9 research outputs found
Residues of Border Control
No full textSince 2007, Susan Harbage Page has photographed objects left at the US–Mexico border, both on site in the Rio Grande Valley, and in her studio. In this photo essay, Inés Valdez comments on the significance of Harbage Page's images of the traces left by immigrants and by those who control the border. Valdez's discussion also challenges the historical representation of the United States as a welcoming "nation of immigrants.
Prop Master at Charleston's Gibbes Museum of Art
No full textSusan Harbage Page and Juan Logan, Prop Master exhibit, Charleston, South Carolina, 2009. Photo: Rick Rhodes.
The Gibbes Museum of Art in Charleston, South Carolina presented the exhibition Prop Master: An Installation in the museum's Main Gallery from April 3 through July 19, 2009. This site-specific, large-scale installation created exclusively for the Gibbes drew materials from the museum's permanent collection of portraits, landscape paintings, and archives, begun over 150 years ago. This online presentation of Prop Master, with original wall text by Laurel Fredrickson, reveals how artists Susan Harbage Page and Juan Logan juxtaposed art objects drawn from the Gibbes's collection and decorative art objects from local public and private collections with works of their own creation. In doing so, they investigate the role of the institution of the museum as both a prop master and a prop with regard to race, class, and gender relations in historic Charleston society
creatures from the earth made of earthly materials
No full textDocuments submitted to the Faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Fine Arts in the Department of Art.Master of Fine Art
The Wall
No full textThe most inane obstacle that undocumented immigrants face upon reaching U.S. soil is the 670-mile border wall that Congress erected after passing the 2006 Secure Border Fence Act. The author meditates on its architecture through her meetings with half a dozen visual artists. Conceptual artist Susan Harbage Page photographs and collects the objects immigrants leave behind during their border crossing. Artist and curator Mark Clark organizes “Art Against The Wall” exhibitions in which artists festoon the border wall with brilliantly colored canvases (until the Border Patrol takes them down). Rigoberto Gonzalez is an oil painter who recreates life-size images of narco-violence in the style of seventeenth-century Baroque masters. Santa Barraza paints a Virgen de Guadalupe in Kingsville every December. At the end of the chapter, the author witnesses the arrest of two undocumented immigrants less than a mile from the Rio Grande.</p
Positive representation of Inns of Court lawyers in Jacobean city comedy
No full textThis thesis was submitted for the degree of Doctor of Philosophy and awarded by Brunel University.This thesis examines representations of lawyers and law in examples of Jacobean city comedy, taking into account certain contemporary developments in the legal profession and the law in England. The period covered is 1598-1616. The thesis questions the conventional interpretation of city comedy as hostile to the legal profession. It suggests the topic is more complex than has been assumed, arguing that city comedy makes direct and indirect positive representation of Inns of Court lawyers, who are to be distinguished from attorneys (newly segregated in the Inns of Chancery), amateur quasi-lawyers, and university-educated civil lawyers. It is proposed that city comedy represents Inns of Court lawyers positively in two ways. Firstly, by means of legal content: representations of developments in the profession and the law demonstrate a wish to connect with the young lawyers and students of the Inns of Court, and reflect a contemporary drive by them for increased organization and regulation. Secondly, by means of literary form: ostensibly pejorative representations need not be taken at face value; instead, they may be found to be ironic. The main proposed contributions to knowledge are: that Inns of Court lawyers were a favoured part of the target audience of the private playhouses, making it questionable that they would be represented negatively in city comedy; that lawyers as represented in city comedy are not a single or a simple category; that representation of lawyers is inflected by the various forms and impulses of city comedy; and that city comedy incorporates some reflection of the increasing professionalization of legal practice in the period
A study in sixteenth-century performance and artistic networks: British Library, Additional Manuscript 15233
No full textThis thesis is a modern spelling edition of unedited poems and song lyrics from British Library, Additional Manuscript 15233, and a cultural and sociological study of the collection.The manuscript contains music, poetry and fragments of drama attributed to John Redford, Organist, Almoner and Master of the Choristers at St. Paul's Cathedral c.1534–1547, as well as work by at least six other mid Tudor poets. The manuscript has systematically been cited as a ‘St. Paul’s miscellany’(because the main body of work within it is attributed to Redford), and despite its varied content, has been considered almost solely from the perspective of Early Modern drama. This thesis considers the manuscript anew: as a whole, rather than in parts divided along disciplinary lines, as an example of material culture, and separately from the well-researched centres of St. Paul’s and John Redford.Chapters one and two comprise a study of the physical makeup of the manuscript, demonstrating new evidence for its date, and suggesting that it is the product of an artistic network centred on the London parish church of St. Mary-at-Hill.Chapters three and four comprise new studies of the content of the manuscript. Chapter three examines The Play of Wit and Science, with particular attention to its bibliographical status, and its engagement with contemporary artistic debate in performance. It also demonstrates its importance as a source for two later sixteenth-century plays. Chapter four is a case study of a single poem from the manuscript. This demonstrates the overall significance of MS 15233 as a source for verse and song, uncovers a network of printers involved in the transmission of its contents, and calls into question the long-standing theory that the Elizabethan poet George Gascoigne was a contributor to the manuscript.The final chapter of the thesis comprises a modern spelling edition of the poems and song lyrics from MS 15233 with individual commentaries and textual apparatus. This thesis demonstrates that to examine MS 15233 purely in relation to St. Paul’s Cathedral and John Redford, and from any one perspective, is reductive, and that these approaches have caused evidence to be skewed, and scholars to miss more complex possibilities regarding its compilation and provenance
The dramaturgy of the tragedies of John Webster and John Ford with special reference to their use of stage imagery.
No full textPhDThe imagery of the plays of John Webster and John
Ford is not only verbal: in staging as well as language
these dramas display strongly imagistic, symbolic elements.
The purpose of this thesis is to examine the seven extant
tragedies of Webster and Ford from the point of view of
their total dramatic nature - to examine the staging,
costumes, hand and large properties, movement and gestures
as well as the verbal imagery, and the interplay of these
verbal and visual elements. The original appearance, of
these plays in their contemporary theatre, and the
dramatist's intentions for performance, can only be surmised.
The original stage directions are examined for
hints of the original presentation: these stage directions
may not always be authorial, but, especially in the case of
Ford, they seem to reveal the playwright's hand. The dialogue,
too, frequently implies particular gestures,
grouping or stage placement.
The visual imagery, it is here suggested, is created
by the dramatist for several purposes: a moral or ironical
point may be silently established; a chain of related
visual motifs may bind various actions and characters into
an organic union; a visualization may appeal outward to
other works of art or theatrical or non-dramatic conventions,
enlarging the immediate significance by this shorthand
reference; visual ceremonies may make concrete the more
ephemeral words and feelings of the characters.
Each of the tragedies is studied in a separate chapter,
in the following order: Webster's The White Devil, The
Duchess of Malfi, and Appius and Virginia (the authorship
of which is disputed); John Ford's The Broken Heart,
Love's Sacrifice, 'Tis Pity She's a Whore, and Perkin
Warbeck. A conclusion indicates the differences between
Webster's more overtly theatrical visualizations and Ford's
quiet tableaux.
The thesis is accompanied by illustrations which are
either explanatory or comparative
