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  • Inspiring Inquiry & Discovery Across All Disciplines.
  • Archive for the ‘Research in Art Scholarship’ Category

     

    Jennifer Kilburn

    Tuesday, September 20th, 2016 | Posted in 2016 Research in Arts Scholarship by rias | No Comments »

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    Art students spend their scholarly careers studying master works as examples of color, design, and craftsmanship, but can never truly see them without visiting them in person. Classic artwork looks completely different when printed in books, or when viewed on a computer monitor. To use Théophile Steinlen’s Chat Noir as an example, a simple Google image search shows that it’s represented by drastically different color profiles as it comes from different sources.

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    This can be frustrating when forming research papers and studying paintings that can never be truly seen without visiting them. One tool that artists use to preserve the integrity of the colors they have chosen is the Pantone color matching system. This system assigns every variation of color to a specific number that can be identified by mixing it physically into ink via a formula, or identified by hexadecimal monitor colors. My goal is to provide this color information to anyone looking for it, in order for these works of art to be studied and understood by students and artists who are unable to see them in person.
    Chat Noir 1Chat Noir 2 The difference between a typical Chat Noir image found online, and a color matched image using the PMS colors I picked when looking at it in Paris.

    I’ve created swatch files of all the paintings I color matched, and you can download them here!

    Click here to download the entire set of swatch files

    Click here to download swatches from Vincent Van Gogh’s work

    Click here to download swatches from Claude Monet’s work

    Click here to download swatches from Édouard Manet’s work

    Click here to download swatches from Leonardo da Vinci’s work

    Click here to download swatches from Henri de Toulouse-Lautrec’s work

    Click here to download swatches from Piet Mondrian’s work

    Click here to download swatches from Jacques-Louis David’s work

    Color used by an artist is a deliberate choice, whether emotional or political in the case of each artwork, and should always strive to be represented in the way in which is was created. In order to use color to the best advantage, it can be wise to make use of the Pantone color matching system. I hope that my research helps to bring digital art tools to better understand classical art, and will help enhance the study and understanding of fine art. 

     

    Erika Schnur-Carter

    Tuesday, September 20th, 2016 | Posted in 2016 Research in Arts Scholarship by rias | No Comments »

    TranscendenceVid (1) from lisa piazza on Vimeo.

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    Tina Piracci

    Tuesday, September 20th, 2016 | Posted in 2016 Research in Arts Scholarship by rias | No Comments »

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    Elizabeth Keel

    Tuesday, September 20th, 2016 | Posted in 2016 Research in Arts Scholarship by rias | No Comments »

     

    How can I communicate what cannot be described with words?

     

    I begin to transform my experience through a process of healing and reflection on traumatic memories through artistic exploration and play. It became apparent that self-care and compassion towards myself was the first step towards analyzing the experience of poverty due to my own personal connection with it. I began my research through journaling and transitioned to informal conversations about living on the streets with people who identified as being homeless. I wanted to develop a process that would allow me to understand more about how I respond to displacement.

    I began by examining the system that built up the framework of my understanding about poverty in the United States. Throughout my research I have discovered that there are a variety of factors that contribute to the issue of homelessness which included healthcare issues and mental health problems including substance addiction. I found that economic issues influenced the rise in homelessness due to a growing scarcity for jobs that pay above the poverty line, limited health benefits, decreased access to affordable housing and inadequate funding for low income families. I wanted to create artwork that would bring awareness and influence changing ideologies but first I needed to understand more about my own perspective.

     

    Journaling Process:

    An integral part of my research was keeping a journal to record my thoughts throughout the research process and to use the creative process of journaling as a therapeutic tool to examine emotionality and experience. My respect for journaling is rooted in my life as one of my best tools for reflection. It is based on my practice of spending a short time each day to use different art materials to create art that explore moods. My journals include many different forms of reflection which served as a catharsis to emotional distress and opened new avenues of thought I had not considered before. Journal entries consisted of a variety of drawings and paintings as well as reflective writing.

     

    “Love in Unity”

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    This is an example of one of my journal entries that is based on photographs of graffiti I saw while studying abroad and exploring the emotions behind it be recreating the scene. This was my first real experience with graffiti and it profoundly impacted my view of the art form and how artists use it as a social platform. Photographs of graffiti serve as memory markers as well as other images taken throughout the trip. I saw this specific image painted on a school building with the words “Love and Unity” beside it during my derive through Paris. I encountered a variety of images that triggered thoughts about children and our responsibility towards them and their future. Recreating imagery has helped me to deeply reflect on specific moments in time.

     

    “And Laughed”

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    This painting is an example of journal entries that were devoted towards analyzing a feeling associated with a memory of my experience with poverty. Approximately half of my entries of this type were representational while the others were more expressive and represented emotions, rather then figures and settings. This particular piece is a reflection on conversations I had with men I encountered on the street and my emotional reaction to it. Journal entries like this were used as a coping strategy throughout the process of my research as well as a technique that I will incorporate into later work and in further research.

     

    The Final Art Pieces

    Throughout the research project I wanted to complete a social justice artwork that would challenge viewers to think critically about poverty and their response to it. I had been deeply affected by this issue and despite being willingly vulnerable in discussing these issues, I was still left with some of deep feelings and trauma. I decided that I wanted to continue exploring new mediums as part of my emotional healing and journey for social justice.

     

    “Mother”

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    This piece is multilayered and has it’s foundation in my use of a journal to alleviate stress and anxiety. While working on this project I constantly was reminded of the people I love who struggle with financial instability and are, or will be, homeless in the near future. Working on this project was a daily reminder of the powerlessness and frustration I feel to help those in need. I started writing their names on pages in my journals every time I thought of them. I noticed that by redirecting my attention I was beginning to soothe myself.

    This piece evolved organically from it’s beginning stages into the final art piece today through examining my fears and anxieties and manifesting them through paint, marker, wax and airbrush. This multi-media project compiles all the negative thoughts and feelings associated with my mother’s situation onto a “body” and adorning her with thoughts of love, hope, and compassion. At each cycle of the mannequin something is added and something is taken away. Spots that were visceral and painful are covered, layer by layer, after each session until the essence of the anxiety has been addressed and serenity is restored.

     

    “The Vessel”

    I knew that I wanted to focus on the memories I have of elementary students who so inspired and delighted me with their dreams and aspirations for the future. I had never worked with ceramics before the fall 2016 but I was excited about the idea of building up a structure and using additive and reductive techniques to shape the form and develop its designs. As I worked I infused the piece with my own dreams of a brighter future for children— a future where every child is able to achieve their dreams and not suffer from the effects of childhood poverty. I began to recall times working with kids and sharing in their fantastic imagination for storytelling and include my own narrative into the porcelain. The delicate beauty of the material reminded me of the fragility and strength of childhood. The process of shaping it helped to foster positive feelings that encouraged the production of social justice artwork and fostered hope for future activism. This piece ultimately aided in my ability to focus on a difficult situation while also focusing on the potential for social change.

     

    “Je suis à vous”

    This piece culminates the emotional evolution of using art to directly confront the viewer with the image of child poverty. It calls to attention familiar scenes in urban settings which show adults in the same position and challenges you to think critically about how you feel about the subject. I seek to bring the question of why viewers feel differently about seeing displaced children versus adults and how that effects their ability to emotionally connect to the issues in front of them. Desensitization is explored in the familiar subject and setting with a singular form huddled amidst the shadows, isolated, alienated, alone, and yet on display for all the see (who are willing to see it).

     

    I am extremely grateful for the opportunity to work on this project and would like to thank everyone who has shared their experience, strength and hope with me during my journey. A special thank you to my fellow scholars and staff who have supported me and to my dear husband and friend, Mark. I hope to continue this work and to explore more ways in which art can benefit the spiritual, psychological, and social issues people experience every day. Together we can make a difference if we can find our courage within.

     

     

     

     

    Kaitlin Harrington

    Tuesday, September 20th, 2016 | Posted in 2016 Research in Arts Scholarship by rias | No Comments »

    While in Paris I went to Hôtel de Soubise which had a fabric swatch book that belonged to Marie Antoinette. Upon seeing the fabric swatch book it gave me the idea to create one of my own which I did using ceramic tiles, polymer clay, and other mixed medias.

    Autrichienne

    This one is titled Autrichenne which means Austrian but has a very negative connotation related to the word bitch. Essentially it is calling Marie Antoinette a Austrian bitch. I choose the color green as it makes me think of aliens and she was seen as a alien and I am sure felt like one.

    Madame Deficit

    This one is titled Madame Deficit which was a term Marie Antoinette was refereed to as. Due to the poor economy of France at the time that was blamed on Marie Antoinette.

    Fashion Icon

    This one is titled Fashion Icon which is something Marie Antoinette is still refereed to as being till this day.

    Queen of France

    This one is titled Queen of France this represents the times in which Marie Antoinette was loved. Gardens were very important to Marie Antoinette who loved flowers and had her petit trianon with a garden around it.

    Let Them Eat Cake

    This one is titled Let Them Eat Cake this is something Marie Antoinette never actually said but people believed this as there was a bread famine going on. They wanted to make her look heartless during her country’s time of need.

    Dauphine of France

    This one is titled Dauphine of France this was a good time in Marie Antoinette’s life becoming immersed in a lavish lifestyle just as she was raised to do so.

    Mother

    This one is titled Mother has Marie Antoinette was a woman who struggled with infertility but did eventually become a mother. She had a few miscarriages and gave birth to four children.

    Daughter

    This one is titled Daughter has Marie Antoinette was the daughter of Empress Maria Theresa. The holes represent the fact that Marie Antoinette was the fifteenth of sixteen children born to the empress who used her children as pawns in a big game of marriage alliance chess.

    Adulteress 

    This one is titled Adulteress as Marie Antoinette was accused of having lovers. This was partially brought about by her desire for privacy in a time when queens were suppose to be in the public eye.

    Incest

    This one is titled Incest as Marie Antoinette was accused of sexual activity with her son. He was brainwashed while a prisoner into condemning his own mother by testifying against her. The marks represent big holes punctured into her character integrity she prided herself on being a great mother.

    Marie Antonia Jospeha Joanna 

    This one is titled Maria Antonia Josepha Joanna which is the name Maria Antonia was given at birth. All of her sisters were given the name Maria then their actual name. This tile is made to resemble waves that are calm just like her life when she was just another Maria.

    Marie Antoinette 

    This title is titled Marie Antoinette as when Maria Antonia came to France she had to adopted the French version of her name. It is green and gross looking as it must have been a tough adjustment after revoking her claim to her family rights as a Habsburg she was married by proxy. To marry a man you had never seemed before at just the age of fourteen and live in a country you knew you were hated in for just being Austrian.

    Guilty

    This one is titled Guilty as Marie Antoinette was found guilty and guillotined. It is rough and bumpy as that was a very tough time in her life being removed from a palace she had lived in for over half her life.

    Treason

    This one is titled Treason as Marie Antoinette was accused and found guilty of all counts against her. The deep ridges show the cracks as her life was falling apart and the blood splatter represents her upcoming death.

    Marie Antoinette the Villain

    This one Marie Antoinette the Villain represents how Marie Antoinette was thought to be a horrible queen.

    Marie Antoinette the heroine 

    This one is titled Marie Antoinette the heroine those was a small time in her life where she was well loved by the citizens of France.

    Controversial French Queen

    This one is titled Controversial French Queen as that is exactly what she was so much controversy happened during her reign associated with her name.

    Scandalous

    This one is titled Scandalous as scandalous seemed to follow Marie Antoinette no matter what she did such as the diamond necklace affair which was an elaborate dimaond necklace that Marie Antoinette never ordered but was accused of doing so.

    Despised Queen

    This one is titled Despised Queen as eventually Marie Antoinette was a despised queen with so many bad marks made against her name.

    Respected Queen

    This one is titled Respected Queen as for a period Marie Antoinette was a well loved queen.

     

    Marie Antoinette is a common figure in pop culture. Examples can be easily found on YouTube here are some of my favorites:

     

    Taylor Emmons

    Tuesday, September 20th, 2016 | Posted in 2016 Research in Arts Scholarship by rias | No Comments »

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    Unavoidable Connections

    According to United Nations estimations[i], 4,798,574 refugees are directly affected by the violence in Syria. Responding to the ongoing crisis, the exhibition “I Am With Them” débuted at the Institute of the Arab World in Paris in the summer of 2016. The exhibition, created by photographer and filmmaker Anne A-R, aimed to give a first-hand account of the Syrian tragedy through larger than life-size photographs and video installations that she places strategically so as to envelop the viewer within the space. A-R confronts her visitors with unanticipated immediacy, and brings to the fore one of the world’s most urgent humanitarian crises. The project endeavored to ignite a public sense of urgency among exhibition viewers, and to challenge viewers to confront the “refugees” as individuals. My research examines A-R’s project through the theories of the Marshal McLuhan, who warned of the dangers of technologies in the digital age, and their ability to remove all sense of responsibility. Through an analysis of A-R’s exhibition, my research illustrates McLuhan’s arguments, and demonstrates how, when used with due diligence, technology can serve the interests of art, rather than impeding it. I argue that A-R’s effective manipulation of her images and the exhibition space activate the viewer’s consciousness and demand a responsible interaction in ways that other medias may fail. The overarching question that I consider is, “In this age of social media, can artistic attempts to promote a sense of humanitarian responsibility be achieved effectively through a harmonious union of technology?”

    [i] http://data.unhcr.org/

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    Institut du monde arabe (IMA)

    Final Piece: 

    For my final art piece I wanted to recreate the exhibition. I wanted people to feel what I had felt, and additionally become aware of the crisis surrounding the refugees. My hope is that everyone who visits the space and participated in the exhibition will understand the importance of it and the urgency we should all have.

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    Research Poster

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    Writings throughout the research process

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    Research display in the Office of Undergraduate Research (OUR)

     

    Taylor Crosland

    Tuesday, September 20th, 2016 | Posted in 2016 Research in Arts Scholarship by rias | No Comments »

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    Kristen Clayton

    Tuesday, September 20th, 2016 | Posted in 2016 Research in Arts Scholarship by rias | No Comments »

    The Art of Natural Culture and Identity

    In what ways can a work of art embody issues of identity, nature, and culture through the lens of Japanese aesthetic philosophy?

    Abstract

    Through my experience studying abroad in France and London and research on French aesthetics, it became apparent that the basis of authentic French identity is the ability to transform the natural world into a visual atmosphere that transcends reality through an extensive knowledge of aesthetics. The French knowledge of aesthetics, the manipulation of nature, and ability to elevate the aesthetics of other cultures predominates the traditional Western understanding of culture through art and design.

    While journaling on the bench at Chateau Fontainebleau as the gardeners meticulously trimmed the hedges that I realized that society organizes people in societies as well as cultures just as they organize nature. As opposed to the Western mentalities on nature, Eastern perspectives presented an idea of humanity working in flow, and efficiently with the natural environment as demonstrated at Tanabe Shouchiku III’s woven bamboo exhibit at the Guimet. With this project I present how one’s perspective can be altered, an identity formed, and a unifying cultural idea based off of the understanding of interconnectedness among humanity and nature, transforming the understanding of culture and aesthetics that guide Western thought.

    My research and artwork demonstrates a reconnection with nature through art presented by Japanese aesthetic philosophies can foster a shift in perspective and an understanding of one’s self within natural culture creating a global sense of a culture based off the human population’s interconnectedness with the natural environment. This will inspire art and human creativity that generates global balance among humanity, nature, and culture. My research visually displays a relationship with the natural world through art. Art history is the visual history of ideas. An association with nature through art, a sense of connectivity, instead of domination and dissociation, generates a shift in society’s ideas and attitude toward nature and humanity’s place within nature dissolving cultural barriers and creating an individual and global identities revolving around environmental consciousness.

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    An Overview of Key Components:

    Japanese Aesthetic Philosophy

    Wabi-sabi, traditionally associated with Japanese tea ceremonies, is defined as an underlying perspective and aesthetic philosophy that is characterized by humanity adapting to nature, the passage of time, natural aging, impermanence, materials found in nature, organic shapes, individuality due to imperfections, simplicity, and subtle beauty. Leonard Koren, author of Wabi-Sabi for Artists, Designers, Poets, and Philosophers states that, “Wabi-sabi can be called a “comprehensive” aesthetic system. Its world view, or universe, is self-referential” (41). Wabi-sabi rejects aspects of modernity, and excessiveness, in that it embraces the natural flow of existence, the importance and vital force of the environment, minimalism, and natural materials in order to create a true sense of beauty and authenticity.

    Kire, cutting, is the idea that when something is removed from its natural state, it reveals its true nature. An example of kire include ikebana, the Japanese art of flower arrangement. Ikebana includes removing plants from their natural rooted state through dry landscape gardens gardens, karesansui, which isolate plant life within a sea of rocks/pebbles. Through this isolation, the viewer is able to use nature as a mirror their identity, environment, purpose and morality.

    Elements of the Project:

    Ceramic Shadow Box:

    The ceramic sculpture within the shadow box allows the viewer to contemplate identity, isolation, and nature. Japanese culture highlights retreats in the isolation and freedom of the countryside from the activity of the city for artists, poets, etc. and retreats within the city found in tranquil urban gardens (Kuitert 166-169). The structure of the ceramic with organic flowing lines, natural textures, design mimicking the patterned raking of Japanese dry landscape gardens, and plant-like forms within the bold, black, structured boundaries of the shadow box, reflect the beauty of growing where one is planted and the natural growth and evolution of plant life. The flower is a magnolia. In Hanakotba, the Japanese system of flower meanings, magnolias mean natural, subtle beauty, and the love of nature. Also, working with clay, forming with one’s hands allows the artist to imprint aspects of their identity into the work. The artist works with the natural clay and through their hands and the firing process, the artist and the clay work together to generate an object of transformative beauty.

    Textile Wall Hanging:

    The textile wall hanging was created with natural materials such as cotton, silk, and wool, as well as synthetic fibers/hair. Wall hangings are traditional seen works of decorative art used to adorn interior environments. After observing the weavers of Gobelins Tapestry Factory working on tapestries and rugs that entail a decade of labor and elevate the art to mimic painting and/or nature, it became apparent that like most works of art, an artist invests years of their life into creating one piece, which shapes their identity and existence. Also, the cultures surrounding decorative fiber art, woven creations, and hair collaborate in the textile wall hanging component of the work in order to generate an understanding aspects and inspiration from the study abroad experience.

    Series of Self-Portraits

    Through double exposure, the series of self-portraits merge me, as the artist, with nature. The portrait allows the subject to project their desired identity to the viewer. The self-portraits identity me with nature through my hair. The double exposure of human form and natural elements found at cultural locations, landmarks, and institutions create a alternative perspective on culture, the idea of natural culture.

    Further Research

    I hope to further my research and exploration of nature, culture, and identity through the lens of Japanese aesthetic philosophy, through attending graduate school for Arts Administration/Leadership.  Through my studies and professional path, I will gather other artists, researcher, artisans, art historians, etc. who find, investigate,  and see authenticity of the arts, culture, and humanity through its connection with nature placing these artists within a publication and gallery space that can truly demonstrate the art of natural culture.

    Works Cited

    “Carte Blanche to Shouchiku Tanabe.” Musée National des Arts Asiatiques- Guimet, http://www.guimet.fr/en/home/116-anglais/exhibitions/1308-carte-blanche-to-shouchiku-tanabe

    Collins, Janet. “In Harmony with Nature.” Fiberarts 32, no. 4 (January 2006): 46. Publisher Provided Full Text Searching File, EBSCOhost (accessed August 25, 2016).

    Grande, John K. Art Nature Dialogues : Interviews with Environmental Artists. Albany: State University of New York Press, 2004. eBook Collection (EBSCOhost), EBSCOhost (accessed September 1, 2016).

    Hume, Nancy G. and Donald Keene “Japanese Aesthetics”, Japanese Aesthetics and Culture : A Reader. Albany: State University of New York Press, 1995. eBook Collection (EBSCOhost), EBSCOhost .27-43. (accessed September 7, 2016).

    Hume, Nancy G. and Wm. Theodore De Bary, Ed “The Vocabulary of Japanese Aesthetics, I, II, III”, Japanese Aesthetics and Culture :A Reader. Albany: State University of New York Press, 1995. eBook Collection (EBSCOhost), EBSCOhost .43-77. (accessed September 7, 2016).

    Komoda, Shusui, and Horst Pointner. Ikebana : spirit and technique. n.p.: Poole ; New York : Blandford Press ; New York, N.Y. : Distributed in the U.S. by Sterling Pub. Co., 1987., 1987. University of South Florida Libraries Catalog, EBSCOhost (accessed September 9, 2016).

    Koren, Leonard. Wabi-Sabi for Artists, Designers, Poets, and Philosophers. California: Imperfect Publishing, 2008.

    Kuitert, Wybe. Themes, scenes, and taste in the history of Japanese garden art. n.p.: Amsterdam : J.C. Gieben, 1988., 1988. 166-244. University of South Florida Libraries Catalog, EBSCOhost (accessed September 9, 2016).

    Marra, Michele. “The Introduction of Aesthetics: Nishi Amane.” Modern Japanese Aesthetics : A Reader. Honolulu: University of Hawaii Press, 1999. eBook Collection (EBSCOhost), EBSCOhost. 17-37. (accessed September 5, 2016).

    Parkes, Graham, “Japanese Aesthetics”, The Stanford Encyclopedia of Philosophy (Winter 2011 Edition), Edward N. Zalta (ed.), URL = <http://plato.stanford.edu/archives/win2011/entries/japanese-aesthetics/>.

    Slawson, David A., et al. Secret teachings in the art of Japanese gardens : design principles, aesthetic values. n.p.: Tokyo ; New York : Kodansha International ; New York, N.Y. : Distributed in the U.S. by Kodansha International/USA, through Harper & Row, 1987., 1987. 43. University of South Florida Libraries Catalog, EBSCOhost (accessed September 9, 2016).

    Sullivan, Marek. “Nature’s no-thingness: holistic eco-Buddhism and the problem of universal identity.” Journal Of Buddhist Ethics (2015): 285. Academic OneFile, EBSCOhost (accessed August 25, 2016).

    Takei, Jirō, and Marc P. Keane. “Nature.” Sakuteiki, visions of the Japanese garden : a modern translation of Japan’s gardening classic. n.p.: Boston, Ms. : Tuttle Pub., c2001., 2001. 41-59. University of South Florida Libraries Catalog, EBSCOhost (accessed September 9, 2016.

    Wood, Alan T. “Fire, Water, Earth, and Sky: Global Systems History and the Human Prospect.” Journal Of The Historical    Society 10, no. 3 (September 2010): 287. Publisher Provided Full Text Searching File, EBSCOhost (accessed August 25, 2016).

     

     

     

     

     

     

     

    Jessica Brasseur

    Tuesday, September 20th, 2016 | Posted in 2016 Research in Arts Scholarship by rias | No Comments »

    Synthesis Through Destruction

    The Cubist art movement of the first part of the twentieth century created a wave in the art realm much in the way that the Beat literary movement spurred a social revolution in the 1940s and 50s. The works of such artists as Pablo Picasso and writers as William S. Burroughs were scrutinized and questioned for obscenity and morality in their works and after years of study have come to be understood as cannon in their respective fields.

     

    My interest in these movements was born out of an admiration for the Beat writers and their notion to question the society around them. In addition, learning the effect that the Cubist artists had on the art world which acted as a catalyst for the opening and acceptance of new art in the past one hundred years spurred me to know more. I began drawing my own connections between these movements and as I looked into academic research, I found that there was a serious lack of literature that associates the Beats and Cubists. I want to fill the gap in this research and attempt to understand how the Cubist and Beat movements relate as anarchist and revolutionary causes.

     

    In trying to draw more physical connections, I found that both movements created a bulk of their works while living in and traveling around Paris. In fact, Burroughs’ famous cut-ups were created in Paris and significantly relate to Cubism and collage arts, also significantly spawned in Paris. This motivation of “challenging unity and cohesion” was evident as well in the avant-garde Europe, of which Cubism was also a part (Mackay). Picasso’s Les Demoiselles d’Avignon is seen as an “act of destruction” of the artistic norms prior to and of 1907, when it was created, “but also [an act] of creation” much in the same way of Burroughs’ cut-ups were not simply a destruction of his own work, but creating work anew (Chave).

     

    Both the Cubist and Beat movements were birthed by and acted in response to the World Wars, and later for the Beats, the Cold War. There is an essay by Gertrude Stein specifically about Pablo Picasso, but I think her sentiment  remains true for the Beats as well. She says that although humans do not simply change from one generation to the next, “it is the way of seeing and being seen that changes,” and that “changes in art thus reflect changes in the way that each generation is living, […] is being educated and the way they move about”(Carter). I believe that although these are two different art forms, they dealt with issues of their society and attempted to understand and respond to them creatively.

     

    Laura Amador

    Tuesday, September 20th, 2016 | Posted in 2016 Research in Arts Scholarship by rias | No Comments »

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