34116 research outputs found
Sort by
"Supreme Being: The Symmetry of What You Saw and What You Say" Installation Image
No full textThis digital image was photographed and uploaded to DLynx by the Visual Resources Center in January, 2018.This is an image documenting the "Supreme Being: The Symmetry of What You Saw and What You Say" exhibition.Melding the aesthetics of kitsch (bourgeois realism) and communist art (social realism) with those of high art (museum design) and film, RMB’s work explores the coercive foundation of systems of display found in the desire to communicate a clear, moral message across various cultural contexts. With text and subtitles in direct address to the viewer, the exhibition also reflects the distance between an object’s past meaning and personal meditation on its meaning in the present. The opening was held in the Clough Hanson Gallery on January 19, 2018 from 5:00-7:00 pm
"Body-ody-oddy" Opening Reception Image
No full textThis digital image was photographed by Helen Files and uploaded to DLynx by the Visual Resources Center in December, 2018.This is an image of the opening reception for the Body-ody-oddy exhibition held in the Clough Hanson Gallery on October 26, 2018. The exhibition consisted of artists exploring the body at, against, and beyond its boundaries, creating hybrids, amalgams, and excesses that illuminate the ways that politics and pleasures are made flesh. It featured work by Katie Torn, Alex Paulus, Melissa Wilkinson, and Moth Moth Moth and the Haus of Phantosea.
Alex Paulus commented on his work, stating "My paintings are a representation of how ridiculous I think life can be...I also like to include humor in the work. If my art can make people laugh and feel good, I’ve succeeded. The paintings are usually very bright and bold in color, and the subject matter can be a little bizarre. The use of brightly colored paint seems to curb some the strange imagery and make it more palatable to the viewer."
Melissa Wilkinson commented as well, saying "These series of paintings focus on my interest in dichotomies: obscuring and revealing, attraction and repulsion, good and evil, the past and the present. I appropriate imagery from a variety of sources in order to develop a pastiche that fractures the conventional male gaze and positions art historical models as both subject and spectacle. I choose to dismantle epic narratives from the past to create a schizophrenic perspective. The images break from their original sources into fragments, creating a complex visual experience that both irritates and seduces. It is through this body of work that I seek to challenge the hetero-normative male gaze and reinvent a fluid view that fluctuates between unconventional representations of the erotic body.
Spring Beginning Painting Project 1: Environment
No full textThis painting was digitized and uploaded to DLynx by the Visual Resources Center in Spring 2018.This is a painting created by Miriam Ellis. It was submitted as part of the first project assigned to the Beginning Painting class of Spring 2018 taught by Carl Moore. This assignment, titled "Environment," required students to complete 20 paintings on a 9 x 12 inch cold press illustration board and two color charts. The "Environment" subject could reference objects from everyday life or a still life that was set up in the studio
"Body-ody-oddy" Opening Reception Image
No full textThis digital image was photographed by Helen Files and uploaded to DLynx by the Visual Resources Center in December, 2018.This is an image of the opening reception for the Body-ody-oddy exhibition held in the Clough Hanson Gallery on October 26, 2018. The exhibition consisted of artists exploring the body at, against, and beyond its boundaries, creating hybrids, amalgams, and excesses that illuminate the ways that politics and pleasures are made flesh. It featured work by Katie Torn, Alex Paulus, Melissa Wilkinson, and Moth Moth Moth and the Haus of Phantosea.
Alex Paulus commented on his work, stating "My paintings are a representation of how ridiculous I think life can be...I also like to include humor in the work. If my art can make people laugh and feel good, I’ve succeeded. The paintings are usually very bright and bold in color, and the subject matter can be a little bizarre. The use of brightly colored paint seems to curb some the strange imagery and make it more palatable to the viewer."
Melissa Wilkinson commented as well, saying "These series of paintings focus on my interest in dichotomies: obscuring and revealing, attraction and repulsion, good and evil, the past and the present. I appropriate imagery from a variety of sources in order to develop a pastiche that fractures the conventional male gaze and positions art historical models as both subject and spectacle. I choose to dismantle epic narratives from the past to create a schizophrenic perspective. The images break from their original sources into fragments, creating a complex visual experience that both irritates and seduces. It is through this body of work that I seek to challenge the hetero-normative male gaze and reinvent a fluid view that fluctuates between unconventional representations of the erotic body.
"TEXT | subtext |" Opening Reception Image
No full textThis digital image was photographed by Sarah Hatfield and uploaded to DLynx by the Visual Resources Center in April, 2018.This is an image from the "TEXT | subtext |" opening event, presented by Bonnie Whitehouse and Sarah Hatfield at the Evergreen Presbyterian Church. This show was curated through Rhodes College's Curation in Context course and funded graciously by the Clough Hanson Gallery. The show featured Lauren Blair of Memphis College of Art. This show focused on the connection between medically transitioning and mental health. The "TEXT | subtext |" exhibition was held on Sunday, April 22nd at 5:30. Live music began at 7:30, and the Blair's first solo exhibition ended at 8:30.Clough Hanson Galler
Spring Beginning Painting Project 1: Environment
No full textThis painting was digitized and uploaded to DLynx by the Visual Resources Center in Spring 2018.This is a painting created by Jessica Shainker. It was submitted as part of the first project assigned to the Beginning Painting class of Spring 2018 taught by Carl Moore. This assignment, titled "Environment," required students to complete 20 paintings on a 9 x 12 inch cold press illustration board and two color charts. The "Environment" subject could reference objects from everyday life or a still life that was set up in the studio
Defining the functional bases within centromeric promoters
No full textPresentation by Arati Joshi ('19) delivered at the Rhodes College Undergraduate Research and Creative Activity Symposium (URCAS).During cellular division, DNA is duplicated and partitioned such that the two new cells inherit
the same genetic information. Failure to form a centromere, a complex of DNA and proteins,
causes errors in DNA division and can cause developmental defects in humans.
Heterochromatin, a condensed form of DNA and DNA-associated proteins, is necessary for
centromere formation. Previous work has shown that RevCen, a transcribed DNA sequence
present in multiple copies at the centromere, is sufficient to recruit heterochromatin and silence
nearby genes. To test whether RevCen transcription is important for silencing, we engineered
versions of RevCen without a promoter. We show that RevCen-mediated gene silencing is
partially dependent on the presence of its promoter. Future work will confirm that the loss of
gene silencing is accompanied by a loss of heterochromatin and will determine whether RevCen
transcript levels decrease when the promoter is absent. To define the functional bases within the
RevCen promoter, we will create a series of promoter deletion fragments and measure their
ability to initiate transcription and establish heterochromatin. This work demonstrates that the
RevCen promoter is important for gene silencing and will identify specific sequences within the
promoter that are necessary for transcription and heterochromatin establishment
"What's Gone With Boy I Wonder" Opening Reception Image
No full textThis digital image was photographed by Helen Files and uploaded to DLynx by the Visual Resources Center in September, 2018.This is an image of the opening reception for Jared Buckheister's exhibition "What’s Gone With That Boy I Wonder".Spanning the last decade, What’s Gone With That Boy I Wonder surveys Jared Buckhiester’s exploration of conflicted desires and the American archetypes that anchor them. This exhibition presents a selection of works inclusive of the artist’s varied and emotionally-invested approach to the medium drawing. Initially an exhibition titled Love Me Tender curated by David Getsy and presented at The Bureau Of General Services Queer Division in the fall of 2017, What’s Gone With That Boy I Wonder expands on its previous incarnation. In the current iteration of this exhibition, photography and sculpture are included alongside drawings, giving a fuller impression of Buckhiester’s working process, while broadening its narrative and conceptual possibilities. There was a lecture for the exhibition on August 30, and the exhibition was held from September 1st to October 7th
"Supreme Being: The Symmetry of What You Saw and What You Say" Installation Image
No full textThis digital image was photographed and uploaded to DLynx by the Visual Resources Center in January, 2018.This is an image documenting the "Supreme Being: The Symmetry of What You Saw and What You Say" exhibition.Melding the aesthetics of kitsch (bourgeois realism) and communist art (social realism) with those of high art (museum design) and film, RMB’s work explores the coercive foundation of systems of display found in the desire to communicate a clear, moral message across various cultural contexts. With text and subtitles in direct address to the viewer, the exhibition also reflects the distance between an object’s past meaning and personal meditation on its meaning in the present. The opening was held in the Clough Hanson Gallery on January 19, 2018 from 5:00-7:00 pm
Spring Beginning Painting Project 1: Environment
No full textThis painting was digitized and uploaded to DLynx by the Visual Resources Center in Spring 2018.This is a painting created by Prentiss Smith. It was submitted as part of the first project assigned to the Beginning Painting class of Spring 2018 taught by Carl Moore. This assignment, titled "Environment," required students to complete 20 paintings on a 9 x 12 inch cold press illustration board and two color charts. The "Environment" subject could reference objects from everyday life or a still life that was set up in the studio