Spirit of the Living Watching, Issue 1: Genesis by Sofia Chabolla

The College of William and Mary’s First Art & Art History Publication

1 Spring 2012

Spirit of the Living Watching

Genesis Origins, Births & Beginnings

The Art of Scenic Design Guerrilla Ripples

Art Student Owl Art Historian Hedgehog and more...

Exciting & Inspiring Contemporary Artists Professors Elizabeth Mead Charles Palermo

Who they are Where they want to be

Students Barbara Pearsall Alix Bendicksen

Turner’s “Goethe’s Theory of Color & Light”

Bal Musette a Montmartre (A Montmartre Ball) My Best Wishes to the Students of

Oil Painting

The College of William & Mary

GULAY BERRYMAN A ti t O igina Fin A t Oi

ainting - C mmi i n d A t - C nia Wi iam bu g Limit d Editi n Gic n canva p ducti n

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FOR REGULAR U DATES, LEASE COME VISIT ME ON MY FACEBOOK AGE! GULAY BERRYMAN ART, INC, .O. B x 2024, Wi iam bu g, VA 23187 www.gulayberryman.com gulayart@yahoo.com (757) 565-0954

Spring 2012 3

The College of William and Mary’s First Art & Art History Publication

Spirit of the Living Watching

Genesis Origins, Births & Beginnings

Are you up to the challenge?

The SelfPortrait of Rembrandt Deeply

Ma and Min R ui m nt

Required courses Credits restrictions Stipulations

Superficial

L aving

Who to miss What they did at William & Mary

Calendar

Events, shows, talks Winner of this semester’s photography contest:

Harini Manikandan, ‘15

Light from Heaven

Exc u iv Int vi

Aaron DeGroft Director at the Muscarelle Museum of Art

ONTRIBUTORS

Editor-in-Chief

Michelle Repper Executive Article Editor

Allie Nelson Executive Submission Editor

Sofia Chabolla Scholarship Editor

Morgan Doyle Layout

Sofia Chabolla + Michelle Repper Executive Photography Editor

JoĂŠl Elias Carela Media + Marketing Chair

Kendall Galante Educational Events + Program Coordinator

Nina Cavazos Treasurer

Scott Lee Other Contributors Mark Badanowski

Katharine Fegley

Kat Milberger

Chelsea Bell

Genevieve Franco

Kaitlin Noe

Alix Bendicksen

Katie Herzfeld

Charles Palermo

Becca Bollman

Sun Joung

Barbara Pearsall

Rawls Bolton

Stephanie Krauss

Cassie Prena

Chelsea Bracci

Jamie Landau

Sarah Ross

Nicole Boyd

Jarrett Ley

Becca Schall

Laura Conte

Phoebe Lin

Natalie Wong

Molly Davis

Benoit Mathieu

Katie Worcester

Alexandra Endres

Elizabeth Mead

Visit SOLWatching on : Facebook,

Tumblr,

and our Website

Dear Reader, Welcome to the premiere issue of the first Art & Art History publication on the William & Mary campus! Since the realization of this publication was all about “firsts,” I wanted the theme to be fresh starts and new beginnings. “Genesis” seemed to embody that concept, while still allowing significant room for interpretation. “Spirit of the Living Watching,” the title of this publication, refers to the famous Gaugin painting: “Spirit of the Dead Watching.” I wanted to evoke a couple ideas with this title. First of all, as an art historian, I am meant to do a whole lot of looking and watching. I stare intently at works as they transform my understanding. I am also meant to study previous scholarship prodigiously, and track the progression of scholarship during my lifetime (“watching” it change with shifting ideas). The rest of the title, “spirit of the living,” exhibits the reasons why I believe art exists. In fact, I am interested in art history for this reason—because art for me is about contact with the spirit, or soul. It is about disconnecting from the functional aspects of life and letting the soul peak out. I also wanted the title to refer to the strange conversation that art historians have with the past. We make a study out of the most personal, and important products of the deceased. What then does it mean when the piece is preserved in this world after an artist dies? Does the work lose something, or is it strengthened as the only remaining glimmer of a person? Is it merely our scholarship that changes these works, or is it the invisible give and take, the countless ghostly conversations of (dis)connected souls? Mainly I wanted to evoke thought and retrospection on the field and practice of art history. I hoped this magazine could appeal to the art history connoisseurs as well as the average reader. I tried to balance the aesthetics of the magazine with the scholarly tone evoked in certain sections. The main goal, however, was to get students interested in art history. I want young people to engage with art— whether it’s through a deep, carefully constructed paper, or through a meme. I want to show that art history can be accessible, fun, and intriguing for anyone. Finally, I want you to realize what great resources are available to you on this campus. Readers, you have so many opportunities! The William and Mary department alone is bursting with fabulous professors, artists, art historians, scholars, and connoisseurs just waiting to help and guide you! We have a museum on campus that holds amazing openings with wine and cheese and good company. We live in Colonial Williamsburg, with a gallery on every corner, and the VMFA only a short drive away. We have each other—the student body at William and Mary, the fascinating mosaic of culture almost bursting at the seams. Hopefully this little magazine can exhibit a small portion of the passion and opportunity flowing around you, and get you excited and raring to participate. Happy reading and watching! Editor-in-Chief,

Michelle S. Repper Spirit of the Dead Watching Paul Gauguin, 1892. Oil on canvas. Albright Knox Art Gallery.

Contents Spirit of the Living Watching Spring 2012

Student Profile Alix Bendicksen

Professor Profile Elizabeth Mead

Letter from editor

11 Calendar 18 Articles 33 Contemporary Artists 40 Scholarship 68 Art & Art History Department 89 Just for Fun

Beauty and Madness By: Allie Nelson

Guerilla Ripples By: Nina Cavazos

19 Student Profile:

The Progression of the Dragon Monster and Dragon Figures in Chinese Art

By: Sofia Chabolla

Contemporary Artist

Thomas Elliott

Deeply Superficial:

By: Laura Conte

Examining the Evolution of Contemporary

49 Background: Van Gogh style painting

The Linda Matney Gallery Exclusive Virginia dealer for Atlanta artist Linda Mitchell Quartet: Elephant from Big Muse Series 2010

Ex ibiti n

Mixed media on wood 96 x 72 x 2 in Available

Opening March 2012 With SCAD Atlanta Foundation Studies Professor, Artist, and Illustrator K nt Kn Author of â&#x20AC;&#x153;Lucius and the Stormâ&#x20AC;? and MFA Student Ty u Lytt n

Lee Matney Curator and Director Linda Matney Fine Art Gallery 5435 Richmond Road Williamsburg, Virginia 23188 www.lindamatneygallery.com

Nowrooz, Darya Minovi, â&#x20AC;&#x2DC;14

Photo taken by JoĂŠl Carela

Calendar of Events ______________________________________________________________________

Events, Exhibitions, and Dates

Crim Dell : Will Mai, ‘14

April, May, June, & July ‘12

April 2012 Events, Exhibitions, and Dates

Sun

Mon

Tue

Wed

Thu

Fri

66 Muscarelle Exhibitions 7 William D. Barnes: Three Decades of Still Life & Landscape

April 15th: Leonardo da Vinci’s Birthday 1452

Reception Peninsula Fine Arts (PFAC) Newport News 22 22

23 23

I Spy: Photography and the Theater of the Street Exhibition Opening| 22nd National Gallery of Art 29 29

Curators At Work II: Memoranda for the Curatorial Files Student Curating Collecting and 13 Connoisseurship 14 Writ in Gold: Medieval Treasures in Honor of Dr. Barbara Watkinson Exhibitions: April 14th - June 24th

Easter 15

Sat

30 30

Last Day of Genesis 2012: College Student Juried Exhibition Peninsula Fine Arts Center |7th -29th, Newport News

18 18

19 Velázquez and Caravaggio's Influence on Spanish Painting Dr. John T. Spike, Ph.D. Thursday Lecture | 6 PM Muscarelle Museum

20 20

2121

A Will of Their Own: Judith Murray and Women of Achievement in the Early Republic - Exhibition Opening| 20th National Portrait Gallery 27

Last Day of Classes

Last Day of Class

SOLWatching First Issue: April 14th

Photo: Will Mai, ‘14

May 2012 Events, Exhibitions, and Dates

Sun

Mon

Tue

Wed

2 Senior Art Show Selected Topics in Architecture Opening Dr. Jill Lord Andrews Tuesday Lecture Series | 6 PM Gallery Muscarelle Museum of Art 1

Thu

Fri

Sat

Senior Art Show Reception|6 PM Andrews Gallery

Cinco de Mayo

10 10 Start of Summer 2012

12 Final Day of Senior Art Show Andrews Gallery

16 16

Joan Miró: The Ladder of Escape Exhibition Opening| 6th National Gallery of Art 13 13

Art/Art History Major Graduation |13th at 2 pm

Final Exam Slot—May 9th 21

@ VMFA 27

29 W&M 30 30 Summer Session 1

Start of Memorial Day Weekend

Photo: Will Mai, ‘14

June 2012 Events, Exhibitions, and Dates

Sun

Mon

Tue

Wed

Thu

Fri 1

2 Bold, Cautious, True: Walt Whitman and American Art of the Civil War Era Exhibition Opening |2nd National Portrait Gallery

Father’s Day

99 Quilts in the Baltimore Manner Exhibition Opening| 9th Rockefeller Folk Art Museum Williamsburg, Virginia

15 15

16 16

1812: A Nation Emerges Exhibition Opening| 15th National Portrait Gallery 18

First Day of Summer 25

Henry Ossawa Tanner’s Birthday 1859

Maurice Sendak’s Birthday 1928

Paul 7 Gauguin’s Birthday 1848

at the 3

Sat

30 30

One Life: Amelia Earhart Exhibition Opening | 29th National Portrait Gallery

Photo: Will Mai, ‘14

July 2012 1

Tue

W&M 3 Summer Session 2

Wed

Thu

4Independence 55

12 12

Rembrandt’s Birthday 1606

30 30

31 31

Sat

Day

8 9 Last Day of: Who We Are, Past and Present Ferguson and Ranhorne Galleries Peninsula Fine Arts Center, Newport News | April 7-July 8

Fri Frida Kahlo’s Birthday 1907

Mon

Amedeo Modigliani’s Birthday 1884

Sun

13 13

Gustav Klimt’s Birthday 1862

Events, Exhibitions, and Dates

Biennial Exhibition Openings: PFAC Newport News

Look out for a crossword clue on this page!

Photo: Will Mai, ‘14

5 Days in a Laundry, Matera, Italy Jarrett Ley, February 2012

rticles

Guerilla Ripples Nina Cavazos, ‘13 Beauty and Madness Allie Nelson, ‘14 The Art of Scenic Design Nicole Boyd, ‘13 An Interview with Aaron DeGroft Stephanie Krauss, ‘14 Writ in Gold: A Barbara Watkinson Show Laura Conte, ‘12

Guerilla Ripples

by Nina Cavazos

Red One is one of many graffiti artists who tag the streets of downtown Norfolk. Not just "graffiti dumb dumbs", these artists use a public canvas to ask us all to question our roles in society and to explore issues of our own mortality.

h f ,I haircut. Wanting to save on my already tight student budget, I called my friend Bill. Bill is an upand-coming stylist to the posh and wealthy in downtown Norfolk, but would often cut our friends hair for dirt cheap. As I sat in a swivel chair in his small apartment in Ghent, Bill tugging my wet hair through a comb, my eyes caught a glimpse of what looked like an art journal. Bill saw me looking, reached over and grabbed the journal, and plopped it down into my lap. Inside I found sketches and drawings saturated with bright colored markers, the ink bleeding on the pages underneath. “Is this graffiti?” I asked. Yes, Bill replied, now snipping at the ends of my hair. “Do you… tag in downtown Norfolk?” I had recently finished Exit Through the Gift Shop and was relying on my knowledge from the film to get me through the conversation. “Well, I am not supposed to tell you since it is illegal but yes, I tag,” he admitted, laughing a little. I was hooked. For the next two hours, long after Bill had cut, dried and styled my hair, we talked about graffiti. Bill couldn’t understand why

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people didn’t see it as a true form of painting? Were you always interested art and even talked about how Picasso in art? In between sips of Dr. Pepper, struggled with the same issues of def- Red One explained the intricacies of the tagging culture. “A lot of people inition and institution as graffiti artsteal their paint. I don’t though. I ists do today. might change the price tags, but I Very shyly, don’t steal it,” he told me. How do before I left, I you choose your canvas? “I guess I asked if I just pick something I know someone could go tagwill see, but in a spot where I know I ging with him can get away easily. If you get sometime. caught, you’re basically fucked…I Bill put me like a lot of other things, too. I like to in touch with read about philosophy and science Red One (this and think about religion and God. I is his tag name, and for privacy puram not just some graffiti dumbposes, I will call him that for the rest dumb,” he said. I appreciated this of this piece). For weeks, Red One candid statement, and for the rest of and I texted back and forth, trying to the day, we talked about everything find a good time and location for me from Jung’s theory of the collective to see his work; “I am unconsciousness h wIw leaving the country soon. I k to our personal Hopefully. No one apprewh views on religion ciates art here like they do to hip hop and h b h in Europe,” I remember music. w f him saying. Finally, we When we got settled on a date, time, v to the spot, an old and location. I felt cool. community colx ... When Red One lege campus that climbed into my car on a damp early had been shut down a few years ago, I spring day, I immediately knew I was parked my car and Red One told me going to have one of the most memo- we would have to walk a while to get rable experiences of my life. As he where his work was. Glad I had worn directed me to the spot, I asked him boots that day, we began the trek into the basics- What got you interested in the woods, passing a chain link fence graffiti? How long have you been with a large sign posted, saying

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“KEEP OUT- Government property” looming above us. Red One told me Portsmouth Naval Base used the land to bury chemicals. I wasn’t sure of the factuality of the statement, but liked the idea of it anyway and never checked to see if he was right. I liked how I was treading on what might be this wasteland of governmental excess, evidence of what was wrong with our society under my feet. How appropriate, I thought. As we pushed further into the woods, we happened upon building after building that had long since fallen victim to destruction. The ceilings of all of them had caved in, and we had to climb what seemed like mountains of rubble and slick leaves to get to each tag. Old water towers covered in graffiti stood like centurions in the middle of the trees. I really did feel like the apocalypse

had come, and I was a lone survivor, in this building that Red One showed wandering through what had been me where his self-titled piece was. left after. I struggled to keep up with Each section on the parallel walls of Red One, getting the building was bruises and scrapes E h covered with graffrom climbing, jumpfiti, and it felt like h ing, and running. a temple. “A deseThis eerie sense of w f h crated temple,” I doom was ever premuttered to myself. b w v sent, and it wasn’t just Surrounded by oththe fact that I was tres- w h ff , ers, his stood out passing on governfor sure. With f k . ment property. I felt bright reds and this terrifying, existential crisis seep yellows, it felt strong and stubborn. through my veins; I would die one Why do you do this? Why here? day, and leave behind nothing, not “Well, the sense of sight is a creative even a heap of rubble and broken sense. I see so much wrong around glass. These buildings with their brome in our society. Isn’t that what art ken windows and falling brick walls is supposed to do? It’s supposed to might last longer than I could. In one show you what’s wrong. Graffiti is of the old buildings, the skeleton of a that response. When someone sees car laid bare and rusting with weeds that, that person realizes they aren’t growing out of the windows. It was in control of us. If I could get away

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Opposite page (Left): The “desecrated temple.” Opposite page (right): A low-hanging building. This page: The water tower Photo Credit: Nina Cavazos

with tagging the side of a building or a bridge, what else could we get away with? Graffiti is that response, to show people they really can do whatever the fuck they want. Stand up and do what you want. Graffiti really is art, you know? If art is supposed to be a reaction to society, graffiti is a true, visceral response. If art is supposed to make ripples, then graffiti makes ripples for sure.” “Guerilla ripples,” I replied, stumbling over large bricks and tree trunks to keep

up. “Hah. Guerilla ripples. Yeah. I like that,” he said “I just feel like I do this because I am going to die one day. People create things because time is this permanent thing. It never moves, but we move around it. We know we are going to die one day and nature is the only thing that survives,” he said as we crawled carefully through a low hanging building. I was wondering if he was having an existential crisis, too. “But graffiti… it reminds me of death even more.

Sometimes, I will go out and tag something and a few weeks later, it’s gone. Just gone. They painted over it. They painted over my name. So I go out and paint again. I think I will always paint. Wherever I go, I will always have the impulse to paint.”

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Beauty and Madness By Allie Nelson

The relationship between an artist and the canvas can be complicated and even destructive. What will an artist do to realize his vision? The loss of sanity might be a small price to pay. Pygmalianâ&#x20AC;&#x2122;s Galatea implies that this endless search will be worth it, in the end.

h wh , h creation or creator? The division between the artist and the works they craft blurs, like that cold winter morning Michelangelo died over his canvas, brush clasped in his hand. To create is madness, an inner drive that too often is inexplicable. It has no immediate benefit: it will not clothe or feed you. We create to express ourselves, and to convey ideas mere words cannot capture. The power of

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the Christian faith lay for centuries not in inscrutable Latin sermons, but in the majesty of icons, pilgrim sites, and cathedrals. There is something in art that is Lovecraftian: grand, majestic, and horrifying. From William Blake's impossible figures to the Duchamp's upside down urinal, art often seems tainted by madness. It proves a point, it is blunt and elusive. It is a tool, yet an anachronism in the digital age when man should have surpassed crushed pigments and the horsehair brush. But that instinct, that impulse, drives us back to the canvas. Art is an ongoing story, told by a thousand hands. It claims new disciples. It endures. The Irish say if one is so foolish enough to sleep on a fairy mound, they will end up dead, mad, or a poet. Such is the land of dreams. Creativity, while powerful, has a cost. Artists- the great ones- are often hypersensitive and unstable. They see

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Fountain, Marcel Duchamp, 1917

too much, feel too much, and are liable to cut off their ears. Van Gogh soothed his world with absinthe; others took drugs to enhance their creativity. fMRI imaging reveals artists' brains slip into schizophrenic states during the genesis of their artwork. The regulatory function of the left hemisphere shuts down, unleashing the fertility of the right. Artists' power is to walk the thin border between transcendence and sanity. And whether the inspiration is chemical or divine, they create things that are undeniably alive. The objects they produce are vessels for their madness: even the most tranquil still life hints at endless hours spent focusing on a smattering of objects passerby would give little thought to. But there is one image that haunts me. This. A lone man in his studio, chisel in hand as he carves. It is a cool evening on the isle of Cyprus, birthplace of Aphrodite, the goddess of love. A shaft of sunlight licks the sweat on Pygmalion's back as he

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23 Pygmalion and Galatea, Jean-Léon Gérôme, 1890

shapes the ivory, ever so gently. The tears of his labor streak the awakening stone. He pours his vitality into it- into her, the woman of perfect grace that has become his waking dream. His creation has the voluptuousness of an Angkor Wat carving and the visceral presence of a Bernini's sculpture. If a work has ever been perfect, it is her. Galatea. A simple name for a thing of infinite beauty. Pygmalion has done what no artist could do. Through his art, he has achieved perfection, a thing that would settle any question as to who Eris' apple belonged. Not to a goddess or woman, but to a work. The tender veins in the stone seem to flow with heavenly blood. Pygmalion leans into the statue, embracing it. He imagines he hears her heart beating. Night falls, soft. He sleeps. Perhaps Pygmalion is mad. His story is told by a thousand tongues, it sails down the passage of time. We are perpetually in awe at the beauty of his devotion; we derive satisfaction from the fact that his dedication paid off. If you work hard enough, his tale says, you can achieve your dreams.

Galatea will awaken for you. But maybe Pygmalion's story is a struggle of human evanescence, trying to find something to cling to and carry into death. Pygmalion grips Galatea like a vise, he cannot bear to part from her. We erect monuments like Ozymandias, leaving our mark upon the world. Is it some primal superstition we harbor: that if we are not forgotten, we will never truly die? If our work is bold enough, maybe the gods will smile upon us, and Aphrodite bless us with love. y h Or perhaps h we create in v silence. There is no true any z swer in art. Pygmalion does not mar Galatea with his signature. He joins the ranks of thousands of monks that did the work of God, never signing an icon or manuscript. Perhaps that is why Aphrodite descends: because he understands the transcendence of his work. Galatea is no longer his own. She belongs to the world now, and Pygmalion weeps, knowing he must let her go. Aphrodite basks in the tranquility of

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midnight. She smiles secretly upon Pygmalion, feeling the ache in his bones. His muscles are broken from ceaseless hours of work. It was all he could do to go to her temple, and leave offerings of pearls and a wish. With a soft spot in her heart for creators of beauty, Aphrodite grants his petition. She caresses Galatea's cheek, breathing life into her. Love leaves. It sleeps â&#x20AC;&#x2DC;til morning. The madness is unleashed. Galatea may step off her pedestal and be claimed as treasures of war, imprisoned in London's Museum. She may sell her soul to advertisements and rot in glossy magazines. The media and wealthy know all too well that art has power: the gentry line their halls with it, its beauty is used to entice But Galatea, com. customers. pletely bare, has no pretense. Like Titian's Sacred Love, Pygmalion has given her no clothing. She is something the media is not. Honest. Eternal. Like love, Galatea will never be a passing fashion. He dreams under her kind gaze, knowing she is incorruptible. N y

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Sacred and Profane Love, Titian, 1513-1514

The Art of

Scenic Design by Nicole Boyd Nicole explores the artistic processes that go into creating a set design. She looked specifically at the creation of the Cabaret set. She interviewed William and Mary’s very own Matthew Allar in order to get into the mind of the artist. She takes the reader on the journey from inspiration to planning to the realization of the concept.

b E J , leading American scenic designer of the 20th century, described his work quite simply: “A stage setting is not a background; it is an environment.” Nonetheless, designing artwork where the primary demand is that the piece allows for constant kinetic energy is not simple. This introduces a foray of complexities into any artist’s work. Beautiful and artistic scenic design is not just about composition, but how the work interacts with all other constantly shifting components of a

production onstage. The artist must take something visually compelling, and give it the palpable essence it needs to make the reality of a show come alive. But if scenic design is art only when combined with kinetic energy, how can we even comprehend what it takes to design it? Matthew Allar, Scenic Designer and Assistant Professor of Theater at William and Mary, approaches his work as a dramaturge, storyteller, and artist. This trifecta of research, communication and technical capability is what allows him to make scenic design truly artistic. For Matt, the difference between sculpture or painting and scenic design is not the medium, but the process and presentation. “I often get the chance to become a sculptor onstage more than anywhere else,” he says. However, the finished product is not just his own; it belongs to an entire artistic team. Within this group is a props master, costume, lighting and sound designers, and a director, blending ideas that develop into what the show’s overall design will be. No one here is a self-critic or self-censor,

the final design originates from the artistic creation of a mind preceding you, that of the playwright.

Inspiration—Photo of the barbed wire at the Berlin Wall

rather “we rely on each other,” says Matt. In other words, “good design needs to be very aware of how it interacts with [all] other elements of design.” It is apparent from the beginning that the process of a scenic designer is drastically different from what many artists encounter. Input from a variety of outside sources shapes the development of the piece. Indeed, the final design originates from the artistic creation of a mind preceding you, that of the playwright. For Matt, the real challenge of understanding what the piece will be demands not only artistic ability, but a strong scholastic underpinning of the work being presented. Without such investigation, “the level of nuance…the level of exploration wouldn’t be nearly as deep.” Scenic design in some ways is the

Inspirtaion—Double Portrait, Egon Schiele, 1913

Top Left : Inspirationâ&#x20AC;&#x201D;Suicide, George Grosz, 1916 Above: Cabaret Production Storyboard, Act 1 Right: Cabaret Production Storyboard, Act 2 Opposite: Photographs from the William and Mary Spring 2012 Production of Cabaret

perfect combination of art and history. In order to create a piece that has value and will bring merit to a production, understanding the context of the material is essential. Preparation for even opening discussions between designers may not happen until months of research are completed and hundreds of images collected. Once designers look at all primary documents available, the process of creating an artistic piece develops through discussion. “Having a fluid dialogue…and group discovery of the truly primary idea I think is where it can be very exciting and very difficult.” Although the rest of the process is still collaborative, the tools utilized are more technical in nature. Artistic renderings, elevated and orthographic drawings (sketches with two and three dimensional components) serve as paintbrushes for the canvas, the actual construction of the set itself, the paint. The analogy between painter and scenic designer does diverge at this point, though, because the end result of a scenic design is not one image, but a series of images. With kinetic verses fixed art, the artist has many frames in which they can present their art, versus just one. Scenic design serves as art when supporting a moment of action onstage. These moments change, minute to minute, or second to second, as do camera shots in film and television. Thus the final artistic product is made up of composed moments, pieced together in a way that feels and appears seamless. Creating kinetic art onstage is such a collaborative process because everyone

is “telling a story collectively, working towards that one specific moment onstage.” Artists are without a doubt communicators. Surely this applies to storytellers and, in turn, scenic designers. Indeed, the crossover between visual artists working on scenic design is not uncommon. David Hockney’s work includes a variety of scenic designs for the Metropolitan Opera, while Marc Chagall is known for creating the costumes and sets of Stravinsky’s The Firebird. The possibility for intersect between these artistic arenas is present; it is not the art that is different, simply the process. For Matt, success is defined when you can describe the set with the same words you would use to describe the script, and

when no one notices that the set was a set. Rather, that it just “fit into the space.” His scenic design of Ruined, a play about the predicament of women in the Republic of Congo, will be premiering April 19-22, 2012. I am curious to see if the audience will leave saying the set was a work of art, or that it helped narrate a piece of art. I am rallying for the latter. Nic B yd i a T at ma it an int t in a t i t y. S i a p m at t c g , and i g aduat in 2014.

Photos by: JoĂŠl Carela Taken at the Muscarelle Museum of Art Exhibition opening February 3rd This page: Eight Endangered Species by Kay Jackson February 4, 2012 - March 25, 2012 Opposite page: Frames The Forgotten Art February 4, 2012 - March 25, 2012

An Interview with Aaron DeGroft: Director and Curator of the Muscarelle Museum of Art Interview Conducted by: Stephanie Krauss Muscarelle Museum director and curator Aaron DeGroft explains the role of the museum on the William & Mary campus. DeGroft uses his unique perspective as an alumni of The College of William & Mary to make the Muscarelle a useful resource for current students.

When and why did you first become interested in art and art history? I first become interested in art and art history when in the fourth grade, I read a book on the Baroque artist, Peter Paul Rubens, whose paintings are filled with dynamic swirling figures, horses, and hunting scenes. I have been interested in art and art history ever since. When I attended William and Mary, I was studying architecture and playing baseball. I was planning on making that my professional career. However, during an intramural volleyball game, I twisted and tore my knee and then suffered a rude awakening, I was not going to be able to play baseball professionally. When I realized I was not happy with the architecture program, I took a chance and switched to art history. Here, I learned the process from the bottom-up. I started volunteering at the Muscarelle Museum and from experience, learned how the business operates.

What was your first job in the museum business? My first job in the museum business was here at William and Mary at the Muscarelle Museum. It was a great opportunity I had, and that all students here have, to learn by experimentation and not just by simply sitting in a classroom.

What exactly does the job of curator entail?

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Overall, the museum business is exactly that, a business. I look over the employees, benefits, marketing and advertising. However, the end results here at the museum are different than a regular business, they are not simply just to make a profit, but an educational and engaging product and that effect the local, regional, and national community. I work with artists and students to set up shows here at the museum. I help a lot of students, especially those studying art history, anthropology, or business by mentoring and training them.

How do you figure out which show is going next? Do artist contact you? The other way around? Both. Artists contact me and I contact artist. We are very opportunistic here at the Muscarelle. We had faculty and student’s shows, as well as feature local artists. Many of our exhibitions are based on relationships that enhance the teaching mission and are supported through our learning laboratory. Our shows have different personalities, and can be spun in different ways for the engagement of diverse communities. We make it one of our top priorities to take advantage of all opportunities. We have held shows that feature Michelangelo, landscapes paintings from the Uffizi Museum, as well as student and faculty works. Our biggest problem with exhibitions right now is space. We plan on doubling in size sometime in the near future in order to accommodate all the exhibitions.

What is your favorite show that you have ever curated?

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I have curated over 165 exhibitions, so it is hard h y just to choose one. However, when I was in w x … graduate school, I curated an exhibition about the mostly unknown gold rush in the south. Since I was no expert on gold or this history, I learned so much from the experience. However, when 26 Michelangelo drawings were exhibited here at the Muscarelle that was also one of my favorites. It was one of the most important Michelangelo shows to come to America, with works that have never been seen before, and we were the first venue on the national tour.

What is your favorite museum you’ve ever been too? Why? In Europe, I would have to say, I love the National Gallery in London and the Louvre Museum, but the Musee D’orsay has to be my favorite. In the United States, The Wrangling Museum would have to be my favorite. It is quite an unknown museum, but it tells a great American story, and also holds the greatest baroque Italian collection in the United States.

If you could have one artist have and exhibition at your museum, who would it be? Why? Well, it doesn’t get much better than Michelangelo. However, I would love to curate a Peter Paul Rubens exhibition. Also, I would love to curate an exhibition on the modern art of mega abstract expressionism in the 1940’s and 1950’s, because these pieces truly changed the world of art.

Any advice for art and art history majors? I would say, don’t be afraid to tackle giants. Get involved and gain as much experience as you can. Writing papers will not get you a job or into graduate school. You should pick up real world experiences by actually doing things. William and Mary is a great institution because you have the opportunity to gain real world experiences, it is more than just good grades and papers, and it is truly a learning laboratory not afraid to tackle giants.

Writ in Gold

by Laura Conte In honor of the retirement of medievalist Professor Barbara Watkinson, the Muscarelle Museum of Art is debuting an exhibition entitled Writ in gold: Medieval Treasures in Honor of Professor Barbara Watkinson on her Retirement. The show will be on display from April 14th-June 24th, 2012. In celebration of a career dedicated to the study of medieval art, the exhibition showcases some exemplary pieces, origins of which cover about 1300 years. The show is made up primarily of western European liturgical objects, including an accumulation of pages (called leaves) of medieval collections of call and response chant books called antiphonals. Among the other objects from the exhibition, there is a beautiful book of hours from Swem library’s special collections . As the student curator and project manager for Writ in Gold, I have learned a lot very quickly about the vast array of tasks and elements that are included in the coordination of any good art museum exhibition. When I was offered this opportunity originally, the director of the Muscarelle, Dr. Aaron DeGroft, told me that he had already requested and/or acquired most of the objects for the exhibition with the exception of one or two pieces (many of which are on loan from the Ringling Museum in Florida). As part of the curatorial experience, one of the first things I did was to research the objects’ origins, formal elements, and their function. Doing research also meant that I was fortunate enough to learn and benefit directly from all of Professor Watkinson’s expertise on these objects. Engaging with her knowledge also allowed me to ask questions so that my expositions on the objects are as complete and comprehensive as possible. After all of the research was complete, I had to start putting it all together. Some of the aspects that I had to consider included anything from what information was needed for wall labels to the placement of pedestals to what the wall color would be. Most people don’t realize how much thought goes into something as seemingly insignificant as wall color. But surprisingly, the

decision meant I had to consider the colors being used in the main gallery as well as the black floor in the exhibition space, and even the flood of natural light on one wall of the gallery. It also meant that I got a crash course on color theory and the ADA (Americans with Disabilities Act) regulations on contrast. Originally, I wanted to see a deep shade with strong violet or navy blue influences in it to invoke both reverence and riches. Unfortunately, the colors I envisioned worked neither in the space, nor cohesively with the accent color being used in the main gallery. So after spending a brief amount of time in the space, armed with the advice of Dr. DeGroft and a book full of paint swatches, we negotiated what I think is the ideal compromise color, a deep burgundy. Thematically, my vision for the exhibition was to display these works in a way that reflected their original purpose. In other words, I wanted to use the space as a very loosely termed “liturgy” space, meaning that I envision these objects to be placed in such a way that roughly recalls the order in which they were used during a service in the medieval ages. I think the most interesting curatorial decision I faced was how to arrange these objects during the actual installation of the exhibition. One piece specifically was a German gradual leaf that probably dates to

around the late 14th century. The question that then needed to be answered became “Does this piece fit anywhere in the show?” Taking part in the actual installation of the pieces was a learning experience because it forced me to think not only about the space as a whole but also how to preserve the integrity of the individual works while integrating them into a cohesive group of objects and artifacts in a logical way. The monkey wrench, if you will, is the gradual piece because it’s the only one in the show and the nuanced distinction between a gradual and an antiphonal might be completely overlooked. The gradual and the antiphonal are similar because they are both songbooks, but the antiphonal was used in the service of the Divine Office while a gradual was used during mass. Writ in Gold seeks to pay respect to Professor Watkinson’s nearly four decade long career and her accomplishments in the field of medieval art and architecture as well as to showcase a beautiful collection of medieval objects on William and Mary campus. Her students (which include myself and Dr. de Groft) and the Art/ Art History department have benefitted greatly from her years here.

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Daniel Magoon Artist from Carbondale, Colorado Thomas Elliott Sculptor, New Zealand

Contemporary Artists

David MaljkoviÄ&#x2021; Born 1973 in Rijeka, Croatia

David Maljković

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Exhibitions for Secession (Installation View), 2010

Maljković created… this h h f h y… —Frieze Magazine

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Scene, Hold, Ballast (Installation View), 2012 Temporary Projections, 2011

Daniel Magoon

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B y f b , as though the viewer is privy to the creation of man at the beginning of time. â&#x20AC;&#x201C;Michelle Repper

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Human features are disembodied ... The effect is baffling, leaving the viewer desperate to understand w x . â&#x20AC;&#x201C;Michelle Repper

Opposite/Top : Hands Under Moonlight, 2000 Opposite/ Bottom: Closure Tendency, 2005 Upper Left: Communitas, 2010 Lower Right: Detail from Charge Cloud, 2008

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Elliott’s monochromatic 39 paintings are w f x fh h . Enigmatic figures emerge from the darkness v k y f yh . –Arthouse

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Opposite Left: Asylum Fields, 2009 Top: Solace, 2008 Bottom: Fallen II Bottom Right: Learning to Fly, 2009

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cholarship

The Self-Portraits of Rembrandt Kat Milberger, ‘12 Deeply Superficial: Examining the Evolution of Contemporary American Portraiture Laura Conte, ‘12 The Progression of the Dragon: Monster and Dragon Figures in Chinese Art Sofia Chabolla , ‘14

The Self-Portraits 41

of Rembrandt By: Kat Milberger, â&#x20AC;&#x2DC;12

Figure 8: Self-Portrait with Two Circles Rembrandt Harmenszoon van Rijn , 1665â&#x20AC;&#x201C;69 Figure 1: Next Page Portrait of a Young Man Rembrandt Harmenszoon van Rijn , 1628 Look out for a crossword clue on this page!

The Self-Portraits of Rembrandt By: Kat Milberger, ‘12

hroughout his life, the Dutch painter Rembrandt van Rijn created twenty etchings and sixty paintings of himself. The reason for these works has been widely discussed and many scholars believe that his self-portraits were “generated by internal pressures” and that they can be seen as “a necessary process of identity formation or self definition.” Regardless of why the artist so often chose to use himself as the subject of his paintings and etchings, he did so masterfully while introducing new techniques of working. Rembrandt van Rijn, the son of a miller, was born in 1606 in Leiden, Holland. He first studied art under a local master named Jacob van Swanenburch. Rembrandt later moved to Amsterdam and it was here that he studied under the direction of Pieter Lastman and spent most of his career as an artist (iv). The first known self-portrait of Rembrandt, Portrait of a Young Man (Figure 1), was done in 1628. Here Rembrandt depicts himself as a rough and sturdy fellow, but his face is covered in shadow (ii). This portrait was most likely a study of light and shade, a foreshadowing of his later use of chiaroscuro (iii). We develop much of our interpretation of Rembrandt’s self-portraits by comparing them to one another. During the same time that he painted Portrait of a Young Man, Rembrandt created another selfportrait that conveys a drastically different image. His Self-Portrait with Gorget (Figure 2) depicts the artist in an upright pose and aristocratic in demeanor (ii). The first self-portrait shows Rembrandt as a miller’s son - callous and unrefined - whereas the second depiction shows his yet-to-be-defined place in society – he is a young man striving to become an aristocratic court artist (ii). The distinction between these two paintings reflects the internal struggle taking place within the psyche of Rembrandt over his identity and social status. Rembrandt was known to have a wayward personality from an early age. He was “an early nonconformist” and a “headstrong, self-willed artist.” He did not like to adhere solely to the technical conventions of art at the time (v). It was both this attitude

and his low social status as a miller’s son that put Rembrandt at odds with the wealthy world of art patrons in which he worked. The gorget that he wears in the first self-portrait discussed is a metal collar characteristic of military soldiers during the time. While Rembrandt himself was never in the military, this garment symbolizes the battle to discover himself as an artist and as an individual (i). We see another dichotomy between two selfportraits both painted around the same time that further emphasize this internal struggle. In the 1630’s, Rembrandt painted a number of self-portraits in which he wore elegant middle class attire. This contemporary garb was often luxurious and adhered to the latest trends. It is debated whether Rembrandt had been able to afford such attire or whether he used an imaginary image to portray himself as an accepted member of society (ii), (Figure 3). We see a stark contrast between this depiction and his etching of himself as a beggar, wearing rags and sitting on a pile of dirt. (Figure 4) This juxtaposition is a testament to Rembrandt’s torn position between that of an outsider and that of an “esteemed artist” (ii). Due to this supposed internal struggle, Rembrandt began to gain a following as a mythology formed around him and his methods: he was made out to be a creative genius that would carry his technical secrets “to the grave” (v). This mythology,

Along with Rembrandt’s marriage in 1634 to Saskia van Uylenburgh, helped to further his career. Saskia’s family was well connected in the world of art and help the artist by connecting him to many patrons who wished to commission portraits (iv.) It was during this time, however, that Rembrandt created a few surprising self-portraits described as “aggressive statements of his disdain for middle class respectability” (ii). One such example is Rembrandt’s etched Self-Portrait with Raised Sabre. The artist is depicted wearing oriental clothing along with a dangerous expression and a raised weapon (ii), (Figure 5). We see yet another set of contradicting selfportraits of Rembrandt with his wife. Rembrandt’s 1636 etching shows himself in a calm, balanced pose with his paintbrush in hand. The paintbrush symbolizes his diligence as an artist while the position of his wife behind him symbolizes her support of his artistic development. (Figure 6) In the same year, he depicted himself as the biblical prodigal son who wastes his inheritance on drinking and frivolity (Figure 7). In this etching his wife is represented as a barmaid sitting on his knee (ii). This more scandalous depiction of the married couple contrasts with the previous sober depiction; again, these portraits illustrate the con-

flicts Rembrandt faced both internally and externally. An important aspect of Rembrandt’s selfportraits to take note of is the painting techniques used, and how they changed as he aged and gained experienced as an artist. Rembrandt’s style of work is characterized by a slow, corrective process of returning to certain passages within each painting over and over again. This long process often dissuaded individuals from commissioning portraits from Rembrandt, which may have been a main reason for his bountiful collection of self-portraits (v). As his own model, he was able to spend as much time on the portrait as he felt necessary for its completion. A technique that Rembrandt used in his painting has been called “working up” (v). For this method, Rembrandt began with the backmost planes of color, such as the sky, and blocked those in first. He then worked chronologically from those planes to the front planes using layering (v). This technique reflects Rembrandt’s mentality that an artist should compose the image in his mind before he set out to physically create that image (v). In the beginning of his career and in his early works, Rembrandt “worked in giornate,” meaning he used standardized formulas to paint his portraits. Some of

Figure 2: Last, Left Self-Portrait with Gorget Rembrandt Van Rijn, 1629 Mauritshuis, The Hague

Figure 3: Last, Right Self-Portrait with Plumed Hat Rembrandt Van Rijn, 1629 Isabella Stewart Gardner Museum, Boston

Figure 4: Left Self Portrait as a Beggar Rembrandt Van Rijn, etching, 1630 Rijksmuseum, Amsterdam

Figure 5: Next, Above Self-Portrait with Raised Sabre, Etching with burin, 1634 The Carnegie Museum

Figure 6: Next, Below Self Portrait with Saskia Rembrandt Van Rijn, etching, 1636 Rijksmuseum, Amsterdam

these conventionally used formulas included a cast shadow under the nose that changed from sharp on the sides to blurred in the center, the allusion to eyelashes without drawing each individual one, and a redness on the nostril receiving the light to show the skin’s translucency (v). During these years he used a “fine” technique characterized by a large degree of structure, clarity and definition (v). We see this technique in his gorget self-portrait where his eyebrows, hair and the fringe on his shirt are clearly and meticulously described while the skin on his face is smooth and life-like. (Figure 2) As Rembrandt moved into his later years, he began developing his own painting techniques that at the time would be considered “rough” painting. His methods were connected to the term “sprezzatura,” which describes a loose and casual manner of using the paintbrush. Another technique that has been associated with Rembrandt’s later work is called “pittura di macchia” and is characterized by a splotchy quality (v). In the 17th century, when these techniques began to emerge, most art masters agreed that the sprezzatura or splotchy techniques should only be attempted by those artists - like Rembrandt - who had already mastered both the standardized formulas and the fine technique (v). Rembrandt’s own addition to the rough painting techniques was his use of the painting surface to allude to the space within the painting. We see this practice evident in his Self-Portrait with Two Circles. (Figure 8) The paint is applied thickly in the areas closest to the viewer as well as those areas with the most light, whereas the background is flatter, allowing it to recede physically and metaphorically into space (v). We see the thickness of paint on the white hat, splotched onto the canvas in loose lines, conveying both the lightness and the space of the portrait. Rembrandt also expressed the texture of the hair and the garments with a different handling of the paintbrush. The techniques Rembrandt used in his later self-portraits have been described as “plasticity and spatiality” which roughly means rounding and raising (v). Rembrandt also creates his own variation of Leonardo’s “sfumato”. Instead of using wet paint on a wet background and blurring the edges, Rembrandt painted on a dry background but used a rough and wide line on the edges, which reduces the sharpness on the edge of the plane (v). We observe this rough sfumato in the border between the garment and the background in Rembrandt’s Self-Portrait with Two Circles. (Figure 8) In contrast to the fine techniques

used to realize Rembrandt’s earlier selfportraits, here he used scoring of lines and scribbles in the wet paint to add texture and detail to the left eyebrow and shirt collar (v). Rembrandt’s family life impacted his self-portraiture after his early years. In 1642, his wife Saskia died after the death of three of their children in the previous years (iv). This tragic series of events signaled Rembrandt’s stray from self-portraiture. When he began painting himself again in the late 1640’s and 50’s, he depicted himself in a more subtle, sensitive, and psychological way (ii). After the death of his wife, Rembrandt was forced to declare bankruptcy and auction off his belongings and his house. His self-portraits from this time are characterized by a weary and lined face, the inclusion of which were a clear, forceful departure from the conventions of the mainstream art world and its idealized portrait Rembrandt’s personality as a “solitary and misunderstood” individual, his contribution to new painting techniques, and his abundance of selfportraits set the artist apart from other painters of the 17th century. His realization of self is documented within his self -portraits and reflects the changes in his family and personal life that occurred over the course of his career. Rembrandt’s self-portraits express his internal struggles and act as a visual account of his struggles and growth. Divergent self-portrayals and experimentation with new techniques characterize his personal and artistic development.

Figure 7: Self Portrait with Saskia Rembrandt Harmenszoon van Rijn , 1635

Figure 8: (refer to title page)

Bibliographies and Footnotes i. Abrahams, Simon. "Every Painter Paints Himself | Rembrandt’s Self-portrait with Gorget." Every Painter Paints Himself | Articles and Essays on Art, Artists, Galleries. 20 Apr. 2010. Web. 02 May 2011. <http://www.everypainterpaints himself.com/article/rembrandts_self- portrait_with_gorget/>. ii. Fleischer, Roland E., and Susan C. Scott. Rembrandt, Rubens, and the Art of Their Time: Recent Perspectives. University Park, Penn.: Pennsylvania State University, 1997. Print. iii.Pescio, Claudio, Harmenszoon Van Rijn Rembrandt, and Sergio Ruzzier. Rembrandt and Seventeenth-century Holland. New York: P. Bedrick, 1995. Print. iv. “Rembrandt Biography and Chronology." Rembrandt Van Rijn: Life and Work. 02 May 2011. <http://www.rembrandtpainting.netrembrandt_life_and_work.htm>. v.Wetering, Ernst Van De. Rembrandt: the Painter at Work. Berkeley: University of California, 2009. Print.

The Garden, Parthena Savides, â&#x20AC;&#x2DC;13 47

Photos from Mike Jabbur’s Show in Andrews entitled “Tonic,” Photo Credit: Katie Herzfeld

Deeply Superficial:

Examining the Evolution of Contemporary American Portraiture E

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b : This paper examines the appropriation of symbols of identity in American portraiture from its beginnings at the end of the 18th century to the 21st century. I will present the Hide/Seek: Difference and Desire in American Portraiture as a case study and explain how it showcases an example of post-modern portraiture. Examples discussed include works by John Singleton Copley, Thomas Eakins, and Andy Warhol. This paper outlines the political, social, and cultural circumstances in which these artists worked, and how these conditions ultimately shaped individual identities as well as the progression of the collective American identity in the visual arts throughout history. I Studying the development of American portraiture is not only an examination of the contemporary stylistic schools of depiction, but it is also an examination of an evolution of American cultural, socioeconomic, and political identity. This paper will follow the movement of American portraiture from its beginnings in the 18th century through the contemporary age. It will conclude with a study of how the subject matter and the works presented in the exhibition entitled Hide/Seek: Difference and Desire in American Portraiture exemplify post-modern culture, both in terms of subject matter and media. The Hide/Seek exhibition embodies a “new spirit” in American portraiture through which identity is questioned and ambiguity abounds. These aspects are significantly different from portraits of both the 18th and 19th centuries. The use of new forms of media and the thought-provoking (controversial) representation of the “sitters” leads to a new dialogue both within the context of the exhibition as well as within the parameters of contemporary American culture. H

The Hide/Seek exhibition described in this paper was debuted at the National Portrait Gallery in October of 2010 and closed in February of 2011. The exhibition was co-curated by David C. Ward, a historian at the

National Portrait Gallery and Jonathan D. Katz, director of the doctoral program in visual studies at the University of Buffalo in New York. One of the largest, most expensive exhibitions NPG has ever held, “Hide/Seek: Difference and Desire in American Portraiture [was] the first major museum exhibition to focus on sexual difference in the making of modern American portraiture.” Hide/Seek was comprised of 105 objects and 4 videos. This show included works by artists such as Thomas Eakins, Marsden Hartley, Andy Warhol, Robert Mapplethorpe, Robert Rauschenberg, Jasper Johns, Annie Leibowitz, and Feliz Gonzalez-Torres, among many others. Wh

What is a portrait? Marcia Pointon, author of a book about eighteenth century British portraiture suggests with her own definition of the term, that “... ‘Portraiture’ denote(s) all those practices connected with the depiction of human subjects, and the theorization, conceptualization, and apprehension of portrait representations. At its most abstract, portraiture is a question of the relationship between the self as art and the self in art,” (Pointon 1998). A portrait is by its very nature a representation, and its goal should be to capture the “likeness” of the portrayed. “A likeness-whether painted or drawn, sculpted or photographed-embodies notions of vanity, personality, character, occupation, hobbies, politics, social standing, economic status, religious affiliation, stylishness, health, age, and more. At face value, a portrait surely implies that a person can be known by what he or she looks like. Portraits become surrogates for their sitters and, at times, surrogates for entire societies,” (Barratt). y

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The emergence of American portraiture began in the 18th century when artists in the colonies imitated the style of their European counterparts. Due to such origins in late style European and British painting practices, colonial American artists found it difficult to successfully compete with European artists for patrons and prestige in the portrait market. The work of early American portraitists was criticized for its crudeness in comparison to earlier precedents. However, it would not be long before American painters not only founded their own studios, but also established their own reputations with wealthy and connected patrons, both colonial and European alike. Co-

lonial American portraits are best characterized as normative portraits. That is to say that they were based off of a collection of socially acceptable behaviors and criteria. These gender roles were easily identifiable to contemporary viewers. At this time in England, pendant portraits and family portraits in domestic settings were very popular. Both forms of portraits identify the male as the active and dominant member of the family, and the female as the passive mother and caregiver. Some of the most noteworthy American portrait painters of this time were John Singleton Copley (1738-1815) and Gilbert Stuart (1755-1828). Copley began his art education when his mother married his stepfather, Peter Pelham, an engraver. Under Pelham’s guidance, young Copley’s skills flourished. Considered one of the most instrumental portrait painters in bringing high art to America, Copley’s technical skill and social grace made him one of the most prolific and well-respected portraitists in American history. In 1763 and 1767, Copley painted por-

Figure 1: John Singleton Copley Mrs. Jerathmael Bowers, 1763 Metropolitan Museum of Art, New York, New York)

traits of Mary Sherburne Bowers and her father Joseph Sherburne. Mary chose to base her portrait (John Singleton Copley, Mrs. Jerathmael Bowers 1763) (Figure 1) on a print of a painting by Sir Joshua Reynolds (Barratt). Unlike her father’s portrait, Mary is depicted adorned with pearls and flowers and is seated in nature, framed by the arm of the bench on which she sits and by a few idyllic clouds in the distance. She gazes wistfully off into space while the beautiful spaniel in her lap looks out at the viewer. The gentleness of her portrait contrasts with the mood of her father’s. Joseph Sherburne’s portrait (John Singleton Copley, Joseph Sherburne, 1767-70) (Figure 2) is slightly more out of the ordinary, but typically masculine nonetheless. Mr. Sherburne, a wealthy merchant, sits in a wooden chair facing the viewer, his eyes gazing slightly downward. The most interesting part of this portrait is Sherburne’s choice of vestments. He is not wearing his wig - the appropriate headgear for a

Figure 2: John Singleton Copley Joseph Sherburne, 1767-70 Metropolitan Museum of Art, New York, New York)

proper gentleman as well as a common symbol of masculinity. Though this is a very casual style portrait, a contrast still exists with Mary’s portrait. These paintings are not only examples of early American portraiture but are also examples of a concept called selffashioning. Self-fashioning, when an artist allows his/her subject to choose how they wish to be depicted, is an important idea that still resonates. One should also note that in the 18th century portraits were reserved only for the privileged classes who could pay for them, something that will change in the post-modern era. E k

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Following the discussion on the characteristics of the pre-modern period, the modern period, peaks in the mid to late nineteenth century with works by important American artists like Thomas Eakins. During this time, portraiture became more realistic. America in the nineteenth century entered its adolescent phase. The country was certainly feeling “growing pains” as industry boomed, bringing life to the cities and creating an urban elite society. The end of the nineteenth century is a period characterized by social and cultural change. The sudden rush into an industrialized society was not entirely beneficial. While propriety and normative social behavior were still very important, society responded to a perceived cultural crisis in the latter part of the century by dictating that men prove their masculinity through a variety of strenuous physical activities. Examples include boxing and rowing. These sporting events became popular subjects in art at this time. Meanwhile women were characterized ever more as the weaker sex. Nowhere is this dichotomy between men and women as clear as in the work of Thomas Eakins (1844-1916). An important visual interpretation of these new pressures comes in Eakins’ Salutat (1898, Addison Gallery of Art, Andover, Massachusetts) (Figure 3) in which an all male audience cheers for an almost nude male boxing champion as he leaves the arena. Not unlike Copley’s portraits, Salutat is oil on canvas. Eakins’ painting feels like an incomplete nar-

Figure 3: Thomas Eakins Salitat, 1898 Addison Gallery of Art, Andover, Massachusetts

rative, which makes a conclusive analysis difficult, adding to Eakins’ already problematic viewpoint of the nude figure. Unlike other artists of his time, Eakins harbored more of an objective appreciation for the male nude than the female nude. His realistic depiction of a victorious boxer was not an uncommon image for the time; it is the bold replacement of the normally female nude with the idealized male form, lauded by an all male crowd, that could change the meaning a viewer might glean from it.Salutat is featured in the Hide/Seek exhibition, and while “… [Eakins] celebrates male achievement, there are tensions present that question or qualify the values of the masculine world of action and progress” (Clark, 1991). In his article, Clark labels the subjects of Eakins’ greatest works the “modern hero”. Eakins, like

Walt Whitman and other artists of the latter part of the nineteenth century, admired the Greco-Roman lifestyle and the celebrated male nude form. Similar to portraits of the 18th century, Eakins captured the tension between men and women in his own society. As Clark points out, “Eakins expressed his admiration for ‘living, thinking, active men’; and it is his enthusiasm for the life of thought that results in practical achievement which links his most characteristic portraits of men and sets them off sharply from those of women” (Clark, 1991). Finally, the end of the nineteenth century brought the popularization of photography. Following its popularization as a medium in the 1860s, photography became an important medium for portraiture of the late modern as well as the post-modern period.

ample comes in the works of the painter Marsden Hartley. Hartley was influenced by his time in Germany during the spread of the Abstract Expressionist movement. He was also deeply impacted by the outbreak of World War I, which also included the death of his lover in the first few weeks. He had a relationship with a German Air Force officer named Karl von Freyberg. One of Hartley’s portraits of von Freyberg is called Berlin no. 47 (Figure 4) and was painted in 1914 after von Freyberg was killed. In this image, Hartley reduces his lover’s likeness to “the sum of his public attributes,” (Ward, 2010). The “portrait” becomes nothing more than his medal, uniform insignia, spurs, a flag, and his initials. As co-curator David Ward frames it, “abstraction becomes a screen to hide the deep personal link between subject and artist,” (Ward, 2010). Meanwhile, “… in New York, a gay subculture grew up and was allowed to flourish precisely because normative standards were impossible to maintain...” in such a turbulent time, particularly in big cities. (Ward, 2010.)

b h F H f f h Tw h y The first half of the twentieth century brought its own set of challenges, many of which influenced the art that artists were creating at the time. In no uncertain terms, for members of secretive gay/lesbian artist groups working at the time, the early twentieth century brought relief in two ways. First, as the world plunged into chaos with the onset of World War I and World War II as well as the Great Depression, the collapse of the old socioeconomic infrastructure invited a new one. In other words, it allowed women like Janet Flanner and Romaine Brooks, both expatriate lesbians living in Paris in the early 1920s, to successfully establish their own communities. The second form of relief Figure 4: Marsden Hartley came with the onset of the Abstract Expressionist Berlin No. 47 , 1914-15 movement. One such ex-

Hirshhorn Museum and Sculpture Garden, Washington, DC

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The Stonewall Riots began on June 28, 1969 outside of a gay bar, the Stonewall Inn, in Greenwich Village in uptown Manhattan. According to a book by David Carter, in the 1960s and 1970s amongst a culture of protest, the Lesbian Gay Bisexual and Transgendered (LGBT) community had become significantly marginalized in society. There was no law protecting these individuals against being fired without reason and sex between homosexual partners was illegal. The protests that became known as the Stonewall Riots, set within the larger schema of the protest-prone American public of the 1960s and 70s were incredibly significant.

The Stonewall Riots resulted in the creation of two important gay activist organizations (Carter, 2004). The riots marked the beginning of the gay revolution, and the dawning of a new era of freedom of expression for those living on the margins of society. The Stonewall Riots mark the beginning of the postmodern period, and the beginning of a new history for the LGBT community. P

Ironically, the post-modern era is a period unto itself, and its definition is elusive. There is much debate amongst scholars as to what defines this era. Some say post-modernism was born at the intersection of commercialism and fine art, more specifically in the works of Andy Warhol. Andreas Huyssen’s definition of post-modernism creates dialectic by which to begin a “constant, even obsessive negotiation with the terms of the modern itself”. Simply stated, post-modernism is the period in which everything that was considered “modern” is questioned and perhaps turned on its head, exploited against itself to establish contention about the world in which it is contained. Post modernism is non-referential, meaning it has no precedent and does not have to have a purpose. The post-modern period is defined by the desire to make art for art’s sake. Two prominent art critics, Anthony Giddens and Rosalind Krauss, provide similar definitions of what post-modernism is. Giddens agrees with Marx who wrote, “All commodities have a ‘double existence’ as both substance and form”. The idea of objects serving dual purposes goes back to the fundamental purpose of post-modernism, established by early minimalists like Marcel Duchamp, famous for the autographed urinal he submitted to an art show, among other common household objects. Giddens’ point is particularly poignant when placed within the context of the portraits of the Hide/ Seek exhibition. Many of the portrayals of the individuals included in the exhibition lived quiet lives on the margins of a very strict society. Rosalind Krauss, an important art critic of the 20th century, influenced the break from modernism. A former student of Clement Greenberg, Krauss broke from Greenberg’s school of thought based on formalism and sided with a group of French DeconstructionFigure 5: Andy Warhol Camouflage Self Portrait :1986 Philadelphia Museum of Art, PA) Look out for a crossword clue on this page!

ist thinkers, such as Roland Barthes and Jacques Derrida. Krauss wrote that it is not the media of art that matters, but the context under which the art is created. She wrote, “We can no longer fail to notice that if we make up schemas of meaning based on history, we are playing into systems of control and censure. We are no longer innocent. `For if the norms of the past serve to measure the present, they also serve to construct it’” (Krauss 1972). Krauss’ later writings, not unlike this excerpt, influenced the beginning of the idea of post-modernism in the history of art. No discussion of post-modernist artistic development would be complete without a discussion of the works of Andy Warhol. “Warhol built on the idea that portraits are a mask. Warhol hides in plain sight, not camouflaged at all, instantly recognizable yet hidden behind the façade of his own making,” (Ward). Warhol is credited with creating a new period of art, called the post-modern era. He found this new style when he adapted commercial art (or pop art) into fine art. Warhol was also a member of the gay community and the effects of the Stonewall Riots are found in his art. One example is his Camouflage Self-Portrait (1986, Philadelphia Museum of Art, PA) (figure 5). This portrait is one in a series of camouflaged selfportraits. In this portrait, Warhol has transposed red, pink, and white camouflage over his face. He stares out at the viewer with a blank expression. The message in this work is very clear. Warhol is unafraid to present himself candidly to the viewer, but he does so

through the filter of a camouflage of his own making. Through this work, according to co-curator Katz, Warhol presents himself, defined only as the viewer identifies him through his guise. Ex

Hide/Seek: Difference and Desire in American Portraiture is a pertinent example of a post-modernist portraiture exhibition. According to Katz, “Sexual difference’s influence on biography and art have been excluded from scholarly literature” citing reasons such as a misplaced sense of decorum and homophobia. (Ward, 2010) When David Ward gave a lecture before the Smithsonian Congress of Scholars in October of 2010, he explained that the purpose of the exhibition was to re-visit the contributions of a group of individuals long marginalized or ignored in the scholarship of art history. The exhibition is organized to begin with Walt Whitman’s poetry, and then follows a timeline that highlights the variety of elements that slowly

Figure 6: Felix Gonzalez-Torres Untitled (Portrait of Ross in LA), 1991

led to the gay revolution, the AIDS epidemic, and to gay artists of today. These factors alone successfully place the thesis of the exhibition in the post-modern era. On closer examination, the use of non-traditional media and extreme abstraction in portraiture to capture a likeness is also used throughout the exhibition. Three such examples of non-traditional media and extreme abstraction in the exhibition are Felix Gonzalez-Torres’ Untitled (Portrait of Ross in LA), 1991 (Figure 6), Marsden Hartley’s Berlin No. 47 (191415), and the video by David Wojnarowicz, Fire in my Belly (1987-1994). Arguably, Goszalez-Torres’ work, characterized by Ward as “whimsical, even campy...” in which “...the candy spill symbolically represents the dwindling of the body and the artist’s participation turns the work into an act of communion” is most effective in its current form (Ward, 2010). By putting it on canvas, the work’s conceptual foundation would

ultimately have been lost. Hide/Seek has encountered its fair share of criticism and controversy. The public perception of certain pieces from Hide/Seek created dissention, and ultimately led to the removal of Wojnarowicz’s Fire in my Belly video from the show. Unlike modernism, the foundations of post-modernism are conceptual and anti-historicist. Fire in my Belly is a commentary on the AIDS epidemic in the context of universal human suffering. Wojnarowicz conveys this theme using the imagery of ants crawling over a crucifix. In this choice of imagery, Wojnarowicz’s anger is palpable. This piece is an excellent example of a post modern portrait because it represents the experiences and feelings of someone afflicted with AIDS as seen through his own eyes. However, the conceptual nature of this piece understandably could make viewers uncomfortable.

While some argue the Hide/Seek exhibition may have come too little/too late, the dialectic that resulted leads to a variety of important questions about what is valuable and understood in portraiture of our own era. In medium and subject matter, the works from the exhibition are very different from earlier examples of portraiture, but they still convey a sense of completeness, complexity, and biographical integrity. The portrait is ever evolving to keep with the times, but the spirit of the portrait itself will forever remain relevant and critical to the creation and preservation of personal and national identity.

T The portraits of the post-modern period, as captured in the Hide/Seek exhibition, represent a break from the earlier periods of depiction. I have observed and identified five key characteristics to outline my point. The first observation is that the new portraits are significantly more abstract representations of the various subjects’ likenesses. Two examples are Hartley’s Berlin no. 47 and GonzalezTorres’ Untitled (Portrait of Ross in LA). The second observation is that as part of its focus, the identity captured in the portraits of the new era stand to be reinterpreted based on entirely new criteria. As David Ward points out, “Hide/Seek is intended to look directly at what we have overlooked...” (Ward, 2010). Thirdly, I observed that these portraits defy the boundaries of gender and socio-economics. These two factors alone played a substantial role in early American portrait examples. Fourth, these portraits represent contemporary issues, like the AIDS epidemic, from the perspective of someone with first-hand experience. Earlier portraits would not have dared to address contemporary issues as boldly as they are exhibited in Hide/Seek. Finally, perhaps ironically, this exhibition represents a community with a re-defined history. Similar to the way post-modernism is based largely on concept, so too are many of the works of this exhibition. Meanwhile the intimate connection between subject and artist, the value of commemoration in portraiture, and the inseparable relationship between biography and portraiture have not changed.

______________________________________________________________________________________________________

1. I’ve decided to use the term “pre-modern” to imply the period in American history prior to the French Revolution when modernism is generally accepted to have begun. 2. It is unclear if Eakins’ intention was to invoke a sense of sexual deviancy, though we know he liked to record tension in his contemporary society. 3. Wojnarowicz’s original piece was cut down from 30 minutes down to 4 minutes for the NPG show. The controversial moment in the video was less than 4 seconds in length.

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Below : George Bellows, River Front No. 1 (1915) From the Hide/Seek exhibition—(oil on canvas)

Look Further: Hide/Seek: Difference and Desire in American Portraiture

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Curator’s Tour Videos Scholarly Symposium

New York, NY: St. Martin's Press. Retrieved from http:// books.google.it/books? hl=en&lr=&id=j04jLSvGNSMC&oi=fnd&pg=PP11&dq=the stonewall riots of 1969&ots=cTWmZzCyCI&sig=DJuigu6UUCEWHFN8n20RXCCRcf4 Clark, W. J. (1991). The iconography of gender in thomas eakins portraiture. Mid-America American Studies Association, 32(2), 5-28. Retrieved from http://www.jstor.org/stable/40643592 Giddens, A. (1981). Modernism and post-modernism.New German Critique, 22, 15-18. Retrieved from http://www.jstor.org.proxy.wm.edu/ stable/pdfplus/487860.pdf?acceptTC=true Griffin, R. C. (1995). Thomas Eakins' construction of the male body. (2 ed., Vol. 18, pp. 70-80). London, England: Oxford University Press. DOI: http://www.jstor.org/stable/1360554 Huyssen, A. (1986). After the great divide: Modernism, mass culture, postmodernism. Bloomington, IN: Indiana University Press. Retrieved from http://books.google.it/books? id=WAkocqh61O0C&pg=PR10&lpg=PR10&dq=andreas huyssen constant, even obsessive negotiation with the terms of the modern itBb h self&source=bl&ots=Aje6a4QYg-&sig=i_cIVAmVfyPELzuzBarratt, Carrie Rebora. "John Singleton Copley (1738–1815)". In Heil- 5PnqMnFA2c&hl=en&ei=lXXgTrnECcfq0gHM3by8Bw&sa=X&oi=bo brunn Timeline of Art History. New York: The Metropolitan Museum of ok_result&ct=result&resnum=2&sqi=2&ved=0CCUQ6AEwAQ Art, 2000–. http://www.metmuseum.org/toah/hd/copl/hd_copl.htm Krauss, R. (1972) “A View of Modernism,” Artforum. (October 2003) Barratt, Carrie Rebora. "Faces of a New Nation: American Portraits of the 18th and Early 19th Centuries."The Metropolitan Museum of Art Bulletin, v. 61, no. 1 (Summer, 2003). Carter, D. (2004). Stonewall: The riots that sparked the gay revolution.

Pointon, M. (1998). Hanging the head:portraiture and social formation in eighteenth-century england. New Haven, CT: Yale University Press. The art story: Rosalind Krauss. (n.d.). Retrieved from http:// www.theartstory.org/critic-krauss-rosalind.htm

Opposite: Photo Credit—Joél Carela Above: 5 Days in a Laundry Mat 4, Matera, Italy Feb 2012, Jarrett Ley

Figure 8â&#x20AC;&#x201D;Also shown on last page Dragon Robe Woven silk Tapestry, Qing Dynasty Victoria and Albert Museum, London

The Progression of the Dragon : Monster and Dragon Figures in Chinese Art

Essay by Sofia Chabolla, Class of 2014

The Progression of the Dragon: Monster and Dragon Figures in Chinese Art

Essay by Sofia Chabolla Class of 2014

he symbol of the dragon has led by zhenren shamans in villages been present in Chinese art and in Anyang, or modern day central historic culture starting in the Early China (Sullivan, 12). Many AnBronze Ageâ&#x20AC;&#x2122;s Shang Dynasty (1523yang oxen, pig, and sheep scapulas 1028 BCE). Due to the mythical and as well as turtle plastrons were composite nature of the long, or Chicovered with small symbolic innese term for dragon, representation scriptions describing possible outand symbolism of the mythical beast comes of a ritual. A hot rod was shifted over multiple dynasties to fit then inserted into holes in the orathe beliefs and religions of the people. cle bone, causing cracks in the surThis progression has incorporated conface and which pointed to certain nections to the imperial emperor, comsymbolic pictographs drawn on the munication to religious spirits during piece. The zhenren could then diancestor worship, the power of the natvine the answer of oracle bone ural world, and the masculine identity through the indicated pictographs. in Chinese culture (Wilson, 287). PreOracle bones, similar to the 1200 sent day Chinese culture now identiBCE scapula (figure 1) which exfies the dragon as an authoritative, hibited the first records of a dragauspicious, and guardian-like figure on symbol in Chinese history are for the entire society. This paper will believed to have represented a comFigure 1: Oracle Bone Excavated at Yinxu, Anyang, Henan follow the genesis and progression of munication between man and the Shang Dynasty, 1200 BCE the dragon image chronologically from spirits, as seen by the gaping mouth National Palace Museum, Taipei the Shang dynasty to the Qing dynasty of the mythical beast. The dragon (1644 â&#x20AC;&#x201C; 1911 BC) with examples in multiple media. acted as a shamanistic mediator during bi rituals as a One of the earliest representations of the dragon was communicator spirit of power and influence for the anseen in pictograph form, an early precursor of Chinese cestors of the past (Wilson, 287). Though they did not calligraphy, on oracle bones used during the Shang dyn- contain the long body of later dragons, the early pictoasty. These oracle bones were used in the Early Bronze graph representation contained a gaping mouth, curled Age, approximately 1200 BCE, during bin oracle rituals snout, large staring eyes, and horns (Wilson, 287).

The pictograph also portrayed a curling â&#x20AC;&#x2DC;câ&#x20AC;&#x2122; form for the dragonâ&#x20AC;&#x2122;s body, commonly used in jade carvings during the later Shang dynasty. Though not created for artistic purposes, the simple pictographs on the oracle bones mark the start of the Chinese calligraphic history as well as the complex symbolism of the mythical dragon in Chinese religion, culture, and later imperial government. The pictograph image of the dragon used on oracle bones acted as an influence on the symbolism and purpose of other Bronze Age composite beasts depicted on bronze ritual vessels. Zoomorphic images on bronze vessels also created during the Shang dynasty (1523- 1028 BCE) were used as tribal totems, continuing their symbolic role as communicators during ritual ceremonies. Similar to the oracle bones, shamanism during the Shang dynasty included a belief in communication between the living and the dead as well as heaven and earth made possible by animals spirits designed on ritual vessels (Keasner, 31). During the rituals, Shang emperors were able to entertain past ancestors in the earthly realm. Composite monster images displayed in on the sides of bronze vessels were often portrayed stylistically,

morphing between recognizable facial forms and abstract leiwen cloud relief designs on Chinese pottery. Because of the mythical and composite nature of the beasts, they could evolve and change, without the need to conform to specific representational or realistic qualities. Common mythical monster images seen on ritual bronze fang ding vases (figure 2), for example, include the kui dragon and taotie monster, created from the natural prototype animals seen in China and imbued with power and symbolism (Keasner, 30). Bronze ritual vessels, like the fang ding from the Shang dynasty, were cast in bronze through a sectional mold process. The reliefs that were inscribed into the clay mold before being filled with molten bronze were abstract and simplified. Over the course of the Bronze Age, increased technology through the process of lost wax casting increased design abilities. The ritual vessels, like this Late Shang piece on four legs often included an abstract taotie monster mask on its sides surrounded by leiwen cloud swirls. The taotie included horned eyebrows and a gaping mouth reminiscent of the communicative properties of oracle bone dragons, and were placed next to cicadas representing regeneration (Sullivan, 30). The taotie relief bands wrapping around ritual vases radiated from a central nose and governed the vessel sides with their manipulated design. The images were dualistic, including the splitting of a single unit into two joined animal profiles (Kesner, 31). Above- Figure 2: Bronze fang ding vessel Late Shang dynasty. Yinxu II, c. 1200 BCE Below- Image Detail: taotie motif relief, Bronze fang ding

The taotie masks of the Shang and Zhou dynasties underwent five major stylistic changes from abstract patterns to bold and corporeal prominence, though obvious anatomical features were never definite. This progression was influenced by innovations and new technology, specifically the move from clay sectional molds to lost wax bronze casting. The taotie monster mask, known by the people as ‘the glutton,’ instilled a sense of power and fear in viewers, and is an off shoot of the traditional dragon image. The taotie composite monster was used in a similar way to the oracle bones and jade carvings in early Chinese ritual practices in creating a relationship between heaven and earth. Also, the 12th century bronze Covered Ewer (figure 3) exemplified the dragon’s influence on bronze pieces. The Ewer, used to carry water, showed the Chinese’s ability to elaborate, combine, and simplify animal images to fit their needs and representational purposes. The Covered Ewer, formed by an owl and dragon faced back to back, was intricately covered with abstract and

interwoven designs as well as compartmentalized spaces (Wilson, 291). At this time, the abstraction of surface designs was consistent with the fact that Chinese works did not have a distinct separation of figure and ground. Leiwen swirls and small figures intertwined and meshed so that specific forms were hard to pick out and separate. The dragon’s gaping mouth was again representative of the communicative properties of the dragon, and the purpose of the ewer could be connected with the dragon’s power over water, explained later. The fangding vessel and Covered Ewer are perfect examples of the introduction of bronze into Chinese culture, a medium that continued to impact the artistic, ritualistic, and functional needs of the society for centuries. After Shang dynasty, dragon imagery was replaced with geometric patterns and bird designs throughout the Western Zhou Dynasty (1046–771 BCE) until it’s reemergence during the Eastern Zhou (770 -221 BCE). The Warring States Period in China (475-221 BCE) saw the dragon continue its connection to the spirit through its use in burial practices. Jade, known in Chinese culture as a protector of the body and soul, was commonly carved with grain patterns and buried with the deceased. Because the dragon represented the spirit and a connection between the worlds of the dead and the living, the image was often carved into circular bi and huang disks. Concentric han disks (figure 4) were created with the classic white jade stone and covered with the abstract grain pattern common on similar bi burial disks. These Below—Figure 3: Covered Ewer (Guang) Bronze China, Shang dynasty, middle Anyang period. 12th century BCE. Private Collection, Above- Figure 4: Concentric huan Disks with Dragons Jade. Diam. Of outer disk 16.5 cm. Warring States period The Nelson- Atkins Museum of Art, Kansas City, Missouri Look out for a crossword clue on this page!

Disks were then buried with a body for protective purposes. The delicately carved dragon pair which rests on the exterior of the outer disk contains two dragons swirling and intertwining upon themselves. The two dragons each exhibit gaping mouths, reminiscent of the dragon’s communicative properties. These jade dragon carvings were slowly bridging the gap between abstraction and realism in representation, becoming more detailed while still retaining certain characteristic qualities. The characteristic long body of the contemporary dragon form can also be seen on the disks. The increase of size, detail, and skill in the pieces parallel the growth of the luxurious lifestyle, increase in funds, and design preference in China at the time. The expansion of dragon imagery painted on silk also followed this progression toward a focus on image instead of pattern and design. As naturalistic representations of the dragon became more common and standardized, the beast often be-

came symbolic of man’s power and masculinity. The Chinese dragon, yang, which represented masculinity, became part of the yin and yang. The other half of this symbolic duo was the female fenghuang phoenix. This contrast of the phoenix and dragon created harmony that later used in imperial symbols Ink painted silk panels form the Eastern Zhou period displayed this idea, particularly with the image of Man and Dragon (figure 5). The piece itself was made with black ink, including specific and precise brushwork and changing in width depending on the form in question. The qualities seen on the mythical beasts in this scroll, though individual because of the painter’s unique style and representation still retained the classic indicators of the mythical dragon form. Due to its old age, and poorly retained quality, however, the gaping mouth of the dragon, and the horns included over its bulging eyes are hard to make out. The inclusion of the man showed the dragon’s connection to the masculine and its ability to bridge the gap between the spirit and the earthly human. The phoenix drawn in ink facing the opposite direction of the snarling dragon completed the harmonic ying and yang contrast of the two mythical beasts in Chinese culture. Also similar to the yin and yang of the male and female, the spiritual dragon was a contrast to the earthly tiger. This contrast of the dragon and tiger was already in use during the primitive period but is exemplified on the Song dynasty Dragon and Tiger Scroll by Chen Rong. The dragon symbolized a spiritual and natural guardianlike figure, whereas the tiger represented earthly warlike power (Wilson, 301). Next page- Figure 6: Nine Dragon Scroll handscroll section by Chen Rong 1244 CE, Chinese Song Dynasty The Museum of Fine Arts, Boston.

Figure 5: Man and Dragon Ink painted on Silk Panel. Eastern Zhou (State of Chu), 4th -3rd c BCE 38 by 28 cm

The Chinese people believed that the dragon could be heard in thunder, that it could fly between clouds, and that in its anger it could cause floods to occur (Sullivan, 196). Because of this belief system, another major symbolic power of the dragon became its control over water and natural forces. The dragon was a creative force within nature that, due to a marriage with the earth itself, was the origin and sustainer of life, causing seeds to grow and germinate with nurturing rain (Sullivan, 195). Religions introduced into Chinese culture also adapted the dragon into their belief systems. The Daoists considered the dragon as the Dao, or pervading and elusive force in nature that vanishes and reveals itself through exhibitions of natural might and power (Wilson, 303). During the Song Dynasty (960 â&#x20AC;&#x201C; 1279 CE), the Confucians included the dragon in their beliefs of ancestor worship. Buddhists were known for substituting plants, land, & animals with divinities of meditation and enlightenment, including the dragon; they claimed that destructive natural disasters were the result of the dragon striking out against a person. The

Nine Dragon Scroll painted by Chen Rong during the Song dynasty (figure 6) exemplified the dragon as a symbol of natural power and bringer of water. The scroll was part of a series of nine dragons, symbolic due to the power of the number nine numerically and its status as the number of types of dragons in existence as well as the number of offspring. The two dragons pictured were painted with ink on a hand scroll, twisting and swirling with gaping mouths and four claws. The number of claws included on the muscular legs of each long and sinuous body was representative of rank and power. The artist of The Nine Dragon Scroll, Chen Rong, was also unorthodox in his painting method. The painer was known to smear large areas of ink onto scrolls with his cap, then finished the paintings with his brush. This technique was exhibited in The Nine Dragon Scroll with the clouds that surround the flying and convoluted beasts- causing them to appear and vanish throughout the image. The tonal difference between the smeared clouds and the difference between the smeared clouds and the intricate brush-

1. The early pictograph writing system exhibited vertically on the Anyang oracle bones include over 3.000 characters and was read left or right across the bone (Sullivan, 20). 2. Taotie reliefs of the Bronze Age were said by the 3rd century text Lushi chungiu to be gluttons. These symmetrical and bodiless forms created on ritual vessels ate humans, but received harm in consequence before they swallowed their food (Kesner, 30). 3. The circular and curved representation of the dragon at was carried over from the early Shang dynasty when early dragon images, like the well-known jade pig-dragon, were carved in a â&#x20AC;&#x2DC;câ&#x20AC;&#x2122; shape.

-strokes of the dragon further the impact of the beasts’ mysterious qualities. Blue and white hard ground porcelain created in Jingdezhen, China during the Yuan dynasty (14th century) showed the power and lavish lifestyle of the Chinese court and religion was well as the dragon image. The large porcelain vase pair dedicated to a temple in Jiangxi (figure 7) was used on a Daoist altar and mimicked the classic form of bronze ritual vessels. The pair was recorded as one of the first blue and white porcelain pieces to ever be inscribed with calligraphy. Also, it was given as a prayer for the protection and blessing of a Chinese man, Zhang Wenjin’s, whole family as well as for the peace of his sons and daughters in 1351 CE. The cobalt and white underglaze, used by the Chinese for its ability to fire in the heat of the kiln, included intricate designs and a flying dragon across the center band. The drawing displayed was bold and striking, but still remained delicate due to the varying tone of the cobalt brushstrokes and intricacy of the forms. The dragon pictured was surrounded by clouds, common since abstract inclusion of leiwen designs on taotie masks of the Song dynasty. The representation of clouds was consistent with the Dao belief of the dragon as a force of power within nature. Also, the yang dragon wrapping around the porcelain forms can be representative of the masculine identity and the emperor of China, while the flying phoenixes painted on the neck of the vases are symbolic of the empress. The dragon furthered its impact on Chinese culture by becoming the symbol of the imperial highness, and its image was embellished on the robes of the emperor. The choice of the dragon emblem for the emperor is traced back to the first emperor Huangdi, who is said to have ascended into heaven as a dragon (Wilson, 294). Afterwards, all those of the imperial line have been known as ‘sons of dragons.’ The dragon, in opposition of the empress’ phoenix symbol, signifies power, luck, promotion in office, and a force in nature. Starting in the Zhou dynasty, dragons were created with different numbers of claws signifying levels

of imperial power and status in court. Three clawed dragons were used commonly during the Tang dynasty (618 – 907 CE) and continued use into the Yuan dynasty (1271 – 1368 CE) before strict sumptuary laws were enforced in the 14th century, changing as well as standardizing style and symbolism. Afterwards, the four clawed dragon was representative of the nobles and officials and a dragon with five claws signified royalty. Gold embroidered Qing satin tapestry robes included the “twelve imperial symbols” used by the Chinese for centuries as symbols of the divine emperor. The long semiformal robes displayed an elegant and intricately coiled dragon centered on the chest of the silk, surrounded by cloud designs commonly attached to dragon images since the primitive period. The robe would have been placed under multiple other layers of overcoats and robes worn by the emperor, but was a wearable piece showing his wealth and authority through the iconic and symbolic representation of the guardian dragon. Again, the number nine exemplified on the robes was symbolically powerful due to its status as largest single digit in the Chinese numerical system. Also, the dragon was known to have nine forms and nine offspring, adding to the power and significance of the number. The symbolism of the dragon in Chinese history is far reaching and encompassing. The mythical beast is a representation of the spirit, the emperor, masculinity, and power within nature. The guardian dragon figure came to be a part of the Chinese zodiac calendar starting during the Warring States Period and represents the fifth point on the cardinal system, the center. Even now in modern-day China, there is a taboo against defacing any dragon imagery or emblem. Though there are many interpretations and hypothesis on the real underlying meaning of the dragon, the concrete reason behind the creation of the dragon will remain in Chinese myth and history forever. These mythical creatures are symbols that have spanned thousands of years but retained similar representational form and meaning throughout. ● Next page– Figure 7 Pair of Vases dedicated to a Temple in Jiangxi in 1351. Porcelain decorated in under-glaze blue, Yuan dynasty. Percival David Foundation of Chinese Art, London

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Clunas, Craig. Art in China. 2nd ed. Oxford: Oxford UP, 2009. Print. Sullivan, Michael. The Arts of China. 5th ed. Berkeley: University of California, 2008. Print. Wu, Xin. The Dawn of History. Class Notes. 2011 Wu, Xin. The Early Bronze Age. Class Notes. 2011 Kesner, Ladislay. “The Taotie Reconsidered: Meanings and Functions of the Shang Theriomorphic Imagery”. Artibus Asiae , Vol. 51, No. 1/2 (1991), Artibus Asiae Publishing. pp. 29-53. http://www.jstor.org/ stable/3249675 W. E. H. “Chinese Painting.” The Metropolitan Museum of Art Bulletin , Vol. 7, No. 1 (Jan., 1912), Metropolitan Museum of Art Publishers. pp. 7-9. http://www.jstor.org/stable/3252688 f E W h

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Wilson, Keith J. “Powerful Form and Potent Symbol: The Dragon in Asia.” The Bulletin of the Cleveland Museum of Art , Vol. 77, No. 8, (Oct., 1990), Cleveland Museum of Art Publishers. pp. 286-323. http:// www.jstor.org/stable/25161297

rt & Art History

A Requirements for a Major/Minor Professor Profiles Associate Professor of Art Elizabeth Mead Distinguished Associate Professor of Art and Art History Charles Palermo Retiring Professors Barbara Watkinson William Barnes Student Profiles 3-Dimensional Focus Barbara Pearsall Printmaking Focus Alix Bendicksen Art / Art History Majors and Minors The Graduating Class of 2012

Requirements for a Major 69

Art History C dit 39-48

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ART 211– 2-Dimensional Art ART 212—3-Dimensional Art ARTH 251—Survey of Art History I ARTH 252—Survey of Art History II ARTH 480 —Methods of Art History Another 400-level course

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1. Medieval (ARTH 351, 352, 353) 2. Renaissance and Baroque (ARTH 360, 362, 363, 364, 365, 366) 3. Modern (ARTH 370, 371, 372, 375) 4. American (ARTH 381, 383) 5. Non-Western (ARTH 392, 393, 394, 395)

W iting R

ui m nt:

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Choose a ≥300 level course aligned with your specific interests

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Notify the professor during the add/drop period

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Remind the professor mid-semester

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After getting a C or higher in the course, have the professor sign this form and turn it in to the department

The Ma

C mputing

ci ncy is fulfilled automatically with the major requirements.

Requirements for a Major

Art C dit : 39-48 R

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ART 211, ART 212, ARTH 251, ARTH 252 ART 460—Senior Student Exhibition both semesters of their senior year + 6 credits, ≥400 level Art History course + 6 credits, ≥400 level Art course

-Dim n i na F cu R

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ART 309 OR ART 311 OR ART 317 ART 315 OR ART 316 + 8 Additional ART Credits

-Dim n i na A t F cu R

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ART 319 OR ART 320 ART 309 OR ART 310 OR ART 311 OR ART 317 + 8 Additional Art Credits

intmaking F cu R

ui m nt :

ART 323 ART 324 + 8 Additional Art Credits

T 

W iting R

ui m nt:

Choose a ≥300 level art history course aligned with your specific interests - ARTH 392, ARTH 393, and ARTH 394 cannot be used



Notify the professor during the add/drop period



Remind the professor mid-semester



After getting a C or higher in the course, have the professor sign this form and turn it in to the department

The Ma

C mputing

ci ncy is fulfilled automatically with the major requirements.

Requirements for a Minor 71

Art & Art History A t Min R

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ART 211 ART 212 + five courses ≥ 300 level in Art courses

A t Hi t y Min R

ui d C u

ARTH 251 ARTH 252 + five courses ≥ 300 level in Art History courses

A t and A t Hi t y Min R

ui d C u

ART 211 ART 212 ARTH 251 ARTH 252 + five courses ≥ 300 level in Art and/or Art History courses

Opposite: Photo from Mike Jabbur’s show at Andrews entitled “Tonic,” Photo Credit: Katie Herzfeld Below: Photo Credit—Joél Carela

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Favorite work: Vollmond by Pina Bausch

Comments on the William & Mary Art & Art History Department

When it is at its best, one’s work as a teacher is intricately intertwined with their scholarship. Thi connection has truly galvanized fo me here at William and Mary. In the five years I have been teachin

at the college I have had the extreme good fortune to find myself working with an extraordinary group of students and faculty that have radically impacted my scholarship, and my teaching, as well a my life.

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What Professor Mead thinks of when considering our theme, “Genesis”… As I contemplated “Genesis” I kept finding myself thinking about a quote I always refer to when talking about collaboration. It is about beginnings that are, “neither clearly envisaged nor defined.” Each time I begin something I have an inkling of where I want to go. Sometimes the work goes in that direction but more often it takes me some place I could not have “envisaged.” It becomes a collaboration between me and the work; a conversation. We go back and forth, we debate with one another, we negotiate, until an agreement is reached.

Alumni Memorial Term Distinguished Professor of Art and Art History

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The Farm, Joan Mirò, 1921

I think the Department of Art and Art History is great. We have a wonderful faculty on both sides of the department and terrific students. We have managed to grow even during an economic downturn. All of my colleagues are engaged in exciting work, and I look forward to welcoming two new colleagues next year.

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Professor Profiles from the College of William & Mary Website, and the Muscarelle Museum of Art Website

Research This year has been transitional for Barbara Watkinson. She rejoined Art and Art History in 2005 after several years in academic administration and agreed to be department chair. Four new faculty members have joined the department during that time, including a new endowed position: The Jane Williams Mahoney Professorship in Art History. The desire to teach was, however, the reason for leaving administration but as department chair she has been limited to only one course a semester. Watkinson, nonetheless, taught the intro course— cave paintings through the Middle Ages—in Andrews 101 during the fall semester. She has two chapters to complete on Pro Anima Sua: The Transformation of the Angevin Landscape in the Eleventh Century.

Education BA Stephens College MA University of Missouri Ph. D. University of Missouri

We’ll miss you. We’ll miss you. We’ll miss you. We’ll miss you. We’ll miss you. We’ll miss you.

Barbara Watkinson

Studio Art Professor William Barnes is retiring from the Department of Art and Art History at The College of William & Mary after 37 years of dedicated teaching and mentoring students in the field of painting. Barnes is the recipient of numerous awards and grants, including an N.E.A. and two residencies at La Cit' Internationale des Arts, Paris. In New York he was affiliated with the Bowery Gallery, where he has had three one-person exhibitions, and since 1997 he has been a member of Zeuxis, a national association of still life painters based in New York. His works have been acquired by public collections in New York, Virginia, Pennsylvania, Georgia, Florida and Alabama. Barnes received his B.F.A. from Drake University, and his M.F.A. from the University of Arizona in Tucson. He has taught at The College of William & Mary since 1975.

Education BFA Drake University MFA University of Arizona

Courses Taught 2-D Foundations Painting: Structure Painting: Expression Advanced Painting Independent Study

Barnes' paintings and monotypes have been exhibited in over 150 national, juried and invitational exhibitions across the U.S. His recent exhibitions include solo shows at Millersville University, The College of Southern Maryland, and Washington and Lee University; as well as group shows at Southern Virginia University, the Muscarelle Museum of Art, Charles Taylor Art Center, Blue Mountain Gallery, Denise Bibro and Kouros Galleries in New York City, and Pennsylvania Academy and Rittenhouse Fine Arts in Philadelphia.

We’ll miss you. We’ll miss you. We’ll miss you. We’ll miss you. We’ll miss you.

William Barnes

Barbara Pearsall Response to

this semeste

r’s theme, “G When I cons enesis”... ider genesis , I think of an but I do not origin, think of my work coming one source. from My process is more cycli so much a li cal--not near progres s io n--I am cons ly reevaluati tantng the work I am doing a visiting past nd repieces that s till interest m e.

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Specialty: In Art: 2-D, Printm aking In Art History: 19th Century European Art Undergraduate Pa

per Titles:

“The Romanticism and Reception of Landscapes of Cas par David Friedrich ” “The Blog of Morm on”

Caspar D e Sea, 1809, th y b k n o M The

avid Friedrich

Thoughts on the departmentâ&#x20AC;Ś My experiences in the Art & Art History department at W&M have been enlightening in so many ways. Whether I'm working in the studio, the classroom, or over at the Muscarelle, I find myself constantly impressed with the students and professors in this department. The approachability and kindness of professors is remarkable and their passion has been contagious.

Alix Bendicksen

raduating Seniors

Ca y M ntana Ai n (Minor)

Nata ya Bakay A ix B ndick n Major Focus: 2-D, Print Making Special Interests: 19th Century European Art Favorite Work: The Monk by the Sea, Caspar David Friedrich

S ani B Nic

Bz z

aki (art) Lau a C nt Major Focus: Art History Special Interests: 18th and 19th century American Portraiture Favorite Work: Birth of Venus, Sandro Botticelli, 1486 After Graduation: I will pursue a curatorial doctorate degree and eventually I will become a curator.

Jac u in D vin A x Ra a End Major Focus: Art History Special Interests: The influence of antiquity and mythology in Renaissance works, garden grottos Favorite Work: Annunciation, Botticelli After Graduation: hopefully graduate school for art history

Emi y Fi dmann Bi y Ga ank

E ik Ha ingt n Art History Minor Special Interests: My interests in art history range from Duccio to Rothko, but I would have to say that I like the Northern Renaissance the most. After Graduation: In the future I would like to do something where I keep learning about art.

Kati Ad

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Major Focus: Studio Art (3-D Concentration) Specific Interests: Working with metals, wood, ceramics, charcoal Favorite Work: Art for the People banner, Xu Bing After Graduation: I plan to continue to live and work in the Williamsburg area until the end of the calendar year, a time during which I will be working on a portfolio for graduate programs in sculpture.

O ivia H uck Major Focus: Art History Special Interests: My interest is in modern architecture and the city. I also am interested in Asian art with a special focus on Indian art. Favorite Work: The Heart of the Andes, Frederic Edwin Church After Graduation: Iâ&#x20AC;&#x2122;m teaching in South Korea before venturing on to graduate school in American Studies.

First Day of Spring, Rachel Follis

Matt J ff i A

y Kintzing (Major, Focus: Art History)

Stacy L

Major Focus: Art (3â&#x20AC;&#x201C; D) Specific Interests: Sculpture Favorite Artist: Lee Bontecou After Graduation: I plan to take some time working and building my portfolio before pursuing an MFA.

K i t n Li d Major Focus: Art Major

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Major Focus: Art History Special Interests: The human figure, psychological and sociological themes, the protrayal of light, and the use of paint Favorite work: Currently, I am interested in Paula Rego prints and Richmond Barthe's full body sculptures After Graduation: I plan to keep up with my art wherever I go. Who knows where I will end up! I sure don't.

C i tina a ad au (Minor) Ca i

Ca i

Major Focus: Art History Special Interests: Ancient Greek & Roman Art; Medieval Art; Italian Renaissance Art Favorite Work: Venus of Urbino; The Pantheon After Graduation: Next year I will be receiving my M.A. in Italian from Middlebury in Florence, Italy

Za a Sta i Oc ia T mp t n Dani

Va tab dian

Lau n Vick Major Focus: Art Focus: Ceramics, mixed-medium drawing/collage Favorite work: That changes by the hour After Graduation: Next year I will begin studying at the Corcoran College of Art + Design, earning my Masters of Arts in Teaching.

Congratulations! Photograph from the William and Mary website under â&#x20AC;&#x153;Aerial photographsâ&#x20AC;? in the Galleries

Fresh Start, Briana Cheney, â&#x20AC;&#x2DC;13

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Spirit of the Living Watching Post Saturday, April 14th, 2012

THE WEEKEND

COMICS

Previous Page Photo: Ethan Winter, ‘14

Crosswor

21 22

‘ 10

DOWN 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19.

The column order with sculpted acanthus leaves on its capital Term—when a figure seems to emerge into the room from the painting, tricking the viewer’s eye “______ perspective,” a technique used to imply depth in which objects that are farther away are rendered with more blue/grey A technique utilized in Seurat’s Sunday Afternoon on the Island of La Grande Jatte Term—a work employing 3 panels or sections The “beastly” art movement Last name, Latvian-born color field painter Last name, artist that created cartoon-like paintings, utilized blown-up benday dots to simulate newspaper print Key, edible, ingredient in tempera paint Term— starkly defined areas of light and dark in a painting Last name, Surrealist painter famous for his melting clocks Last name, Impressionist famous for his ballerina depictions Genre of painting meant to remind people of their mortality Term—the image of Mary holding Jesus’ body Michelangelo’s David holds this in his hand Genre of painting exhibited in “Hide/Seek: Difference and Desire in American Portraiture” Need a hint? See page 54 An arrangement of megalithic stones thought to be used as an observatory The plainest of the 3 main column orders The first letter in the Greek word for “Christ,” illustrated in the Book of Kells

RO 1. 6. 20. 21. 22. 23. 24. 21. 22. 17. 27. 28. 29. 30. 31.

Term—a figure with tense and relaxed limbs paired along diagonals Full name, Artist, known for distinctive facial hair, born on July 6th, 1907 Need a hint? See page 15 Last Name, famous impressionist; painted Dance at the Roulin de la Galette The column order with a scroll shaped capital Leonardo’s famous drawing of the anatomy of a man, “The _____________ Man” Term—characteristic monster figure depicted on bronze ritual vases during the Shang dynasty Need a hint? See page 63 Compositional framing element that has been cut from the famous Mona Lisa canvas Last name, widely considered the greatest living artist The semi-precious stone ground to make the paint that colors Mary’s distinctive royal blue robe Last name, artist who created Spiral Jetty in 1970 Rembrandt’s middle name Need a hint? See page 41 Picasso’s black and white mural depicting the bombing of “___” Last name, controversial contemporary Chinese artist, first name Ai Goya’s famous depiction of the executions in Madrid on the “_______________,1808” Last name, Contemporary British sculptor doing site-specific land art, first name Andy

Look out for this image throughout the magazine to find clues for the crossword! h ky

...

Above: Tongue, Rome, Italy March 2012 Photo by: Jarrett Ley

Below: 5 Days in a Laundry, Matera, Italy, February 2012 Photo by: Jarrett Ley

SOLWatching

uglyrennaissancebabies reblogged dancingcherubboys

Uglyrennaissancebabies : French engraving, 17th Century, artist unknown “I don’t think you’re ready for this jelly! These babies to bootylicious for ya, babe!”

readymades reblogged marcelduchamp-FTW

johannes-vermeer reblogged girlwiththepearl

Web Portal 95

Art Project

Th E

Oxford Art Online

Whether it is for a paper or for personal interest, these websites are helpful research databases for Art & Art History. We at SOLWatching hope that you can make use of these sites and further your love and appreciation of art.

Heilbrunn Timeline of Art History Metropolitan Museum of Art

Sunrise on the Ganges, Elizabeth Tompkins, â&#x20AC;&#x2DC;13

Photo from Mike Jabbur’s show at Andrews entitled “Tonic,” Photo Credit: Katie Herzfeld

Coming soon...

The Calling of Saint Matthew, Caravaggio, 1599-1600

LIGHT

Spirit of the Living Watching, Fall 2012