University of Turin, Humanities Faculties Building, Turin, Italy 1989-1990 (unbuilt project)

[Schematic Design Drawing of Tower I Elevation], untitled. Red pencil drawing on vellum, 14x24 inches

University of Turin, Humanities Faculties Building, Turin, Italy 1989-1990 (unbuilt project)

[Facade Study of Three-Story Academic Wing], untitled. Black ink sketch on tracing paper, initialed, 12x22 inches

University of Turin, Humanities Faculties Building, Turin, Italy 1989-1990 (unbuilt project)

[Facade Study of Three-Story Adacemic Wing], untitled. Digital image only of black ink sketch on tracing paper

University of Turin, Humanities Faculties Building, Turin, Italy 1989-1990 (unbuilt project)

[Facade Studies of Three-Story Academic Wing], untitled. Black ink sketches on two sheets of tracing paper with orange, yellow and gray marker coloring, initialed, 18 x 18 3/4 to 18 x 19 1/2 inches

University of Turin, Humanities Faculties Building, Turin, Italy 1989-1990 (unbuilt project)

[Conceptual Site Plan Sketch], untitled. Digital image only of blue ink sketch on tracing paper, initialed

University of Turin, Humanities Faculties Building, Turin, Italy 1989-1990 (unbuilt project)

[Conceptual Site Plan Sketch], untitled. Blue ink sketch on tracing paper, with orange and blue marker coloring, 18 x 25 1/4 inches

University of Turin, Humanities Faculties Building, Turin, Italy 1989-1990 (unbuilt project)

[Conceptual Site Plan Sketch], untitled. Blue ink sketch on tracing paper, 12 x 23 1/2 inches

University of Turin, Humanities Faculties Building, Turin, Italy 1989-1990 (unbuilt project)

[Conceptual Site Plan Sketch], untitled. Blue ink sketch on tracing paper, 18x23 inches

University of Turin, Humanities Faculties Building, Turin, Italy 1989-1990 (unbuilt project)

[Conceptual Site Plan Sketch], untitled. Digital image only of ink sketch on tracing paper

University of Turin, Humanities Faculties Building, Turin, Italy 1989-1990 (unbuilt project)

[Conceptual Site Plan Sketch], untitled. Digital image only of ink sketch on tracing paper

Saarinen's Music School

Eero Saarinen, architect. The building, located in a park-like setting on the university's North Campus was named for Earl V. Moore, dean from 1923-1960, and completed in 1964. In 1985, the Margaret Dow Towsley Center, a significant addition to the Moore building, was dedicated.

School of Music Building on North Campus

Eero Saarinen, architect. The building, located in a park-like setting on the university's North Campus was named for Earl V. Moore, dean from 1923-1960, and completed in 1964. In 1985, the Margaret Dow Towsley Center, a significant addition to the Moore building, was dedicated.

Connections between Modern and Postmodern art and fashion.

This paper undertakes to construe the affinities and divergences in the genres of art and fashion throughout the 20th century through the use of particular visual and theoretical examples, examined at greater length in a more extensive study of ‘The relationship between the artist and the fashion designer in the twentieth century’ (Vettese, 2005). Examination of the 20th century has revealed two particular periods – ‘Modernism’ and ‘Postmodernism’ – that were evident and fitting to this analysis. The research is a summation of these findings, where the differences and affinities in the mechanisms of 20th century art and fashion, including imposing messages and innovation in Modernism and the mixed messages, recycling and commercial aspects of Postmodernism, are disseminated.

In search of a language textile and text in contemporary women's art

This research uses the textile/text axis concept as a conceptual tool to investigate the role of textile and text in contemporary women’s art practice and theorizing, investigating textile as a largely hitherto unacknowledged element in women’s art practice of the late 20th and early 21st centuries. Textile and text share a common etymological root, from the Latin textere to weave, textus a fabric. The thesis illuminates the pathways whereby textile and text played an important role in women reclaiming a speaking voice as creators of culture and signification during a revolutionary period of renewal in women’s cultural contribution and positioning. The methodological approach used in the research consisted of a comprehensive literature review, the compilation of an inventory of relevant women artists, developing a classificatory system differentiating types of approaches, concerns and concepts underpinning women’s art practice vis a vis the textile/text axis and a series of three in-depth case studies of artists Tracey Emin, Louise Bourgeois and Faith Ringgold. The thesis points to the fact that contemporary women artists and theorists have rounded their art practice and aesthetic discourse in textile as prime visual metaphor and signifier, turning towards the ancient language of textile not merely to reclaim a speaking voice but to occupy a ground breaking locus of signification and representation in contemporary culture. The textile/text axis facilitated women artists in powerfully countering a culturally inscribed status of Lacanian ‘no-woman’ (a position of abjection, absence and lack in the phallocentric symbolic). Turning towards a language of aeons, textile as fertile wellspring, the thesis identifies the methodologies and strategies whereby women artists have inserted their webs of subjectivities and deepest concerns into the records and discourses of contemporary culture. Presenting an anatomy of the textile/text axis, the thesis identifies nine component elements manifesting in contemporary women’s aesthetic practice and discourse. In this cultural renaissance, the textile/text axis, the thesis suggests, served as a complex lexicon, a system of labyrinthine references and signification, a site of layered meanings and ambiguities, a body proxy and a corporeal cartography, facilitating a revolution in women’s aesthetic praxis.

De la bellesa ornamental a la bellesa comercial : De les relacions entre art i publicitat en l'obra cartellista d'Alphonse Mucha

En aquest treball s'investiga, a través de l'obra d'Alphonse Mucha com autor paradigmàtic de l'Art Nouveau en el context geogràfic del París de finals del segle XIX i principis del XX, la possible influència de la publicitat en la difusió i consolidació de les creences i valors dels grups socials més ben posicionats, i molt especialment en el cas de la dona, ja que l'obra de Mucha està centrada bàsicament en la figura femenina. Així mateix, també es busca esbrinar la intervenció d'aquests grups en la creació d'un camp artístic que alhora faria possible la contemplació estètica de l'anunci comercial, i que esdevindria un element més d'aquesta moderna cultura, capitalista i urbana, de grans transformacions i avenços tecnològics, i que des d'una òptica crítica com la de l'Escola de Frankfurt, estaria 'cosificant' l'individu en nom de la ciència i el progrés, des del moment en què aquest quedaria condemnat al consum il·limitat per tal de satisfer un desig insaciable: l'afany d'emulació de la classe ociosa, o dit d'altra manera, d'aquella que el domina.