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Reckoning
Title
Reckoning.
Creator
LeVan, Jason, Ward, Julie Anne, Florida Atlantic University, Department of Visual Arts and Art History, Dorothy F. Schmidt College of Arts and Letters
Abstract/Description
Reckoning is a body of sculptural work that explores the emotional resonance contained within memory through a combination of personal ephemera and handcrafted objects. The physical presence of this work underscores the importance of its materiality, in both the handmade and collected objects, in emphasizing their ability to conjure a memory. Reckoning evokes the intangible emotions and overwhelming sensations that accompany the act of remembering, and an inability to forget.
Date Issued
2020
PURL
http://purl.flvc.org/fau/fd/FA00013480
Subject Headings
Art, Sculpture, Ephemera, Handicraft
Format
Document (PDF)
DIRT, RUST, AND NON-GIRL STUFF
Title
DIRT, RUST, AND NON-GIRL STUFF.
Creator
Carballo, Victoria, Stollar, Thomas, Florida Atlantic University, Department of Visual Arts and Art History, Dorothy F. Schmidt College of Arts and Letters
Abstract/Description
Dirt, Rust, and Non-Girl Stuff explores identity, mental health, and tradition. Considering the customs of my Cuban heritage, I choose materials and processes that reflect conventions related to gender identity, expression, and craft. These subjects are represented via assemblages that exist as stand-alone sculptures and installations. Each piece is composed of materials and objects chosen based on their physical characteristics and associations to craft or notions of traditional gender norms...
Show moreDirt, Rust, and Non-Girl Stuff explores identity, mental health, and tradition. Considering the customs of my Cuban heritage, I choose materials and processes that reflect conventions related to gender identity, expression, and craft. These subjects are represented via assemblages that exist as stand-alone sculptures and installations. Each piece is composed of materials and objects chosen based on their physical characteristics and associations to craft or notions of traditional gender norms. The work hints to the viewer through metaphors created by material choice, found object associations, and the placement of each element. Each fragment of material represents a part of my identity. The porcelain acts as a metaphor for my body, often breaking, cracking, and shattering. Its fragility requires mending, stitching, and repair to become something or someone else. The crochet elements reference the women's gender roles and femininity that my parents yearned for me to exhibit. The metal tools and rusted objects are representative of the more masculine roles I took on to fulfill my father's need for a son. The work often exhibits the precarity, the needed repairs, or additions of femininity to the otherwise masculine materials to turn a too masculine body into a more feminine one. The arrangements are not motivated by order or beauty but by the tension caused by the divide between who I am and whom I am expected to be.
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Date Issued
2022
PURL
http://purl.flvc.org/fau/fd/FA00013960
Subject Headings
Art, Sculptures, Installations (Art)
Format
Document (PDF)
HONOR AND CHAOS
Title
HONOR AND CHAOS.
Creator
Fedor, Penelope Joelle, Broderick, Amy, Florida Atlantic University, Department of Visual Arts and Art History, Dorothy F. Schmidt College of Arts and Letters
Abstract/Description
On June 3rd, 2010, I certainly was not aware of what was about to take place. I was in Kandahar, Afghanistan, and at this point in time my unit and I had been in country for five out of the twelve months of our deployment. An ear-splitting boom woke me up, and the smell of iron and blood was so strong it seemed to override my ability to focus on what was really happening. The sounds I heard were lowered and muffled and mostly pain-filled and anguished. Mine was often a voice that joined them....
Show moreOn June 3rd, 2010, I certainly was not aware of what was about to take place. I was in Kandahar, Afghanistan, and at this point in time my unit and I had been in country for five out of the twelve months of our deployment. An ear-splitting boom woke me up, and the smell of iron and blood was so strong it seemed to override my ability to focus on what was really happening. The sounds I heard were lowered and muffled and mostly pain-filled and anguished. Mine was often a voice that joined them. Those cries could also change the course of a life. They are cries that, once heard, can never be erased from memory. I knew my comrades were down in the depths with me. I will never take anything for granted again. Honor and Chaos works across media to transform space and transport viewers. The exhibition incorporates sculptural forms of wire and scrap metal, dark ink drawings interrupted by spray paint, and salvaged plastics to immerse viewers in another place and time.
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Date Issued
2020
PURL
http://purl.flvc.org/fau/fd/FA00013502
Subject Headings
Arts--Exhibitions, Mixed media sculpture, Installation works (Art)
Format
Document (PDF)
Bodily knowledge in dance transferred to the creation of sculpture
Title
Bodily knowledge in dance transferred to the creation of sculpture.
Creator
Feliciano, Nazare, McConnell, Brian E., Florida Atlantic University, Dorothy F. Schmidt College of Arts and Letters, Department of Visual Arts and Art History
Abstract/Description
The main focus of this dissertation is a discussion of how an artist uses her dance bodily knowledge to develop in a static art form a more bodily sense of movement. For this purpose this dissertation examines four clay sculptures by contemporary artist Mary Frank. The analysis suggests that the uncharacteristic sense of movement displayed in these works derives from her experiential knowledge of dance. This sense of movement is achieved through the considered assemblage and inextricable...
Show moreThe main focus of this dissertation is a discussion of how an artist uses her dance bodily knowledge to develop in a static art form a more bodily sense of movement. For this purpose this dissertation examines four clay sculptures by contemporary artist Mary Frank. The analysis suggests that the uncharacteristic sense of movement displayed in these works derives from her experiential knowledge of dance. This sense of movement is achieved through the considered assemblage and inextricable relationship between Frank’s dance bodily knowledge (body knowledge a dancer acquires through years of dance practice) and the manipulation of clay, the plastic medium she uses to create these forms. The study reveals that Frank’s ceramic assemblages of organic shapes resembling a figure could be related to somatic awareness of arms, legs, torso, hips, and head that dancers experience while dancing. Similarly, the fluid quality of her ceramic assemblages and their seamless coexistence with the environment can be correlated to the proprioceptic sensibilities (the reception of stimuli produced within the organism by movement or tension) that a dancer’s body senses as it navigates through the air and across the ground managing the pull of gravity. These findings are developed through a discussion of the philosophic theories on bodily knowledge (knowing in and through the body) by Maurice Merleau-Ponty, Michael Polanyi, Edward Casey, Pierre Bourdieu, and Richard Shusterman, as well as the philosophic theories on dance bodily knowledge (my own term) developed by Barbara Mettler, Maxine Sheets-Johnstone, and Jaana Parviainen. In addition, Mary’s sculptures are compared to traditionally built sculptures to illustrate the bodily sensory quality of the sense of movement of her structures. Although the scope of this study is limited to the application of dance bodily knowledge onto sculpture, perceived through the clay sculptures of Mary Frank, this research adds to the debate on the interrelationships between dance education and the arts, the body and institutions of learning, and the body and society. It suggests that dance practice and introspection of one’s body movement affects how one perceives the world around us and therefore how one reacts and expresses oneself on to the world.
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Date Issued
2014
PURL
http://purl.flvc.org/fau/fd/FA00004106, http://purl.flvc.org/fau/fd/FA00004106
Subject Headings
Aesthetics -- Psychological aspects, Dance -- Philosophy, Human body (Philosophy), Phenomenology, Sculpture -- Philosophy
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)
The daoist gardener
Title
The daoist gardener.
Creator
Futej, Stephen, Hnatysh, Walter, Florida Atlantic University, Dorothy F. Schmidt College of Arts and Letters, Department of Visual Arts and Art History
Abstract/Description
The following statement supports the investigations that culminated in the body of sculptural work entitled “Daoist Garden”. It is an examination of the most basic sculptural issues of form and space, and reverses the roles of prototype and mold to give visual accounting of spaces created by curved planes. These spatial records allude to cycles of disintegration and reconfiguration of matter on various timelines and scales. The philosophical influence behind the work employs the concepts of...
Show moreThe following statement supports the investigations that culminated in the body of sculptural work entitled “Daoist Garden”. It is an examination of the most basic sculptural issues of form and space, and reverses the roles of prototype and mold to give visual accounting of spaces created by curved planes. These spatial records allude to cycles of disintegration and reconfiguration of matter on various timelines and scales. The philosophical influence behind the work employs the concepts of yin and yang, which relate directly to the mold/positive relationship, and are essential to experiencing Dao, the eternally nameless underlying order of the universe.
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Date Issued
2014
PURL
http://purl.flvc.org/fau/fd/FA00004111
Subject Headings
Art, Modern -- 21st century, Conceptual art, Ritual in art, Taoist art and symbolism, Taoist sculpture
Format
Document (PDF)
"Starvation taught me art": Tree poaching, gender and cultural shifts in wood curio carving in Zimbabwe
Title
"Starvation taught me art": Tree poaching, gender and cultural shifts in wood curio carving in Zimbabwe.
Creator
Fadiman, Maria
Abstract/Description
This study looks at wood curio carving in Victoria Falls, Zimbabwe, Africa. Although the local people, Ndebele and Shona, have always carved, they now face a weakened economy, due in large part to land reforms in 2000. Thus, more people sculpt wood as a form of livelihood. As one man said “Starvation taught me art”. As a result, gender roles are shifting as men and women begin to enter realms previously reserved for the other. Environmentally, carvers poaching trees deforests the woodlands....
Show moreThis study looks at wood curio carving in Victoria Falls, Zimbabwe, Africa. Although the local people, Ndebele and Shona, have always carved, they now face a weakened economy, due in large part to land reforms in 2000. Thus, more people sculpt wood as a form of livelihood. As one man said “Starvation taught me art”. As a result, gender roles are shifting as men and women begin to enter realms previously reserved for the other. Environmentally, carvers poaching trees deforests the woodlands. As more individuals turn to making crafts sustainability deteriorates. However, people are looking into more sustainable practices. Ndebele and Shona are experimenting with carving smaller items so as to be able to earn more profit from less wood, and to use branches instead of heartwood. Carvers are also using scrap wood from Forest Stewardship Council (FSC) lumber mills to lessen dependence on live trees.
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Date Issued
2008
PURL
http://purl.flvc.org/fau/165389
Subject Headings
Ethnobotany--Africa, Sustainable development--Zimbabwe, Culture--Africa, Wood sculpture, African, Forest conservation--Africa, Gender identity--Africa, Art, Zimbabwean, Sustainable development--Environmental aspects
Format
Document (PDF)
"Viens a la maison"
Title
"Viens a la maison": Moroccan hospitality, a contemporary view.
Creator
Schwartz, Anita., Dorothy F. Schmidt College of Arts and Letters, Department of Visual Arts and Art History
Abstract/Description
As a woman of Moroccan descent, I have been brought up surrounded by a rich culture that places great emphasis on the importance of hospitality and family traditions. This exhibit represents an exploration of porcelain ceramics vessels that have been produced over the past year. The work incorporates tagine forms, plates, tea cups and tea pots that are commonly used while entertaining guests in a Moroccan home. Moroccans welcome the opportunity to show their generosity and hospitality by...
Show moreAs a woman of Moroccan descent, I have been brought up surrounded by a rich culture that places great emphasis on the importance of hospitality and family traditions. This exhibit represents an exploration of porcelain ceramics vessels that have been produced over the past year. The work incorporates tagine forms, plates, tea cups and tea pots that are commonly used while entertaining guests in a Moroccan home. Moroccans welcome the opportunity to show their generosity and hospitality by welcoming guests into their homes to visit and share meals. The vessels are ornately painted and decorated so that meals served will feast the eyes as well as the palate. The porcelain is decorated with ornate finials, underglazes and china painting. The subject of the imagery is a combination of visual anthropology in which random images of people from today's society are contrasted with my own interpretation of ancient geometric design details that are found in North African Zillij cut mosaic tiles. This infuses the work with an imagined sense of time and place. The attempt to harmonize seemingly incongruent elements results in vessels that feel both familiar and eccentric. The layers of color areused to symbolize nature, purity, depth of life and spiritual abundance. The colors are placed randomly in contrast to the symmetry of the geometric designs. The work is displayed in a dining room setting where guests are always welcome to enter. My work as an artist enhances the experience I bring to my students in the classroom.
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Date Issued
2011
PURL
http://purl.flvc.org/FAU/3172699
Subject Headings
Symbolism in art, Ceramic sculpture, Jews, History, Ethnicity in art, Identity (Psychology) in art, Social life and customs
Format
Document (PDF)