Location/dislocation: Temporal environments

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12-8-2003

Location/dislocation: Temporal environments

Erin Holscher

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ROCHESTER INSTITUTE OF TECHNOLOGY

A ThesisSubmittedto the

Faculty

of

TheCollegeof

Imaging

ArtsandSciences

In

Candidacy

forthe Degreeof

MASTEROF FINEARTS

LOCATION/DISLOCATION: TEMPORALENVIRONMENTS

By

Erin Elizabeth Holscher

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TableofContents

Page

1 Introduction

2 Main Thesis

Body

12 Conclusion

13 Endnotes

14

Bibliography

"Shewoke and spread outthe_map onthefloor. What

wasshe

looking

for? Her skin washerownsmall _ghost,

a shroudtobe dead

in,

a newspaperforold news

toberead

in,

_{gift-wrapping,}

litter,

asuicide letter.

She left itthere,

dressed,

checked_out, gotinthe car.

As she

drove,

thetowninthe_morningglittered

behind her. Sheate_upthemiles. Herskin

itched,

likearash, likea slow

burn,

felt stretched,asthough

it belongedto_somebodyelse.

Deep

inthebone

oldstreetstunneledand

burrowed,

hunting

forhome."1

The intent ofthis thesis was to create a

body

of work that explores concepts oflocation and

dislocation,

as

they

relate to _my personal experience in transient places. This work is an

investigationof_{the physical, emotional,} and spiritual displacement felt when_{moving from}place

to place. The work culminates withthe physical, emotional, and spiritual connectedness that I

have to

"place",

even as I move along.

Using

the human

body

and_anatomyas a vantage point,

I will explore human temporal relationships with place and environment. Human ephemeral

existence andthe transient places and environs humans inhabit are two elements that I want to

visuallyinvestigate usingnon-toxic_printmakingprocesses.

My

concepts arebestservedthrough

aprocess _partially of_my owninvention: the Pastel Wash

Drawing

Construction

Intaglio-type,

a

non-toxicintaglioprocessthatallowed metomerge_{my drawings}withprintmaking.

I will be _{referencing the} work ofKiki

Smith,

_{particularly her}

investigations

ofthe human body.

The workof_contemporary Boston-basedpainterAnne Harrishas hada significantimpacton_my

own conceptual growth, in herapproachto the humanfigure and use oftransparent

forms.

Iam

influencedandfascinated

by

theworkoftwo_{contemporarywriters, Sylvie Germain} andJeanette

of_place, and

Winterson,

for her use ofthe

body

as metaphor for environment, the

body

as

landscape or sanctuary. Both writers approach the

body

in a raw and visceral manner. I will

discuss influential artists and writers/philosophers andthe relevance of_myworkincontemporary

art.

Mapping,

_narrative,

displacement,

and_memoryareintegralconceptsthatinformanddelineate

this

body

of work.

Location/Dislocation: Temporal Environments is an exploration ofthe transient places and

spaces we inhabitthroughout our lives andhow _{these places,} no matter how

fieetingly

they

are

inhabited,

becomeembeddedinwho we are. Itisan exploration ofthedisplacedsensationsIhave

experiencedas Ileaveone placeforanother. Thisthesisexhibition represents_myexperiencewith

thecycleof_{settling, uprooting,}

leaving,

andresettling: theexperienceof_{mapping my internal}self

through theplacesthatI havecalled

"home."

I _{began my} current artistic investigation

by looking

at the artists

Kiki

Smith,

Anne

Harris,

and a piece

by

Jonathon

Parsons,

an artist

who exhibited in the controversial

"Sensation"

show in New York

City. Both Kiki Smith and Anne Harris confront the _physicality of

the human

body,

_using veins and

body

parts as a metaphor for the

human condition. The piece

by

Jonathan Parsons is adissected map

ofhis

homeland,

Great

Britain,

displayed in an acrylic box (Fig. 1).

The dissected map becomes adisplayed network ofvein-like roads.2

InfluentialwritersJeannette WintersonandSylvie Germain bothwrite Fis ' JonathanParsons Carcass, 1995

poeticallyoftherawandphysical natureofhumanemotionand ofthe 200x110x40cm

power of place. Germain's fiction iscomprised ofcharacters whose

connectionstoplace are

deeply

embeddedintheirbeing. InGermain'sThe Bookof

Tobias,

one

character"mightwellhavelivedanywhere,in

fact,

on a_raft,ina

tree,

outinthe

desert,

inthe

heart

of a_city. . .Shewassomuchanexile,andhadsofewneeds. Itdidnot so much mattertoher_where

Fig.2,KathyPrendergast from_BodyMapSeries,1983 inkandwatercolor

Throughout_{the exploration,} I came across_contemporaryartists with

whom I empathized. The relevance of _mapping and narrative in

contemporaryartis something Irelatedtoonapersonal

level. Artistssuchas

Kathy

Prendergast (Fig.

2)

and

Lordy

Rodriguez

include_{mapping in}theirworkas adevice for exploring memoryand

displacement. For

Prendergast,

"it is the _map that dominates her

oeuvre, from her literal maps of _{cities, to} her figurative maps of

the female

body,

to her poetic _mapping ofthe _passing oftime and

beliefs."3

Lordy

Rodriguez's "mapsare often aboutplaceshe's been

andlongs to return to."₅

Maine-based painterDozier Bell sees _{"remote sensing} technologiesas

exquisite corollaries of mental processes: _{map-making, reconnaissance,}

detection, destruction,

and

deliverance,

are as applicable to psychological and

spiritual life as

they

are to the global theaters ofwar."6

Bell

[image:8.549.333.496.346.478.2]

questions

faith, divinity,

_creation, anddestruction in herwork

(Fig. 3). The atmosphere and execution of Bell's paintings

influenced myown approachtoenvironment. Thephilosopher

Gaston Bachelard explores the power of places and intimate

Fig.3,DozierBell, spaces. His book The PoeticsofSpacehadsome

bearing

on Map studyN0.2. 2000

acrylic on paper, 14x18"

formulating

my ideasabout

"home"

intomore concretethoughts.

My

exploration was notjustone ofadevelopment ofconcept and

form,

butalso one of process.

My body

of workis comprised of construction

intaglio-types,

createdfrom a

body

of pastel wash

drawingson

drafting

mylar. The imagesare constructed of

layers,

_givingtheimages

transparency,

texture,andlayersofmeaning. Someoftheimagesare composed oftwoor more_plates,

breaking

the _{image up} into two or more panels. This division suggests dislocation through the physical

[image:9.549.148.376.30.226.2]

Fig. 4.Epoch.24\27"

Epoch,

thefirst in the

body

of_work,marksthe_passingoftime (Fig. 4). Thethree

figures,

which

repeat throughoutthe

body

of_work, represent lineage. The piece not_only symbolizes an era in

time, but a breakthrough as well. Epoch is the

turning

point _{in my} use of process. The image

draws on memory,

lineage,

and the

transitory

state ofbeing. The first ofthe figures represents

my grandmother, someone who has alreadypassed on. _{Her physicality}and spiritare referenced

through two layers within the print. The middle figure represents _my mother. The mother is

divided,

referring to my own divided feelings toward home. The last

figure,

seen in full but

whose face isnot yet

fully

formed,

isa self-portrait: thefigurerecognizesthe _passingoftimeand

embracesher

lineage,

but isstill_comingtotermswithwho sheis.

Fig.5,Beacon.6x4"

each

"

W

V

.;

The diptych Beaconandtheimage Cold

Comfort,

like

Epoch,

also alludetolineageandthe_passing

oftime. Beacon (Fig.

5)

represents _my grandmother-someone who has _{passed on and whose}

deep

spirituality andgoodnessserve as a guide for_myown actions and spirituality. The diptych

serves as aliteralpassage, or

transition,

fromone paneltoanother: the transitionfromphysicalto [image:9.549.171.355.452.588.2]

appears in

Beacon,

this time _representing aloss ofbeing. Thecelestialbackground suggeststhe

heavens and_{transcendence,}atheme thatis seen withinother images inthis

body

of work. Cold

Comfort

depicts,

more

directly,

the_passingoftimethroughmortality. This image (Fig.

6)

portrays

three female figuresall containedwithintheirownhouse shapes. The houses seem coffin-like in

their_verticalityandintheircontainment ofthefigures. Although thehouserepresents comfort and

security, the coffin-like _qualityofthehouses givesthe imagean_unsettlingpsychological torque.

The title also has personal differentmeanings: the first is the literal definition of cold comfort,

meaning lackofcomfort. The second refers to _{my upbringing in} a_physicallycold region. The

nature of_my

"home"

and sourceof comfort and _{security is}a cold place.

"Winteris

by

fartheoldest ofthe seasons. Not only does itconferageuponour_memories,

taking

usbacktoa remote past

but,

on_snowy

days,

the housetoo is old. Itis asthough itwere

living

in

thepast ofcenturiesgoneby."7

Fig.6,ColdComfort.12x18"

The ambiguous figuresrepresentthemultitude ofhuman experience. The figures _may represent

three different individuals or one individual's progression. Ifthe image is read from right to

leftor from left _{to right,} it couldbe interpreted to beone individual's gradual connectedness or

disconnectednesstoplace. The roads evoke_veins, as

they

connecttoone figure's hands and run

alongthe

leg

andthrough the torsoof anotherfigure. Theroads,which repeatthroughout the

body

of_work, allude toroads in North

Dakota,

South

Dakota,

and

Minnesota,

_particularlytheplace of [image:10.549.142.383.362.526.2]

Thenext set ofimagesexplores concepts of

identity, impermanence, dislocation,

andtranscendence.

Dollhouse Nostalgia /andDollhouseNostalgia II (Fig. 7and

8),

express a

deeply

personalsense of

dislocation. Thetitledraws_{from my}childhood memoriesof_{my dollhouse. The}child'sdollhouse

sets the stage for the child's interpretations of

home,

_security, and comfort. I drew from one

particular_memoryof_mydollhouse

being

thrownout asIpreparedtomovetoanew_cityandhome

with _my family. The casting aside ofthe dollhouse represented apersonal sense ofdislocation:

a transition from childhoodinto young _adulthood, and of_uprooting,

leaving,

and _establishing a

newfoundation. This_{is my memory}of_{my first}sense ofdisplacement. The figuresquestiontheir

identity

and search fora sense ofplace: place within environment and

feeling

at

"home"

with

themselves. Thenostalgiais forthatof protectionand_security, notforchildhood.

Fig.7,DollhouseNostalgia I. 18x12"

Fig.8, Dollhouse Nostalgia.18x10.25"

The houseandfigure_reappear,but in fragmented forms. Theatmosphere withinthe twopiecesis

symbolicof_{snow, referencingmy home. Thissnowy}atmosphereisseenthroughout this

body

of

images. The snow sweeps throughoutthe picture planesofboth_{prints,promoting} an_unsettling,

blizzard-likemovement. "And_so, facedwiththebestial

hostility

ofthe storm andthe

hurricane,

the housed virtues of protection and resistance are transposed into human virtues. _{The house}

acquiresthephysical and moral_energyof ahumanbody."8

[image:11.549.286.433.299.536.2] [image:11.549.86.244.301.535.2]

facestheviewer

directly,

but lacksfacialdefinition. Theambiguous nature ofthisfigurerepresents

someone still

trying

tounderstand andfeelathomewith

herself,

orisarepresentation ofthe_passing

oftimeandthe

fleeting

nature ofhomeand relationships. Thispiecesuggestsanimpermanenceof

structure: of_{relationships,} of

home,

ofsecurity, and ofbeing. The figure passivelyconfronts the

viewer withherlackoffacial formation.

Dollhouse Nostalgia II depicts a female figure whose face is more

fully

formed. The figure

is fragmented and _partially contained within fragments of a house form. Linear elements that

referenceroads_pertainingto_mychildhoodhome constructaladder-like foundation thatsupports

the _{house containing}thewoman's face andbust. This woman's more

fully

formed faceand cast

outward gaze suggestthatsheperceiveschange. Her

feet,

although

firmly

planted onthe ground,

aredisconnected from her head and shoulders. Althoughsheis

disconnected,

she facesthe storm

outsidethe_{house. This figure seemingly has}astrongersenseof self and place.

Fig.9,The ArchitectsSorrow,24x16"

The Architect's Sorrow (Fig.

9)

is based on the

impermanence of structure. Structure becomes a

metaphorfortwobasic ideas: relationships andhome.

The "architect"_{may be interpreted in} afew _ways; the

architect is the

father,

_{the maker, the originator, the}

planner, etc. Apair of

feet,

ateither end ofthebottom

ofthe

house,

serves asthe foundationofthisstructure.

Lines referring to specific places are also apparent

withinthe

layers,

_referencingplaces that I have called

home. These

lines,

as

they

runbeneaththehouse and

the

figures,

retain a vein-like_quality,whichemphasizes

thephysical connection wehavewith our environment.

Theevocation of veins andthetransparentnature ofthe

[image:12.549.35.226.387.679.2]

* *

myown_work,

having

seenthework ofBoston-basedartistAnne Harris.

First Portrait with

Max,

by

Harris,

is a _strong example of

Harris'

treatment ofthe figure and what lies beneath (Fig. 10). The network

ofblue veins that shows beneath _stretched, pregnant skin embellishes

theraw_physicalityoftheimage. In The Architect's

Sorrow,

thecentral

roadlinethatcreates adivisionwithinthehouse hasa spine-like_quality,

symbolizing the

dichotomy

of strength and vulnerability. The home

and the _relationship are at this point _seemingly stable, yet the image Fig.10,Anne Harris

First PortraitwithMax,1996-97

suggeststhat themalefigure may be searching for somethingoutside of oilon canvas-44x30"

his immediateenvironment.

Train is an image that portrays _my emotional

connectionto_{my homeland. The idea} ofthe Midwest

asthe"heartland"isreferencedthroughlinearelements

that connect a female figure to a map. The figure is

dividedanddislocated suggesting dichotomiesthatwe

findwithin ourselves. In

Train,

thisdivision impliesa

physical disconnection and emotional connection to a

place of origin and_{upbringing (Fig. 11).} The figure's

stance is one of_acceptance, a stance that also can be

seen in connection with _{religion, thus suggesting my}

Catholic upbringing. Linear elements connect the

bottompanelto thefigureinthe

top

plate. Thelinesare

reminiscent oftheroads inthat particular geographic

location,

at the same time that

they

could be _veins,

ladders,

ortrain

tracks,

icons oftheMidwestern landscape. The suggestion of veins remindsthe

viewerofhowourenvironment affect us not_{onlyemotionally,}but_physicallyas well.

[image:13.549.379.494.64.225.2] [image:13.549.40.386.313.635.2]

Motherland gives homage to _{my Midwestern home}

(Fig. 12). Housed within the small plate is the head

and neck of a female

figure,

whose downcast gaze

rests upon the large panel below. The atmosphere

is suggestive ofthe _sweeping winds and tumultuous

snowstorms commonplaceinthe Midwest. Thehoused

female,

although

tiny

in contrast to the aerial view of

the plains, calms the _sweeping tumult of the larger

panel. Thedarkerlines referencing mychildhoodhome

imply

adisconnection betweenfigureandlocation. The

housed figure is also the mother and _{the mapmaker,}

}, fli

looking

downupon somethingthat is a part ofhereven

as she moves beyond it. The house symbolizes the

samevirtues as a mother: _{comfort, security,} and protection.

The last set of images investigates ideas of location and

dislocation,

and of

"home"

and its

associations.

Memory

Mapswascreatedfromthe sameresponsetoprocess asEpoch. The series

embodies _{my intuitive} response to personal location and dislocation. The series (Fig.

13-15)

containstwelve separate

images,

each constructed offragments of maps. The maps are drawn

from my memoryofplacesthathave been hometome. Each mapcontains a windowto the_map

beneath

it,

_alludingtohouseorhome. Each map isanintimate_memory,printedandhoused_alone,

but subtlyembossedtocreate a connectivenetworkbetweeneach map.

SW '-rifi

m ________{

KL_________H

E

W~2j""^-^^^^r~rl m [image:14.549.33.232.31.335.2] [image:14.549.108.417.559.698.2]

Fig. 15,viewofinstalled_{Memory Map}Series BevierGallery,Rochester InstituteofTechnology

42.358N,

71.060W

(Location/Dislocation)

is atriptych (Fig.

16-18)

referencing aspecific place

in relationto feelings oflocation anddislocation. In the firstpanel (Fig.

16),

a female figure is

containedin the house. Throughout this series, the house serves as a metaphor for a_variety of

ideas. In_{this panel, the} house isa metaphorforthe

body

ashome. In Disappearance

II,

a short story

by

Jeanette

Winterson,

one androgynous character has isolated herself/himself from the

outside_{world,practically}

becoming

aphysicalpartofher/hisownhome.

Fig.16,17,and18

42.358-N,77.060W (Location/Dislocation),12x6"

"Nevertheless,

itis_myhouse inwinterthatI

love,

_myhouseclipped and_silent,and me itsmaster.

You will understandthatI do not troublemyself with_{covering up}the furniture or_{shutting up}the

fireplaces. Others do that. Room

by

room the house is quieted for the winter, until _{only I} am

its

beating

heart.

Only

I,

the rise and fall ofits

lungs,

thehouse and I

breathing

togetherin the

night."9

[image:15.549.141.386.33.254.2] [image:15.549.119.407.397.567.2]

42.358N

71.060W

(Location/Dislocation)

references not _only a physical sense of location/

dislocation,

butalso an emotional attachment to anddetachment from a specific city. Inthe first

panel, the house ismore complete and whole. The house is absent from the figure inthe second

panel(Fig.

17),

_suggestingalackof

"home",

thenreappears ina_strange, fragmented form in the

thirdpanel(Fig. 1

8)

absentofthefemale figurethatappearedinthefirsttwopanels. Thissuggests

a loss within _myself, or a lack of

feeling

at home with _myself, after

leaving

this city. Sylvie

Germain,

in apassage from "The

Weeping

Womanonthe Streetsof

Prague",

writes

"Cities,

like

bodies,

have their smell, theirskin."10

Thispassage_profoundly expresses not_{onlythe emotional,}

butalsothephysical powerof place.

Passage (Fig. 1

9)

is aculmination of all the _{ideas previously}

discussed. The bottom ofthe three plates is distanced from

the first two, but visually connected

by

linear elements that

run through all three plates. Aside from the bottom layer of

road

lines,

the two

top

plates in Passage contain shapes that

reference North Dakota and South Dakota. A strand offilm

following

a central road line connects two heads that are

containedwithin shapes reminiscent ofgrain _silos, which are

associated withtheMidwesternlandscape. The faceshave an

ominous, sorrowful quality. The bottom plate contains two

pairs of

feet,

which are disconnected from the

body,

but are

walkingacrossthelandscape which spansthe bottomthird of

theplate. Thesepairsoffeetare also connectedto the

top

plates

by

theroadlinesandthe _connectingstrands offilm. Thepiece

usestheconceptofpassagetoexplore_manyideas: the_passing

from one place_{to another, the}path

by

which a person_travels,

andthe_passingoftime. Locationis suggested

by

theabstract references to state

boundaries

and

roads,whiledislocation isapparentthrough the

disconnectedness

oftheheadsand

Fig. 19, Passage,37.75x18"

[image:16.549.46.333.292.639.2]

feet to _any other

body

parts. The influence ofNew York-basedartist Kiki Smith can be seenin

Passage. Smith'suse of_{physically detached}limbsinpieces suchasNuit (Fig.

20)

shaped_myown

use ofdisconnected

body

partsto

imply

aninner dislocation.

Fig.20,KikiSmith,Nuit,1993

anodizedaluminum,bronze,and mohair

"Even ifone's

history

thereis short,a placecanstillbe feltasan extension ofthe

body,

_especially

the _walking

body,

_passing through and

becoming

part ofthe landscape. Michael Martone is

eloquent abouthissensuous identificationwith the Midwest: 'TheMidwestis too

big

tobe seen

(asthe

Heartland)

. . .1thinkofitmore as a web oftissue, amembrane, a skin. Andtheway I feel

abouttheMidwestisthe_{way my}skinfeelsandthe_{way I feel}about_myownskin. . .theMidwest

is

hide,

an organ of sense andnot_power,delicateandcoarse atthesame time.""

My

intentwastocreate a

body

of workthatisas_{conceptually riveting}as it is visually captivating

and

technically

excellent. The

discovery

ofanewprocess,inadditiontoa_{strongoeuvre,}highlights

the success ofthis thesis exploration. The pastel wash drawings teamed with the construction

intaglio-typeallowedforanaturaltransitionfrom

drawing

toprint. Thistechniquealso permitted

me to work more

intuitively

with the materials. The

layers,

textures,

and

translucency

achieved

withthisprocessbestserved_myoriginal concept.

Conceptually,

theimageswork

individually

and

as abody. The images

independently

express either a senseofplace ordisplacement: each ofthe

piecesincludedinthis

body

of workevoke adistinct sensationoflocationor

dislocation,

of

being

athomeornotathome. Eachoftheimagesisasimportantasthenext and each contributes_wholly

to thedynamicsofa_strongand cohesiveoeuvre.

[image:17.549.165.355.132.260.2]

Endnotes

1

Duffy,Carol Ann. "TheMap-Woman."

Feminine Gospels (New York: FaberandFaber, Inc.,2002).

p.7

2

Rosenthal,Norman. Sensation: _YoungBritish ArtistsfromtheSaatchi Collection (London: Royal

AcademyofArts, 1997) p.203

3

Germain, Sylvie. The BookofTobias (United Kingdom:_{Dedalus, Ltd.,} 1998). p.144-145

4

Mahon,Alyce. _"ChartingtheFamiliar: _KathyPrendergast: The EndandtheBeginning." Make. 28_March/May2000,no. 87.

5

Roland,Craig. "Six_ContemporaryArtistsWho Use Mapsin TheirWork."

www.artjunction.org. Jan. 2002.

6

Bell, Dozier. _"DivinityandDevastation: ImagesofHeimsuchung." www.dozierbell.com. July,2001

7

Bachelard,Gaston. PoeticsofSpace (New York: The OrionPress, 1964. Boston: BeaconPress, 1994).

p.41

8 _Bachelard

p.46

9

Winterson,Jeannette. "DisappearanceII."

The WorldandOther Places (New York: VintageBooks,

1998). P. 119.

10

Germain,Sylvie. The_WeepingWomanontheStreetsofPrague(United Kingdom: _{Dedalus, Ltd.,} 1993). P.35

11

Lippard, Lucy. The LureoftheLocal(New York: NewPress, 1997). P. 34

Bibliography

Bachelard,

Gaston. Poetics ofSpace. New York: The Orion

Press, 1964,

Boston: Beacon

Press,

1994.

p. 41

Bell,

Dozier.

"Divinity

andDevastation: Imagesof

Heimsuchung."

www.dozierbell.com.

July,

2001

Duffy,

Carol Ann. "The Map-Woman." Feminine Gospels. New York: Faber and

Faber, Inc.,

2002.

p.7

Germain,

Sylvie. TheBookofTobias. United Kingdom:

Dedalus, Ltd.,

1998. p.144-145

Germain,

Sylvie. The

Weeping

Womanonthe StreetsofPrague. United Kingdom:

Dedalus, Ltd.,

1993.

p. 35

Lippard,

Lucy. The Lureofthe Local. NewYork: New

Press,

1997. p. 34

Mahon,

Alyce.

"Charting

the Familiar:

Kathy

Prendergast: The EndandtheBeginning." Make. March/

May

2000,

no. 87.

Roland,

Craig. "Six

Contemporary

Artists Who Use Maps in Their Work."

www._artjunction.or_g. Jan.

2002.

Rosenthal,

Norman. Sensation:

Young

British Artists from the Saatchi Collection. London: Royal

Academy

of

Arts,

1997. p. 203

Winterson,

Jeannette. "Disappearance II." The World and Other Places. New York: Vintage

Books,

1998. p. 119.

Plates

(Figures)

Fig. 1: Jonathan

Parsons, Carcass, 1995,

_{dissected map in} acryliccase, 200x110x40cm

Rosenthal,

Norman. Sensation:

Young

British Artists fromthe Saatchi Collection. London: Royal

Academy

of

Arts,

_1997. p. 135

Fig. 2:

Kathy

Prendergast,

from

Body Map

Series, 1983,

inkand watercolor

www.academic.hsu.edu. Laughter Ten Years

After,

Electronic Exhibition

Catalog

Fig. 3: Dozier

Bell,

Map Study

No.

2,

2000,

acrylic onpaper,

14x18",

www.dozierbell.com

Fig. 4: Erin

Holscher,

Epoch, 2002,

Pastel Wash

Drawing

Construction

Intaglio-type,

24x27"

Fig. 5:

Holscher,

Beacon,

2003,

Pastel Wash

Drawing

Construction

Intaglio-type,

6x4" each

Fig. 6:

Holscher,

Cold

Comfort,

2003,

Pastel Wash

Drawing

Construction

Intaglio-type,

12x18"

Fig. 7:

Holscher,

Dollhouse Nostalgia

I,

2003,

Pastel Wash rawing Construction

Intaglio-type,

18x12"

Fig. 8:

Holscher,

Dollhouse Nostalgia

II,

2003,

Pastel Wash

Drawing

Construction

Intaglio-type,

18x10.25"

Fig. 9:

Holscher,

The Architects

Sorrow, 2003,

Pastel Wash

Drawing

Construction

Intaglio-type,

24x16"

Fig. 10: Anne

Harris,

FirstPortraitwith

Max, 1996-97,

oil on_canvas,

44x30"

York,

Jay. Anne Harris. Boston: Nielsen

Gallery,

Amherst: Oxbow

Press,

1997.

Fig. 11:

Holscher, Train, 2003,

Pastel Wash

Drawing

Construction

Intaglio-type,

28x17.75"

Fig. 12:

Holscher, Motherland, 2003, Intaglio-type,

liquidaquatint,

37.75x23.75"

Fig. 13:

Holscher,

from

Memory

Map

Series, 2002,

Pastel Wash

Drawing

Construction

Intaglio-type,

3x3"

Fig. 14:

Holscher,

from

Memory Map

Series, 2002,

Pastel Wash

Drawing

Construction

Intaglio-type,

3x3"

Fig.15:

Holscher,

view ofinstalled

Memory

Map

Series,

Bevier

Gallery,

Rochester Institute of

Technology

Fig. 16-18:

Holscher, 42.358N,

71.060W

(Location/Dislocation),

2003,

Pastel Wash

Drawing

Construction

Intaglio-type,

12x6"

each

Fig. 19:

Holscher, Passage, 2003,

PastelWash

Drawing

Construction

Intaglio-type,

37.75x18"

Fig. 20: Kiki

Smith, Nuit, 1993,

anodizedaluminum,

bronze,

and mohair

Posner,

Helaine. Kiki Smith.

Boston,

New York: Bulfinch

Press, Little,

Brown and

Company,

1998. p. 116