Inventions and industry in the art of Howard Finster

This paper examines Finster’s collection of Inventions of Mankind and his paintings of American industrial icons such as Henry Ford and Eli Whitney. Additionally, this study explores Finster’s compulsive artistic productivity and his experimentation with mechanisms designed to create self-sustaining energy. By providing a comprehensive overview of Howard Finster’s fascination with inventions and industry, this paper serves to provide new insight and dimension into the often over-generalized interpretations of his extensive body of work

Graveyards to Glamour : Development of Sexualized Angel Imagery in American Art and Advertising

Images of female angels in American art and advertisements have been sexualized in the late twentieth and early twenty-­‐first centuries. Companies such as Victoria’s Secret have appropriated the image of female angels, which first appeared at the beginning of the nineteenth century, and clothed them in lingerie in order to sell a product. This Masters Research Paper explores the evolution of female angelic imagery in the United States in order to understand how and when the image of angels began to be sexualized and used in advertising. Angels in art have been studied extensively; however, there has been no work done which examines how the angels in art and advertising have been sexualized. Nor has any work been done to map the evolution of female angelic imagery in American art. This Masters Research Paper will fill that gap in scholarship.

The giraffe in history and art /

Cover title.

"A joy for ever"; (and its price in the market): being the substance (with additions) of two lectures on the political economy of art, delivered at Manchester, July 10th and 13th, 1857.

Includes index.

Legends of the monastic orders, as represented in the fine arts : forming the second series of sacred and legendary art /

Mode of access: Internet.

Aesthetics in transportation : guidelines for incorporating design, art and architecture into transportation facilities : executive summary /

"Contract no. DOT-OS-90040"--P. 2 of cover.

Inter-subjective and transnational racial effects: The role of the United States in the formation and evolution of the collective perception and racial relations in Cuba, 1898–1902

Since the arrival of the first African slaves to Cuba in 1524, the issue of race has had a long-lived presence in the Cuban national discourse. However, despite Cuba’s colonial history, it has often been maintained by some historians that race relations in Cuba were congenial with racism and racial discrimination never existing as deep or widespread in Cuba as in the United States (Cannon, 1983, p. 113). In fact, it has been argued that institutionalized racism was introduced into Cuban society with the first U.S. occupation, during 1898–1902 (Cannon, 1983, p. 113). This study of Cuba investigates the influence of the United States on the development of race relations and racial perceptions in post-independent Cuba, specifically from 1898-1902. These years comprise the time period immediately following the final fight for Cuban Independence, culminating with the Cuban-Spanish-American War and the first U.S. occupation of Cuba. By this time, the Cuban population comprised Africans as well as descendants of Africans, White Spanish people, indigenous Cubans, and offspring of the intermixing of the groups. This research studies whether the United States’ own race relations and racial perceptions influenced the initial conflicting race relations and racial perceptions in early and post-U.S. occupation Cuba. This study uses a collective interpretative framework that incorporates a national level of analysis with a race relations and racial perceptions focus. This framework reaches beyond the traditionally utilized perspectives when interpreting the impact of the United States during and following its intervention in Cuba. Attention is given to the role of the existing social, political climate within the United States as a driving influence of the United States’ involvement with Cuba. This study reveals that emphasis on the role of the United States as critical to the development of Cuba’s race relations and racial perceptions is credible given the extensive involvement of the U.S. in the building of the early Cuban Republic and U.S. structures serving as models for reconstruction. U.S. government formation in Cuba aligned with a governing system reflecting the existing governing codes of the U.S. during that time period.

Catholic student movements in Latin America: Cuba and Brazil, 1920s to 1960s

This dissertation examines the ideological development of the Catholic University Student (JUC) movements in Cuba and Brazil during the Cold War and their organizational predecessors and intellectual influences in interwar Europe. Transnational Catholicism prioritized the attempt to influence youth and in particular, university students, within the context of Catholic nations within Atlantic civilization in the middle of the twentieth century. This dissertation argues that the Catholic university movements achieved a relatively high level of social and political influence in a number of countries in Latin America and that the experience of the Catholic student activists led them to experience ideological conflict and in some cases, rupture, with the conservative ideology of the Catholic hierarchy. Catholic student movements flourished after World War II in the context of an emerging youth culture. The proliferation of student organizations became part of the ideological battlefield of the Cold War. Catholic university students also played key roles in the Cuban Revolution (1957-1959) and in the attempted political and social reforms in Brazil under President João Goulart (1961-1964). ^ The JUC, under the guidance of the Church hierarchy, attempted to avoid aligning itself with either ideological camp in the Cold War, but rather to chart a Third Way between materialistic capitalism and atheistic socialism. Thousands of students in over 70 nations were intensively trained to think critically about pressing social issues. This paper will to place the Catholic Student movement in Cuba in the larger context of transnational Catholic university movements using archival evidence, newspaper accounts and secondary sources. Despite the hierarchy's attempt to utilize students as a tool of influence, the actual lived experience of students equipped them to think critically about social issues, and helped lay a foundation for the progressive student politics of the late 1960s and the rise of liberation theology in the 1970s. ^

ART attrition across health facilities implementing Option B+ in Haiti

Thesis (Master's)--University of Washington, 2016-08

The Role of Art in Computer Game Design

Computer games are significant since they embody our youngsters’ engagement with contemporary culture, including both play and education. These games rely heavily on visuals, systems of sign and expression based on concepts and principles of Art and Architecture. We are researching a new genre of computer games, ‘Educational Immersive Environments’ (EIEs) to provide educational materials suitable for the school classroom. Close collaboration with subject teachers is necessary, but we feel a specific need to engage with the practicing artist, the art theoretician and historian. Our EIEs are loaded with multimedia (but especially visual) signs which act to direct the learner and provide the ‘game-play’ experience forming semiotic systems. We suggest the hypothesis that computer games are a space of deconstruction and reconstruction (DeRe): When players enter the game their physical world and their culture is torn apart; they move in a semiotic system which serves to reconstruct an alternate reality where disbelief is suspended. The semiotic system draws heavily on visuals which direct the players’ interactions and produce motivating gameplay. These can establish a reconstructed culture and emerging game narrative. We have recently tested our hypothesis and have used this in developing design principles for computer game designers. Yet there are outstanding issues concerning the nature of the visuals used in computer games, and so questions for contemporary artists. Currently, the computer game industry employs artists in a ‘classical’ role in production of concept sketches, storyboards and 3D content. But this is based on a specification from the client which restricts the artist in intellectual freedom. Our DeRe hypothesis places the artist at the generative centre, to inform the game designer how art may inform our DeRe semiotic spaces. This must of course begin with the artists’ understanding of DeRe in this time when our ‘identities are becoming increasingly fractured, networked, virtualized and distributed’ We hope to persuade artists to engage with the medium of computer game technology to explore these issues. In particular, we pose several questions to the artist: (i) How can particular ‘periods’ in art history be used to inform the design of computer games? (ii) How can specific artistic elements or devices be used to design ‘signs’ to guide the player through the game? (iii) How can visual material be integrated with other semiotic strata such as text and audio?

Bodily Experience and Restricted Conditions in Contemporary Art

The Doctoral research was carried out with the primary purpose of reviewing past practice designs and for identifying how body movements contributes to these designs. The context in which the body movements are understood are that of discipline enforced by culture and other physio-biological restraints. A discussion on the relationships of body experience in restricted conditions are carried out, which includes the interaction between movement and space in the application of painting, moulding, biological markers, and moving images. The discipline, socially acceptable practices and regulations present in the researcher’s personal life and culture frame the artworks and a fascinating exploration of dynamics between freedom of movement in artwork construction and restrain of behaviour has been analyzed. In the process of art production, significant points discussed were with respect to the identification, succession and repetition of habitual acts. In addition, bodily movement could be considered as a synthesis of spatiality and temporality. The key point which contains the elements of time and space remains relevant to my creative practice and theoretical research. The core interest of my practice is in understanding the settings and simple rules for bodily movement, which is inspired by the past and forms a possible creation for the future. In this research, the attempt was not to display a comprehensive understanding on how body influences the design of art but rather to explain how understanding body movements provides a trace of my works, from origin, the working process and to completion. Relevant artworks and reflection of personal experiences are discussed as needed to help the reader gain more insight on the interactions of body in art creations.