Kristen M. Osborne
This paper is an in-depth look at Eva Hesse’s work Metronomic Irregularity II (1966), a piece significant for its central location in her oeuvre and its engagement with the discourses of abstract expressionism and minimalism as well as its role as an exemplar of process art. It begins with an analysis of how this particular piece adapts and subverts traditional abstract expressionist and minimalist concerns, then moves into a discussion of form, material, and process. Finally, there is some discussion of the artist’s life and the work’s possible meanings. The writings of preeminent art critics are consulted and utilized.
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Sally McKay
The culture of internet art foregrounds the agency of the viewer. In most cases, viewers are also producers. How do the affects of digital media inflect interactive online art experience? The animated GIF is a ubiquitous graphic file format used by artists and non-artists alike. GIFs are small, simple files, easy to create and widely accessible to a range of browsers and system speeds. I propose, however, that the affective qualities of animated GIFs are primarily resonsible for their viral popularity. Drawing from a range of contemporary literature on affect, this paper discusses animated GIFs by three online artists: Tom Moody, Petra Cortright and Lorna Mills.
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Cheryl Wing-Zi Wong
Olafur Eliasson’s “Vibrations” is a text that describes his theory of perceiving the world as a constant flux of movement—a field of vibrations. YES (Your Engagement Sequence) is a potential tool developed by Eliasson to enhance an individualized experience of life through this awareness of vibrations and engagement with time. This research paper investigates his theory, one of Eliasson’s few texts that describes the philosophy/theory that kindle the intention of his artistic endeavors. It looks at the overall theory and its relationship to his light installation “Your Colour Memory”, the specific tools set forth, and the insufficiencies in the theory itself.
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