Browsing by Subject "Painting"
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Item A loud, enthusiastic feeling(2022-07-26) Teiche, Anna Clair; Lucas, Kristin, 1968-; Hildebrandt, MeganA collection of writing from between April 2021 and June 2022, exploring Anna Teiche’s experiences and motivations as an artist, and the influence of her partner’s cancer diagnosis and treatment on her work.Item Abstraction, representation, and entropy(2012-05) Payzant, Marcus Ray, 1982-; Mutchler, Leslie; Petersen, BradleyThe following graduate report is an overview of my artistic endeavors spanning the past three years at the University of Texas at Austin. While at UT, I have concentrated on making paintings that focus on the relationship between abstraction, representation, and entropy. Using banal, often overlooked cultural objects as subject matter, I paint ambiguous scenes that teeter between disintegration and formation. Representations of banal detritus within an ambiguous natural space become a metaphor for memory, culture, and life and death alluding to unseen forces and, ultimately, a lack of control. Using a combination of random and deliberate decisions, I aim to create a commentary about the unpredictable yet conformist aspects of the world in which we participate.Item California dreaming(2015-08) Shear, Laurel Katheryn; Sutherland, Dan, 1966-; Risley, JackI make large, lush oil paintings that employ devices and conventions from different traditions of abstraction like Color Field Painting and Abstract Expressionism, alongside traditions that use representation such as Vanitas, Photo Realism and Pop Art. I use my own personal experiences, images from pop culture, and the long rich history of Western Painting to create an unapologetically female voice. The attitude in my work and the images I choose playfully and critically isolate the highly gendered way all of us are raised and manipulated by the culture at large. Over the last three years of my graduate study at UT I have come to understand my work more thoroughly through thinking about it's interdependent components. Image/ Referent, Materiality, Abstraction/Representation and Metaphor. These components are difficult to separate from each other during the complex act of making, viewing and thinking about painting, however it has been a valuable exercise for me while working in the studio and writing this report.Item Challenging expectations(2020-06-24) Denuijl, Heather Nicole; Sutherland, Dan, 1966-This report serves as an overview of the evolution of thought surrounding my studio practice as well as the progression of the work itself as it relates to ideas of abstraction, familiarity, open-endedness, denial, and expectation. Each of these concepts will be expanded on in this report as critical points of interest in my practice. The order in which these concepts appear has no particular significance. Selected works will be explained in relation to, and evidence to back up, these concepts as they appear and may be present multiple times throughout.Item Corrido de Gabrielito(2022-05-06) Treviño, Jesus Gabriel; Sutherland, Dan, 1966-; Yancey, JohnThis report narrates an incident involving barbed wire at a family ranch that became central to the work I’ve been making during my time in the graduate program at the University of Texas at Austin. I’ll be recounting my experience revising the site and reflecting on the underlining poetics of the story which led to the development of a corrido, a few paintings, and an installation; all of which serve to be commemorative monuments to my family and home along both sides of the Rio Grande.Item Deep end(2010-05) Berg, Sonya Carol; Sutherland, Dan, 1966-; Mutchler, LeslieThis report describes the processes, working habits, materials, and multiple iterations of my work over the past three years. I reflect more in depth on my final series of work in which I have incorporated images of empty pool structures into paintings and large drawings. I consider the pool images metaphors for containment, control of the landscape, the unknowable, and in both a material and psychological sense, the void. The objects I exhibit, drawings, paintings and prints, are generated using a convoluted process. Rather than working in a systematic way, I negotiate rapid impulses, subjective goals, and thematic consistency. When I use figure/ground reversal and gestural drawing, I look to create a hand-touched surface that generates a sense of uneasiness in the composition, and a subjective disruption in the landscape.Item Elizabeth Danze Habitat studio(1994) Danze, ElizabethAudio files are EID restricted. Individuals without an EID should send an email request to apl-aaa@lib.utexas.edu.Item Esther Da Costa Meyer: Tradition and Modernity in Fin-de-Siecle Vienna(1991-10-23) da Costa Meyer, EstherAudio files are EID restricted. Individuals without an EID should send an email request to apl-aaa@lib.utexas.edu.Item Experimentation, diversity, and feeling : Adolph Gottlieb’s career in painting reconsidered(2013-08) Katzin, Jeffrey James; Shiff, RichardAdolph Gottlieb’s (1903–1974) mature career in abstract painting has been described in previous scholarship in terms of three phases: the time of his Pictograph paintings, beginning in 1941; a period of transition primarily involving his Imaginary Landscape paintings, beginning in 1951; and the time of his Burst paintings, from 1956 until his death. Dividing the artist’s career into early, transitional, and late periods has provided scholars with a clear and tidy narrative as a basis for interpretations of his work. However, in this thesis I argue that this schematization, created in hindsight, has obscured the character of Gottlieb’s working process as it occurred in real time. By nature, Gottlieb would not have been content to produce only a few narrow varieties of painting over a thirty-year period. I thus advance a new conception of Gottlieb as an inventive and constantly adventurous artist. ----- To make these claims, I examine Gottlieb’s written and spoken statements in order to define his central terminology (words like “feeling” and “self-discovery”) and to investigate his interests in myth and alchemy. I find that his work in painting was deeply intuitive and literally experimental—Gottlieb could not predict whether a painting would succeed until he had completed it, and so his career was an iterative process of painting, observing the results, and then painting again. I go on to consider Gottlieb’s paintings themselves as a record of how this experimental process functioned in practice. By presenting his diverse body of work in its full breadth, I demonstrate that the artist was not limited by his major styles, and indeed that he always presented himself with multiple possibilities. I conclude that Gottlieb’s work remains vital because he worked without an end goal or predetermined outcome in mind, and instead gave himself over to a continuous process of creativity and discovery.Item Fingers crude(2020-09-04) Bechelli, Lauren Winchell; Perzyńksi, Bogdan, 1954-This report echoes my visual work. I claim that while my writing articulates my life’s philosophy and my visual work exemplifies it, both bond in a reiterative relationship. Moments of leaving this relationship are rare; they take place when a simpler textual explanation enters the theses, with trust that a reader recognizes them as aspects within a network. The theses explore my relationship to visual art as my principle agent and, as such, express impulses sincerely and self-critically, allowing contradictions to exist without negation. The text/agent – as it reiterates – acts as a simulacrum and reaches beyond being a mere place maker of the real; it embeds the personal, familial, and historical identities. It wraps and reveals, both in the material and conceptual sense. Finally, the theses embody the spirit of the visual work by inserting found written fragments: notebooks and dream notations. This undertaking follows the same procedural path and offers and additional opportunity to experience the visual work’s tone.Item Hey baby I'm in the ER(2013-05) Culver, Christopher James; Stoney, John; Williams, JeffThis report examines the history of my practice and interest in architectural and painting surfaces. It is intended to dissect language and the use of the screen as a way to understand different relationships of self to other, and self to architecture. Selected art works and writings I have produced are explicated as they relate to the ideas; both are used to describe my studio practice and process.Item The illusionistic pergola in Italian Renaissance architecture : painting and garden culture in early modern Rome, 1500-1620(2012-05) Nonaka, Natsumi; Taylor, Rabun M.; Beneš, Miroslava; Alofsin, Anthony; Cleary, Richard; Bober, Jonathan; Waldman, LouisThe present dissertation is intended to be the first systematic investigation of the illusionistic pergola considered within the framework of the intellectual culture and the garden culture of early modern Rome. The subject is the fresco or mosaic decoration featuring a pergola – a depicted trelliswork covered with plants and peopled with birds – in the loggias, porticoes, and garden pavilions of villas and palaces in Rome and its environs. These pictorial fictions have survived in sufficient numbers to constitute a decorative trend, and moreover, appear in clusters at specific periods, which can be partly explained by means of the cultural factors predominant at the time. The dissertation discusses these pergolas in relation to antiquarian culture, the collecting of plants and birds, the study of natural history, garden furnishings and the art of treillage, thereby contextualizing them within the culture of early modern Rome. The dissertation assembles the first corpus of illusionistic pergolas in the period 1500-1620, updating a much earlier general corpus of 1967 by Börsch-Supan, and distinguishes three distinct periods of the proliferation of these pictorial fictions in Rome and its environs: the first period (1517-1520), the second period (1550-1580), and the third period (1600-1620). Important cultural issues relevant to each period are identified,and proposed as the frameworks for study. These include the reference to the antique and to the vernacular, mediation between indoors and outdoors, the tension between art and craft and the ambiguity of the pseudo-architectural, semantic and aesthetic cross reference between architecture and garden, and the reflection of the intellectual culture. On examination, the illusionistic pergolas are revealed to be a nexus of interrelationships between built structure, ornamented surface, garden and landscape, as well as multivalent embodiments of emerging ideas and sensibilities concerning the experience of architectural space and nature. By taking into account the middle ground of architecture and garden, the study explores the multivalence of ephemeral garden furnishings and their fictive counterparts, opening up a new perspective on the sites examined, and attempts to see a resonance of the tradition in modern times.Item The Leo Castelli Gallery in Metro magazine : American approaches to post-abstract figuration in an Italian context(2012-08) McKetta, Dorothy Jean; Shiff, RichardBetween the years 1960 and 1970, New York gallerist Leo Castelli was closely involved with Milanese editor and publisher Bruno Alfieri's Metro magazine--an international review of contemporary art. By placing his artists in Metro, Castelli inserted them into the world of Italian art criticism and theory. This recontextualization familiarized the American artists of Castelli's gallery to a European audience and positioned them at the end of a succession of modern European styles. Specifically, Castelli's artists, each of whom engaged in a form of pictorial figuration, were seen as ending the dominance of the "pure" abstraction of the French informel style. This thesis uses the archive of correspondence between Bruno Alfieri and Leo Castelli to examine Castelli's contribution to Metro during the 1960s. Departing from this chronology, it also seeks to understand the unique brand of figuration that each of Castelli's artists brought to Metro, given cues from contemporary Italian theory and criticism--particularly that of Gillo Dorfles, who wrote on several of Castelli's artists.Item Linger on(2018-05-07) Lee, Marta Frances; Williams, Jeff, M.F.A.A list of my earliest memories functions as an index to the internal logic of my work. The people I have met, the music I have listened to, objects I have seen, and places I have been to are the major variables. In my studio, playful structure and material exploration interact with these ideas, resulting in an oscillation between figuration and abstraction that prolongs viewing.Item The mediated gaze(2011-05) Abercrombie, Catherine Mary; Canright, Sarah; Sutherland, DanielThis report is a compilation of the influences that shape my current work. In this written representation of my process I mimic how ideas overlap and collide, rather than taking a chronological approach to my development over the past three years. The role of ornament to engage contemporary viewing is a dominant theme, in both my work and the report. I approach painting as an attempt to understand contemporary visual culture and how we look at objects today. My paintings rely on ornament as an entrance into exploring aesthetics and my personal history.Item Minding the skies(2011-05) Johnson, Bethany Jo; Canright, Sarah; Miller, MelissaThis report outlines the conceptual, procedural and material evolution of my artistic practice over the course of the past three years. Throughout all of the changes my artwork has undergone during this time, my work has always dealt with the combination of (and sometimes conflict between) a scientific, logical, utilitarian truth, and a more poetic, emotive and oblique conception of knowledge. This preoccupation reflects my own impulse to both understand my environment in the most conventionally factual way, while simultaneously acknowledging its hopeless (but profound and poetic) complexity, subjectivity and obscurity. As a manifestation of these concerns, my artistic output includes diagrammatic compositions, philosophical illustrations, drawings of scientific imagery, portfolios of cartographic documents and methodical replications of scientific experiments. In this report I outline the various, complimentary ways in which I consider the notion of epistemological collapse.Item The paint gap(2010-05) Dahl, Samuel Alcibiades, 1980-; Canright, Sarah; Miller, Melissa; Petersen, Bradley; Charles, Michael RayUnderlying all my work is a tension between the painter and the builder. I love to paint. I love the lie inherent in paint: that it can make a picture plane masquerade as light, space, or recognizable place with recognizable figuration. I love how paint—particularly oil paint—can rest in gloppy piles, how it can drip, splatter, spread, or how it can squeeze out of paint tubes in long, stringy beads. I love how paint changes how we see an interior space or a three-dimensional form. Yet I also love building things—usually out of wood—measuring and cutting, fastening things together—all to serve a function or solve a problem. In every studio I have had, there has always been an arms race between my fine art supplies and my tools. My work during my three years at the Department of Art and Art History at the University of Texas at Austin has undergone some dramatic changes. In large part this paper will elaborate and evaluate the trajectory of these changes. Yet, in spite of these changes, the competing impulses to paint and to build have remained constant. This report will leave unanswered the question whether these two impulses can or should be reconciled, kept separate, or whether one should be sacrificed in favor of the other. The artist writing this report does not know at this point in time, and cannot hope to answer this question without making more work in a new context. This report instead will reveal how I arrived at the work I am making at the time of writing this report, and why I regard this new body of work as being about the “paint gap.” I define the “paint gap” as the distinction—mild or strong—between paint itself and the object or surface upon which paint is applied.Item Painting in 2010(2010-05) Lane, Daniel Barlow; Sutherland, Dan, 1966-; Jordan, Richard MThe paper is a report of the work done by Daniel Barlow Lane as a Master of Fine Arts in graduate school. The paper outlines his understanding of what painting is in today’s world as well as his individual work. The paper describes three different series of work in chronological order. Pictures of the work at its different stages are provided for reference along with pictorial references of his major influences throughout his time in graduate school. The paper focuses on the reasons and decisions Daniel has made throughout his time at the University of Texas at Austin and documents in retrospect his understanding of what happened, what he made, and why.Item Perceptions of an erotic maker(2016-05) Miller, Ann Benjamin; Reynolds, Ann Morris; Hubbard, Teresa, 1965-This report is a summary of my work and research during my three years at University of Texas at Austin. The first section of the report begins with the presentation of a mode of perception that comes from Parker Tyler’s essay “The Erotic Spectator: an Essay on the Eye of the Libido”. The second part of the report is a narrative that puts into practice the tools presented by Tyler- a set of tools that I use to allow boundaries of life and studio to fluidly shift and coalesce into paintings and back into life experiences.Item Persistent Breakage(1992-02-13) Evans, RobinAudio files are EID restricted. Individuals without an EID should send an email request to apl-aaa@lib.utexas.edu.