and Education Faculty: Art & Design Title: Larger than life: size, scale and the imaginary in the work of Land Artists Michael Heizer, Walter De Maria and Dennis Oppenheim Abstract 350 words maximum: (PLEASE TYPE) Conventionally understood to be gigantic interventions in remote sites such as the deserts of Utah and Nevada, and packed with characteristics of "romance", "adventure" and "masculinity", Land Art (as this thesis shows) is a far more nuanced phenomenon. Through an examination of the work of three seminal artists: Michael Heizer (b. 1944), Dennis Oppenheim (1938-2011) and Walter De Maria (1935-2013), the thesis argues for an expanded reading of Land Art; one that recognizes the significance of size and scale but which takes a new view of these essential elements. This is achieved first by the introduction of the "imaginary" into the discourse on Land Art through two major literary texts, Swift's Gulliver's Travels (1726) and Shelley's sonnet Ozymandias (1818)- works that, in addition to size and scale, negotiate presence and absence, the whimsical and fantastic, longevity and death, in ways that strongly resonate with Heizer, De Maria and especially Oppenheim.