{"@context":"http://iiif.io/api/presentation/2/context.json","@id":"https://repo.library.stonybrook.edu/cantaloupe/iiif/2/manifest.json","@type":"sc:Manifest","label":"Moving Mountains, Desert Sea","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/11401/76838"},{"label":"dc.language.iso","value":"en_US"},{"label":"dc.publisher","value":"The Graduate School, Stony Brook University: Stony Brook, NY."},{"label":"dcterms.abstract","value":"I consider the role of not just the act of painting and the act of remembering, but the sea, the desert, the wind, the salt, the earth, and the light in this process\u00e2\u20ac\u201dthe way that non-human elements exert their existence and connect us to history, time, and geography. I use the term \u00e2\u20ac\u0153painting\u00e2\u20ac  broadly here, to consider any act of placing color onto a surface, which in my case includes the use of acrylic, red wine (vinography), and projected light. The primary manifestation of this investigation is a still ongoing series of over 400 paintings and vinographs of landmasses seen from the sea, The Untitled Marine Vistas, which I began in 2010. These works are produced using a strict set of instructions that govern their elaboration. Reviews of the works en masse disclosed the fluidity of these coastlines, including the realization that these marine vistas sometimes revealed a desert. A digital slideshow of the works provided further insight into the movement of the forms from painting to painting, and prompted new sub-series of works employing projections of colored light to create iterations of landscape. This paper explores the primary facets of my artistic research."},{"label":"dcterms.available","value":"2017-09-20T16:51:17Z"},{"label":"dcterms.contributor","value":"Dinkins, Stephanie"},{"label":"dcterms.creator","value":"Febrer, Victoria Hortensia"},{"label":"dcterms.dateAccepted","value":"2017-09-20T16:51:17Z"},{"label":"dcterms.dateSubmitted","value":"2017-09-20T16:51:17Z"},{"label":"dcterms.description","value":"Department of Studio Art"},{"label":"dcterms.extent","value":"32 pg."},{"label":"dcterms.format","value":"Application/PDF"},{"label":"dcterms.identifier","value":"http://hdl.handle.net/11401/76838"},{"label":"dcterms.issued","value":"2016-12-01"},{"label":"dcterms.language","value":"en_US"},{"label":"dcterms.provenance","value":"Made available in DSpace on 2017-09-20T16:51:17Z (GMT). No. of bitstreams: 1\nFebrer_grad.sunysb_0771M_12786.pdf: 6895498 bytes, checksum: e1b87078f03355b3e75ff9d60630bd76 (MD5)\n  Previous issue date:    1"},{"label":"dcterms.publisher","value":"The Graduate School, Stony Brook University: Stony Brook, NY."},{"label":"dcterms.subject","value":"Aesthetics -- Art criticism"},{"label":"dcterms.title","value":"Moving Mountains, Desert Sea"},{"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/2/11%2F06%2F59%2F110659612998033614305872250443519520005/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/2/11%2F06%2F59%2F110659612998033614305872250443519520005","profile":"http://iiif.io/api/image/2/level2.json"}},"on":"https://repo.library.stonybrook.edu/cantaloupe/iiif/2/canvas/page-1.json"}]}]}]}