54 research outputs found
Anderson, Alan
No full textFieldwork materials from interview with Alan Anderson, a woodcarver in Baraboo, WI. Anderson does a variety of woodwork in the Swedish tradition, including furniture making, ale bowls, and other carved items. Interviewed by Cortney Anderson Kramer in 2019 in Baraboo, WI
Johnson, Taylor
No full textFieldwork materials from interview with Taylor Johnson, a woodcarver in Cashton, WI. Johnson carves kubbestols and does work in acanthus carving. Interviewed by Cortney Anderson Kramer in 2019 in Cashton, WI
Johnson, Taylor Fieldwork documentation
No full textFieldwork materials from interview with Taylor Johnson, a woodcarver in Cashton, WI. Johnson carves kubbestols and does work in acanthus carving. Interviewed by Cortney Anderson Kramer in 2019
The Fine Art of Leaving
No full textA personal narrative is presented which explores the author\u27s experience of resigning and employing into a new job as a nurse
Lydia at a Tapestry Frame: Recognizing Decorative Elements in Mary Cassatt\u27s Art
No full textMary Cassatt (b. 1844) painted her sister Lydia working at an embroidery frame while the two shared a home in Paris in 1881. Considering the painting’s subject, needlecraft, Lydia at a Tapestry Frame presents the opportunity to investigate Cassatt’s engagement with artistic movements associated with neo-medievalism and the Arts and Crafts Movement. In light of contemporary writings that explored the artistic potential of needlecraft and decoration, Lydia’s hobby presented Cassatt with the opportunity to showcase the artistic and self-expressive potential of a gendered medium. The formerly unrecognized “art” had the potential to show that women and their decorative crafts could be both inventive and artistic
Lydia at a Tapestry Frame: Recognizing Decorative Elements in Mary Cassatt's Art
No full textMary Cassatt (b. 1844) painted her sister Lydia working at an embroidery frame while the two shared a home in Paris in 1881. Considering the painting’s subject, needlecraft, Lydia at a Tapestry Frame presents the opportunity to investigate Cassatt’s engagement with artistic movements associated with neo-medievalism and the Arts and Crafts Movement. In light of contemporary writings that explored the artistic potential of needlecraft and decoration, Lydia’s hobby presented Cassatt with the opportunity to showcase the artistic and self-expressive potential of a gendered medium. The formerly unrecognized “art” had the potential to show that women and their decorative crafts could be both inventive and artistic
Shakespeare, Authority, and the English Catholic Experience
No full textBy the time Shakespeare’s plays first appeared on stage in the late-sixteenth century, the Elizabethan campaign against English Catholics had reached its peak. However, Roman Catholicism continued to influence the English throne, the English Church, and most especially, those men and women who remained devoted to it. Through Shakespeare’s works, we can see a sharper picture of the early modern English Catholic experience and gain a new respect for the individual, political, and ecclesial interests that contributed to it. I begin with the individual in Section I, examining the experience of those who had to determine the depth of their patriotism to a state that had criminalized their religion and eliminated many of its celebrations. In chapter one, I explore Hamlet and the psychological effects of the surveillance culture that Claudius implements and that others appropriate in order to investigate one another and protect themselves. I compare this “rotten” climate of suspicion in Elsinore to Elizabethan England and the anxiety suffered by recusant Catholics as a result of state surveillance into their religious practices. In chapter two, I turn to The Merchant of Venice and its implicit gesture towards Corpus Christi, the Catholic feast that once honored the Real Presence of Christ in the Eucharist but that had been eradicated from the English church calendar after the Reformation. The play’s clearest references to Corpus Christi occur in its fixation on flesh and in its marriage trope, but these elements then also thrust to the forefront the Jewishness of Christ’s flesh and the difficulties associated with conversion. Hamlet and Merchant of Venice reflect individual English Catholics’ desire to practice their religion peacefully, without state interference in the theological teachings they espoused or the feast days they chose to commemorate.
In Section II of this dissertation, I shift away from the individual Catholic and towards the traces of Catholicism in the English monarchy and its state-run church. In chapter three, I discuss Richard II and the inherent instability of English kingship. The play frequently alludes to historical ruptures in primogenitary inheritance both before and after Richard’s abdication to Henry Bolingbroke. It also demonstrates the failure to enact sacramental permanence in the coronation ritual. Through its display of these problematic traditions, Richard argues that Christian kingship must be actively stabilized and not simply left to Providence in order to survive. Finally, in chapter four, I look at Erastian governance, the fusion of state and ecclesial authority, in Measure for Measure. In featuring a Catholic duke adopting clerical authority in the Catholic region of Vienna, Shakespeare uses a Catholic veneer to imagine the consequences of English Erastianism under James I. Through it, he hints that Erastian governors will ultimately seek political ends at the expense of their people’s spiritual needs and that religious figures who willingly suborn their church to the state fail to serve those entrusted to their care. Richard II and Measure for Measure reveal the power of the state and the church to affect individual souls and seem to insist that an autonomous church, such as Roman Catholicism, presents the most effective check on royal absolutism and its appropriation of ecclesial authority
The Aura of Eccentricity: Reflections on Outsider Art Rhetoric and its Impact on a Critical Discourse
No full textThe Aura of Eccentricity: Reflections on Outsider Art Rhetoric and its Impact on a Critical Discourse
No full textIn the field of Art History, affecting art with the artist’s aura is a central mechanism of canon creation that mythologizes artists into objects of desire. This tendency permeates outsider art whose appeal is rooted in biographical exceptionalism and eccentricity rather than aesthetic aptitude (see Morgan 2018). Reviewing the work of Henry Darger, Eugene Von Bruenchenhein, and A.G. Rizzoli—artists whose works are accumulative, some suggest compulsive, in reiteration and magnitude—this essay explores the pitfalls of projecting an aesthetic affect onto the artist and in turn building their value upon a fabricated aura of eccentricity. The aura of eccentricity resides at the nexus between material and idea. It is both real and mythologized, materially communicated through excess, opulence, and exaggeration of shapes, scale, colour, and medium yet ideologically created in the realm of differentiating adjectives and semantic flourishes. Engaging with Walter Benjamin and Theodor Adorno, this essay argues that material culture demands self-awareness of our own interpretive prejudices, in this case fashioning the artist outsider with eccentric narratives retroactively projected upon them through the interpretation of their work.Dans le domaine de l’histoire de l’art, le fait de répercuter l’aura de l’artiste sur l’art constitue un mécanisme central de création d’un canon qui mythifie les artistes et en fait des objets de désir. Cette tendance imprègne l’art marginal, dont l’attrait s’enracine dans l’exception biographique et l’excentricité plutôt que dans une aptitude esthétique (voir Morgan 2018). Passant en revue les oeuvres d’Henry Darger, Eugene von Bruenchenhein et A.G. Rizzoli – des artistes dont les travaux ont un caractère cumulatif, certains diraient compulsif, du fait de leur réitération et de leur ampleur – cet article explore le danger de projeter un affect esthétique sur l’artiste et en retour de construire la valeur des artistes sur une aura d’excentricité artificielle. L’aura d’excentricité réside au croisement du matériel et de l’idée. Elle est à la fois réelle et mythifiée, elle se communique matériellement par l’excès, l’opulence et l’exagération des formes, de l’échelle, de la couleur et du médium, tout en étant créée, sur un plan idéologique, dans un royaume où fleurissent les adjectifs distinctifs et la sémantique. Dans un dialogue avec Walter Benjamin et Theodor Adorno, cet article avance que la culture matérielle exige que nous soyons avertis de nos propres préjugés interprétatifs, qui consistent dans ce cas, lorsque l’on interprète les oeuvres de l’artiste marginal, à projeter rétrospectivement sur lui un narratif d’excentricité
The Aura of Eccentricity: Reflections on Outsider Art Rhetoric and its Impact on a Critical Discourse
No full textIn the field of Art History, affecting art with the artist’s aura is a central mechanism of canon creation that mythologizes artists into objects of desire. This tendency permeates outsider art whose appeal is rooted in biographical exceptionalism and eccentricity rather than aesthetic aptitude (see Morgan 2018). Reviewing the work of Henry Darger, Eugene Von Bruenchenhein, and A.G. Rizzoli—artists whose works are accumulative, some suggest compulsive, in reiteration and magnitude—this essay explores the pitfalls of projecting an aesthetic affect onto the artist and in turn building their value upon a fabricated aura of eccentricity. The aura of eccentricity resides at the nexus between material and idea. It is both real and mythologized, materially communicated through excess, opulence, and exaggeration of shapes, scale, colour, and medium yet ideologically created in the realm of differentiating adjectives and semantic flourishes. Engaging with Walter Benjamin and Theodor Adorno, this essay argues that material culture demands self-awareness of our own interpretive prejudices, in this case fashioning the artist outsider with eccentric narratives retroactively projected upon them through the interpretation of their work.Dans le domaine de l’histoire de l’art, le fait de répercuter l’aura de l’artiste sur l’art constitue un mécanisme central de création d’un canon qui mythifie les artistes et en fait des objets de désir. Cette tendance imprègne l’art marginal, dont l’attrait s’enracine dans l’exception biographique et l’excentricité plutôt que dans une aptitude esthétique (voir Morgan 2018). Passant en revue les oeuvres d’Henry Darger, Eugene von Bruenchenhein et A.G. Rizzoli – des artistes dont les travaux ont un caractère cumulatif, certains diraient compulsif, du fait de leur réitération et de leur ampleur – cet article explore le danger de projeter un affect esthétique sur l’artiste et en retour de construire la valeur des artistes sur une aura d’excentricité artificielle. L’aura d’excentricité réside au croisement du matériel et de l’idée. Elle est à la fois réelle et mythifiée, elle se communique matériellement par l’excès, l’opulence et l’exagération des formes, de l’échelle, de la couleur et du médium, tout en étant créée, sur un plan idéologique, dans un royaume où fleurissent les adjectifs distinctifs et la sémantique. Dans un dialogue avec Walter Benjamin et Theodor Adorno, cet article avance que la culture matérielle exige que nous soyons avertis de nos propres préjugés interprétatifs, qui consistent dans ce cas, lorsque l’on interprète les oeuvres de l’artiste marginal, à projeter rétrospectivement sur lui un narratif d’excentricité
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