Art History Theses and Dissertations

• Departing from History: Sharon Hayes, Reenactment and Archival Practice in Contemporary Art

  Denning, Catherine (University of Oregon, February 23, 2016)

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  Mondloch, Kate Denning, Catherine 2016-02-24T00:32:47Z 2016-02-24T00:32:47Z 2016-02-23 http://hdl.handle.net/1794/19726 This thesis addresses reenactment and archival practice in the work of Sharon Hayes, a mid-career multi-media artist renowned for her use of archival documents to pose questions about history, politics, and speech. I do this through analyses of two of Hayes’s projects: the series In the Near Future (2005-2009) and a series of projects the artist refers to as “love addresses.” While these projects appropriate and repeat historical documents, Hayes’s work is especially interesting for the way it emphasizes difference over authenticity and explores the ways meaning shifts across temporal, geographic, and social contexts. In contrast to scholars who argue that Hayes’s practice is nostalgic and serves to decontextualize and depoliticize history, my thesis argues that the pedagogical aspects of Hayes’s work and her performative engagements with historical material are deeply political and contextual. My thesis demonstrates that Hayes’s distinctive contribution is to model historical agency and imagine alternative futures. en_US University of Oregon All Rights Reserved. archival practice contemporary art feminism performance art queer studies reenactment Departing from History: Sharon Hayes, Reenactment and Archival Practice in Contemporary Art Electronic Thesis or Dissertation M.A. masters Department of the History of Art and Architecture University of Oregon
• On the Use and Meaning of Wood in Chinese Imperial Architecture

  Long, Lindsay (University of Oregon, February 23, 2016)

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  Lachman, Charles Long, Lindsay 2016-02-24T00:06:11Z 2016-02-24T00:06:11Z 2016-02-23 http://hdl.handle.net/1794/19659 Wood is the primary structural building material of Chinese imperial architecture. This thesis argues that there are practical and symbolic reasons why wood was chosen instead of stone for politically and ritually important structures. Stone is connected to immortality and death so for buildings that must endure through time, masonry was the preferred building material for funerary contexts. Wood represents life and regrowth and was thus the preferred material for living structures. However, wood is vulnerable and such buildings degraded over time, so they had to be habitually rebuilt. This thesis then seeks to explore the ways in which this practice of rebuilding works within modern theories of architectural authenticity and modern conservation methods. It will argue that Imperial Chinese architecture does work within certain types of architectural authenticity and conservation methods. en_US University of Oregon All Rights Reserved. Architectural history China On the Use and Meaning of Wood in Chinese Imperial Architecture Electronic Thesis or Dissertation M.A. masters Department of the History of Art and Architecture University of Oregon
• Curating Buddhism: Reimagining Buddhist Statues in a Museum and Temple Setting

  Jameson, Derry (University of Oregon, February 23, 2016)

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  Lachman, Charles Jameson, Derry 2016-02-24T00:05:57Z 2016-02-24T00:05:57Z 2016-02-23 http://hdl.handle.net/1794/19658 This thesis considers whether a Buddhist statue in a museum context can be both aesthetic and devotional. By reexamining the relationship between a devotional object, its surrounding space, and its viewer, this thesis will suggest how a museum gallery, though not a consecrated ritual space, can still potentially be a place for spiritual engagement akin to a religious sanctuary. Through a comparison of Gallery 16 of the Asian Art Museum, San Francisco and Mengjia Longshan Temple, Taipei, Taiwan as a case study in terms of their spaces and the movement of people within the space in relation to the objects, this thesis will consider how Buddhist statues may continue to exist as spiritual objects and works of aesthetic appreciation without losing their past as devotional icons, and I will do this by applying Victor Turner’s concepts of liminality and the liminoid. en_US University of Oregon All Rights Reserved. Buddhist art Museum Statues Temple Curating Buddhism: Reimagining Buddhist Statues in a Museum and Temple Setting Electronic Thesis or Dissertation M.A. masters Department of the History of Art and Architecture University of Oregon
• Collecting Memories: Rachel Whiteread’s House and Memory in Contemporary London

  Dunn, Stephanie (University of Oregon, August 18, 2015)

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  Mondloch, Kate Dunn, Stephanie 2015-08-18T23:14:11Z 2015-08-18T23:14:11Z 2015-08-18 http://hdl.handle.net/1794/19348 Contemporary British artist Rachel Whiteread is celebrated for her ability to cast everyday objects that force the viewer to think about the spaces they typically ignore. House, one of Whiteread’s most well known and written about sculptures was created in 1993. House considered issues of memory in contemporary London, specifically parts of London that are experiencing drastic amounts of change. Current scholars understand House as a memorial, and while this thesis agrees with this interpretation, it also considers House as part of a group memorial with Whiteread’s other sculptural works created before and in 1993. This thesis begins by contextualizing Whiteread’s artistic practice in current scholarship and argues for further evaluation of House. After a thorough examination of the creation, destruction, and reception of House, I analyze current scholarship on the sculpture and consider the similar themes through Whiteread’s early work to prove their ability to act as a group memorial. en_US University of Oregon All Rights Reserved. House Rachel Whiteread Sculpture Collecting Memories: Rachel Whiteread’s House and Memory in Contemporary London Electronic Thesis or Dissertation M.A. masters Department of the History of Art and Architecture University of Oregon
• Painting Photography: Robert Bechtle and the Critical Legacy of 1960s Photorealism

  Hajela, Christie (University of Oregon, August 18, 2015)

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  Mondloch, Kate Hajela, Christie 2015-08-18T23:12:47Z 2015-08-18T23:12:47Z 2015-08-18 http://hdl.handle.net/1794/19335 In the early 1970s, New York gallerist Louis K. Meisel devised a formal set of criteria to identify a group of artists he referred to as Photorealists. Despite the serious limitations of Meisel’s initial formulation, his criteria for assessing what constitutes Photorealism continue to dominate the critical discourse surrounding this artistic approach. This thesis revisits the critical legacy of 1960s Photorealism through a case study of artist Robert Bechtle and, in contrast to Meisel, identifies Bechtle’s work as deeply informed by other contemporary artists engaged with photographic imagery. By better appreciating Bechtle’s craft-based approach to the painting tradition and positioning his work in the broader history of the ongoing “dialogue” between painting and photography, this thesis ultimately provides a more expansive and robust understanding of Photorealist practices in the 1960s as well as their critical legacy. en_US University of Oregon All Rights Reserved. Painting Photography: Robert Bechtle and the Critical Legacy of 1960s Photorealism Electronic Thesis or Dissertation M.A. masters Department of the History of Art and Architecture University of Oregon
• Divinity & Destiny: Marian Imagery in Rubens' Life of Marie de' Medici

  Ziegler, Alexandra (University of Oregon, August 18, 2015)

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  Harper, James Ziegler, Alexandra 2015-08-18T23:12:27Z 2015-08-18T23:12:27Z 2015-08-18 http://hdl.handle.net/1794/19332 In 1622, the Dowager Queen of France, Marie de' Medici, had recently returned to Paris after a period of exile imposed by her son, Louis XIII, and commissioned a monumental cycle of images from Peter Paul Rubens to decorate the gallery of her freshly constructed Luxembourg Palace. The contract for the commission tasked Rubens with painting the “illustrious life and heroic deeds” of Marie de' Medici. This thesis argues that alongside the classical and the historical, Rubens employed a specifically Catholic visual language to create a painted panegyric of a heroic female sovereign. In doing so, Rubens linked Marie de' Medici with the Virgin Mary through compositional resonances and a personal iconography developed for the queen throughout her life in popular images and literary tributes. In the Medici Cycle, the maternal, virginal, and heroic virtues embodied by the Virgin served as justification for Marie de' Medici’s sovereignty and her reconciliation with Louis. en_US University of Oregon All Rights Reserved. Catholic Marie de' Medici Rubens Virgin Mary Divinity & Destiny: Marian Imagery in Rubens' Life of Marie de' Medici Electronic Thesis or Dissertation M.A. masters Department of the History of Art and Architecture University of Oregon
• From Art to Performance: Marcel Duchamp’s Imagery of Chess Exhibition at the Julien Levy Gallery

  Lancaster, Meredith (University of Oregon, August 18, 2015)

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  Cheng, Joyce Lancaster, Meredith 2015-08-18T23:11:31Z 2015-08-18T23:11:31Z 2015-08-18 http://hdl.handle.net/1794/19324 In 1944, Marcel Duchamp organized a widely publicized exhibition at the Julien Levy Gallery in New York City, The Imagery of Chess. This thesis will explore The Imagery of Chess exhibition in terms of the intertwined aspects of Duchamp’s identity: artist, chess master, publicist of art, and curator. Using chess as a paradigm, the trajectory of Duchamp’s interest in chess as an object to chess as a process will be traced. This thesis will argue that the exhibition synthesized the “successive moves” of Duchamp’s career as an artist, chess master, publicist of art, and curator while popularizing European avant-garde art in the eyes of the American art public. The Imagery of Chess also served as a precedent for two subsequent performances in which Duchamp participated in the 1960s: his chess performance with Eve Babitz in 1963 at the Pasadena Art Museum and the 1968 Reunion performance with John Cage. en_US University of Oregon All Rights Reserved. From Art to Performance: Marcel Duchamp’s Imagery of Chess Exhibition at the Julien Levy Gallery Electronic Thesis or Dissertation M.A. masters Department of the History of Art and Architecture University of Oregon
• Ethic Lost: Brutalism and the Regeneration of Social Housing Estates in Great Britain

  Karp, Mackenzie (University of Oregon, August 18, 2015)

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  Eggener, Keith Karp, Mackenzie 2015-08-18T23:10:47Z 2015-08-18T23:10:47Z 2015-08-18 http://hdl.handle.net/1794/19319 Between the late 1940s and the 1970s, the New Brutalism attempted to establish an ethical architecture befitting post-World War II Britain. For this reason, it became a popular style for public buildings, including social housing. Brutalist social housing estates were conceived by progressive post-war architects to house Britain’s neediest. Through an analysis of the utopian roots of Brutalism and the decline of the style and its ethic in scholarship and popular culture, I analyze the current redevelopment of three seminal Brutalist housing estates and the rediscovery of the Brutalist aesthetic by contemporary scholars and consumers alike. In this thesis, I argue that due to multiple factors, including a housing shortage across Britain, rising real-estate values and a general consumer interest in mid-century design, these estates are undergoing such regenerations. My thesis enhances our understanding of how social and political influences have shaped post-war British social housing up to the present. en_US University of Oregon All Rights Reserved. Brutalism Great Britain Public housing Regeneration Social housing The Smithsons Ethic Lost: Brutalism and the Regeneration of Social Housing Estates in Great Britain Electronic Thesis or Dissertation M.A. masters Department of the History of Art and Architecture University of Oregon
• The Abramović Method: The Performance Art of Marina Abramović, 2010 to Present

  Parry, Caroline (University of Oregon, August 18, 2015)

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  Mondloch, Kate Parry, Caroline 2015-08-18T23:08:13Z 2015-08-18T23:08:13Z 2015-08-18 http://hdl.handle.net/1794/19296 This thesis examines the performance art of Serbian artist Marina Abramović from 2010 to today following her emergence into mainstream media with the success of her performance The Artist Is Present (2010). This thesis investigates Abramović’s approach to performance and how the roles of artist and viewer change in face of increased fame, documentation, and age. The thesis argues that as Abramović ages, she is becoming increasingly preoccupied with her fame and with securing her legacy and that this concern is reflected by her increased documentation and self-promotion, as well as her interest in transitioning into the role of teacher rather than artist. This thesis ends with an optimistic look at the opening of The Marina Abramović Institute in late 2015 as a new type of institute in which Abramović's presence and legacy will be mediated not through the static and limited representation of photographs and relics but by the experiences and actions of the visitors themselves. en_US University of Oregon All Rights Reserved. Body Art Feminism Museum Practices Performance The Abramović Method: The Performance Art of Marina Abramović, 2010 to Present Electronic Thesis or Dissertation M.A. masters Department of the History of Art and Architecture University of Oregon
• The Power of Sobriety

  Northey, Janet (University of Oregon, January 14, 2015)

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  Harper, James Northey, Janet 2015-01-14T16:00:10Z 2015-01-14 http://hdl.handle.net/1794/18753 This thesis examines the power of the sober costume, or black, minimally ornamented dress, in portraits of Elizabethan female subjects. Current scholarship on the portraiture of Elizabethan women pays more attention to extravagant costumes. The history of material culture has emphasized the importance of ornament and color in the costumes of Elizabethan era elites; these qualities denoted status. Nevertheless, women of different and distinct classes were often depicted in sober garments, signifying the pervasiveness of the costume. This fact is evident in the portraits of three different women from three different classes: Bess of Hardwick from the courtly nobility, Joyce Frankland from the urban elite, and the royal Queen Elizabeth I. This thesis introduces the sober costume for Elizabethan women and argues that while its connotation is complex and multifaceted, sober costume transcended social boundaries to represent power and autonomy. en_US University of Oregon All Rights Reserved. The Power of Sobriety Electronic Thesis or Dissertation 2017-01-14 M.A. masters Department of the History of Art and Architecture University of Oregon
• Toward a New Landscape: The Architectural Photography of Gabriele Basilico, 1978-1984

  Szumita, Lauren (University of Oregon, January 14, 2015)

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  Cheng, Joyce Szumita, Lauren 2015-01-14T15:59:07Z 2015-01-14T15:59:07Z 2015-01-14 http://hdl.handle.net/1794/18740 Trained as an architect shortly before becoming a photographer of urban spaces, Italian photographer Gabriele Basilico (1944-2013) is celebrated for his work on the city in transition. Beginning in 1978, Basilico refrained from photographing people and turned his attention to the architectural structures that make up a city, an approach that would define the remainder of his career. His focus on architecture and urban landscapes places Basilico in the realm of the "new landscape photography" in Italy, which is recognized for depicting previously overlooked areas of the city, such as defunct industrial sites, with renewed interest. This thesis investigates three seminal works in Basilico's early career that secure his position in the new landscape photography. I argue that he maintains an intentional subjectivity, an intimate connection with his subject, which manifests itself through a humanistic or anthropomorphic presence in his photographs, articulating the true essence of his urban subjects. en_US University of Oregon All Rights Reserved. Toward a New Landscape: The Architectural Photography of Gabriele Basilico, 1978-1984 Electronic Thesis or Dissertation M.A. masters Department of the History of Art and Architecture University of Oregon
• Between Indoor and Outdoor: The Graffiti and Installations of Barry McGee ("Twist")

  Hwang, Sarah (University of Oregon, January 14, 2015)

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  Howell, Ocean Hwang, Sarah 2015-01-14T15:56:05Z 2015-01-14T15:56:05Z 2015-01-14 http://hdl.handle.net/1794/18704 This thesis traces the transformation of graffiti as it travels from the street to the art institution by closely examining the graffiti and installations of Barry McGee ("Twist"). As a graffitist-turned-artist, McGee looked to his environment and experiences for his art, incorporating the language of graffiti into his installations. They exhibit what I describe as his ethnography of graffiti because he creates them from his unique position as a graffiti writer, representing graffiti as both an aesthetic expression and established youth culture. In order to explain this re-mediation of graffiti, the thesis aligns McGee's works with the sculptural tableaus of Edward Kienholz to emphasize his use of the narrative to bring the audience into both the aesthetic and the social world of graffiti. en_US University of Oregon All Rights Reserved. Barry McGee graffiti San Francisco street art Twist Between Indoor and Outdoor: The Graffiti and Installations of Barry McGee ("Twist") Electronic Thesis or Dissertation M.A. masters Department of the History of Art and Architecture University of Oregon
• Visualizing Colonial Beauty: Female Figure Paintings of Yi Yu-tae, 1943-1944

  Kim, Gina (University of Oregon, October 17, 2014)

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  Lin, Jenny Kim, Gina 2014-10-17T16:15:35Z 2014-10-17 http://hdl.handle.net/1794/18530 This thesis aims to reexamine images of Korean women as signs that represent the intertwined imperial and patriarchal masculine desires as depicted in the Female Figure Paintings of Korean artist Yi Yu-tae (1916-1999): Women: Wisdom, Impression, Sentiment (1943) and A Pair of Figures: Rhyme and Research (1944). Existing interpretations of both works are problematic because they see the depictions of women in the paintings as representative of Korean women in 1940s. By investigating the Pacific War time gender hegemonies, like the "Wise Mother, Good Wife" rhetoric that opposed that of the "New Woman," and exploring Japanese Imperial Orientalism towards Korea, this study will provide an alternative reading of Yi's two Female Figure Paintings. By demonstrating how male psyches were projected on women during this period of Korean history, this thesis aims to offer a feminist understanding of Yi's images of women. en_US University of Oregon All Rights Reserved. Female Figure Paintings Gender and Art Joseon Art Exhibition Korean Art War Propaganda Art Yi Yu-tae Visualizing Colonial Beauty: Female Figure Paintings of Yi Yu-tae, 1943-1944 Electronic Thesis or Dissertation 2016-10-17 M.A. masters Department of the History of Art and Architecture University of Oregon
• Beyond Fabric: The Early Barrel Works of Christo and Jeanne-Claude, 1958-1962

  Cekander, Megan (University of Oregon, October 17, 2014)

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  Narath, Albert Cekander, Megan 2014-10-17T16:15:30Z 2014-10-17T16:15:30Z 2014-10-17 http://hdl.handle.net/1794/18529 My thesis examines how artists Christo and Jeanne-Claude appropriated the oil drum as a charged medium when considering this object's various cultural connotations. As most scholarship have focused on the husband-and-wife team's artwork involving fabric, this project provides an alternate discourse by analyzing their early barrel works from 1958-1962. During these years, Christo's artistic development established his interest in using the barrel as reoccurring medium throughout his oeuvre as well as his desire to create large-scale works of public art with his partner, Jeanne-Claude. While in Paris, Christo found the oil drum to be a cheap and accessible working material for many of his wrapped sculptures. Yet its inherent volume and ability to stack led to his experimentations with installation, cumulating in he and Jeanne-Claude's first collaboration. Beyond the barrel's economic associations, together they began to examine how it could take on larger cultural contexts, especially the political. en_US University of Oregon All Rights Reserved. Beyond Fabric: The Early Barrel Works of Christo and Jeanne-Claude, 1958-1962 Electronic Thesis or Dissertation M.A. masters Department of the History of Art and Architecture University of Oregon
• César Moro Between Indigenism and Surrealism

  Beaver, Katlyn (University of Oregon, September 29, 2014)

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  Cheng, Joyce Beaver, Katlyn 2014-09-29T17:52:40Z 2014-09-29 http://hdl.handle.net/1794/18422 Current scholarship too narrowly studies Peruvian surrealist César Moro's (1903-1956) graphic and poetic works as two equivalent mechanisms of expression and overemphasizes his rupture from surrealism in 1942. In this thesis, I integrate study of Moro's plastic and graphic works with his curatorial endeavors and revise common perception of his definitive break from surrealism, focusing instead on his turn to surrealism in 1927. Engaged in efforts to combat the repression of indigenous and pre-Columbian histories in Peru during the 1930s, I argue that Moro employed surrealist collage as a decolonial enterprise in order to oppose the entrenched nationalism of indigenismo artwork, the most important movement of Peruvian modernism. This thesis demonstrates that Moro's crticism of pictorial indigenismo artists like Peruvian José Sabogal (b. 1888-1956), leader of the movement, has its roots in his surrealist collage enterprise and continues even after his defect from surrealism in 1942. en_US University of Oregon All Rights Reserved. César Moro Between Indigenism and Surrealism Electronic Thesis or Dissertation 2016-09-29 M.A. masters Department of the History of Art and Architecture University of Oregon
• Antony Gormley: Contemporizing the Index

  Phillips, Maddelaine (University of Oregon, September 29, 2014)

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  Lin, Jenny Phillips, Maddelaine 2014-09-29T17:52:20Z 2014-09-29T17:52:20Z 2014-09-29 http://hdl.handle.net/1794/18419 This thesis aims to reexamine the index as a sign that generates meaning in the sculptural oeuvre of contemporary British artist Antony Gormley. The artist has consistently proclaimed his work to be indexical but has never offered clarification of the term. Rather, he adheres to the definition developed in the late nineteenth century by the term's originator, Charles Sanders Peirce. This is problematic because it gives false meaning to the indexical sign in a contemporary context. By comparing Gormley's use of the term in his sculptural practice to Peirce's theories and those of art historian Rosalind Krauss, who was the first to significantly and convincingly relate the index to art, this study will attempt to provide a contemporized definition of the index. This thesis aims to offer a clarification in the meaning of Antony Gormley's sculpture and demonstrate the index's ability to offer resolution to what is contemporary about contemporary art. en_US University of Oregon All Rights Reserved. Antony Gormley Charles Peirce contemporary globalization Index Rosalind Krauss Antony Gormley: Contemporizing the Index Electronic Thesis or Dissertation M.A. masters Department of the History of Art and Architecture University of Oregon
• The Presence of the Buddha: Transmission of Sacred Authority and the Function of Ornament in Seiryōji's Living Icon

  Borengasser, Daniel (University of Oregon, September 29, 2014)

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  Walley, Akiko Borengasser, Daniel 2014-09-29T17:51:25Z 2014-09-29T17:51:25Z 2014-09-29 http://hdl.handle.net/1794/18410 In 985, a Japanese monk named Chōnen commissioned a statue of Śākyamuni Buddha during a pilgrimage to China, which was later enshrined in the temple Seiryōji near Kyoto, Japan. The statue was lavishly ornamented both on its exterior and interior and came to be considered a "living icon" modeled after the legendary first portrait of the historical Buddha made under the patronage of the Indian king Udāyana. Through a holistic examination of historical context, textual evidence, and the diverse forms of ritual adornment (shōgon), I argue that the Seiryōji statue was designed to function as a field for the perpetual generation of karmic merit (fukuden). This statue, through the careful selection of inserted objects and their resonance with its external appearance, embodies the multiplicity of the "Buddha body" as the "living" body of the historical Śāyamuni and the eternally present Buddha of the Lotus Sutra. en_US University of Oregon All Rights Reserved. Buddha Chōnen fukuden Seiryōji shōgon Shaka The Presence of the Buddha: Transmission of Sacred Authority and the Function of Ornament in Seiryōji's Living Icon Electronic Thesis or Dissertation M.A. masters Department of the History of Art and Architecture University of Oregon
• The Indeterminacy of Abstraction: Philip Guston 1947-1951

  Keast, Lindsay (University of Oregon, September 29, 2014)

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  Mondloch, Kate Keast, Lindsay 2014-09-29T17:50:30Z 2014-09-29T17:50:30Z 2014-09-29 http://hdl.handle.net/1794/18403 Many scholars exclude New York painter Philip Guston (1913-80) from the artistic tradition of Abstract Expressionism due to his absence from New York City during the group's early formative years. This thesis asserts, however, that Guston's role in Abstract Expressionism can be firmly established through his unique interpretation of the formative influence of surrealist automatism. Though never engaging with the surrealists directly, Guston explored automatist ideas upon meeting New York School experimental music composers John Cage and Morton Feldman. This trio's engagement with the Zen Buddhist concepts of unimpededness and interpenetration influenced Guston to create compositions through chance operations, a process Cage would call "indeterminacy." My aim is to enrich an understanding of Guston's idiosyncratic relationship to Abstract Expressionism and, ultimately, to offer a more expansive definition of Abstract Expressionism in general, allowing for a broader understanding of the formation of American modernism. en_US University of Oregon All Rights Reserved. Abstract Expressionism Automatism Indeterminacy John Cage Philip Guston Zen Buddhism The Indeterminacy of Abstraction: Philip Guston 1947-1951 Electronic Thesis or Dissertation M.A. masters Department of the History of Art and Architecture University of Oregon
• Picturing Reality in Postwar Italy: The Photography of Mario Giacomelli in Relationship to Italian Neorealist Cinema 1945-1970

  Robison, Sarah (University of Oregon, September 29, 2014)

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  Mondloch, Kate Robison, Sarah 2014-09-29T17:49:35Z 2014-09-29T17:49:35Z 2014-09-29 http://hdl.handle.net/1794/18395 Critical interpretations of the work of Mario Giacomelli often disagree as to whether he should be classified within the style of Italian neorealism. This thesis argues that Giacomelli's photography strikes a balance between realism and abstraction that is best explained as neorealist. Neorealist films such as Rome, Open City (1945) and Bicycle Thieves (1948) sought to capture the social realities of postwar Italy. The realism in these films is complicated however, subjecting postwar social actuality to the artistic initiative of the director. I seek to identify the filmic qualities in Giacomelli's work to clarify a connection to neorealism. Though Giacomelli physically manipulated his images, these manipulations give his images the appearance of a film. To reveal Giacomelli's connection to neorealism, I will investigate the cinematic qualities of mise-en-scene, montage and narrative. This thesis will argue that Giacomelli's photography stems from a cinematic approach that was first developed in neorealism. en_US University of Oregon All Rights Reserved. Italian cinema Italian photography Mario Giacomelli neorealism photography postwar Italy Picturing Reality in Postwar Italy: The Photography of Mario Giacomelli in Relationship to Italian Neorealist Cinema 1945-1970 Electronic Thesis or Dissertation M.A. masters Department of the History of Art and Architecture University of Oregon
• Revolution through Beautiful Modern Art: René Herbst's Chaises Sandows and the Union des Artists Modernes (1929-1937)

  Mounce, Kiersten (University of Oregon, September 29, 2014)

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  Narath, Albert Mounce, Kiersten 2014-09-29T17:47:13Z 2014-09-29T17:47:13Z 2014-09-29 http://hdl.handle.net/1794/18376 At the Salon d'Automne of 1929, French designer René Herbst (1891-1982) inaugurated the Chaises Sandows, a series of mass produced chairs built with seamless tubular steel and brightly colored elastic straps (sandows). The chairs were deemed beautiful modern art by the Union des Artists Modernes (U.A.M.), a revolutionary artist collective that Herbst co-founded the same year. The group defined beautiful objects as those that provided psychological repose and were financially attainable for every class, highly functional and socially engaged. Based on the naturalism of Hyppolite Taine, the U.A.M. believed that if beautiful art like the Chaise Sandows was consumed en masse, an egalitarian utopia would be produced. This thesis offers comprehensive understanding of their project as defined by Herbst and their manifesto and the group's connection with larger political concerns during the interwar period. en_US University of Oregon All Rights Reserved. Architecture Decorative Design France Modern Sandow Revolution through Beautiful Modern Art: René Herbst's Chaises Sandows and the Union des Artists Modernes (1929-1937) Electronic Thesis or Dissertation M.A. masters Department of the History of Art and Architecture University of Oregon

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