Spring 2014

Art and Art History Event Calendar


Life Model Sessions

Every Tuesday Starting February 4

8:30-10:00 PM, Montgomery Hall

Visiting Artist Talk: Kathleen Hall

February 26th, 4:45 PM, Library 321

Alumni Spotlight: Sarah Sachs 


Sarah received her BA in Studio Art from St. Mary's College of Maryland in 2006. In 2008, she received her Masters of Art in Digital Art from Maryland Institute College of Art, and in 2009 she received her Masters of Fine Art in Photography and Digital Imaging, also from Maryland Institute College of Art. Through her fine art work, Sarah explores the dichotomy between human and digital memory, how the two influence one another, and how they are affected by natural and technological elements of decay. She hopes to create a dialogue about the relationships between personal memory, society’s collective memory, and collective cultural identity. 

Sarah Sachs Photography


Kate Pollasch-Thames, Art History SMP, 2010                Return to SMP archives
Mentor: Dr. Joseph Lucchesi

The Price of Process: Bodies, Value, and Performance


Abstract: In performance and process art bodily actions, appearances, and functions become the mediums for conceptual manifestation. By using the body in a process or performance piece, the social history of an individual’s gender and the functional actions of their body becomes ensnared in the artistic expression. Performance and process art are ephemeral, and artists at times rely on photograph, video, and objects to exhibit and document their artwork. Using the body in ephemeral work creates a complex relationship between the marketability of artwork and the monetary needs of artists. By transforming a process work into a 2D image artists’ conceptual intentions often become ambiguous. Three contemporary process artists, David Hammons, Janine Antoni, and Ann Hamilton create art centered on their bodies. The market status of each artist is discussed in relation to producing and selling photography and objects from the process. The use of their bodies is discussed in relation to objectification, gender stereotypes, and market value. Each artist’s market success is analyzed in relation to artistic expressions of gender, to explore what gendered actions are gaining monetary value. This is coupled with a studio project that addresses how regulated and un-regulated spaces, locally found materials, and collaboration can become a means to create enhanced opportunities for artistic discourse and input from the local community. The studio portion addresses how the complex nature of process-oriented studio work allows for a myriad of social ramifications, including unavoidable moments of conceptual compromise, but also creates opportunities to create collaborative art experiences.