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Nurtured beauty
Title
Nurtured beauty: cultivating balance between chance, control, extravagance, and restraint.
Creator
Spivey, Kim., Dorothy F. Schmidt College of Arts and Letters, Department of Visual Arts and Art History
Abstract/Description
Interested in nurturing beauty, I create paintings that reference life processes through layers of struggle, discovery, recovery and generation. Employing a metaphor of the garden, my paintings can be seen as spaces where I determine what grows, stays, is mulched, or weeded out. I seek a balance between coexisting desires of restraint and control and extravagance with a sense of coming unbound. I emphasize the painting field as a whole, while also paying deep attention to the minute, inviting...
Show moreInterested in nurturing beauty, I create paintings that reference life processes through layers of struggle, discovery, recovery and generation. Employing a metaphor of the garden, my paintings can be seen as spaces where I determine what grows, stays, is mulched, or weeded out. I seek a balance between coexisting desires of restraint and control and extravagance with a sense of coming unbound. I emphasize the painting field as a whole, while also paying deep attention to the minute, inviting the viewer to discover complex worlds at different scales within each environment I create. My intimate, domesticated painted environments offer the viewer the possibility to experience the spaces I find beautiful and to add to the conversation of where beauty resides today in contemporary art.
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Date Issued
2011
PURL
http://purl.flvc.org/FAU/3172945
Subject Headings
Symbolism in literature, Painting, Modern, Themes, motives, Self-perception in art, Mimesis in art, Postmodernism
Format
Document (PDF)
gaze in the model-painter relationship: Fictions of art by Zola, the Goncourts, Poe, and James
Title
The gaze in the model-painter relationship: Fictions of art by Zola, the Goncourts, Poe, and James.
Creator
Drai, Sabrina Emilie., Florida Atlantic University, Hokenson, Jan W.
Abstract/Description
The art novel or roman sur les arts is a major trend of nineteenth-century novels: the Goncourts' Manette Salomon (1867) and Zola's L'oeuvre (1886) in French literature, Poe's "The Oval Portrait" (1850) and James's "The Madonna of the Future" (1875) in American literature, emphasize the figure of the artist painter and attendant aesthetic problem. The texts explore the painter's relationship to his art and to his model, unfolding along dual trajectories of plot and subplot, or creative...
Show moreThe art novel or roman sur les arts is a major trend of nineteenth-century novels: the Goncourts' Manette Salomon (1867) and Zola's L'oeuvre (1886) in French literature, Poe's "The Oval Portrait" (1850) and James's "The Madonna of the Future" (1875) in American literature, emphasize the figure of the artist painter and attendant aesthetic problem. The texts explore the painter's relationship to his art and to his model, unfolding along dual trajectories of plot and subplot, or creative struggles with the canvas and amorous entanglements with the model and especially her representation in painting. To disarticulate the triangular relationship between artist, model, and work of art is to show that the governing elements of this triad is the gaze. The painter's gaze at the model and her double, that is her representation on canvas, is the guiding line for his ability to create. Analysis of the relations between the female model and her aesthetic counterpart reveals how femininity and art are perceived in the art novel.
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Date Issued
2002
PURL
http://purl.flvc.org/fcla/dt/12904
Subject Headings
Art in literature, Fiction--19th century--History and criticism, Painters in literature, Artists' models in literature
Format
Document (PDF)
Gaze to discover
Title
Gaze to discover.
Creator
Pennekamp, Tabitha., Dorothy F. Schmidt College of Arts and Letters, Department of Visual Arts and Art History
Abstract/Description
Gaze to discover is the approach a viewer should take as s/he encounters the work within this exhibition. The main idea is that the work should be interactive. Developing this interaction is the objective of each piece. To engage viewers to interact with a piece of art coincides with the ability to acquire their undivided attention. The realization that it is difficult for a viewer to have a tangible interaction with artwork in a gallery setting leads to asking the viewer to interact visually...
Show moreGaze to discover is the approach a viewer should take as s/he encounters the work within this exhibition. The main idea is that the work should be interactive. Developing this interaction is the objective of each piece. To engage viewers to interact with a piece of art coincides with the ability to acquire their undivided attention. The realization that it is difficult for a viewer to have a tangible interaction with artwork in a gallery setting leads to asking the viewer to interact visually, "to look fixedly" - to gaze (Webster's Dictionary). Gazing at the work will direct the viewer to discover; "to gain knowledge through observation, study, or search" (Webster's Dictionary). The desired outcome is a personal relationship with each piece observed. Games, play, and visual interaction are what this installation addresses. The familiar vessel forms chosen draw the attention, but the alliteration imagery keeps the viewer intrigued. With the help of a game card, a viewer is left with a puzzle to solve only obtainable through the gaze to discover.
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Date Issued
2012
PURL
http://purl.flvc.org/FAU/3352283
Subject Headings
Symbolism in literature, Imagery in literature, Sculpture, Exhibitions, Visual communication, Phenomenology and art, Aesthetics
Format
Document (PDF)
Flotsam
Title
Flotsam.
Creator
Henson, Jacob., Dorothy F. Schmidt College of Arts and Letters, Department of English
Abstract/Description
Flotsam is a collection of writing. Flotsam examines divisions of the self. Flotsam is made of fiction, nonfiction, and visual representations of both. Flotsam is made of the truth. Flotsam is made of lies. Flotsam is pretty. Flotsam is a beast.
Date Issued
2011
PURL
http://purl.flvc.org/FAU/3338856
Subject Headings
Symbolism in literature, Avant-garde (Aesthetics), Symbolism in art, Postmodernism
Format
Document (PDF)
Beyond the Roof
Title
Beyond the Roof.
Creator
Pelosi, Faye., Florida Atlantic University, Scroggins, Mark
Abstract/Description
Ultimately, these verses are reflections of paintings (not necessarily paintings made with brush and oil, but paintings created by Nature, memory, and so forth). Each poem is also a painting and each painting is also a poem in the sense that the poetry should work the way a painting does by presenting a vivid image and idea. In every case, one has stemmed from the other. I want to translate the visual arts into writing, which includes the visual art of imagination because images are my...
Show moreUltimately, these verses are reflections of paintings (not necessarily paintings made with brush and oil, but paintings created by Nature, memory, and so forth). Each poem is also a painting and each painting is also a poem in the sense that the poetry should work the way a painting does by presenting a vivid image and idea. In every case, one has stemmed from the other. I want to translate the visual arts into writing, which includes the visual art of imagination because images are my natural language. These verses are an attempt at intermixing the categories (language and image), transferring one category into the other and vise versa to make the language act as a painting would; a painting with occasional narration.
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Date Issued
2005
PURL
http://purl.flvc.org/fcla/dt/13304
Subject Headings
Language arts, Visual communication, American poetry--21st century, Creativity in literature
Format
Document (PDF)
Proust on theater: The fourth art in "A La Recherche du Temps Perdu"
Title
Proust on theater: The fourth art in "A La Recherche du Temps Perdu".
Creator
Schaller, Margaret P., Florida Atlantic University, Hokenson, Jan W.
Abstract/Description
Critical studies of the arts in Marcel Proust's La Recherche situate the text's many references to art works and artistic genius in a triadic structure of "the three arts": painting, music, and literature. Yet the theater and theatrical references reinforce many of the themes and signifying networks running throughout the text. Theater functions as an art form equivalent to Elstir's painting or Vinteuil's music, and Proust dramatizes in La Berma his crucial distinction between person and...
Show moreCritical studies of the arts in Marcel Proust's La Recherche situate the text's many references to art works and artistic genius in a triadic structure of "the three arts": painting, music, and literature. Yet the theater and theatrical references reinforce many of the themes and signifying networks running throughout the text. Theater functions as an art form equivalent to Elstir's painting or Vinteuil's music, and Proust dramatizes in La Berma his crucial distinction between person and artist. In the social aspects of the actress's life, Proust constructs resonant parallels with the societal and familial conduct of his characters and their interactions, just as the brilliant theatrical performances of classical French dramatic roles onstage by La Berma essentialize the "mecanismes de la vie sociale" in the fictive world outside the theater. In short, theater functions crucially and continuously at all levels of the text, from basic components of story to meta-levels of discourse.
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Date Issued
2003
PURL
http://purl.flvc.org/fcla/dt/13015
Subject Headings
Proust, Marcel,--1871-1922--Criticism and interpretation, Proust, Marcel,--1871-1922--A la recherche du temps perdu, Theater in literature, Arts in literature
Format
Document (PDF)
2 Vietnams
Title
2 Vietnams.
Creator
Rooney, Scarlett Elizabeth., Florida Atlantic University, Schwartz, Jason
Abstract/Description
2 Vietnams documents modern Vietnam through alternating chapters of collage fictions and images: "East-West Documentation," "Vietnam in the Twilight-Hour," "Correspondence," and "Confessional Archives." Although 2 Vietnams serves as a documentary-style account of the many Vietnams that exist and confront our American memory of Vietnam, each chapter contains social narratives that connect to each other forming larger, subtler narratives. "East-West Documentation" follows a fictional writer's...
Show more2 Vietnams documents modern Vietnam through alternating chapters of collage fictions and images: "East-West Documentation," "Vietnam in the Twilight-Hour," "Correspondence," and "Confessional Archives." Although 2 Vietnams serves as a documentary-style account of the many Vietnams that exist and confront our American memory of Vietnam, each chapter contains social narratives that connect to each other forming larger, subtler narratives. "East-West Documentation" follows a fictional writer's experience living in Vietnam, conducting interviews and reading articles. "Vietnam in the Twilight-Hour" strings narrative poetry together with titles ranging from "Neocolonialism," "Love in Notations," to "SocialPolygrams." In addition to these poetic narratives are photographs that tell snapshot stories. "Correspondence" contains fictions such as "Think and It Will Happen," "StoryOptics," and "Flame of Life." Lastly, "Confessional Archives" contains images and non-fictional stories from veterans, both Vietnamese and American.
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Date Issued
2005
PURL
http://purl.flvc.org/fcla/dt/13310
Subject Headings
Memory in art, Vietnam--History--Pictorial works, Vietnam War, 1961-1965--Pictorial works, Symbolism in literature, Indochina--History--1945---Sources
Format
Document (PDF)
Milton's Satan: A Sublimely Dangerous Villain
Title
Milton's Satan: A Sublimely Dangerous Villain.
Creator
Grosso, Lisa A.K., Martin, Thomas L., Florida Atlantic University
Abstract/Description
In his epic poem Paradise Lost, John Milton, through sublime narration, creates his Satan as a sublimely dangerous villain in accordance with Pseudo-Longinus's five principles of elevated language, as outlined in Book VIII of On the Sublime. In his treatise, the philosopher delineates that the five principles for sublime expression are the ''power of forming great conceptions," the gift of "vehement and inspired passion," the "formation of figures," the art of"noble diction," and an abi lity...
Show moreIn his epic poem Paradise Lost, John Milton, through sublime narration, creates his Satan as a sublimely dangerous villain in accordance with Pseudo-Longinus's five principles of elevated language, as outlined in Book VIII of On the Sublime. In his treatise, the philosopher delineates that the five principles for sublime expression are the ''power of forming great conceptions," the gift of "vehement and inspired passion," the "formation of figures," the art of"noble diction," and an abi lity to produce "dignified and elevated composition." Foundational to sublime composition and the excellent usage of these principles is the gift of discourse. Milton, in his quest to "justify the ways of God to men" (1.26), fulfills these requirements for the sublime. As the poet-narrator, he demonstrates his mastery in transporting the audience into the realm of his imagination, sublimely conceiving, creating, and portraying his Satan to be a dangerous villain.
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Date Issued
2007
PURL
http://purl.flvc.org/fau/fd/FA00000923
Subject Headings
Milton, John,--1608-1674--Criticism and interpretation., Milton, John,--1608-1674.--Paradise Lost., Devil in literature., Milton, John,--1697-1674--Knowledge--Art.
Format
Document (PDF)