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Love-cheek, Azteca

dc.contributor.advisorKlank, Richarden_US
dc.contributor.authorHamami, Aydinen_US
dc.date.accessioned2015-10-02T05:30:20Z
dc.date.available2015-10-02T05:30:20Z
dc.date.issued2015en_US
dc.identifierhttps://doi.org/10.13016/M2R93Q
dc.identifier.urihttp://hdl.handle.net/1903/17146
dc.description.abstractThe act of painting is one of a physical, visceral nature, in which the intangible is made tangible, removed from our world in such a way as you allow us an abstract viewership, and intimately tied to our own physicality. The mind of the painter is one that must be simultaneously present and absent from the world of the moment. The following is a recounting of events that have led to the understanding of studio practice that my work exemplifies today, and a dissection of the significance of the actions of the artist within the studio space as well as in relation to the art object at its end.en_US
dc.language.isoenen_US
dc.titleLove-cheek, Aztecaen_US
dc.typeThesisen_US
dc.contributor.publisherDigital Repository at the University of Marylanden_US
dc.contributor.publisherUniversity of Maryland (College Park, Md.)en_US
dc.contributor.departmentArten_US
dc.subject.pqcontrolledFine artsen_US
dc.subject.pquncontrolledArten_US
dc.subject.pquncontrolledArt Theoryen_US
dc.subject.pquncontrolledAydin Hamamien_US
dc.subject.pquncontrolledFine Arten_US
dc.subject.pquncontrolledPaintingen_US
dc.subject.pquncontrolledTheoryen_US


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