{"@context":"http://iiif.io/api/presentation/2/context.json","@id":"https://repo.library.stonybrook.edu/cantaloupe/iiif/2/manifest.json","@type":"sc:Manifest","label":"A New Way of Approaching the Absolute through Art: The Sacred Mirrors of Alex Grey","metadata":[{"label":"dc.description.sponsorship","value":"This work is sponsored by the Stony Brook University Graduate School in compliance with the requirements for completion of degree."},{"label":"dc.format","value":"Monograph"},{"label":"dc.format.medium","value":"Electronic Resource"},{"label":"dc.identifier.uri","value":"http://hdl.handle.net/11401/70997"},{"label":"dc.language.iso","value":"en_US"},{"label":"dc.publisher","value":"The Graduate School, Stony Brook University: Stony Brook, NY."},{"label":"dcterms.abstract","value":"A connection with the viewer is a crucial aspect of art which addresses the spiritual. In order for this type of art to be successful, it must transform its viewer, enabling them to see the ultimate truth, of the Absolute nature of all things. Contemporary artist Alex Grey sees himself as a visionary, believing that the purpose of his art is to reunite humanity with its own collective spirituality--to help people realize their true nondual nature and interconnectedness. The spiritual aspect of Grey's art places him in the tradition of twentieth-century abstract artists, such as Kandinsky and the American Abstract Expressionists. This thesis examines how Grey employs innovative methods to ensure communication with the viewer, surpassing the efforts of abstraction, and creating a new spiritual art that has the potential to even more powerfully affect the receptive viewer."},{"label":"dcterms.available","value":"2015-04-24T14:45:29Z"},{"label":"dcterms.contributor","value":"Helen Harrison"},{"label":"dcterms.creator","value":"Gilbert, Julie"},{"label":"dcterms.dateAccepted","value":"2012-05-15T18:03:40Z"},{"label":"dcterms.dateSubmitted","value":"2012-05-15T18:03:40Z"},{"label":"dcterms.description","value":"Department of Art History and Criticism"},{"label":"dcterms.format","value":"Application/PDF"},{"label":"dcterms.identifier","value":"http://hdl.handle.net/11401/70997"},{"label":"dcterms.issued","value":"2010-05-01"},{"label":"dcterms.language","value":"en_US"},{"label":"dcterms.provenance","value":"Made available in DSpace on 2015-04-24T14:45:29Z (GMT). No. of bitstreams: 3\nGilbert_grad.sunysb_0771M_10096.pdf.jpg: 1894 bytes, checksum: a6009c46e6ec8251b348085684cba80d (MD5)\nGilbert_grad.sunysb_0771M_10096.pdf.txt: 103583 bytes, checksum: dddf4a835d0b110ff6a8016b879ee4f9 (MD5)\nGilbert_grad.sunysb_0771M_10096.pdf: 455831 bytes, checksum: 15c642ded0c281015247a8fbeda14613 (MD5)\n  Previous issue date:    1"},{"label":"dcterms.publisher","value":"The Graduate School, Stony Brook University: Stony Brook, NY."},{"label":"dcterms.subject","value":"Art History --  Art Criticism --  Spirituality"},{"label":"dcterms.title","value":"A New Way of Approaching the Absolute through Art: The Sacred Mirrors of Alex Grey"},{"label":"dcterms.type","value":"Thesis"},{"label":"dc.type","value":"Thesis"}],"description":"This manifest was generated dynamically","viewingDirection":"left-to-right","sequences":[{"@type":"sc:Sequence","canvases":[{"@id":"https://repo.library.stonybrook.edu/cantaloupe/iiif/2/canvas/page-1.json","@type":"sc:Canvas","label":"Page 1","height":1650,"width":1275,"images":[{"@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://repo.library.stonybrook.edu/cantaloupe/iiif/2/69%2F59%2F35%2F69593595279073389389534416726142110314/full/full/0/default.jpg","@type":"dctypes:Image","format":"image/jpeg","height":1650,"width":1275,"service":{"@context":"http://iiif.io/api/image/2/context.json","@id":"https://repo.library.stonybrook.edu/cantaloupe/iiif/2/69%2F59%2F35%2F69593595279073389389534416726142110314","profile":"http://iiif.io/api/image/2/level2.json"}},"on":"https://repo.library.stonybrook.edu/cantaloupe/iiif/2/canvas/page-1.json"}]}]}]}