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Dissertations / Theses on the topic 'Archives of American Art'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

Buchanan, Mariah Spann. "Educating black youth moral principles through black art." Click here to access dissertation, 2008. http://www.georgiasouthern.edu/etd/archive/spring2008/mariah_s_buchanan/buchanan_mariah_s_200801_edd.pdf.

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Thesis (Ed.D.)--Georgia Southern University, 2008.<br>"A dissertation submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Doctor of Education." Under the direction of Ming Fang He. ETD. Electronic version approved: May 2008. Includes bibliographical references (p. 203-215) and appendices.

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2

Hensley, Charlsa Anne. "IN BLACK AND WHITE: RICHMOND’S MONUMENT AVENUE RECONTEXTUALIZED THROUGH THE PHOTOGRAPHIC ARCHIVE." UKnowledge, 2019. https://uknowledge.uky.edu/art_etds/18.

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The release of the Monument Avenue Commission Report in July, 2018 was the culmination of over one year of research and collaboration with community members of Richmond, Virginia on how the city should approach the contentious history of Monument Avenue’s five Confederate centerpieces. What the monuments have symbolized within the predominately rich, white neighborhood and outside of its confines has been a matter of debate ever since they were unveiled, but the recent publicity accorded to Confederate monuments has led to considerations by historians, city leaders, and the public regarding recontextualization of Confederate monuments. Recontextualization of the monuments should not only consider the city’s current constituency, but also the lives, testimonies, and representations of Richmond’s African- American residents as the monuments were built. A comparative case study of photographs from various institutional archives in Richmond, Virginia, depicting late- nineteenth and early twentieth-century scenes from the city’s history reveals that while Monument Avenue and its Confederate celebrations benefitted the city’s upper-class white constituency, its messages extended far beyond Richmond and its Confederate veterans. By bringing to light images and testimonies from the archive that highlight African-American presence, a counter-narrative emerges detailing the construction of power in post-Reconstruction Richmond through Monument Avenue.

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3

Tingler, Stephanie Kay. "Oley Speaks and the Oley Speaks music library archive : a legacy of the twentieth century American art song /." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1299527642.

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4

Görgen, Carolin. "Out here it is different - The California Camera Club and community imagination through collective photographic practices : toward a critical historiography, 1890-1915." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCC010/document.

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Le California Camera Club, un collectif de photographes amateurs et professionnels actif à San Francisco notamment entre 1890 et 1915, est une organisation constamment marginalisée dans l’histoire de la photographie et de l’Ouest américain. En adoptant une double approche d’histoire culturelle et matérielle, cette thèse éclaire une gamme d’activités et de productions de ce club largement inconnu, qui ont contribué à forger l’identité d’une communauté éloignée de l’Ouest. Par son approche inclusive, réunissant plus de 400 membres en 1900, le club doit être considéré comme une organisation localement ancrée, qui se sert de la photographie pour produire un récit esthétiquement attirant et historiquement cohérent de la ville et de l’État. Malgré son chevauchement chronologique avec le pictorialisme et son ambition de faire reconnaître le médium parmi les beaux-arts, le corpus du club ne peut être inséré dans un canon d’histoire de l’art de la photographie. En se basant sur diverses stratégies de diffusion et d’exposition, les membres adoptent plutôt une approche collective qui transforme l’aspiration à la reconnaissance en un désir de légitimation régionale. À travers une analyse de pratiques photographiques, d’usages et d’itinéraires des objets, cette thèse retrace la construction d’une représentation idiosyncratique de la culture et de l’histoire californiennes par un club qui participe à la conquête d’une place légitime pour l’État sur la scène nationale. En mettant l’accent sur la dimension collective de la photographie, cette analyse montre comment sa pratique dans un territoire isolé mène à la construction imaginaire d’une communauté dotée d’une compréhension commune de ses valeurs esthétiques et de son histoire. L’enjeu de cette thèse est ainsi de réviser un schéma linéaire et étroit de l’histoire de la photographie en élargissant les perspectives géographiques, socioculturelles et archivistiques<br>The California Camera Club, a collective of amateur and professional photographers, most active in San Francisco between 1890 and 1915, represents a constantly marginalized organization in the history of photography and of the American West. By adopting a two-fold cultural-historical and material approach, this thesis sheds light on a largely unknown variety of Club activities and productions that served as meaningful elements to forge the identity of a remote Western community. Through its inclusive outlook, unifying more than 400 members in 1900, the Club must be considered a locally embedded organization that mobilized photography to produce an aesthetically pleasing and historically coherent narrative of the city and the state. Despite its chronological position in the period of Pictorialism and the striving for institutional recognition, the Club corpus cannot be inserted into an art-historical canon of photography. Rather, by drawing on diverse strategies of dissemination and exhibition, the members adopted a collective approach to the medium that turned the striving for institutional recognition into a desire for regional legitimation. Through an examination of photographic practices, uses, and object trajectories, this thesis traces the construction of an idiosyncratic representation of Californian culture and history by the Club, which actively assisted the state’s search for a legitimate national place. By focusing on the collective dimension of photography, the analysis demonstrates how the practice in an isolated territory led to the imagination of a community with shared aesthetic and historical understandings. The object of this thesis is to revise both linear and narrow tropes in the history of photography by broadening its geographic, sociocultural, archival perspectives

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5

Stack, Margaret. "An Archaeological and Archival Appraisal of "Spanish Indians" on the West Coast of Florida in the Eighteenth and Nineteenth Centuries." Scholar Commons, 2011. http://scholarcommons.usf.edu/etd/3363.

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Spanish Indian is a generic term that has been used repeatedly in written documents over the past three centuries to describe a range of different social, ethnic, and economic groups in the southeastern United States. In this thesis, a comparative analysis of the material culture from Cuban fishing ranchos of the eighteenth and nineteenth centuries on the west coast of Florida addresses the ways in which specific Spanish Indian artifact assemblages fit into the archaeological record. Three archaeological assemblages from known Rancho sites are detailed and analyzed. In addition, this thesis details a public archaeology project undertaken in conjunction with the Florida Public Archaeology Network, which led to the development of a traveling exhibit and public presentation on the origins of local place names. The thesis also provides suggestions for how historical archaeologists might contend with difficulties in determining and documenting identity at early historical sites in coastal Florida. The research undertaken for this thesis demonstrates a pressing need for additional data collection and research in the field. As it currently stands, however, the preliminary analysis conducted in this thesis indicates an economic basis for cultural interaction and intermarriage rather than an actual cultural synthesis, creolization, or ethnogenesis, which would imply shared cultural systems of belief and meaning. This thesis is also a proposal for a typology of ranchos. Through a cross-comparison of the similarities and differences in subsistence strategies and labor practices, a research design for rancho archaeology is outlined.

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6

Carroll, Michael Jeffrey. "Preserving Queer Legacies in Archives and Art." Master's thesis, Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/582084.

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Art History<br>M.A.<br>Queer artists have engaged archives throughout modern and contemporary American art, but art historical discourse of their work has centered the writing of Jacques Derrida and Michel Foucault to theorize these spaces without considering archival scholarship. This text takes up Gabriel Martinez’s Archive series as a case study to critique archival selection theory and better understand how prejudice has affected the preservation of queer folx’s collections. Martinez’s series is situated amongst other Western artworks that center archival records and queer themes throughout the last century. This section places his artwork in dialogue with other artists for whom the archive is the subject of their artwork. The artworks detailed exemplify the multiplicity of ways that queer folx critique and interpret the histories preserved in these institutions. Following this survey of art is an analysis of how archival records are selected for preservation and the inherent subjectivity of this task. Pedagogical writing on archival selection by Frank Boles, Richard Cox, and James O’Toole are consulted to better understand how archivists working in the field are taught to handle this type of work. Most of their writing is focused on traditional archives and fails to articulate the challenges facing counterarchives, spaces formed to compensate for the erasure of queer persons in traditional institutions. This review of archival scholarship ends with a critique of how queer counterarchives have fallen short of their inclusive aims. The final section of this text is dedicated to a close study of Martinez’s Archive series. His photographs document the Harry R. Eberlin photograph collection and the John J. Wilcox, Jr. Archives in Philadelphia. The historical context of the Eberlin collection and the founding of its host repository are presented in conjunction with Archive series because Martinez’s compositions are inseparable from these histories. Philadelphia queer culture in the 1970s and 1980s is revealed through the retelling of these histories and by examining who was visualized in the images themselves. These images of bars and events simultaneously reveal the gender and racial disparity of patronage within these spaces and exemplify long-standing tensions in the city’s queer spaces. Lastly, this text posits a practice called “pseudo-processing” where artists document and preserve facsimiles of archival records to question the divisions of archival labor from that of an artist performing comparable tasks.<br>Temple University--Theses

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7

Murphy, Brian Michael. "The Future of American Memory: Media Preservation, Photography, and Digital Archives." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1398876304.

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8

Bentley, James E. III. "Looking Back: An Examination of Family Archives." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/art_design_theses/79.

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With digital technology now dominating the film and photography industry, analog resources are becoming scarce. Simultaneously, memories preserved through personal family archives also are in danger of deterioration. Time, heat and humidity can cause film to decay just as the passage of time and the erosion of memory allows their contents to fade. In Looking Back, my family film and photography archives are exhumed and collectively examined by myself and my family. Reflecting upon this massive accumulation of imagery and their attached memories seems an endless task. However, as expressed in Looking Back, the greater the effort to bring conclusive memories to the surface, the more impossible the task proves to be, and larger questions about the significance of family history result.

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9

Gehr, Susan. "Breath of life| Revitalizing California's Native languages through archives." Thesis, San Jose State University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1552255.

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<p>This thesis presents an oral history of the Advocates for Indigenous California Language Survival (AICLS) and its Breath of Life Workshop. Held every other year since 1996, the workshop is designed to meet the language revitalization needs of California Indian people whose languages have no living fluent speakers. Breath of Life Workshop organizers arrange visits to four archives on the University of California, Berkeley, campus and connect participants with linguistic mentors to read and interpret archival documents in their language for the purpose of bringing their language back into use. </p><p> Through interviews with AICLS founders, Breath of Life Workshop participants, and University of California, Berkeley, linguists and archivists, this study uncovers the role archivists play in the Breath of Life Workshops and in the care of Native language collections more generally. Topics addressed include the selection and use of archival documents in the program and the changes to archival practice and policies that have resulted from archivists’ work with Breath of Life participants. The thesis also examines issues involved in the collection, arrangement, description, preservation, and access to the documentation of California Indian languages. The study concludes with recommendations for future language revitalization programs. </p>

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10

Duclos, Jessica. "Les archives du corps." Thesis, Université Laval, 2013. http://www.theses.ulaval.ca/2013/30240/30240.pdf.

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Le présent mémoire fait état de ma recherche-création qui se veut une prospection sur la connaissance de soi, comprendre comment les expériences transforment différents aspects de la réalité humaine tels notre corps, notre intimité, notre personnalité et nos émotions. Mon travail s’esquisse autour de la présence de l’autre, de ses affects, et joue sur les possibilités visuelles pour mettre en relief les ambiguïtés interrelationnelles. Mettre en exergue la notion de subjectivation par l’intermédiaire de dispositifs immersifs interactifs est le fil conducteur de ma démarche, cette notion qui fait de nous des êtres créés par les éléments extérieurs qu’il côtoie, qui fait de vous et moi, le même.

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11

Jeon, Eun-Hee. "American image /." Online version of thesis, 1990. http://hdl.handle.net/1850/11236.

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12

Haight, Sarah M. "American Art Lending, 1895-1975." Thesis, School of Information and Library Science, 2006. http://hdl.handle.net/1901/344.

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This paper documents the range of art lending in the United States to individuals by libraries, museums, and other cultural institutions from roughly 1895-1975. The historical analysis includes the reasons and motivations behind the creation of each kind of lending scheme and what its proponents hoped to accomplish, as well as how these collections fit into the broader goals of each type of institution. Loans of originals and reproductions are discussed.

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13

Мосіна, Елеонора. "Trends in American Modern Art." Thesis, Київський національний університет технологій та дизайну, 2017. https://er.knutd.edu.ua/handle/123456789/7340.

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14

Daquino, Marilena <1986&gt. "Mining Authoritativeness in Art Historical Photo Archives. Semantic Web Applications for Connoisseurship." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2019. http://amsdottorato.unibo.it/8968/1/thesis_12_2_2019.pdf.

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The purpose of this work is threefold: (i) to facilitate knowledge discovery in art historical photo archives, (ii) to support users' decision-making process when evaluating contradictory artwork attributions, and (iii) to provide policies for information quality improvement in art historical photo archives. The approach is to leverage Semantic Web technologies in order to aggregate, assess, and recommend the most documented authorship attributions. In particular, findings of this work offer art historians an aid for retrieving relevant sources, assessing textual authoritativeness (i.e. internal grounds) of sources of attribution, and evaluating cognitive authoritativeness of cited scholars. At the same time, the retrieval process allows art historical data providers to define a low-cost data integration process to update and enrich their collection data. The contributions of this thesis are the following: (1) a methodology for representing questionable information by means of ontologies; (2) a conceptual framework of Information Quality measures addressing dimensions of textual and cognitive authoritativeness characterising art historical data, (3) a number of policies for metadata quality improvement in art historical photo archives as derived from the application of the framework, (4) a ranking model leveraging the conceptual framework, (5) a semantic crawler, called mAuth, that harvests authorship attributions in the Web of Data, and (6) an API and a Web Application to serve information to applications and final users for consuming data. Despite findings are limited to a restricted number of photo archives and datasets, the research impacts on a broader number of stakeholders, such as archives, museums, and libraries, which can reuse the conceptual framework for assessing questionable information, mutatis mutandi, to other near fields in the Humanities.

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15

Vajaria, Himanshu. "Diarization, localization and indexing of meeting archives." [Tampa, Fla] : University of South Florida, 2008. http://purl.fcla.edu/usf/dc/et/SFE0002581.

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16

Cirino, Gina. "American Misconceptions about Australian Aboriginal Art." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1435275397.

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17

Pascarella, John A. "American standard." Morgantown, W. Va. : [West Virginia University Libraries], 2006. https://eidr.wvu.edu/etd/documentdata.eTD?documentid=4929.

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Thesis (M.F.A.)--West Virginia University, 2006.<br>Title from document title page. Document formatted into pages; contains v, 27 p. : ill. (some col.). Vita. Includes abstract. Includes bibliographical references (p. 25).

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18

Borden, Sara. "An Examination of How Archives Have Influenced the Telling of the Story of Philadelphia's Civil Rights Movement." Master's thesis, Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/145626.

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History<br>M.A.<br>This paper examines the way that history and the archive interact with an examination of the civil rights movement in Philadelphia in the 1960s. Lack of accessibility may detrimentally affect historians' analyses. This paper is an assessment of what both writers and archivists can do to help diminish oversights. Included is an investigation of the short-lived Black Coalition and the way the organization is represented in scholarship. How do the representations differ from the story the primary sources tell? Also examined is the relationship between Cecil B. Moore and Martin Luther King, Jr. What primary sources exist that illuminate their friendship? How has their friendship been portrayed in secondary works? The paper outlines the discovery of video footage of the two men and how this footage complicates widely-held perceptions of their association. Lastly, this thesis offers remedies to allow for greater accessibility of primary source documents, most notably the role of digitization within the archive. Included in these suggestions are analyses of existing digital initiatives and suggestions for future projects. Digitization initiatives may be the means by which to bridge the gap currently facing archivists and historians today.<br>Temple University--Theses

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19

McLeish, Amelia. "Artist-run initiatives and community: A practice-led examination of how artist-based communities are formed and understood in contemporary Australian art." Thesis, Queensland University of Technology, 2022. https://eprints.qut.edu.au/234043/1/Amelia_McLeish_Thesis.pdf.

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This practice-led project examines how Artist-Run Initiatives (ARIs) are situated within the context of localised visual arts ecologies. Interviews, data regarding arts funding, and studio experiments are combined to arrive at the projects findings: that ARIs offer the arts sector a community that invigorates and develops its own artistic practice, while also making meaningful connections between practices that become integral to the visual arts by facilitating emerging and experimental art. The project affirms that the collection, display and preservation of ephemera is an essential task that documents an aspect of the arts which is often overlooked.

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20

Soltys, Hannah, and Hannah Soltys. "Archiving Experience: A Case Study of the Ephemeral Artworks and Archives of Allan Kaprow, Eva Hesse, and Richard Tuttle." Thesis, The University of Arizona, 2017. http://hdl.handle.net/10150/626142.

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In this thesis, I will examine the difficulties of documenting ephemeral art and the possible solutions that archivists, curators, artists and other museum professions have come up with. I will begin by presenting a background of the history of performance art, which was the impetus for all ephemeral art to come. Then I will present case studies of three artists: Allan Kaprow, Eva Hesse, and Richard Tuttle, and their archival processes, all of which provide very different approaches to similar artistic problems. Finally, I will discuss the implications of re-performance and re-creation of ephemeral artworks.

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21

McCartney, Gregory. "The curation of archives as tools for regional art regeneration in North West Ireland." Thesis, University of Ulster, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.535135.

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22

Einreinhofer, Nancy. "The paradox of the American art museum." Thesis, University of Leicester, 1994. http://hdl.handle.net/2381/35302.

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23

Tuomi, Scott Lawrence. "Finnish art song for the American singer." Diss., The University of Arizona, 2001. http://hdl.handle.net/10150/289889.

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Art song teachers are constantly seeking new repertoire for their students. Many countries outside those commonly represented in American vocal studios (for instance Spain and Russia) have rich art song traditions which merit inclusion in the vocal studio. In this era of increased cultural awareness, many other areas of music education are seeking to explore these repertoires. However, many art songs are unable to be utilized because of the lack of resources in this country concerning their acquisition, identification, history, pronunciation and performance. Finland has a vast art song repertoire that is largely unexplored by American singers and teachers for the reasons mentioned above. A relatively new nation, Finland has a rich past which has remained a mystery to the west because of its close connection to the former Soviet Union. In addition, prior to the twentieth century, Finland had been under the control of foreign governments including those of Russia and Sweden since the Middle Ages. This document seeks to identify and examine Finnish art songs while providing background information regarding their history, development, and relevance to Finnish culture. In addition, tools for acquiring and performing Finnish art song are included to facilitate the inclusion of these songs in American vocal studios. Various sections include the development of the art song genre in Finland, the connection of songs to the Finnish national epic, the Kalevala, and a brief examination of the Finno-Ugrian language group. Biographical information is provided for seven selected composers arranged in chronological order. A total of ten songs are analyzed from the selected composers and an English translation is also provided for each. In addition, a collection of appendices providing complete lists of published songs for each composer, a Finnish IPA pronunciation chart, contact information for Finnish music publishers and musical resources and a selected discography are included.

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24

Moham, Carren D. "The contributions of four African-American women composers to American art song." The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1250881412.

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25

Moham, Carren Denise. "The contributions of four African-American women composers to American art song /." The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487945015618126.

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26

Paniagua, Amanda Anastasia. "An American Woman's Gaze: Mary Cassatt's Spanish Portraits." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1461149840.

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27

Clark, Toby. "Representations of Russian Art in American Art History and Criticism 1917-1939." Thesis, University of Sussex, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.522624.

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This dissertation examines the critical reception and historical construction of Russian art in the United States between 1917 and 1939. The study focuses on two main types of Russian art; that of the Russian avant-garde, and that of artists who emigrated to the United States and achieved a high level of critical visibility and commercial success there during the 1920s. The discussion of the Russian emigre artists concentrates on the treatment of their work in the American curatorial system and art market. It examines the critical strategies used to promote these artists, particularly in the writings of Christian Brinton, who formulated a new category termed 'Slavic art' which relied on theories of racial essentialism. The subsequent decline of the careers of the emigre artists can be explained partly by reference to the reorientation in American critical values after the early 1930s. Research on the interpretation of the Russian and Soviet avantgarde in the United States is focussed on two main Modernist institutions; the Societe Anonyme during the 1920s and the Museum of Modern Art in New York after 1929. The Societe Anonyme's management of its large collection of Russian avant-garde art is discussed in relation to the contrasting aesthetic perspectives and political alignments of Katherine Dreier and Louis Lozowick, and compared with alternative interpretations in western Europe. The study of the representation of the Russian avant-garde by the Museum of Modern Art is concentrated on the writings of Alfred Barr and his critical theory of Modernism. Barr's account of the history of Russian Constructivism and Soviet cultural policies in 1936 is seen to have performed an important function for establishing an ideological position for the ascending discourses of American Modernism in opposition to the competing positions of conservative anti-Modernism and left-wing aesthetics.

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Morozova, Ekaterina. "American art criticism and the crisis of art history writing : 1962-1967." Thesis, Open University, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.413811.

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Stott, Annette. "Holland mania : the unknown Dutch period in American art and culture /." Woodstock (N.Y.) : Overlook Press, 1998. http://catalogue.bnf.fr/ark:/12148/cb39272269d.

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30

Carmignac, Ariane-Esther. "Passer le temps. Vies d'une archive photographique contemporaine : l'archivio Graziano Arici." Thesis, Lyon, 2018. http://www.theses.fr/2018LYSES044/document.

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L’Archivio Graziano Arici est une archive photographique d’un genre résolument singulier ; elle réunit des enjeux et ou assemble des finalités qui ne se rejoignent que partiellement. Archive courante des photographies de Graziano Arici (photographe né en 1949 à Venise, résidant actuellement à Arles, et toujours en activité), fonctionnant comme une base d’images permettant au photographe d’accumuler et de vendre ses productions, elle est aussi, dès le départ, conçue comme une forme-conservatoire destinée, dans son ensemble, par son auteur même, à représenter une époque, à rester comme un témoignage porté par un regard sur une époque. Par l’acquisition de fractions d’archives photographiques, la mise en place d’une politique de préservation des images, et par ses créations, son travail plastique, le photographe se fait tout à la fois héritier d’un domaine précaire, mais aussi son passeur. Dans ce cas particulier, en effet, le rassemblement qu’est l’archive photographique se trouve être, non seulement, un lieu d’origine, premier, mais également l’endroit et le moment d’une recomposition, d’un remontage de productions antérieures, donnant ainsi naissance à un art consommé de l’assemblage, dans un lieu devenu paradoxal<br>The Archive Graziano Arici is a definitely unique photograph Archive of its kind. It concentrates issues, or combine objectives which only partially meet. The standard Archive of Graziano Arici’s photograph (Arici is a photographer born in Venice, now living in Arles and still working) first acting as a picture-base which enables the photographer to gather together and sell his productions, is also, from the outset, designed as a conservation device, and by its author himself intended in its entirety to represent particular times and bear testimony to individual perceptions of those times ; by acquiring fractions of photograph archives, and setting up a picture-conservation policy, but through his own creation and plastic work as well, the photographer becomes heir to a fleeting world, and his go-between, too, giving birth to an art of assembling, and his archive becoming a paradoxical place

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Lyons, Mark W. "American dreams /." Online version of thesis, 1990. http://hdl.handle.net/1850/11237.

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Ji, Gaeun. "Mapping the Sisyphean Archives : archival/anarchival performativity of repetition and failure in contemporary archival art." Thesis, Goldsmiths College (University of London), 2018. http://research.gold.ac.uk/23292/.

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Exploring a distinctive archival turn in art, this study investigates where the archival impulse comes from and why and how artists, as performative researchers, are obsessed with issues relating to the archive. In order to answer for these questions, this thesis displays a dynamic geography of archival/anarchival performativity in contemporary archival art since, primarily, the 1960s. The artist as Sisyphus detects the aporia of the archival impulse being simultaneously archival and anarchival and activates a Sisyphean loop of repetition and failure in their own artistic archives. Inspired by the myth of Sisyphus, this project is therefore given the title “mapping the Sisyphean archives”. Using a methodology of mapping, diverse case studies of archival art are interwoven to unveil the reconfiguration of the physical and conceptual conditions of the archive. The meaning of mapping here is varied – doing, undoing, performing, failing, and queering, polymorphously facilitated by two key wheels of Sisyphean performativity. A critical capacity of repetition and failure is thus crucially credited as it brings resistant and alternative modes of being, thinking, and knowing to undermine any idealisation and totalitarianism embedded in normative archives. Referring to Jacques Derrida’s deconstructive reading of the archive and Gilles Deleuze’s thoughts on rhizomatic creativity, the first half of the thesis examines multifaceted aspects of repetition as being pathological, self-evolving, creative, and differentiated each time. In the second half, with reference to Aaron Williamson’s performance, The Collapsing Lecture, staging the idea of failure, polyphonic potentiality of failure is addressed as a particular attitude of Sisyphean artists to experiment with unusual, irregular, fallible, and purposeless yet permissive, rebellious, and emancipatory rhythms from within the archive. Such a destructive yet generative force of Sisyphean performativity ultimately contributes to subverting the negative connotation of repetition and failure against the ideas of banal sameness and of success. Above all, a performative and processual multiplicity that Sisyphean archival art maps out demonstrates how any overdetermined social consensus and power inscribed in archives can be dismantled and how the stagnant site of archives can be transformed into an imaginative, fluctuating platform for infinite future stories to come.

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Clark, Lenore. "Forbes Watson : independent revolutionary /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1995.

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Clark, Jessica C. "Women's History in House Museums: How Using Local Archives Can Improve Their Histories." Master's thesis, Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/143944.

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History<br>M.A.<br>While scholarship in recent decades has begun investigating women's history, museums and historical sites have been slower to do so. Although house museums are more open to interpreting women's history, the histories present often remain limited to the family and the house. In this thesis, I argue that by exploring local archival collections for women's voices, house museums can improve their presentation of women's history. Specifically, I investigate connecting nursing history to upper middle class lifestyles through the Chew family at Cliveden, historical house museum. This paper begins by exploring three local Germantown sites to analyze how women are currently presented on the house tour. Next, I investigate the letters and records of two Chew women, Anne Sophia Penn Chew and Mary Johnson Brown Chew for health concerns, care giving, and the presence of hired nurses. I then explore early nursing training programs at collections housed at the Barbara Bates Center for the Study of the History of Nursing. Using the records of nursing training programs, including the Woman's Hospital, Presbyterian Hospital, and the Visiting Nurse Society of Philadelphia, connections are made between the new trend for educated nurses and upper middle class women and lifestyle, specifically the Chews. Based on my findings, I then propose a method to interpret nursing history on the current house tour at Cliveden. For sources, I especially rely on the documents of the Chew family housed the Historical Society of Pennsylvania. I also draw heavily on the various nursing program records at the Bates Center.<br>Temple University--Theses

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Gallegos, Jason S. "An Art Unconfined." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1253706484.

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Genevro, Brad. "The art of recording the American wind band." connect to online resource, 2006. http://www.unt.edu/etd/all/May2006/genevro%5Fbradley/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2006.<br>System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 10, 1997, July 17, 1997, Mar, 3, 1998, and Nov. 14, 2005. Includes bibliographical references (p. 40-41).

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Town, Caren Jamie. "The art of suspended compromise in American literature /." Thesis, Connect to this title online; UW restricted, 1987. http://hdl.handle.net/1773/9453.

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Gibson, Ebony Z. "Art for whose Sake?: Defining African American Literature." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/aas_theses/17.

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This exploratory qualitative study describes the criteria that African American Literature professors use in defining what is African American Literature. Maulana Karenga’s black arts framework shaped the debates in the literature review and the interview protocol; furthermore, the presence or absence of the framework’s characteristics were discussed in the data analysis. The population sampled was African American Literature professors in the United States who have no less than five years experience. The primary source of data collection was in-depth interviewing. Data analysis involved open coding and axial coding. General conclusions include: (1) The core of the African American Literature definition is the black writer representing the black experience but the canon is expanding and becoming more inclusive. (2) While African American Literature is often a tool for empowerment, a wide scope is used in defining methods of empowerment. (3) Black writers should balance aesthetic and political concerns in a text.

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Genevro, Bradley James. "The Art of Recording the American Wind Band." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5276/.

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Wind bands have been recording for over one hundred years. Through advancements in both technology and process, recordings have made a monumental impact on the wind band and its repertoire. These advancements have created clarity regarding the performance practice of pieces and helped to preserve the wind band repertoire. Many early works have gained masterwork status due, in large part, to the fact that recordings have preserved them. The increase in popularity of recording and, in particular, the wind band, warrants an investigation into the various aspects of the process. Additionally, gaining insight from wind band professionals who record will help to evaluate the contributions that recording has made to the education of performers and listeners, the preservation of repertoire and the artistic enhancement of the wind band. Each chapter explores aspects of the recording process and how those aspects have shaped the wind band, its repertoire and performance practice. Information from conductors, composers and engineers provide valuable insight pertaining to the educational, historical and artistic components of the recording process. The goal of all involved in the recording process should be the pursuit of technical perfection, which does not eclipse the ultimate musical goals of the project and the integrity of the composer's intentions.

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Cross, Rhonda Kay. "Walter MacEwen: A forgotten episode in American art." Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc9854/.

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Despite having produced an impressive body of work and having been well-received in his lifetime, the career of nineteenth-century American expatriate artist Walter MacEwen has received virtually no scholarly attention. Assimilating primary-source materials, this thesis provides the first serious examination of MacEwen's life and career, thereby providing insight into a forgotten episode in American art.

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Cross, Rhonda Kay Baxter Denise Amy. "Walter MacEwen a forgotten episode in American art /." [Denton, Tex.] : University of North Texas, 2009. http://digital.library.unt.edu/permalink/meta-dc-9854.

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Lin, Yi-Cherng. "The essence of twentieth century American art songs." College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/9698.

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Thesis (D.M.A.) -- University of Maryland, College Park, 2006.<br>Thesis research directed by: Music. Title from t.p. of PDF. Marylandia and Rare Books Dept., University of Maryland, College Park, Md. Audio available on compact disc;

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Kaufmann, Laurel Jeanne 1966. "Creation of an identity: American Indian protest art." Thesis, The University of Arizona, 1993. http://hdl.handle.net/10150/291933.

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This thesis addresses and critically reviews American Indian protest art as a legitimate art genre. Brief discussions of the Studio (the first formal American Indian art school), the Institute of American Indian Arts (IAIA), and the American Indian protest movements of the 1960s and 1970s, as well as irony, satire, and humor in Indian art are included. The concept of the "Indian" identity as a motivating factor of the art, and the redundant use of stereotypical imagery as it relates to cultural conflicts are addressed. Descriptive interpretations of the art of David Bradley, Alex Jacobs, and Stan Natchez, and the three fundamental elements of this art style are presented in detail.

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Rumsey, Adrienne Lynn. "Aesthetic Self-Reliance: Emersonian Influence on American Art." BYU ScholarsArchive, 2010. https://scholarsarchive.byu.edu/etd/2426.

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This essay is an examination of the influence of Ralph Waldo Emerson on the development of American art through his essays, specifically his writings on nature and self-reliance. Through emphasizing individual potential, Emerson also influenced the visual arts. Instead of following the required formula in Europe of attending certain ateliers and seeking prestigious patronage, American artists, namely the Luminists and the Ashcan School, sought to address the issues of their day and portray life as it existed around them. Each of these groups formed during periods of time when American society was shifting and the American identity was evolving. Through addressing the issues at hand, artists formed an American aesthetic separate from the traditional methodologies in Europe, in turn, contributing to a national identity. After the Civil War, the United States underwent considerable change as different areas of the nation redefined themselves in conjunction to new laws and shifts in social structure. For the Luminists, the writings of Emerson concerning nature were especially applicable during this time since most people in the United States lived in rural circumstances and still struggled to define a national art separate from European tradition. Emerson focused on nature's ability to uplift and inspire mankind, bringing them closer to the Divine and America's unique and untamed nature was one aspect that separated it from Europe. The Luminists focused on their surrounding natural environment, portraying the connection between man and nature. During the Progressive Age, Robert Henri followed Emerson's instruction to illustrate life as it existed for him in the early twentieth century. By this time, most people had moved to the cities in search of employment and everyone was crammed into small tenements. Henri taught his art students to value and illustrate life in all of its gritty reality. In this way, he followed Emerson to communicate beauty through an honest interpretation of life. Although diverse in their techniques, the Luminists and Robert Henri both utilized the ideas of Emerson to help define an American aesthetic.

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Sagerson, Erin Jean. "Art and bread Mike Gold, proletarian art, and the rhetoric of American communism /." [Fort Worth, Tex.] : Texas Christian University, 2009. http://etd.tcu.edu/etdfiles/available/etd-05012009-115428/unrestricted/Sagerson.pdf.

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Bianco, Christine. "Selling American art celebrity and success in the postwar New York art market /." [Florida] : State University System of Florida, 2000. http://etd.fcla.edu/etd/uf/2000/ane5873/thesis.pdf.

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Thesis (M.A.)--University of Florida, 2000.<br>Title from first page of PDF file. Document formatted into pages; contains iv, 70 p. Abbreviated abstract copied from student-submitted information. Vita. Includes bibliographical references (p. 56-69).

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Kuizon, Jaclyn. "Fine Art and Clandestine Identity: American Indian Artists in the Contemporary Art Market." W&M ScholarWorks, 2011. https://scholarworks.wm.edu/etd/1539626648.

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Tolley, Rebecca. "Review of Self-Taught Art: The Culture and Aesthetic of American Vernacular Art." Digital Commons @ East Tennessee State University, 2002. https://dc.etsu.edu/etsu-works/5710.

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Walker, Nancy J. "The Fox in the Mirror| Bertha Lum and American Japonisme." Thesis, California State University, Long Beach, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1570862.

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<p> The introduction of Japanese art and culture to the Western world prompted a powerful response from an entire generation of artists, writers, and musicians, including a gifted American artist named Bertha Lum. Lum travelled to Japan in the early 1900s to train with Japanese masters in the design, cutting, and printing of woodblock prints. Lum was a passionate exponent of <i> Japonisme,</i> and a study of her work illuminates how this phenomenon manifested itself in American art and culture.</p><p> In cultural and artistic terms, <i>Japonisme</i> emerged as a selective interpretation of Asian culture, a conveniently constructed image that reinforced the ideals of many at the turn of the last century. For graphic artists like Lum, the example of Japanese art provided leverage against the weight of European classicism, championed the role of the decorative arts, exemplified exquisite handcraft, and epitomized an art of natural beauty and grace.</p>

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Welch, Edward Keith. "Distinctly Oscar Howe: Life, Art, Stories." Diss., The University of Arizona, 2011. http://hdl.handle.net/10150/202516.

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This dissertation presents the creative life of the Yanktonai Dakota modernist painter and educator Oscar Howe (1915-1983). The biography on Oscar Howe documents a comprehensive timeline of life events and traces the improbable educational odyssey from a shy and isolated boarding school student to emeritus professor with several honorary doctorates."Distinctly Oscar Howe: Life, Art, Stories" revisits and reinforces existing stories, and presents and interprets new stories in the biographical narrative of Howe's life as an influential figure in South Dakota's history as well as the history of American Indian art in the twentieth century. A talented artist uniquely isolated in South Dakota for much of his career, Oscar Howe was a principal figure and innovative artist who had a tremendous impact on the American Indian art world and beyond. Through words and actions, Howe symbolized a revolutionary individual at a time of great change for American Indian artists.Primary documents are the heart of this research. Letters, photographs, and artworks are reproduced to record the artist's relationship to the people, places, and ideas of central distinction to his life story in the twentieth century.This study reveals that Oscar Howe captured the nation's attention at a time in history when elements of his popularity stemmed from the nation's interest in its Indigenous people and pride in the nation's original American artists. Howe's chief importance in the field of American Indian art rests in three significant areas: (1) his role as an outspoken advocate of American Indian modernity, (2) his validation of the role of individualism and self-expression in American Indian art, and (3) the role of the arts within the greater community of people to teach about other cultures.

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