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dc.contributor.authorAlligood, Dustin Chad
dc.date.accessioned2014-03-04T16:22:59Z
dc.date.available2014-03-04T16:22:59Z
dc.date.issued2009-05
dc.identifier.otheralligood_dustin_c_200905_ma
dc.identifier.urihttp://purl.galileo.usg.edu/uga_etd/alligood_dustin_c_200905_ma
dc.identifier.urihttp://hdl.handle.net/10724/25371
dc.description.abstractThis text treats the drawings, paintings, and prints of Latvian-born American artist Vija Celmins as a systematic engagement with the embattled ideal of the photograph. The themes that dominate her artistic output—the sea, the sky, and the spider web; treated in chapters two, three, and four respectively—will be the structure around which this text attempts to grapple with the foundational questions posed by her pictures and their engagement with photography. Chapter two addresses the ways in which the historical paradigms of landscape and the sublime may be present in Celmins’s work. Chapter three examines the complex rhetorics of presence and absence engendered by the highly articulated physicality of her images. Chapter four attends to Celmins’s possibly embedded citation of the formal structures of the grid and perspective.
dc.languageeng
dc.publisheruga
dc.rightspublic
dc.subjectVija Celmins
dc.subjectOcean
dc.subjectSea
dc.subjectSky
dc.subjectSpace
dc.subjectSpider
dc.subjectWeb
dc.subjectPhotograph
dc.subjectPresence
dc.subjectMateriality
dc.subjectDrawing
dc.titlePhotograph, presence, and physicality in the work of Vija Celmins
dc.typeThesis
dc.description.degreeMA
dc.description.departmentArt
dc.description.majorArt History
dc.description.advisorIsabelle Loring Wallace
dc.description.committeeIsabelle Loring Wallace
dc.description.committeeJanice Simon
dc.description.committeeAlisa Luxenberg


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