Black maps/vivid waters : beauty and horror in David Maisel's The Lake Project and Terminal Mirage

"This paper examines The Lake Project and Terminal Mirage, the two components of David Maisel’s Black Maps series that concern water. Like the section of the Salt Lake chosen by Robert Smithson for his seminal Spiral Jetty, the alkaline waters Maisel photographs are subject to infestations of bacteria that that give them a visceral hue. Smithson provides a reference for this work; the artists are notable for their shared site, disorienting scale, and attraction to entropy"

James Turrell and the Northern romantic tradition

"This paper discusses the work of contemporary artist James Turrell as framed by the philosophy of the sublime. Focusing on the artist’s use of the medium of light, it addresses Turrell’s scientific approach to creating artworks and discusses his resolution of the problematic relationship between science and spirituality. This relationship is discussed through the examination of the artist’s use of total visual fields known as ganzfelden and other perceptual phenomena, such as those encountered while piloting aircraft"

The energy of Beverly Rosen artist, professor, risk taker

"This paper takes a look at Beverly Rosen’s artistic work, providing an overview of the various periods and styles she explored, while introducing new details and expanding established interpretations of her work. It is an attempt at documenting Rosen’s many activities in addition to her personal art and professional development. Special attention is given to exhibitions and programming held at Rosen’s gallery, St. Charles on Wazee"

Beautiful victims : childhood and the holocaust in the work of Gottfried Helnwein

"For the past three decades, contemporary artist Gottfried Helnwein has shocked viewers with his Holocaust-related paintings, drawings and installations. Born in Austria in 1948, Helnwein witnessed the immediate aftermath of World War II in Europe from a child’s perspective. Consequently, the horrifying images summoned from Helnwein’s imagination are inspired by the memories and repercussions of this tragedy. His work addresses his parents’ unwillingness to speak of the atrocities as well as the exploitation of the Holocaust in contemporary popular media. His work questions not only how such a tragedy could have taken place, but also how contemporary perception of this event has been affected by total media saturation and the passage of time. To shock viewers, Helnwein portrays strikingly realistic images of distressed, wounded and morally ambiguous children in works that have been regarded as controversial and outspoken"

Art influences on Mark Z. Danielewski's House of Leaves and Los Angeles's influence on Johnny Truant

"...is a novel that combines literature and art to create a unique postmodern object. It was published just over a decade ago, and in that time numerous scholars and students have written papers and articles on it. Within these articles, the themes are usually about deconstruction, the house as a digital object, the house's lack of homeliness, or characters who claim authorial presence. Danielewski distance himself from that role. The house and its impossible labyrinth are the central feature of the book. A house should provide stability, but this house shifts its rooms and walls at random. A house should protect its occupants, but this one kills people. This house links itself into an infinite amount of information through its use of the internet as an influence and a stylistic device, but it has nothing but an absence in its very foundation, an empty labyrinth with an unseen monster."

Cover to be unveiled : how meaning is revealed with sheer veils in paintings by Lucas Cranach The Elder

While scholars have questioned the meaning of Lucas Cranach the Elder’s sheer veils when associated with sensual nude figures, research about sheer veils adorning women in a religious context in his paintings has not yet been developed. Through a primarily iconographical approach, I explore who dons each type of veil, and when, to better understand why the same sheer veil is worn differently by various individuals and what that could mean relative to Cranach’s body of work. These veils exhibit artistic prowess, but analysis of their placement on individual figures also reveals how Cranach’s repeated use of sheer veils in his paintings trains the eye on underlying messages, unlocking meanings of these works for Cranach and his patrons and broader themes present in sixteenth century visual culture. My paper initiates this important discussion about how sheer veils – often overlooked in Cranach’s works – are used in both religious and secular contexts.

Clarity, Light, and Logic : Parallels between Olafur Eliasson’s The weather project and the Gothic Cathedral

This Master’s Research Paper investigates Olafur Eliasson’s The weather project as a case study for the dialogue between Gothic artistic principles and prominent elements of contemporary art. A product of a post-modern mindset, weakened historicity allows us to examine these connections anew; past, present, and future blur and artists (and viewers) have the whole of time from which to gain inspiration and meaning in works of art. I demonstrate similarities through theories on phenomenology; the spatiotemporal relationship between viewer and artwork; the convergence of art and science; and the communal, quasi-liminal experience of pilgrimage. I embrace Eliasson’s belief in the self-reflexive potential of art and the importance of the viewer’s own values, memories, and methods of seeing. This new interpretive layer will hopefully offer a richer experience for future participants of both Gothic cathedrals and environments produced by Studio Olafur Eliasson.

Closer to life : the work of sari dienes

Like many of her female contemporaries, artist Sari Dienes’s contributions to the art historical dialogue have been largely overlooked in favor of her male counterparts. Often seen as a mentor and mother figure to neo-Dada artists Jasper Johns and Robert Rauschenberg, Dienes was an active member of the New York avant-garde circle surrounding composer/choreographer duo John Cage and Merce Cunningham in the 1950s and 1960s. These social relationships are central to the existing discourse on Sari Dienes, while her work remains little discussed. The fact that her dynamic, ever-changing style lacked aesthetic consistency was commonly lamented by notable figures such as Betty Parsons, however, I argue that Dienes’s diverse oeuvre is unified by her philosophies on art and life. The unification of art and life, denoted clearly by Dienes’s use of the found object, experimentation and chance happenings, and sensory experience, marks her as an innovator and catalyst in the neo-Dada movement as well as in other experimental art endeavors that took place in the aftermath of Abstract Expressionism.

The Need for Professional Translation and Interpretation in School Districts

The language barrier prevents Latino students from experiencing academic success, and prevents Latino parents from participating in their children's education. Through a review of journal articles, research projects, doctoral dissertations, legislation, and books, this project studies the benefits and dangers of various methods of translating and interpreting in the education system, including issues created by language barriers in schools, common methods of translating and interpreting, and legislation addressing language barriers and education. The project reveals that schools use various methods to translate and interpret, including relying on children, school staff and machine translation, although such methods are often problematic and inaccurate. The project also reveals that professional translation and interpretation are superior to the various non-professional methods.

Color representation and interpretation of special effect coatings

A representation of the color gamut of special effect coatings is proposed and shown for six different samples, whose colors were calculated from spectral bidirectional reflectance distribution function (BRDF) measurements at different geometries. The most important characteristic of the proposed representation is that it allows a straightforward understanding of the color shift to be done both in terms of conventional irradiation and viewing angles and in terms of flake-based parameters. A different line was proposed to assess the color shift of special effect coatings on a*,b*-diagrams: the absorption line. Similar to interference and aspecular lines (constant aspecular and irradiation angles, respectively), an absorption line is the locus of calculated color coordinates from measurement geometries with a fixed bistatic angle. The advantages of using the absorption lines to characterize the contributions to the spectral BRDF of the scattering at the absorption pigments and the reflection at interference pigments for different geometries are shown.

Reconstruction and interpretation of Brittsia problematica D. White (Fern, Pennsylvanian) / Hermann W. Pfefferkorn --.

v.33:no.17(1976)

Book receipt of John Mellen and William Bentley, 1780 June 16

This half-page slip contains receipts for two Harvard College Library books received by Harvard College Tutors John Mellen (1752-1828; Harvard AB 1770) and William Bentley (1759-1819; Harvard AB 1777).

Bond between John Leverett and Elisha Cooke to John White, Treasurer of Harvard College, 1716 November 20

Two folio-sized leaves containing a one-and-a-half page copy of the bond between John Leverett and Elisha Cooke to John White, Treasurer of Harvard, for £200. The bond was witnessed by William Austin and Mary Gilbert. An October 3, 1726 receipt of payment from Nathaniel Byfield on the bond, signed by Treasurer Edward Hutchinson, is located on the verso of the first leaf.

Bond between John Leverett and Edward Hutchinson, Treasurer of Harvard College, 1722 June 13

One-folio sized leaf containing a handwritten copy of a bond between John Leverett and Edward Hutchinson, Treasurer of Harvard. The bond was witnessed by Benjamin Walker and John Edwards, Jr. An October 3, 1726 receipt of payment from Nathaniel Byfield on the bond, signed by Treasurer Edward Hutchinson, is located on the verso of the first leaf.