On was an interdisciplinary graduate periodical established by RISD graduate students in 2006. It featured essays and student work that related to a general issue theme. On was intended as a quarterly publication, but it is unclear if further issues beyond the first were ever published.
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Traveller Components Flag 6, Trend Spring / Summer 2009
Swarovski, Visual + Material Resources, and Fleet Library
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Traveller Transfers Flag 7 (description), Trend Spring / Summer 2009
Swarovski, Visual + Material Resources, and Fleet Library
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Avant-Garde Components Flag 10 (detail), Trend Fall / Winter 2008/09
Swarovski, Visual + Material Resources, and RISD Color Lab
These unique volumes of textile flags featuring Swarovski crystals were gifted to the Visual and Material Resource Center in 2017 from a local jewelry supplier. Twenty-four volumes dating from 2004-20017, they are a visual feast of color and texture created by individual artisans. Complete volumes may be viewed in the Visual and Material Resource Center, Fleet Library, second floor of 15 Westminster St, Providence, RI.
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Avant-Garde Components Flag 10 (detail), Trend Fall / Winter 2008/09
Swarovski, Visual + Material Resources, and RISD Color Lab
These unique volumes of textile flags featuring Swarovski crystals were gifted to the Visual and Material Resource Center in 2017 from a local jewelry supplier. Twenty-four volumes dating from 2004-20017, they are a visual feast of color and texture created by individual artisans. Complete volumes may be viewed in the Visual and Material Resource Center, Fleet Library, second floor of 15 Westminster St, Providence, RI.
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Avant-Garde Components Flag 10 (detail), Trend Fall / Winter 2008/09
Swarovski, Visual + Material Resources, and RISD Color Lab
These unique volumes of textile flags featuring Swarovski crystals were gifted to the Visual and Material Resource Center in 2017 from a local jewelry supplier. Twenty-four volumes dating from 2004-20017, they are a visual feast of color and texture created by individual artisans. Complete volumes may be viewed in the Visual and Material Resource Center, Fleet Library, second floor of 15 Westminster St, Providence, RI.
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Avant-Garde Components Flag 10 (detail), Trend Fall / Winter 2008/09
Swarovski, Visual + Material Resources, and RISD Color Lab
These unique volumes of textile flags featuring Swarovski crystals were gifted to the Visual and Material Resource Center in 2017 from a local jewelry supplier. Twenty-four volumes dating from 2004-20017, they are a visual feast of color and texture created by individual artisans. Complete volumes may be viewed in the Visual and Material Resource Center, Fleet Library, second floor of 15 Westminster St, Providence, RI.
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Emotion Components Flag 8 (detail), Trend Fall / Winter 2008/09
Swarovski, Visual + Material Resources, and RISD Color Lab
These unique volumes of textile flags featuring Swarovski crystals were gifted to the Visual and Material Resource Center in 2017 from a local jewelry supplier. Twenty-four volumes dating from 2004-20017, they are a visual feast of color and texture created by individual artisans. Complete volumes may be viewed in the Visual and Material Resource Center, Fleet Library, second floor of 15 Westminster St, Providence, RI.
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Emotion Components Flag 8 (detail), Trend Fall / Winter 2008/09
Swarovski, Visual + Material Resources, and RISD Color Lab
These unique volumes of textile flags featuring Swarovski crystals were gifted to the Visual and Material Resource Center in 2017 from a local jewelry supplier. Twenty-four volumes dating from 2004-20017, they are a visual feast of color and texture created by individual artisans. Complete volumes may be viewed in the Visual and Material Resource Center, Fleet Library, second floor of 15 Westminster St, Providence, RI.
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Emotion Components Flag 8 (detail), Trend Fall / Winter 2008/09
Swarovski, Visual + Material Resources, and RISD Color Lab
These unique volumes of textile flags featuring Swarovski crystals were gifted to the Visual and Material Resource Center in 2017 from a local jewelry supplier. Twenty-four volumes dating from 2004-20017, they are a visual feast of color and texture created by individual artisans. Complete volumes may be viewed in the Visual and Material Resource Center, Fleet Library, second floor of 15 Westminster St, Providence, RI.
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Gypsy Rose Components Flag 8, Trend Spring / Summer 2009
Swarovski, Visual + Material Resources, and RISD Color Lab
These unique volumes of textile flags featuring Swarovski crystals were gifted to the Visual and Material Resource Center in 2017 from a local jewelry supplier. Twenty-four volumes dating from 2004-20017, they are a visual feast of color and texture created by individual artisans. Complete volumes may be viewed in the Visual and Material Resource Center, Fleet Library, second floor of 15 Westminster St, Providence, RI.
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Meadow Components Flag 4 (detail), Trend Spring / Summer 2009
Swarovski, Visual + Material Resources, and RISD Color Lab
These unique volumes of textile flags featuring Swarovski crystals were gifted to the Visual and Material Resource Center in 2017 from a local jewelry supplier. Twenty-four volumes dating from 2004-20017, they are a visual feast of color and texture created by individual artisans. Complete volumes may be viewed in the Visual and Material Resource Center, Fleet Library, second floor of 15 Westminster St, Providence, RI.
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Pacific Components Flag 12 (detail), Trend Spring / Summer 2009
Swarovski, Visual + Material Resources, and RISD Color Lab
These unique volumes of textile flags featuring Swarovski crystals were gifted to the Visual and Material Resource Center in 2017 from a local jewelry supplier. Twenty-four volumes dating from 2004-20017, they are a visual feast of color and texture created by individual artisans. Complete volumes may be viewed in the Visual and Material Resource Center, Fleet Library, second floor of 15 Westminster St, Providence, RI.
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The Last King of Scotland or the Last N----r on Earth? The Ethics of Race on Film
Paul C. Taylor
This paper undertakes four tasks. It examines a tradition of cinematic and narrative representation that we might call “the narrative of moral gentrification.” It insists on the importance of excavating the racialist and often racist images, motifs, and myths that constitute this tradition. It recommends a form of philosophical aesthetics, located at the intersection of aesthetics, ethical perfectionism, and critical race theory, as a resource for doing this work. And it insists on the importance of subjecting problematic or qualitatively inferior expressive objects to critical scrutiny for the sake of developing proper iconographies and archives of white supremacist expressive culture.
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McDonald Wright
McDonald Wright and Richard Goulis
McDonald Wright transferred from the Pennsylvania College of Technology to the Rhode Island School of Design, where he graduated with a BFA in photography. He lives in Providence, and continues to use a manual camera and film photography over digital technology.
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Film Animation Video Senior Show 2008
RISD Archives and Film, Animation & Video Department
The poster documents the 2008 Film Animation Video Senior Show held in the RISD Auditorium during the 2008 spring semester.
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Aesthetic Appreciation, Ethics, and 9/11
Emmanouil Aretoulakis
There have been numerous critical articles on what really happened on the otherwise beautiful morning of 11 September 2001. Beyond doubt, the bulk of the critical responses to the terrorist attacks focused on the ethical and humanitarian, or rather the unethical and inhumane implications of the atrocious act, leaving no room for any philosophical reflection on the potential assessment or reception of the event from the perspective of art and aesthetics. The few years that have gone by since 2001 have provided us with some a sense of emotional detachment from the horror of that day, a detachment that may have awakened our aesthetic and artistic instincts with regard to the attacks themselves as well as their visual representation. Chronological distance renders an unprejudiced and independent stance more possible now than ever. It also allows us to reconsider our initial politically correct and ethically justified repulsion of the efforts made by a few artists to aestheticize 9/11. Such repulsion, however, was associated with the delusion that by denouncing aesthetics we were really securing the prevalence of politics, morality and ethical responsibility in a terror-afflicted society. My point in this paper is that there is a need for aesthetic appreciation when contemplating a violent event such as the 9/11 terrorist attacks. What is more, appreciation of the beautiful, even in case of a 9/11, seems necessary because it is a key to establishing an ethical stance towards terror, life, and art. It should be stressed that independent aesthetic experience is not important in itself but is a means of cultivating an authentic moral and ethical judgment.
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Jonathan Bonner
Jonathan Bonner and Richard Goulis
Making art is a marinade of questions. The questions concern everything from major concepts to small details. Solutions arrive from constant immersion in the marinade.
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A Third System of the Arts? An Exploration of Some Ideas from Larry Shiner's The Invention of Art: A Cultural History
David Clowney
I explore some implications of Larry Shiner’s view that fine art is a modern invention. In part I, I briefly summarize Shiner’s main thesis and defend it against some misunderstandings and objections that have appeared in the literature. In part II, I discuss Shiner’s remarks about the possible emergence of what he calls a “third system of the arts.” I ask what such a system might look like, consider some signs that it may indeed be emerging, and venture a suggestion about what would be required for it actually to come about.
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Darcone Triangle
Special Collections, Fleet Library, Tom Bubul, and Travis Iurato
Cover for Darcone Triangle, from the RISD Library Zine Collection.
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Boneless
Special Collections, Fleet Library, and C. K.
Cover for Boneless, from the RISD Library Zine Collection.
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Tropical Depression : Summer in Miami
Special Collections, Fleet Library, and Kevin Arrow
Cover for Tropical Depression : Summer in Miami, from the RISD Library Zine Collection.
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Wowee Zonk
Special Collections, Fleet Library, and Wowee Zonk Comics Group
Cover for Wowee Zonk, from the RISD Library Zine Collection.
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Ontology, Criticism, and the Riddle of Art Versus Non-Art in The Transfiguration of the Commonplace
Arthur C. Danto
In this "Reply to my Critics," I explain that The Transfiguration of the Commonplace was essentially a contribution to the ontology of art in which two necessary conditions emerge as essential to a real definition of the art work: that an artwork must (a) have meaning and (b) must embody its meaning. Many issues have emerged in the course of art's history that are very much part of its practice but are not part of art's essence. In response to Cynthia Freeland, I argue that though the book does not address art criticism, the two necessary conditions specify a viable rule for critical practice, as was recognized by Hegel. And in response to Ivan Gaskell, I argue that the definition of art arrived at in the book is capable of drawing a distinction between art works and artifacts.
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Questioning "The Work of Art in the Age of Mechanical Reproduction": A Stroll around the Louvre after Reading Benjamin0
Jonathan Davis
In this article I claim that Walter Benjamin's essay "The Work of Art in the Age of Mechanical Reproduction" merits renewed critical attention. Just as Dada had confronted art with anti-art, so Benjamin hoped his essay would confront aesthetics with an anti-aesthetic. I examine Benjamin's capsule history of the aura and show it to be misleading, criticize the essay's underdeveloped ontology of painting and sketch an alternative, and draw attention to the surprising proximity of Benjamin's notion of value to that of neoliberal thought. I conclude with a critique of Benjamin's cultural politics.