Although the topic may be historically and/or theoretically grounded, attention to the art object and/or image should be foremost.This program is made possible by a generous grant from the Henry Luce Foundation. Please note: affiliations shown are as of time of award.Please click on fellows' names for current information.
Although the topic may be historically and/or theoretically grounded, attention to the art object and/or image should be foremost.This program is made possible by a generous grant from the Henry Luce Foundation. Please note: affiliations shown are as of time of award.
Simultaneously, the emergence of happenings and artistic participation can be read alongside antipoverty’s occupation of urban space.
The dissertation seeks to challenge existing narratives concerning the development of American art since the early 1960s by introducing an unrecognized catalyst and correspondent: the liberal state’s antipoverty program and its theories of art, civic participation, and community development.
This dissertation examines Lundeberg, Corse, and Eversley’s explorations of space, light, and energy alongside the scientific theories influencing their work.
Taken together, these case studies reveal how theories of modern physics prompted new modes of conceptualizing the subjectivity of human vision, experience, and knowledge through abstract form.
Further, a deeper engagement with water and its fluidity in contemporary art opens up methodological possibilities, offering alternatives to conventional art historical periodization.
In Helen Lundeberg, Mary Corse, and Frederick Eversley’s artistic practices, histories of astronomy, quantum physics, and astrophysical engineering both converge with and complicate existing art historical narratives of abstract painting and sculpture in Los Angeles.With fiber’s condition as a primary lens through which to understand and think critically about how people conceptualize their relation to the past, the artworks contribute to and question the definition of the American experience.“Deep Cuts” argues that works by Forrest Bess (1911-1977), Candy Darling (1944-1974), Greer Lankton (1958-1996), and Cassils (b.1971) illuminate the history of gender transformation in the United States, exceed the definitions of gender that are prescribed within medical definitions of transsexuality, and produce alternative methods for shaping transgender bodies.From artist Berenice Abbott’s macro-photographic apparatus for Supersight to mathematician Benoit Mandelbrot’s use of early computer graphics to invent a new form of geometry, it looks at how machine-assisted seeing restructured vision in America during a cold and invisible war.In attending to the emergent interface between the human eye and the machine between 19, the project reframes twentieth-century art historical debates about opticality, scale, and the human body.Updated program descriptions for 2019-20 competitions are available for programs with fall deadlines.The online fellowship and grant administration (OFA) system is now open for applications to these programs.Throughout, artists’ works are foregrounded to better understand the challenges and opportunities this shifting media and institutional landscape presented for US-American artists working in these years.This dissertation investigates four fiber conditions—stain, fold, infestation, and accretion—present in the contemporary artwork and craft by artists Maria Magdalena Campos-Pons, Sonya Clark, Binh Danh, Ann Hamilton, Meryl Mc Master, Rachel Meginnes, and Dread Scott, and compares these to historical fiber objects.Through direct engagement with objects made by these artists, their personal archives, and histories of sexual medicine in the United States, this dissertation is the first book-length project to address transgender history in postwar American art.By resisting anatomically determined gender categories in favor of more expansive approaches to gender in art and contemporary culture, it constructs a more capacious and accurate picture of gender in American art of the second half of the twentieth century.