Hood College Department of Art and Archaeology
Permanent URI for this collectionhttp://hdl.handle.net/11603/12969
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Item Love Letter Part I: Connecting with Nature(2024-05-17) Catalina Maria Chiquillo; Natalia Kormeluk; Hood College Art and Archeology; Ceramics ArtsPeople are influenced by the connections they make with their environment. Indigenous teachings encourage relationships with all living things based on responsibility, respect, reciprocity, kinship, love, peace, compassion, gratitude, and harmony. Contemporary psychologists have established that spending time in nature substantially alters a person’s life and well-being. This project identifies the importance of interdependency between humans and the natural world and uses ceramic vessels to inspire viewers to connect with nature. Through adjustments made in the type of clay, the glaze, and the firing cycles, the forms and carvings on my vessels remind viewers of the ongoing dialogue with our environment. Findings are discussed by developing cone six and cone ten temperatures within the same firing. Through clay and the wood firing process, the vessels highlight the beauty of nature with its complex forms and bring attention to fundamental indigenous precepts, contemporary psychological research, and the importance of connecting with Mother Earth.Item Domestic Domains: Understanding the Values and Virtues of the 17th Century Dutch Family through Domestic Genre Paintings(2024-04-25) Emma Flanagan; Pulichene, Nicole; Bari, Martha; Marcus, Lisa Algazi; Hood College Department of Art and Archeology; Hood College Departmental HonorsItem Exploring Cindy Sherman's "Untitled Film Stills": A Documentary(2024-04-17) Ashlynn Stearns; Dr. Kimberly Morse Jones; Timothy Jacobsen; Dr. Aaron Angello; Hood College Art and Archaeology; Hood College Departmental Honors ProgramExploring Cindy Sherman’s “Untitled Film Stills”: A Documentary discusses and analyzes Sherman’s body of work, focusing on the photographic self portrait series “Untitled Film Stills.”Item The Function of Emesal as a Cultic Sociolect(2016-04) Thompson, Hannah M.; Ross, Jennifer; Hood College Art and Archeology; Hood College Departmental HonorsThe Sumerian language is considered one of the oldest written world languages (Alster 1997: xvi), appearing in Southern Mesopotamia (see Figure 1) around the middle of the Uruk Period (4000-3100 B.C. [Jacobsen 1987: xi]). Sumerian was written using cuneiform, a picture writing at first, which turned to signs for phonetic values that evolved into a stylized form. The earliest written texts have been described as administrative documents and, used for economic purposes over the larger geographic context, were more like abbreviations of transactions or receipts rather than replications of spoken language (Leick xx-xxi). The earliest written literary texts appeared around the Early Dynastic III period (2600-2350 B.C. [Jacobsen 1987: xi]). Sumerian literature comprised numerous genres, from myths and hymns to wisdom literature and royal inscriptions2 (Jacobsen 1987: xiv); the quantity of these texts and their detailed contents revealed that, as Jacobsen puts it, “an extensive and varied oral literature must have existed, ready to become fixed” in writing (1987: xi).Item The Suggestive Power of the Roman Ideal: A Comparison of Roman Imperial and Provincial Domestic Space(2018-04) Gouker, Marissa; Ross, Jennifer; Hood College Art and Archeology; Hood College Departmental HonorsThe Roman Empire during Augustus’ reign had an almost unfathomable magnitude. Given the plethora of different territories, one wonders if whether the standards set by the imperial family were conspicuous in other parts of the Empire. Looking at the domestic spaces of the Emperor and his family in Rome compared to ones in Pompeii and Ephesos, it would seem as if they did not, for the subjects of the wall paintings were, in some cases, drastically different. However, this paper argues that the Roman imperial standard that extended outside of Rome, in regards to domestic space, did not define an artistic style or set of motifs but a standard of behavior based upon imitation that was set by Augustus. Taking advantage of a behavior that was already present in the Roman Republic, Augustus enhanced and solidified the practice of imitating other cultures’ art styles within Roman culture, with the intent being emotional control or to create a place of refuge.Item The History of the Elgin Marbles and the Ethics of Repatriation in the 21st Century(2023-04-24) Elizondo, Emma; Ross, Jennifer; Hood College Art and Archaeology; Hood College Departmental HonorsItem The Memoryscape of Berlin: How Political Theory and Turmoil Shaped a CityAldred, Julia; Morris, April Jehan; Campion, Corey; Scott, Pincikowski; Hood College Art and Archaeology; Hood College Departmental HonorsEntering the new era of a reunified Germany, the westernized German government needed Berlin to represent the new direction the country was headed in. However, the city’s tumultuous history could not be completely overwritten overnight. Growing insistence for public discussion of the Nazi Regime showed the German people’s desire to come to terms with their nation’s history. The public pushed for preservation of hard truths represented by Nazi ruins, instead of erasing their existence. Referred to as Erinnerungskultur, this process of confrontation has become an essential component of German society. The reunified German government faced an extremely complex question: how to promote Berlin as a democratic stronghold, without destroying/covering up the remains of its past. This issue is further complicated by the Cold War: both “Berlins” had existing stylistic traditions that represented directly conflicting political ideals. To address this crisis of image, the federal government developed unique approaches to individual structures and buildings. Some buildings, like the Reichstag, were refurbished and reopened. Others were completely demolished, such as the Palace of the Republic. During the reckoning of the 1980s, even the general public pushed for recognition of forgotten sites like the Topography of Terror. The decisions made by the federal government in each specific case became representative of how the history of Berlin’s politics was to be embraced, contemplated, or recontextualized.Item (Re)Defining the Moche State: A Critical Examination of the Socio-political Organization of the Moche Culture(2023-04) Locke, James; Hixson, David; Hood College Department of Art & Archaeology; Hood College Departmental HonorsAttempts to classify the Moche into rigid socio-political categories have long been a central facet of discourse among scholars of the Moche culture. The central questions I originally intended to address in this paper were as follows: Were the Mochica a loosely organized confederation of political entities linked by ideology and political alliances? Or were they a centralized state-level society that ruled from the Moche valley? However, as I progressed further into my research I realized that the attempt to classify the Moche into any of these rigid categories was infeasible. Instead, the current array of archaeological data and academic research suggests that the Moche fluctuated among many models of political organization throughout its existence. What can be discerned are two regional entities, distinguished by a north-south division, that maintained some degree of interconnectedness at various points throughout the Moche era. The concept of a centralized Moche state can be best distinguished in the south, specifically within the Moche-Chicama Valleys. However, the contrary is true in the northern region, wherein varying types of political organization occurred over time.Item Exploring Social Stratification through Burials: A Study of Cahokian Mounds(2016-05) Squires, Kristen; Ross, Jennifer; Hood College Art and Archeology; Hood College Departmental HonorsA mixture of large booming cities and small rural villages, the chiefdom of Cahokia was spread across the 160 kilometers long area known as the American Bottom. The American Bottom follows the Mississippian River with the city of Cahokia located within Illinois near the northern end of the Bottom. This city for which the chiefdom is named occupied approximately 14 square kilometers and contains over one hundred mounds of varying shapes and sizes. The mounds were either ridged, platform, or conical in shape with each type being used for a slightly different purpose (See Figure 1.1). The population size of this city is much debated. Some claim that only 1,000s lived in the city itself with 10,000s more occupying the rest of the chiefdom.1 Others claim the number to be higher, and others still claim it to be lower. Regardless of the true number of people dwelling within the city proper, the people were dependent on maize as their main caloric source though they did eat other starchy plants and animals.2Item FINDING SANCTUARY THROUGH FLIGHT(Hood College, 2014-08) Alter-Humphrey, Susan; Hood College Department of Art & Archaeology; Hood College Ceramic ArtsFinding Sanctuary Through Flight Utilizing relief sculptures, the medium of porcelain paperclay is used to capture a range of emotions associated with the flight path of the artist's life. The designs entail specific imagery and vocabulary, communicating human emotions through the language of bird flight.Item What It Takes to be a Goddess: Examining the Relationship Between Queens and Divinity in Ancient Egypt(2018) Montague, Bethany; Krygier, Tammy; Hood College Art and Archeology; Hood College Departmental HonorsItem Icons of War or Images of Shamans: A Study of Paracas Textiles(2016) Horabik, Mary E. A.; Ross, Jennifer; Hood College Art and Archeology; Hood College Departmental HonorsItem The Cult of Redemption: Isiac Worship in the Graeco-Roman World and its Influence on Early Christianity(2017) Masterson, Molly; Krygier, Tammy; Hood College Art and Archeology; Hood College Departmental HonorsItem Boundless- The Art of Takashi Murakami(2017) Frizzell, Samantha; Bari, Martha; Hood College Art and Archeology; Hood College Departmental HonorsItem Conflict Preservation: An Archaeological Perspective on Western Maryland’s Military Hospitals Following the Battle of Antietam.(2022-12-13) Shaer, Arden; Hixson, David; Hood College Department of Art & Archaeology; Hood College Departmental HonorsOver the past 160 years, a variety of issues have threatened the integrity of Civil War sites across the United States. Land development, private ownership, looting, and metal detecting have created a bevy of bureaucratic and logistical hurdles, reducing the efficacy of preservation efforts. This thesis examines the history, legal precedents, and the future of archaeology in Western Maryland. Specifically, its focuses on Antietam Battlefield and its hospital system, demonstrating how its service as "one vast hospital" diffused and prolonged the effects of war in the region.Item A Bridge of Curiosity and Conflict: How Egyptology Connected Europe and Egypt(2020-04) Burnette, Jessica; Wright, Donald; Ross, Jennifer; Krygier, Tammy; Department of Art and Archaeology, Department of Global Languages and Cultures; Hood College Departmental HonorsEgyptology was both a major reason for and a way in which Europeans interacted with Egypt and its people. Egyptology acted as a sort of connective tissue between Egypt and Europe. Changes, both cultural and political, in one country would send ripples through that connection, which would then have an effect on the other. That is not to say that the connection was entirely equal. Europe was very much a colonial power in this relationship, and exerted more influence on Egypt than Egypt was often capable of matching in return. Despite the imbalance, neither side was left unchanged by the connection forged through Egyptology.Item Plastered Crania and Community Rituals in the Pre-Pottery Neolithic Levant(2019-04) Romsburg, Hanah; Ross, Jennifer; Art and Archaeology; Hood College Departmental HonorsDuring the Pre-Pottery Neolithic, complicated mortuary ritual developed in the Levant, which expanded upon traditions of earlier time periods. During the earlier Natufian and Pre-Pottery Neolithic A periods there was already an emphasis on the head and especially the face, and crania were removed after burial. However, in the PPNB, these practices were expanded and contained more elaborate elements than the previous time periods. The emphasis on the face and post-mortem cranium removal is evidenced through a more elaborate form with the plastered skulls. Not only was the cranium removed, but also decorated. Furthermore, large-scale anthropomorphic statuary was constructed with an emphasis on the face, to be used in public ceremonies. The focus on the head is also seen through its absence. Already present in earlier time periods through headless burials, this theme began to appear through headless figurines of both animals and humans. The skull was a focus in life as well as in death, evidenced by skull modification during life. The plastered skulls bring these focuses into mortuary practices. These practices and symbolic representations are all interconnected strands of a changing worldview resulting from sedentism, domestication and societal changes.Item Dramatic Aspirations at Villa Borghese: The Theatrics of Bernini's Sculptural Group(2019) Peterson, Olivia; Bohrer, Frederick; Department of Art and Archaeology; Hood College Departmental HonorsThis paper focuses on both the display and subject matter of Gian Lorenzo Bernini’s sculptures at Villa Borghese in Rome, Italy. Utilizing research with primary source material, including biographical accounts of Bernini’s life, evidence of the artist’s interest and involvement in the theater of the seventeenth century is illuminated. The sculptural group at the villa exemplifies Bernini’s early affinity for theatricality within the context of the larger Borghese collection. This is explored through examination of the sculptures’ compositional arrangement, placement within the gallery, and visual presentation of emotion. Each aspect encourages viewer interaction with the sculptures, much like that which is achieved during musical and theatrical performances from the same time period. Delving into art theory and criticism from the time period, Bernini’s approach to the sculptures featured at Villa Borghese is a testament to the artist’s ability to evoke viewer response to his work. This paper will look in detail at one of the four main sculptural groups of the villa. This sculpture, Apollo and Daphne, will be analyzed visually and in reference to pertinent literature in order to explore its similarity of presentation to visual performances of the theater in the seventeenth century.