Robert Morris’ steam undermines more traditional sculptural artworks. His Untitled Steam Work for Bellingham (1967) is the best remaining example of his innovative exploration into alternative media. In the piece Morris uses an intangible, anti-sculptural medium — physically tentative, and exuding indefinite permanence. It is located at the remote, northeastern end of Western Washington University’s campus. When activated, steam, seemingly inexplicably, rises from the earth’s rolling landscape; in cold morning air, steam expands skyward and perpetually dissipates into a hazy fog. More specifically, the nature of Morris’ elusive sculpture resists definition and, in definitive ways, is contrary to the works of his contemporary minimalist counterparts. Morris’ rebellious fascination with steam informs his philosophical approach to anti-form. He once wrote that he favored “change over continuity” and that his aim was “to shatter the unity of a given subject.” Steam resists physical form. Moreover it changes with the local ecology: the outside temperature, time of the day, and the humidity in the climate continually impact the composition of the sculpture. His Untitled Steam Work lacks permanence, only viewable at certain times of the day, as its vapors quickly dissipate. While Untitled Steam Work was not Morris’ only anti-form sculptural installation – he explored chance in his 1968 Scatter Piece, using blocks in random forms — Untitled Steam Work’s ephemeral qualities became Morris’ best example of anti-form. This essay explores Morris’ rejection of art that lasts. It compares Morris’ various explorations of anti-form to his more known minimalist artworks. It makes a case that Morris’ ephemeral, provocative medium of steam is the truest example of his indefinable anti-form. The site-specific sculpture resists its chronological placement, as it moves beyond the prevailing minimalist hard form materials.

Marcus Rothkowitz (or, Mark Rothko) was a hightly influential painter of the Abstract Expressionist period in American art history. He is most well-known for his large, consuming color field paintings. Rothko invested deep, emotional and spiritual feelings in to each of his pieces; creating a specific experience he hoped his viewers would have. Because of his own emotional investment he became increasingly concerned with his audience’s reaction to his art. In 1958 Rothko was commissioned for the Four Seasons restaurant in the Seagram Building in New York City-a project which he would eventually leave unfinished. Six years later Rothko was also commissioned for his contribution to what would later become known as the Rothko Chapel. Both of these commissions were for large works focused around public audiences experiencing his art in site-specific environments. In this essay I aim to explore Rothko’s dedication to finding specific environments for his work to be experienced in the emotional, physical and spiritual senses. I explore his successes and failures in his endeavor by comparing these two incredibly influential works. The lasting legacy of Rothko gives us a greater understanding of the relationship between audience experience and site-specific artwork through the craft of the curator and artist's own vision; a relationship in constant change in the art world of today. 

The sheer number of people living on the planet has led to an increase in the burning of fossil fuels and the use of industrialized animal livestock. We are now forceful agents and have caused much of our current planetary ecological crisis. In this project, I use Dipesh Chakrabarty and Timothy Morton to outline key issues within the current debates on global warming and the politics of anthropocenic influences. Chakrabarty rebels against treating the environment simply as a silent and passive backdrop. His aim is to end the age-old humanist distinction between natural history and human history. Morton takes up Chakrabarty’s discourse to show how ecological thought can be used to transcend disciplinary boundaries. He argues that art can help us deal with many of the complex issues that arise from destabilizing environmental conditions.This project focuses on the importance of learning from nature and bio-diversity. Tomas Saraceno uses structures found in spider webs and patterns seen in bubbles to create ecological interactive installations and, in doing so, brings the environment to the foreground. In Cloud Cities, he enables the viewer as participant to experience new forms of habitat and envision possibilities for a sustainable planet. Saraceno’s radically open use of intelligent design is clearly what Morton has in mind for his work suggests ways that our global community can become a more productive and less destructive ecological agent.
 

In 1988, 19th century realist painter Gustave Courbet's The Sleepers made its first public debut since he painted it in 1866 and was rejected from the Salon, a show for upcoming artists in the 19th century. Since then, in popular culture the work has reached a cult-status. However, it represents a hetero-normative view of Sapphic relationships. This hetero-normative depiction of Sapphic women has been exploited continuously for the view of primarily heterosexual men. To reclaim these images for the Queer community, artists must depict their own interpretations of deviant sexual intimacy. This often means subverting the dominant narrative, for example in Je, Tu, Il Elle, Chantal Akerman's depicts an intensely physical portrayal of intimacy. In contrast, Nicole Eisenman's Good Morning Studio, illustrates distorted non-gendered figures melting into each other, resonating with Courbet's The Sleepers and offers a divergent sensuality. When Queer artists portray deviant sensual narratives, they transpose hetero-normative views and make them more relatable to Queer identifying people. In this presentation, I will discuss these works and contexualize diverse artists use of 'deviant' sexualities to expose new narratives. I also plan to evaluate how Queer artists depict their expressions of intimacy compared to how a heterosexual man, such as Courbet, portrays Queer intimacy. This research will further how society interprets Queer imagery, using a Queer Theory and Semiotic methodology. With this work, I hope to expose these narratives and increase interest into the study of LGBTQ+ visual art.

 Juliana Huxtable was born intersex, raised male and eventually transitioned to female after moving to New York. Huxtable studied art, gender studies, and human rights at Bard College, afterwards working as a legal assistant for American Civil Liberties Union’s Racial Justice Program. She also worked a string of odd jobs to make a living, including being a DJ, and a model. In her art, she engages race, gender, being queer, and identity. Rather than prioritizing one issue over another, she makes them fluid in her work. Her photographs highlight the importance of representation and how valuable it is to the public eye. Through cultural analysis and identity politics, this project looks at how Huxtable transcends gender and sexuality roles and expectations by embracing her body in highly eroticized photographs. I also delve into issues in the black and the queer communities, as well as the combined and adverse issues of being black and queer. By challenging the way we perceive images as representation, Huxtable opens the gates to change our preconceived notions on the queer community while celebrating her own identity.

Iona Rozeal Brown an artist based in New York City is influenced by culture, race, gender, and hip hop music to create her art. Brown was first exposed to Japanese culture as a child when she attended a Noh theater performance. As an adult she was further drawn into Japanese culture when she learned about ganguro. Ganguro were generally young women who darken their skin and bleach their hair as fashion statements during the 90s and early 2000s. Brown began making ukiyo-e prints inspired by and in reaction to the fashion trend. She references many artists that preceded her, one of which is Tsukioka Yoshitoshi. My research looks at and compares Brown's prints to Yoshitoshi's prints. Through a visual analysis of the two artists' works there is an apparent variation in representation and meaning. Furthermore in my research I address the question of appropriation or appreciation of cultures and identities through Brown's work and globalization.