DOCSLIB.ORG

Corporeality, Subjectivity, and Empathy in Contemporary American Art Elissa Yukiko Weichbrodt Washington University in St

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Corporeality, Subjectivity, and Empathy in Contemporary American Art Elissa Yukiko Weichbrodt Washington University in St Washington University in St. Louis Washington University Open Scholarship All Theses and Dissertations (ETDs) Spring 4-23-2013 Through the Body: Corporeality, Subjectivity, and Empathy in Contemporary American Art Elissa Yukiko Weichbrodt Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/etd Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Weichbrodt, Elissa Yukiko, "Through the Body: Corporeality, Subjectivity, and Empathy in Contemporary American Art" (2013). All Theses and Dissertations (ETDs). 1049. https://openscholarship.wustl.edu/etd/1049 This Dissertation is brought to you for free and open access by Washington University Open Scholarship. It has been accepted for inclusion in All Theses and Dissertations (ETDs) by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of Art History and Archaeology Dissertation Examination Committee: Angela Miller, Chair Elizabeth Childs Adrienne Davis John Klein Linda Nicholson Ila Sheren Through the Body: Corporeality, Subjectivity, and Empathy in Contemporary American Art by Elissa Yukiko Weichbrodt A dissertation presented to the Graduate School of Arts and Sciences of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2013 St. Louis, Missouri © 2013, Elissa Yukiko Weichbrodt TABLE OF CONTENTS List of Figures ………………………………………………………………………………………………………………… iii Acknowledgements ………………………………………………………………………………………………………… viii Dedication …………………………………………………………………………………………………………………….. x Introduction ………………………………………………………………………………………………………………….. 1 CHAPTER ONE Bodies That Mattered …………………………………………………………………………. 14 CHAPTER TWO Constructed Bodies: Robert Gober and Kiki Smith ……………………………….. 58 CHAPTER THREE Unnatural Naturals: David Hammons and Lorna Simpson ………………....... 111 CHAPTER FOUR Touching Visions: Felix Gonzalez-Torres and Janine Antoni ………………….. 167 Coda …………………………………………………………………………………………………………………………….. 229 Figure Appendix …………………………………………………………………………………………………………….. 233 Bibliography ………………………………………………………………………………………………………………….. 265 ii LIST OF FIGURES Fig. 1 Janine Antoni, Gnaw, 1992. Three-part installation: 600 lbs. of chocolate 233 gnawed by the artist; 600 lbs. of lard gnawed by the artist; display with 130 lipsticks made with pigment, beeswax, and chewed lard removed from the lard cube; 27 heart-shaped packages made from the chewed chocolate removed from the chocolate cube. Overall dimensions variable. Fig. 2 Kiki Smith, Untitled, 1990. Beeswax and microcrystalline wax figures on metal 233 stands. Female figure, 64.5 x 17.325 x 15.25 inches; male figure 64.5 x 20.5 x 17 inches. Fig. 3 Robert Gober, Untitled, 1990. Beeswax, human hair, and pigment. 61.6 x 43.2 x 234 27.9 cm. Fig. 4 David Hammons, Untitled, 1992. Copper, wire, hair, fabric, thread, and stone. 234 60 x 120 inches. Fig. 5 Lorna Simpson, Coiffure, 1991. 3 gelatin silver prints, 10 engraved plastic 235 plaques. Images 119.5 x 99 cm; 119 x 447 cm overall. Fig. 6 Felix Gonzalez-Torres, Untitled (Lover Boys), 1991. Candies, individually 235 wrapped in silver cellophane (endless supply). Dimensions vary with installation, ideal weight: 355 lbs. Fig. 7 Robert Colescott, Knowledge of the Past is the Key to the Future: Matthew Henson 236 and the Quest for the North Pole, 1986. Acrylic on canvas. 228.6 x 289.6 cm. Fig. 8 James Luna, The Artifact Piece, 1990. Performance and installation. Dimensions 236 variable. Fig. 9 Lorna Simpson, Necklines, 1989. 2 circular gelatin silver prints, with 11 engraved 237 plastic plaques. Photographs are 91.5 cm in diameter; other dimensions variable. Fig. 10 Robert Gober, Untitled, 1990. Wood, beeswax, pigment, cotton, wood, leather, 237 and human hair. 9 x 16.5 x 45 inches. Fig. 11 Nayland Blake, Restraint #6 (Ankle, Shelf, Mirror), 1989. Steel and leather. 47 x 238 24 x 10 inches. Fig. 12 Byron Kim, Synecdoche, 1991-92. Oil and wax on panel. 204 panels, 10 x 8 inches 238 each. Fig. 13 Nan Goldin, Jimmy Paulette and Taboo! in the Bathroom, 1991. Cibachrome 239 iii print. 11 x 14 inches. Fig. 14 Pat Ward Williams, What You Lookn At?, 1992. Dot screen mural, paint, color 239 Xerox, color photographs, and text. 96 x 192 inches. Fig. 15 Howardena Pindell, Free, White, and 21, 1980. Videotape. 12 minutes long. 240 Fig. 16 Kiki Smith, Pee Body, 1992. Wax and glass beads. Figure: 27 x 28 x 28 240 inches, beads: 23 strands of varying lengths, 1 ft. to over 15 ft. long Fig. 17 Kiki Smith, Train, 1993. Wax and glass beads. 134.6 x 139.6 x 427 cm. 241 Fig. 18 Kiki Smith, Tale, 1992. Wax, pigment, paper mache. 160 x 23 x 23 inches. 241 Fig. 19 Robert Gober, Untitled, 1989-90. Beeswax, cotton, wood, leather, and human 242 hair. 11 3/8 x 7 3/4 x 20 inches. Fig. 20 Robert Gober, Untitled, 1991. Beeswax, fabric, wood, leather, and human hair. 242 13.5 x 7 37.5 inches. Fig. 21 John Miller, Untitled, 1988. Mixed media. 40 x 41.5 x 40 inches. 243 Fig. 22 Jackson Pollock, Number 27, 1950. Oil on canvas. 49 x 106 inches. 243 Fig. 23 Robert Gober, Untitled, 1991. Wood, beeswax, leather, fabric, and human hair, 244 13 1/4 x 16 1/2 x 46 1/8 inches. Fig. 24 Robert Gober, Untitled, 1991-93. Wood, beeswax, human hair, fabric, and 244 leather. 13 1/4 x 16 1/2 x 46 1/8 inches. Fig. 25 Barbara Kruger, Untitled (You Are Seduced by the Sex Appeal of the Inorganic), 245 1981. Photograph. 49 x 60 inches. Fig. 26 Barbara Kruger, Untitled (Your Gaze Hits the Side of My Face), 1981. 245 Photograph. 55 x 65 inches. Fig. 27 Kiki Smith, Untitled, 1990. Paper. 64.5 x 17.825 x 15.25 inches. 246 Fig. 28 Mark Morrisroe, Untitled (Self Portrait), c. 1989. T-665 Polaroid. 10.7 x 8.5 cm. 246 Fig. 29 Philip-Lorca Di Corcia, Vittorio, 1989. Ektacolor print. 20 x 24 inches. 247 Fig. 30 Nicholas Nixon, Tom Moran, East Braintree, Massachusetts, September 1987, 247 1987. Gelatin silver print, 7.75 x 9.75 inches. iv Fig. 31 Gran Fury for ACT UP New York, Silence=Death, 1986. Offset lithograph. 29 x 248 24 inches. Fig. 32 David Hammons, Esquire (John Henry), 1990. Hair, stone, railroad tie, shoe 248 polish tin. 45 x 9 x 5 inches. Fig. 33 Lorna Simpson, Stereo Styles, 1988. 10 dye-diffusion prints, 10 plastic plaques. 249 167.5 x 294.5 cm. Fig. 34 Ted Williams, photograph of Cicely Tyson for Jet magazine cover, March 15, 249 1973. Fig. 35 Lorna Simpson, Guarded Conditions, 1989. 18 color Polaroids, 21 plastic 250 plaques, plastic letters. 231 x 333 cm. Fig. 36 Lorna Simpson, Same, 1991. 16 color Polaroids, 11 plastic plaques. 302 x 209 cm. 250 Fig. 37 Two page spread for Gap Individuals of Style Campaign, Brass: Queen Latifah, 251 photograph by Albert Watson, 1991. Offset print. Fig. 38 Annie Leibovitz, Whoopi Goldberg for Gap Individuals of Style Campaign, 1990. 251 Offset print. Fig. 39 Patrick Demarchelier, Lenny Kravitz for Gap Individuals of Style Campaign, 252 1993. Offset print. Fig. 40 Lorna Simpson, Wigs (Portfolio), 1994. Waterless lithograph on felt. 72 x 162 252 inches. Fig. 41 Print advertisement for His & Hers Hair Company, in Essence December 1992, 253 118. Fig. 42 Jeffrey Scales, Buy Black, 1988. Gelatin silver print. 50.2 x 49.4 cm. 253 Fig. 43 David Hammons, Untitled, 1992. Performance piece with John Farris. 254 Fig. 44 Lorna Simpson, 1978-1988, 1990. 4 gelatin silver prints, 13 plastic text panels 254 mounted on Plexiglas. 124.5 x 43 cm each, framed. Fig. 45 Ausländer, “MCA-Lorna Simpson,” 2010. Digital photograph shared at 255 http://www.flickr.com/photos/punctiliouspig/4814367032/ Fig. 46 Janine Antoni, Gnaw detail, 1992. “Phenyl-thylamine Display.” 255 v Fig. 47 Janine Antoni, Gnaw detail, 1992. 256 Fig. 48 Felix Gonzalez-Torres, Untitled, 1990. Offset print on paper (endless copies). At 256 ideal height 17 x 23 x 87 inches. Fig. 49 Felix Gonzalez-Torres, Untitled, 1991. Offset print on paper (endless copies), 7” 257 at ideal height x 45.5 x 38.5 inches. Fig. 50 Felix Gonzalez-Torres, Untitled (Aparición), 1991. Offset print on paper (endless 257 copies). At ideal height 8 x 45.825 x29.75 inches. Fig. 51 Felix Gonzalez-Torres, Untitled, 1992/93. Offset print on paper (endless copies). 258 At ideal height 8 x 45.5 x 38.5 inches. Fig. 52 Felix Gonzalez-Torres, Untitled (Loverboy), 1990. Blue paper (endless copies). 258 At ideal height, 7.5 x 29 x 23 inches. Fig. 53 Felix Gonzalez-Torres, Untitled (Passport), 1991. White paper (endless copies). 259 At ideal height, 4 x 23.625 x 23.625 inches. Fig. 54 Felix Gonzalez-Torres, Untitled (Placebo), 1991. Candies, individually wrapped 259 in silver cellophane (endless supply). Dimensions vary with installation, ideal weight: 1000 to 1200 pounds. Fig. 55 Janine Antoni, Loving Care, 1993. Performance with Loving Care Hair Dye 260 Natural Black. Fig. 56 Janine Antoni, Lick and Lather, 1993. 7 chocolate busts, 7 soap busts. 24 x 16 x 260 13 inches each. Fig. 57 Janine Antoni, Lick and Lather detail, 1993. 261 Fig. 58 Janine Antoni, Eureka, 1993. Bathtub, lard, soap, Corian. Soap dimensions: 22 x 261 26 x 26 inches; tub dimensions: 30 x 70 x 25 inches. Fig. 59 Installation of Untitled (Placebo) (1991) in front of the Grand Palais as part of 262 the 2006 Nuit Blanche event in Paris, curated by Nicholas Bourriaud and Jerome Sans. Fig. 60 Janine Antoni, Gnaw detail 1992. 262 Fig. 61 Janine Antoni, Touch, 2002. Video installation. 132 by 178 inches. 263 vi Fig. 62 Table from W.B. Stevenson’s Narrative of Twenty Years Residence in South 263 America (1825). Reproduced in Mary Louise Pratt, Imperial Eyes: Travel Writing and Transculturation, (London; New York: Routledge, 1992): 152. Fig.
Load more

Recommended publications
  • Who Owns the Art World? an Online Panel Discussion with Hayley Newman, Morgan Quaintance and Richard Parry. This Short Panel
    A DACS panel discussion, 14 March 2018 Who Owns the Art World? An online panel discussion with Hayley Newman, Morgan Quaintance and Richard Parry. This short panel debate took place during DACS’ Annual Strategy Day, as we thought about the context in which artists are currently working and how best DACS could best support artists and artists’ estates in the future. The Panel Mark Waugh (Chair) is the Business Development Director at DACS. Hayley Newman, Artist and Reader of Fine Art, Slade School of Fine Art, UCL. Morgan Quaintance, writer, musician, broadcaster and curator. Richard Parry, Artist. Mark Waugh (MW): Welcome, and we’re live again at DACS, this time from RIBA, and we’re live with a specific question, it’s quite a simple question – “Who Owns the Art World?” And to answer that, what we’re going to have three presentations, one from Richard Parry, one from Hayley Newman and one from Morgan Quaintance. They come from very particular positions and I think you’ll be able to understand what those positions are after the presentations. Essentially, all three of them share a discourtesy of concern with that question of ownership - and not only the ownership of the art world in a conceptual and a material sense - but also in what the role and agency of the artist is, and indeed, art is, in that context. And we’re asking that in the context of DACS as an organisation which has a 30-year history of thinking about what artists can do to empower themselves and support each other.
    [Show full text]
  • APPLICATION for GRANTS UNDER the National Resource Centers and Foreign Language and Area Studies Fellowships
    U.S. Department of Education Washington, D.C. 20202-5335 APPLICATION FOR GRANTS UNDER THE National Resource Centers and Foreign Language and Area Studies Fellowships CFDA # 84.015A PR/Award # P015A180149 Gramts.gov Tracking#: GRANT12660118 OMB No. , Expiration Date: Closing Date: Jun 25, 2018 PR/Award # P015A180149 **Table of Contents** Form Page 1. Application for Federal Assistance SF-424 e3 2. Standard Budget Sheet (ED 524) e6 3. Assurances Non-Construction Programs (SF 424B) e8 4. Disclosure Of Lobbying Activities (SF-LLL) e10 5. ED GEPA427 Form e11 Attachment - 1 (GEPA_Statement_2018) e12 6. Grants.gov Lobbying Form e13 7. Dept of Education Supplemental Information for SF-424 e14 8. ED Abstract Narrative Form e15 Attachment - 1 (NRC Abstract NYC CLAS 2018 2022) e16 9. Project Narrative Form e17 Attachment - 1 (Table of Contents NYC Consortium_1) e18 Attachment - 2 (Abbreviations Gloss NYC Consortium_1) e20 Attachment - 3 (Final Narrative NYC Consortium_1) e22 10. Other Narrative Form e82 Attachment - 1 (NRC and FLAS Applicant Profile) e83 Attachment - 2 (Divrs Persp and Areas of Natnl Need NYC Consor) e84 Attachment - 3 (Appendix 1 NRC PMFs NYC Consortium) e86 Attachment - 4 (Appendix II Project Personnel NYC Consortium) e89 Attachment - 5 (Appendix III Course List NYC Consortium) e235 Attachment - 6 (Position Descriptions NYC Consortium) e267 Attachment - 7 (Letters of Support NYC Consortium) e268 11. Budget Narrative Form e275 Attachment - 1 (Budget Detail NYC Consortium) e276 This application was generated using the PDF functionality. The PDF functionality automatically numbers the pages in this application. Some pages/sections of this application may contain 2 sets of page numbers, one set created by the applicant and the other set created by e-Application's PDF functionality.
    [Show full text]
  • Museum and Curatorial Studies Review
    Volume 1 • Number 1 • Summer 2013 Museum and Curatorial Studies Review Volume 1 • Number 1 • Summer 2013 Journal design and editorial contents: Copyright © 2013, Museum and Curatorial Studies Review. ISSN 2330-4995 Further copyright details are noted on the first page of each essay inside the issue. Cover image is In the Eye of the Beholder (2013) by Stephen Crowley. Used with permission. Museum and Curatorial Studies Review is published by the Museum and Curatorial Studies Multi-Institutional Research Cluster directed by Lucian Gomoll and Lissette Olivares. Publication support is provided by the University of California, Berkeley Electronic Press, and the California Digital Library. Copyright Permissions: permissions requests and other inquiries should be addressed to the editor at: [email protected] Prospective Authors Museum and Curatorial Studies Review seeks submissions for essays that explore contemporary issues related to collection, exhibition, and curation, as well as new approaches to historical case studies. All submissions should follow The Chicago Manual of Style and be sent electronically in MS Word format to: [email protected] The requirements for each submission type are below. Article (6,000-9000 words): send a fully-drafted, polished version of the paper to be blind peer reviewed. Include a separate title page with your name and contact information. The article contents should not include any information that can identify the author. Interview, open letter, or other conversational piece (2,000-6,000 words): send your CV and a 300-400 word proposal for the item. Final drafts are welcome and encouraged. Note: interviewers are responsible for all transcription work.
    [Show full text]
  • My Article in the Last Issue of Finch's Quarterly About the Royal Academy's Summer Exhibition Achieved a Very Modest Degree
    Hungary for Culture Charles Saumarez Smith takes issue with the line of Brian (Sewell) and looks forward to the Royal Academy’s Treasures from Budapest exhibition My article in the last issue of Finch’s Quarterly about the Royal Academy’s Summer Exhibition achieved a modest degree of fame by being quoted in Brian Sewell’s review of this year’s exhibition in the Evening Standard: As its chief executive put it in the current edition of a journal of which he is arts editor, the Academy holds “the 18th-century view that the best judges of art are not the critics but the public. Critics may sneer, but the public continues to enjoy the Summer Exhibition precisely because it gives them an opportunity to make up their own minds about what to like.” Sewell went on to say: The public can make up its mind about fish and chips and jellied eels, but to put it in charge of the kitchens of The Ritz would not be wise. And I am less sure that Charles Saumarez Smith’s contempt for critics was widely held anywhere in Europe in the 18th century, the Age of Reason, when the Enlightenment held sway; and even if it were, then the public to which he refers was not the ancestor of some bloke on the Clapham bendy-bus, but an educated gentleman with the benefits of private tutoring, Eton, Oxbridge and the Grand Tour, as ready with a Greek or Latin tag as our beloved Boris Johnson. The chief executive will find little of that background among the old biddies from Berkshire up for the day.
    [Show full text]
  • Janine Antoni Anna Halprin Stephen Petronio
    JANINE ANTONI ANNA HALPRIN STEPHEN PETRONIO Ally EDITED BY ADRIAN HEATHFIELD PUBLISHED BY THE FABRIC WORKSHOP AND MUSEUM & HIRMER PUBLISHERS JANINE ANTONI INGESTING THE WISDOM BODY Carol Becker Such concerns and their manifestations in form bring to mind D. W. Winnicott’s seminal text Playing and Reality. Winnicott observes that children often adopt a “transitional object” — a creative solution to the originary anxiety of dependence and separation.4 In the earliest stages of development, children often create their own transitional object. It is not usually an articulated “toy” as representational as a velveteen rabbit, for example, but rather a unique condition that infants find around them and imagine into being — comforting textures such as a fuzzy bit of flannel blanket kneaded into a ball, a cord of rubber binding along the edge of a pillow, a frayed spot on the crib’s sheet. The found object is something that appeals to the child sensorially and that he or she experiences as an extension of the self, even before the child is aware of the self. As the object gains familiarity, it acquires the magical property of assuaging anxiety. Thus the child is able to sleep and play without worry, having found a creative solution to a challenging, developmental need to experience safety when apart from the mother (or the primary caregiver) and even when completely alone. Artists often are chasing after something that sometimes is also chasing after them. At As a result, the object garners the child’s total devotion. To misplace, lose, or in any way alter those moments when “the creation stands between the observer and the artist’s creativity,” it before the child is ready to permit such a transition — even by washing it and changing its it might be best, as D.
    [Show full text]
  • Black Women, Natural Hair, and New Media (Re)Negotiations of Beauty
    “IT’S THE FEELINGS I WEAR”: BLACK WOMEN, NATURAL HAIR, AND NEW MEDIA (RE)NEGOTIATIONS OF BEAUTY By Kristin Denise Rowe A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of African American and African Studies—Doctor of Philosophy 2019 ABSTRACT “IT’S THE FEELINGS I WEAR”: BLACK WOMEN, NATURAL HAIR, AND NEW MEDIA (RE)NEGOTIATIONS OF BEAUTY By Kristin Denise Rowe At the intersection of social media, a trend in organic products, and an interest in do-it-yourself culture, the late 2000s opened a space for many Black American women to stop chemically straightening their hair via “relaxers” and begin to wear their hair natural—resulting in an Internet-based cultural phenomenon known as the “natural hair movement.” Within this context, conversations around beauty standards, hair politics, and Black women’s embodiment have flourished within the public sphere, largely through YouTube, social media, and websites. My project maps these conversations, by exploring contemporary expressions of Black women’s natural hair within cultural production. Using textual and content analysis, I investigate various sites of inquiry: natural hair product advertisements and internet representations, as well as the ways hair texture is evoked in recent song lyrics, filmic scenes, and non- fiction prose by Black women. Each of these “hair moments” offers a complex articulation of the ways Black women experience, share, and negotiate the socio-historically fraught terrain that is racialized body politics
    [Show full text]
  • Exist-Ence Catalogue 2011
    exist-ence a festival of live art, performance art and action art 13 – 16 October, 2011 Brisbane Powerhouse Queensland, Australia http://existenceperformanceart.wordpress.com THANK YOU This event would not be possible without the generosity of each and every participant. You have given your time and your work for free for us to experience your art. Thank You. CURATED, PRODUCED & PRESENTED BY [2011 crew] Thomas Quirk & Rebecca Cunningham PRESENTED BY SUPPORTED BY ARTISTS HAVE HAD ASSISTANCE FROM CONTENTS about exist-ence about exist schedule overview about the program artist’s information writing on performance/ writers in residence 2 day project websites related to this event exist acknowledges the traditional owners of the land on which it is situated, and is committed to fostering a culture of remembrance and respect for Indigenous people. The contents of this catalogue is printed in good faith; any errors within are the curators alone. Opinions expressed by exist-ence participants are theirs alone and not necessarily the opinions of the curators of exist-ence. exist-ence: a festival of live art, performance art and action art presented by exist and the Brisbane Powerhouse Venue: Brisbane Powerhouse, 119 Lamington St. New Farm Admission: $10/8 day pass $30/25 festival pass Presenting work by artists from Australia, Canada, Germany, Italy, The Netherlands, Poland, Portugal, Singapore, Spain, Sweden, UK, USA About exist-ence: a festival of live art, performance art and action art Following the success of exist in 08, exist presents the fourth annual exist-ence festival, bringing the best, the bold and the brave to Brisbane Powerhouse.
    [Show full text]
  • Frameworks for the Downtown Arts Scene
    ACADEMIC REGISTRAR ROOM 261 DIVERSITY OF LONDON 3Ei’ ATE HOUSE v'Al i STREET LONDON WC1E7HU Strategy in Context: The Work and Practice of New York’s Downtown Artists in the Late 1970s and Early 1980s By Sharon Patricia Harper Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in the Department of the History of Art at University College London 2003 1 UMI Number: U602573 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U602573 Published by ProQuest LLC 2014. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Abstract The rise of neo-conservatism defined the critical context of many appraisals of artistic work produced in downtown New York in the late 1970s and early 1980s. Although initial reviews of the scene were largely enthusiastic, subsequent assessments of artistic work from this period have been largely negative. Artists like Keith Haring, Jean-Michel Basquiat and Kenny Scharf have been assessed primarily in terms of gentrification, commodification, and political commitment relying upon various theoretical assumptions about social processes. The conclusions reached have primarily centred upon the lack of resistance by these artists to post­ industrial capitalism in its various manifestations.
    [Show full text]
  • 134TH COMMENCEMENT James E
    134 th Commencement MAY 2021 Welcome Dear Temple graduates, Congratulations! Today is a day of celebration for you and all those who have supported you in your Temple journey. I couldn’t be more proud of the diverse and driven students who are graduating this spring. Congratulations to all of you, to your families and to our dedicated faculty and academic advisors who had the pleasure of educating and championing you. If Temple’s founder Russell Conwell were alive to see your collective achievements today, he’d be thrilled and amazed. In 1884, he planted the seeds that have grown and matured into one of this nation’s great urban research universities. Now it’s your turn to put your own ideas and dreams in motion. Even if you experience hardships or disappointments, remember the motto Conwell left us: Perseverantia Vincit, Perseverance Conquers. We have faith that you will succeed. Thank you so much for calling Temple your academic home. While I trust you’ll go far, remember that you will always be part of the Cherry and White. Plan to come back home often. Sincerely, Richard M. Englert President UPDATED: 05/07/2021 Contents The Officers and the Board of Trustees ............................................2 Candidates for Degrees James E. Beasley School of Law ....................................................3 Esther Boyer College of Music and Dance .....................................7 College of Education and Human Development ...........................11 College of Engineering ...............................................................
    [Show full text]
  • Immersion Into Noise
    Immersion Into Noise Critical Climate Change Series Editors: Tom Cohen and Claire Colebrook The era of climate change involves the mutation of systems beyond 20th century anthropomorphic models and has stood, until recent- ly, outside representation or address. Understood in a broad and critical sense, climate change concerns material agencies that im- pact on biomass and energy, erased borders and microbial inven- tion, geological and nanographic time, and extinction events. The possibility of extinction has always been a latent figure in textual production and archives; but the current sense of depletion, decay, mutation and exhaustion calls for new modes of address, new styles of publishing and authoring, and new formats and speeds of distri- bution. As the pressures and re-alignments of this re-arrangement occur, so must the critical languages and conceptual templates, po- litical premises and definitions of ‘life.’ There is a particular need to publish in timely fashion experimental monographs that redefine the boundaries of disciplinary fields, rhetorical invasions, the in- terface of conceptual and scientific languages, and geomorphic and geopolitical interventions. Critical Climate Change is oriented, in this general manner, toward the epistemo-political mutations that correspond to the temporalities of terrestrial mutation. Immersion Into Noise Joseph Nechvatal OPEN HUMANITIES PRESS An imprint of MPublishing – University of Michigan Library, Ann Arbor, 2011 First edition published by Open Humanities Press 2011 Freely available online at http://hdl.handle.net/2027/spo.9618970.0001.001 Copyright © 2011 Joseph Nechvatal This is an open access book, licensed under the Creative Commons By Attribution Share Alike license. Under this license, authors allow anyone to download, reuse, reprint, modify, distribute, and/or copy this book so long as the authors and source are cited and resulting derivative works are licensed under the same or similar license.
    [Show full text]
  • I – Introduction
    QUEERING PERFORMATIVITY: THROUGH THE WORKS OF ANDY WARHOL AND PERFORMANCE ART by Claudia Martins Submitted to Central European University Department of Gender Studies In partial fulfillment for the degree of Master of Arts in Gender Studies CEU eTD Collection Budapest, Hungary 2008 I never fall apart, because I never fall together. Andy Warhol The Philosophy of Andy Warhol: From A to B and Back again CEU eTD Collection CONTENTS ILLUSTRATIONS..........................................................................................................iv ACKNOWLEDGMENTS.................................................................................................v ABSTRACT...................................................................................................................vi CHAPTER 1 - Introduction .............................................................................................7 CHAPTER 2 - Bringing the body into focus...................................................................13 CHAPTER 3 - XXI century: Era of (dis)embodiment......................................................17 Disembodiment in Virtual Spaces ..........................................................18 Embodiment Through Body Modification................................................19 CHAPTER 4 - Subculture: Resisting Ajustment ............................................................22 CHAPTER 5 - Sexually Deviant Bodies........................................................................24 CHAPTER 6 - Performing gender.................................................................................29
    [Show full text]
  • David Wojnarowicz and the Surge of Nuances. Modifying Aesthetic Judgment with the Influx of Knowledge
    David Wojnarowicz and the Surge of Nuances. Modifying Aesthetic Judgment with the Influx of Knowledge Author Affiliation Paul R. Abramson & University of California, Tania L. Abramson Los Angeles Abstract: Learning that an artist was a victim of inconceivable torment is critical to how their artworks are experienced. Forced as it were to absorb the wretched demons from the here and now, artists such as David Wojnarowicz have implau- sibly found the resolve to depict this adversity, and its psychological detritus, in their singularly creative manners. Recognised for his autobiographical writings no less than his artwork, Wojnarowicz is especially admired for his sheer defiance of conventional life scripts, and his fortitude in the face of adversity in the circum- scribed world of imaginative constructions. Arthur Rimbaud in New York, A Fire in My Belly, and Wind (for Peter Hujar) for example. The enduring value of his artwork, inextricably enhanced by his diaries and essays, is that they simultane- ously provide a narrative portal into the untangling of his inner life, as well as fundamentally influence how these works are perceived. When looking at two paintings, ostensibly by Rembrandt, is there an aesthetic difference in how these paintings are experienced if we know that one of the two paintings is a forgery? Most certainly, declared Nelson Goodman, who noted that this bit of knowledge ‘makes the consequent demands that modify and differentiate my present experience in looking at the two [Rembrandt] paintings’.1 Is that also true about depictions of Christ on the cross? Does knowledge of Christ’s story alter how Michelangelo’s Christ on the Cross is experienced? If what we know, or think we know, has the capacity to ultimately influence © Aesthetic Investigations Vol 3, No 1 (2020), 146-157 Paul R.
    [Show full text]