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Dissertations / Theses on the topic 'Art and race'
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Anderson, Catherine Eva. "Embodiments of empire: Figuring race in late Victorian painting." View abstract/electronic edition; access limited to Brown University users, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3328111.
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Rosenberger, Nathan C. "Art in the ashes| Class, race, urban geography, and Los Angeles's postwar Black art centers." Thesis, California State University, Long Beach, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10032310.
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“Art in the Ashes” uncovers the implications of race, place, and class in Los Angeles through an in depth exploration of urban black art centers. By examining a cross-section of creative spaces in the city, including the Watts Towers Arts Center, Compton Communicative Arts Academy, the Inner City Cultural Center, and Brockman Gallery in Leimert Park, this thesis probes the real and imagined meanings associated with these centers’ social, economic, and cultural geography. In doing so, the work redefines and refines current understandings of the black community in the postwar era, exposing the complicated racial and ethnic partnerships and pressures that grew out of art and activism in the 1960s. Through extensive archival research, secondary source analysis, and personal interviews, “Art in the Ashes” finds a vibrant and highly diversified black experience and identity in Los Angeles that closely follows issues of economics, geography, racial understanding, politics, and culture.
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Franklin-Phipps, Asilia. "Bodies and Texts: Race Education and the Pedagogy of Images." Thesis, University of Oregon, 2018. http://hdl.handle.net/1794/23750.
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This dissertation is an exploration of how teaching and learning about race and racism happens in the context of a particularly racially charged political and cultural climate—Black Lives Matter rallies and activism, the Presidential Election and subsequent election of Donald Trump, and shifting racial discourse and logic. Using a 2016 course on racism as a site of inquiry, I consider how experimental and arts-inspired approaches to pedagogy open up new possibilities for how teaching and learning about race can happen. The course, made up, of undergraduates in their senior year, planning to become elementary school teachers resisted dominant discourse about becoming anti-racist as became a space for young, white, mostly women to learn through encounters with texts, moving their bodies through space in ways that they might have otherwise avoided, and participating in ongoing, persistent, nuanced race dialog through a variety of modes—digital, art, music, film, literature, and public events. This learning was often not conclusive but provided ongoing practice for engaging race in ways that allowed for meaningful shifts in how they notice and know the world, implicating how they imagine becoming a teacher in a raced world.
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Miskovitz, Michele Susan. "Cultural differences in art concepts of children." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1992. http://www.kutztown.edu/library/services/remote_access.asp.
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Thesis (M. Ed.)--Kutztown University of Pennsylvania, 1992.Source: Masters Abstracts International, Volume: 45-06, page: 2750. Abstract precedes thesis as 3 preliminary leaves. Typescript. Includes bibliographical references (leaves [89-91]).
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Zang, Mba Ondo Pénélope. "L'autonomisation de la culture afro-américaine dans les arts et médias contemporains. Cas de figures proéminentes : Michelle Obama; Kara Walker et Beyoncé Knowles." Thesis, Cergy-Pontoise, 2017. http://www.theses.fr/2017CERG0890/document.
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L'autonomisation de la culture noire dans les arts et médias contemporains, avec cas de figures proéminentes, entend réfléchir sur les procédés de visibilisations au travers des médias et de l'art contemporain. Un choix de femmes ciblé afin de comprendre comment l'on devient une personnalité réputée, au fil du temps, ou par des créations populaires d'envergure.La couleur noire, souvent entendue selon des lectures limitatrices, opère ici un changement de paradigme. Cette fois, ce sont des femmes noires qui donnent le ton et donc inversent les représentations sur leur compte. En nous aidant des Cultural Studies et des Black Feminist, nous allons analyser des produits populaires disparates. Nous avons choisi des éléments divers et somme toute non canoniques pour comprendre l'autonomie supposée. Celle-ci est certes perceptible, mais demande à être questionnée.Questionner cette autonomie c'est entreprendre une lecture valorisante sur des types discursifs souvent décriés. Analyser leur popularité revient à décentrer le sens, remettre en valeur les créations produites hors des circuits de pouvoirsThe empowerment of the black culture in the contemporary arts and media, with prominent figures, intends to reflect on the processes of visibilization through the media and contemporary art. A choice of women targeted to understand how one becomes a reputed personality, over time, or by popular creations of scale.The color black, often heard according to limiting readings, here operates a paradigm shift. This time, they are black women who set the tone and therefore reverse the representations on their account. By helping us with the Cultural Studies and the Black Feminist, we will analyze disparate popular products. We have chosen various and, in any case, non-canonical elements to understand the supposed autonomy. This is certainly perceptible, but asks to be questioned.To question this autonomy is to undertake a rewarding reading on discursive types often decried. To analyze their popularity is to decenter the meaning, to re-emphasize the creations produced outside the circuits of powers
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Thibault, Jennifer. "The Role of Art in Memory: Case Study of Joseph Beuys and Kara Walker." Thesis, Boston College, 2007. http://hdl.handle.net/2345/507.
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Thesis advisor: Rachel A. FreudenburgThis undergraduate thesis deals with the role of art in national trauma and history. I looked at Joseph Beuys, a post-World War II artist and Kara Walker, a contemporary African American female artist. I used the German installation artist, Joseph Beuys, as a lens for looking at art's reaction and handling of the trauma of World War II. I discussed Kara Walker because she seeks to create a critical understanding of America's racial past through art and who explores, as well, contemporary racial and gender stereotypes. Both artists are important for understanding memory, history, and identity-both personal and national identity
Thesis (BA) — Boston College, 2007
Submitted to: Boston College. College of Arts and Sciences
Discipline: Germanic Studies
Discipline: College Honors Program
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Rodriguez, Linda Marie. "Artistic Production, Race, and History in Colonial Cuba, 1762-1840." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10467.
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This dissertation addresses the works of art of two free men of color, Vicente Escobar (1762-1834) and José Antonio Aponte (date of birth unknown-1812), who lived in late eighteenth and early nineteenth-century Havana. I offer the first consideration of these two artists together in order to illuminate the scope of visual artistic practice of free people of color prior to the foundation of the fine arts academy, the Academia de San Alejandro, in 1818. Creole and Spanish elites who supported the foundation of the school expressed concern that blacks had been “dominating” the arts and excluded them from studying there. I posit that both Escobar and Aponte worked as self-aware artists prior to the elite project of the fine arts academy, which followed an unclear path after its foundation. Escobar painted the portraits of colonial society’s Spanish and creole elites. The works span the dates from 1785 to 1829. Aponte’s only known work of art – a so-called libro de pinturas (book of paintings) found in 1812 – no longer exists. However, a textual description of the book survives in the court record that documents his trial for conspiring to plan slave rebellions across the island. Aponte collaged together an array of images to depict a “universal black history” that we are now forced to imagine as the original work of art has been lost. I argue that both artists, through their artistic practices, embodied a self-awareness as artists that they directed to transformative ends. These artistic practices – as advanced by the works themselves as well as how they were produced and received – involved the articulation of two axes. The first axis moved from the representation of the visible, in the case of Escobar’s portraits, to the representation of the invisible, in the case of Aponte’s book of paintings. The second axis measures how the works themselves could be “historically effective” – following T.J. Clark – and transform a colonial black identity, operating on the scale of the individual to that of a larger community. For Escobar, his artistic practice was personal; for Aponte, his artistic vision extended beyond himself.History of Art and Architecture
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Lawrence, Cecile Ann. "Rhygin's vortex art as medicine for race/gender fixations in Jamaica and the U.S. /." Diss., Online access via UMI:, 2009.
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Barbee, Matthew Mace. "Race, Memory, and Communal Belonging in Narrative and Art: Richmond, Virginia's Monument Avenue, 1948-1996." Bowling Green, Ohio : Bowling Green State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1181594947.
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Chan, Suzanna Shau-Wai. "De/centering whiteness, gender and 'Irishness' : representing 'race', gender and diaspora in Irish visual art." Thesis, University of Ulster, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.246716.
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Kilbane, Nora C. "A Tug From The Jug: drinking and temperance in American genre painting, 1830-1860." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1164648727.
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Smith, Bethany Jo. "Song to the dark virgin race and gender in five art songs of Florence B. Price /." Cincinnati, Ohio : University of Cincinnati, 2007. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1186770755.
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Thesis (Master of Music)--University of Cincinnati, 2007.Advisor: Melinda Boyd. Title from electronic thesis title page (viewed Feb. 5, 2008) Includes abstract. Keywords: Florence Price, black art song, African-American art song, women composers, African-American composers, Negro Renaissance. Includes bibliographical references.
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Elliott, Katherine Lynn Kinsey Joni. "Epic encounters first contact imagery in nineteenth and early-twentieth century American art /." Iowa City : University of Iowa, 2009. http://ir.uiowa.edu/etd/355.
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Blackwood, Andria Lynn. "Curating Inequality: The Link Between Cultural Reproduction and Race in the Visual Arts." Kent State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=kent1321704421.
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Machona, Gerald Ralph Tawanda. "Imagine/nation : mediating 'xenophobia' through visual and performance art." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1011106.
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This half-thesis has developed as a supporting document to an exhibition titled Vabvakure, people from far away, which responds to the growing trends of violence perpetrated against African foreign nationals living in South Africa. This violence which has generally been termed as 'xenophobia' has been framed within this discourse as 'afrophobia', as it is fraught with complexities of race, ethnicity and class. Evidently, not all foreign nationals are at risk but selective targeting of working class black African foreign nationals seems to be the modus operandi. Fanning these flames of prejudice are stereotypes and negative perceptions of Africa and African immigrants that have permeated into the national consciousness of South Africa, which the mainstream media has been complicit in cultivating. My practice is concerned with challenging this politic of representation in relation to the image of the African foreign national within South African society, who have been presented negatively and labelled as the 'Makwerekwere', the 'bogeymen' that have been blamed for the country’s current woes. In response to this, my research adopts the premise that forms of cultural mediation such as visual and performance art can offer further insights and possibly yield solutions that can be used to address these sentiments. As globalisation and neoliberal ideologies reshape the world, there is a growing need in the post-colonial state to revisit and re-construct notions of individual and collective identity, especially that of the nation. Nations, nationalisms and citizenry can no longer be defined solely through indigeneity, for as a result of radical shifts in the flow of migration and immigration policies that allow for naturalisation of aliens and foreign nationals, we are now faced with burgeoning levels of social diversity to the extent that constructions of nationhood that are based on the concept of autochthony have resulted in the persecution of the ‘other’.
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Régnier, Alain. "Word use : literary art and political intent in Quebec and Canada : the question of race and ethnicity." Thèse, Université de Sherbrooke, 2016. http://hdl.handle.net/11143/8749.
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Abstract : The following dissertation provides a comparative analysis of four Québécois and Canadian literary authors—Fulvio Caccia, Ying Chen, Wayson Choy, and Lawrence Hill—and the manner in which they have responded through varied use of genre to present-day racial and ethnic discourse, as it occurs within both wider society and the Canadian and Québécois literary institutions more specifically. The dissertation begins with an introductory chapter that takes up the central concepts that inform the study, namely, those of ethnic literature, écriture migrante, race, ethnicity, hybridity, transculture, and comparative literature. The main body of the dissertation is divided into two parts, the first dealing with the francophone authors Caccia and Chen, the second with the anglophone authors Choy and Hill. In the first part, the writers are shown to employ defamiliarizing and ‘unreadable’ literary strategies drawn from the nouveau roman (or French new novel) and fantastic literary genres in an effort to resist common understandings of race and ethnicity, with the creation of a universal, deracialized literary space resulting to differing degrees in each case. In the second part, the study focuses on the use that Choy and Hill have made of more traditional and readable literary forms—realist and autobiographical in nature—in the attempt not so much to reject outright the discourse of race and ethnicity but to resignify the meaning of these latter terms in ways that allow for the production of a more open sense of identity. In this regard, by informing and historicizing certain cultural realities (here, Chinese Canadian and African Canadian respectively), Choy and Hill seek to challenge the reductive views that have in the past affected these often marginalized segments of Canadian society. Ultimately, the dissertation attempts to explore how the four authors in question participate in a shared project of sorts through their contestation of dominant racial and ethnic discourse, despite the different stylistic approaches they may take. A secondary aspect of the project addresses, through recourse to reader-response theory, some of the difficulties that may arise when a mainstream readership approaches works of ethnic literature.Résumé : La thèse qui suit présente une analyse comparée de quatre auteurs québécois et canadiens—Fulvio Caccia, Ying Chen, Wayson Choy et Lawrence Hill—et la façon dont ils sont intervenus face au discours de la race et de l’ethnicité tel qu’il existe à ce moment dans la société et dans les institutions littéraires du Canada et du Québec—et cela à partir d’un emploi de divers genres littéraires. L’introduction de l’étude passe en revue les concepts centraux qui sous-tendent la thèse, à savoir ceux de la ‘littérature ethnique’ (ethnic literature), l’écriture migrante, la race, l’ethnicité, l’hybridité culturelle, la transculture et la littérature comparée. Le texte principal de la thèse comprend deux parties, la première portant sur les écrivains francophones Caccia et Chen, la deuxième sur les écrivains anglophones Choy et Hill. La première partie cherche à rendre compte de comment Caccia et Chen ont recours dans leurs écrits à des procédés littéraires défamiliarisants et ‘illisibles’ tirés du nouveau roman et de la littérature fantastique dans le but de subvertir les lieux communs sur la race et l’ethnicité, avec comme résultat la production d’un espace littéraire qui est à différents degrés universel et déracialisé. La deuxième partie traite de l’emploi que font Choy et Hill de styles littéraires plus traditionnels et lisibles—de nature réaliste et autobiographique—avec l’objectif non pas de rejeter tout court le discours de la race et de l’ethnicité, mais de réinscrire ces dernières notions de telle façon à rendre possible une vue de l’identité plus ouverte. À cet égard, en remettant dans leur contexte social et historique certaines réalités culturelles (ici, sino-canadienne et afro-canadienne respectivement), Choy et Hill arrivent à contester les idées réductives qui dans le passé ont été faites de ces secteurs souvent marginalisés de la société canadienne. En fin de compte, la thèse tente de mettre en lumière la manière dont les quatre auteurs en question participent en quelque sorte à un projet partagé en conséquence de leur opposition au discours dominant de la race et de l’ethnicité, bien que leurs approches stylistiques soient sensiblement différentes. En s’appuyant sur les théories de la lecture, un aspect secondaire de l’étude aborde quelques-uns des problèmes qui peuvent se produire lorsqu’un lectorat de la société majoritaire cherche à lire un texte migrant.
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Nelson, Charmaine Andrea. "Narrating blackness : studies in femininity, sexuality and race in European and American art of the nineteenth-century." Thesis, University of Manchester, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.540694.
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This dissertation is an exploration of the representation of black female subjects within American and European art of the nineteenth century. The popularity of Cleopatra among artists and specifically her nineteenth-century re-incarnation as a black woman, has been used as a starting point for an examination of abolitionist visual discourse and for the examination of the (im)possibility of the black female subject within western visual culture generally. The period of study includes a time of great change and upheaval in the social, symbolic and legal status of the black body, marking the shift from Trans Atlantic Slavery through abolitionism to Emancipation - which is also the transition from the enslaved to the "liberated" black body. I have chosen to focus upon neoclassical sculpture in order to explore its aesthetic and material specificity which, privileging white marble, disavowed the signification of race at the level of skin/complexion. Within neoclassicism, racial disavowal was also registered at the level of subject, symbolism and narrative where the white fear and rejection of the so-called full-blooded negro type resulted in the prevalence of the white-negro body of the inter-racial female -a miscegenated body that in its proximity to whiteness both alleviated and (em)bodied the cross-racial contact which colonial logic most abhorred. But my choices are also informed by my desire to interrogate neoclassicism's investment in the racial differencing of bodies and its relatedness to the biological construction of race within nineteenth-century human sciences. Both fields were dependant upon the paradigmatic status of the white male body as the unquestioned apex of an hierarchical arrangement of racial types and the authority of vision as a supposedly objective tool of physical observation and differentiation. Neoclassical objects have been contextualized by sculpture of other media, specifically polychromy, as well as painting and other popular cultural objects to demonstrate the representational limits and subjective possibilities of specific art forms. These different styles and types of art were governed by different material and aesthetic requirements and practices which engendered different processes of viewing. However, this is not only an exploration of identity and identification of the represented subject, but also an inquiry into how the identity of the artists/producers and viewers impacts their representation and consumption of "other" bodies. This dissertation is an intervention into the hegemonic practice of western culture which challenges the traditional disciplinarity of art history by insisting upon the importance of race to cultural practice. Using post-colonial and feminist rereadings of Freudian and Lacanian psychoanalysis which can account for both the material and the psychic, I have theorized the process through which racial identification is achieved, locating culture as a colonial field where identifications are produced, secured and deployed. The significance of a black feminist agenda is the fundamental belief in the inseparability of sex and gender identifications from race and colour in any-body, as well as an attentiveness to the multiplicity and simultaneity of marginalization. Ultimately, I am questioning the extent to which an identification is registered not only in the object of representation, but occurs within the process of viewing.
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Charon, Mylene. "Blak Feminism : Rapports sociaux de sexe et de race dans la poésie et l’art contemporains des Premières Nations d’Australie." Thesis, CY Cergy Paris Université, 2020. http://www.theses.fr/2020CYUN1064.
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La situation des femmes dans les colonies et celle des peuples Autochtones dans les colonies de peuplement est mentionnée dans les études postcoloniales, mais souvent à titre de question secondaire. Elle se trouve au cœur de cette thèse, qui porte sur les littératures contemporaines d’un groupe social dont l’expérience du sexisme est toujours en même temps façonnée par celle du racisme, les femmes des Premières Nations d’Australie. En s’appuyant sur un corpus large, composé d’œuvres de plus de trente artistes et autrices dont elle fait apparaître les liens intertextuels, elle affirme l’existence d’un positionnement collectif féministe blak, d’après l’auto-définition Autochtone qui prévaut en Australie depuis les années 1990. Le corpus permet donc d’observer la manière, additive, intersectionnelle ou consubstantielle, dont de multiples oppressions sont représentées. Il vise ainsi une meilleure compréhension des réserves des femmes Autochtones australiennes à l’égard d’un certain féminisme blanc, en les mettant en perspective avec les critiques adressées depuis les années 1980 par les féministes noires anglo-américaines au féminisme hégémonique. Les liens entre politique et littérature y sont repensés, à la faveur de l’analyse de la résistance à l’impérialisme et au patriarcat, telle qu’elle s’exprime dans ces canaux alternatifs que sont la poésie et l’art contemporains. Les textes, sélectionnés pour leur force d’interpellation et leur portée intersubjective, engagent enfin une réflexion sur les positions d’objet et de sujet de la recherche, à partir de la situation de la chercheuse et ses implications sur la production de savoirsPostcolonial studies address the situation of women in the colonies and of Indigenous peoples in settler colonies, but often as a secondary concern. Adopting an opposite approach, this thesis centers on this very question by examining the contemporary literature written by First Nations women of Australia, a social group whose experience of sexism is simultaneously shaped by that of racism. Drawing out intertextual links throughout a large body of works comprised of over thirty artists and writers, this dissertation affirms the existence of a collective feminist standpoint qualified as blak, an appellation which appeared with the Indigenous self-presentation of the 1990s and still prevails in Australia today. The collection of works reveals the ways in which multiple oppressions are represented through additive, intersectional or consubstantial models. Its examination aims at improving the understanding of Indigenous women’s reservations about a specific kind of white feminism, by putting them in dialogue with the criticisms addressed by Anglo-American black feminists toward hegemonic feminism since the 1980s. The relations between politics and literature are thus reexamined through the analysis of resistance to both imperialism and patriarchy, as it is expressed through alternative channels such as contemporary art and poetry. The texts, selected for their formal features of direct address and their intersubjective dimension, spark a reflection upon the positions of object and subject in research, which begins with the acknowledgment of the researcher’s own situation and its consequences on the production of knowledges
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SON, EUN JUNG (EJ). "I'm a Pervert and I like My Eggs Sunny Side Up." Thesis, Sydney College of the Arts, 2019. http://hdl.handle.net/2123/20109.
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Van, Patterson Cameron. "A Black Presence Disclosed in Absence: The Politics of Difference in Contemporary Art." Thesis, Harvard University, 2011. http://dissertations.umi.com/gsas.harvard:10050.
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As an interdisciplinary project that integrates African and African American Studies, critical race theory, and Art History, this dissertation attempts to enrich our understanding of the politics of difference in contemporary art by interrogating the formal practices of artists and the social significance of their work. The artwork discussed reflects a pattern of creative engagement with archival institutions and documents that is characteristic of contemporary artists who are concerned with questions of consumption and the body; representation and erasure; the social construction of race and space; and the relationship between history, memory, and identity. Taken together, these themes constitute a discursive landscape within contemporary art that is central to the principle question raised here—namely, how do social genres of difference and relations of power influence artistic practices of representation, curatorial display, and reception? In an attempt to both answer and reverse the direction of this question, this text presents insightful perspectives from different artists on the complex relationship between art and society. Using the politics of difference as a lens through which to examine the aforementioned themes in contemporary art, I argue that the artists under consideration are transforming the meaning of race in post-slavery societies throughout the black diaspora. Through various creative practices, these artists are shifting the terms, coordinates, and representations of difference seen in the archive in order to reimagine the language of identity in the twenty-first century. Fundamentally, their work challenges the way certain bodies are recognized—compelling us, as viewers, to reinterpret the past from alternative and critical perspectives. Moreover, by focusing on the disclosure of a black presence in western cultures through the comparative formal and historical analysis of contemporary works of art that call our attention to misrepresentation, commodification, invisibility, and displacement, this dissertation contributes to developing conversations about how contemporary artists challenge dominant narratives and representational aesthetics. Through their work, these artists expand our conception of the archive—disclosing the overlapping ways in which objects, images, words, signs, ideas, ads, bodies, and spaces register social and historical meaning through the demarcation of racialized difference. Ultimately, this project demonstrates how art can transform the way we see and represent ideas of difference, and therein, the way we see and represent ourselves.African and African American Studies
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Burns, Ruth Barbara. "Reading race in Western Christian visual culture : tracing a delirium from Renaissance art to the Chris Ofili affair and contemporary religious cinema." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98915.
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This thesis examines the role of the Manichean dualism, the pervasive colour symbolism of white as good and black as evil. It looks at the manifestation of this symbolism in representations of Christianity, and the subsequent implications for race and racism in Western society. Through images of Jesus Christ and the Virgin Mary, I posit that the Western conflation of holiness with whiteness is a primary means through which whiteness retains hegemony. I argue that Renaissance painting has had a pivotal role in privileging the white body through its hyper-whitening of both Jesus and Mary. Both figures emerge as improbable ideals of male and female whiteness, demonstrating the anxiety around the intersection of race, gender and religion. I am primarily interested in Mary and how the canon of Western art has didactically laid out the terms of her representation as a means of controlling the female body, dependant on the disavowal and whitening of her body. The privileging of religious Renaissance art results in the continued infection of the construction and reception of the Virgin's image as an ideal figure of feminine whiteness. As such, I analyze the lasting effects of the whitening of her image in the controversy surrounding the display of Chris Ofili's The Holy Virgin Mary (1996) at the Brooklyn Museum of Art, as well as her representation in Hail Mary (1985) and The Passion of the Christ (2004). These readings attempt to draw out the specious nature of the Manichean dualism of black and white, aiming to help in the creation of a space for alternative readings of race through the eyes of hegemonic society.
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Swami, Kara. "Destabilizing the Sign:The Collage Work of Ellen Gallagher, Wangechi Mutu, and Mickalene Thomas." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1367942466.
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Barber, LaMar. "BE United." Thesis, University of Iowa, 2016. https://ir.uiowa.edu/etd/3047.
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Let's Rap: An Artist Statement
It is not enough for me to cite music solely as a source of inspiration. Hip-Hop, R&B, and, particularly, rap music has as much to do with my upbringing as does the public school system. According to Wikipedia, the components of rap include “content”, “flow” and “delivery”, which are vaguely reminiscent of the visual art terms “concept,” “sequence” and “presentation.” Growing up, music provided a forum to explore and analyze, as award-winning journalist Ta-Nehisi Coates might put it, the necessities for surviving problems of everyday life within and outside the Black American experience. Today, my interest lies in the formality of these art forms and how best to translate them visually. An aesthetic, being ostensibly subjective, offers sight as a material to be used as one uses color, texture or form. As sight is to the visual arts, sound is to music – materials to manipulate and respond to.
Furthermore, I am intrigued by the practical similarities of both music and visual art, in their ability to speak to and for their audiences. Sounds formulated into songs often become portals into yesteryear or soundscapes for an extensive but evanescent summer. What can sight formulate into? How can sight be used as a medium to spark thoughtful conversation? Can Picasso's Guernica be repeated at will, or must the visual artist wait for social uproar to amass a lasting impact?
Deeply rooted in creative expression, poetry is a means to get beyond conventional reasoning just as concept provides the sublimity necessary to suspend belief. Visual artists have been doing this for years: Marcel Duchamp's urinal or Vik Muniz's depiction of (waste worker) Jardim Gramacho as radical journalist Jean-Paul Marat in Jasques-Louis David's The Death of Marat. As with David Hammons' Higher Goals my approach to object making is comparable to that of a digital recording device, perceptibly replaying discourses between Black America and its audience. Visually weaving the aura of an object with its basic function is synonymous to lyrical play and, too, possesses similar impact. Conceptual and poetic play of the two genres offers the work of the artist to transcend beyond object or record.
Therefore, my efforts at object making are to reveal and discover various testimonies within and surrounding Black America.
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Ogu, Memoye Abijah. "William Plomer's and Sol Plaatje's South Africa: art as vision and reality." Thesis, Rhodes University, 1995. http://hdl.handle.net/10962/d1002282.
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This thesis essays a comparative study of William Plomer's Turbott Wolfe (1925) and Sol Plaatje's Mhudi (1930). Although writing from very different subject positions within the social order of the time, Plomer and Plaatje embody in their novels a strikingly similar vision of a South Africa free of racial barriers. Plaatje's version of South African history in Mhudi deconstructs colonial binarism by dramatizing not only conflict and difference but also co-operation and commonality. Holding the past up as a mirror to the present, it protests against racial injustice while implying the continuing possibility of reconciliation. Plomer reacts angrily to white hypocrisy and insists on the rights and humanity of his African characters, in the name of imperatives both moral and political. He seeks additional sanction for these by situating the South African race questioning the context of a Western world slowly awakening to the consequences of modernity. During a time of political turbulence, both writers speak out boldly and confidently against the rising dominance of segregationist ideology. The imminent inception of full democracy in South Africa has reanimated the relevance of these writers' vision of a non- racial social order. If one of the challenges facing the South African literary historian 'today is the reconstruction of a truly national literary tradition, then Mhudi and Turbott Wolfe would appear to be key works in such an enterprise. As different as Plaatje's epic myth-making is from Plomer's modernist irony, both novels contrive to speak with a new voice: a national voice which expresses the aspirations of all South Africa's people. They are, moreover, novels whose survival seems guaranteed as much by their aesthetic qualities as by their ideological orientation. The novels are examined against the backgrounds of South African society and colonial literary production. They are seen as milestones in the development of a liberal South African literary tradition. By breaking with the dominant oppositional mode, whether that of "white writing" or an emergent "writing black", Plomer and Plaatje exemplify a literature at once socially relevant and possessed of a prophetic vision that remains of significance in South Africa today.
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Mckee, Cameron. "Cultivating Visible Order : representations of Race and Ecology in the French Atlantic World." Thesis, Paris, EHESS, 2019. http://www.theses.fr/2019EHES0131.
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Cultiver l'ordre visible est structuré en un ensemble de trois études de cas qui retracent la tension entre la représentation de la Caraïbe francophone et les processus préjudiciables de la domination raciale et environnementale du colonialisme. Chaque chapitre met l’emphase sur une phase spécifique de la politique impériale au moyen de la peinture, révélant ces aspects conflictuels du paysage caribéen, où l'oppression raciale a paradoxalement fourni les moyens de cultiver l’existence Noire. Ma thèse débute dans la seconde moitié du XVIIIe siècle. Je propose qu'un petit corpus de peintures de genre en Martinique, du peintre itinérant Le Masurier, est enchevêtré dans des discours historiques naturels qui ont renforcé l'autorité coloniale en naturalisant l’existence Noire, définie par le travail forcé afro-caribéen, dans le paysage tropical. Le deuxième chapitre traite du bouleversement radical du colonialisme européen et de l'exploitation agricole mercantiliste auguré par les révolutions françaises et haïtiennes. J'adopte une approche à deux volets pour interroger les moyens par lesquels Haïti a été intégré dans les discours sur la liberté des Noirs et la perte coloniale au moyen de l'imagerie botanique : la curieuse inclusion de détails botaniques caribéens autochtones dans les peintures d'histoire néoclassiques de l'artiste guadeloupéen métis Guillaume Guillon Lethière et les images de floraison et de plantes qui flétrissent dans les traités botaniques caribéens de François-Richard de Tussac et Michel Étienne Descourtilz publiés après la Révolution haïtienne. Mon troisième chapitre adopte une approche comparative de la représentation de sujets émancipés à travers la figure de la femme Noire laborieuse dans l'œuvre de Camille Pissarro dédiée à la représentation de son île danoise-caribéenne natale, Saint Thomas, au moment de son déménagement à Paris en 1855. Je soutiens que Pissarro a tenté de reconfigurer la féminité Noire dans ces dessins, aquarelles et peintures comme un trope visuel proprement caribéen pour faire face à un prolétariat émancipé dans les Antilles danoisesMy dissertation, entitled Cultivating Visible Order, is structured as a set of four case studies that trace the tension between the representation of the francophone Caribbean and colonialism’s injurious processes of racial and environmental domination. Each chapter is focused on an artist whose paintings engage these appositional aspects of the Caribbean landscape as a site of racial oppression that also provided the means for the cultivation of black personhood. My dissertation begins with the itinerant painter Le Masurier’s reliance on natural history to construct Afro-Caribbean relationships to the slave garden and tropical vegetation in eighteenth-century Martinique. The second chapter interrogates the mixed-race artist Guillaume Guillon Lethière’s inclusion of botanical details to contend with imperial memory of the Haitian Revolution in his neoclassical history paintings. My third, and final, chapter investigates Camille Pissarro’s post-abolition construction of a picturesque landscape in his natal Danish Caribbean alongside realist representations of black women to represent the shifting ecology of emancipated labor. When placed in the broader visual cultural context of the period–including amateur drawings, scientific prints, and photography–these case studies reveal the extent to which painting could have contradictory functions in the francophone Atlantic World. My dissertation argues that, on the one hand, painting could bolster white imperial authority by eliding the coeval inhumane violence and ecological brutality of colonialism. On the other, these artworks are inadvertent repositories for parallel ecologies opening onto embodied African diasporic knowledge of the Caribbean landscape in the form of alimentary, medicinal, and cultural practices illegible to or suppressed by colonial environmental discourses
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Odumosu, Temi-Tope. "Roaming beggars, errant servants and sable mistresses : some African characters from English satirical prints (1769-1819)." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610347.
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Jolly, Martyn. "Fake photographs making truths in photography /." Click here for electronic access to document: http://www.anu.edu.au/ITA/CSA/photomedia/ph_d.pdf, 2003. http://www.anu.edu.au/ITA/CSA/photomedia/ph_d.pdf.
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Bowen, Shirley A. "Recovering and Reclaiming the Art and Visual Culture of the Black Arts Movement." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1228514505.
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Rodriguez, D. Maria Angelica. "Performing Whiteness: An Interdisciplinary Analysis of Racism in Ballet." Thesis, Linköpings universitet, Avdelningen för migration, etnicitet och samhälle (REMESO), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-177980.
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This thesis is a study of race and ethnicity in culture and the arts. It discusses whiteness and racism in ballet and addresses a gap in the literature for both disciplines Ballet and Race and Ethnic Studies. Even if ballet is a privileged art form that for centuries has served statecraft, survived revolutions, and political instability the problem of race in ballet is jeopardizing its validity and acceptance in the contemporary world. I ask if racism in ballet is more than behaviors, if it designates ideology, or if it is a matter of visuality and aesthetics. I do this to provide insight into how race is projected in and through the art form in question. The need to transcend the scope of a single discipline brought me to adopt interdisciplinary research to analyze ballet right at the intersection with crossing perspectives linked to the body, aesthetics, performance, privilege, race, and gender. The thesis shows that ballet gives material expression to whiteness as ideology and is compliant with an exclusive approach to an idea of the body and beauty that presupposes racist attitudes and behaviors. At the institutional level, the experience of ballet is whiteness -unnamed, unmarked, universal. But for those bodies outside the constructs of whiteness, the experience is marked by racism and objective barriers. The study informs that an exclusive discourse of the body, often disguised as aesthetic discourse, translates into limited access to ballet education, body shaming, harassment, and fewer job opportunities. However, ballet is an art form, it is more than whiteness or racism. It creates beauty in the body of the dancer which is both instrument and object of art. Ballet dancers invest their lives learning and performing an art form that some other people cherish, but how come a space of whiteness and racism is perceived as beautiful? The thesis elucidates the importance of this reflection also.
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Croft, Pamela Joy, and n/a. "ARTSongs: The Soul Beneath My Skin." Griffith University. Queensland College of Art, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20030807.124830.
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This exegesis frames my studio thesis, which explores whether visual art can be a site for reconciliation, a tool for healing, an educational experience and a political act. It details how my art work evolved as a series of cycles and stages, as a systematic engagement with people, involving them in a process of investigating 'their' own realities - both the stories of their inner worlds and the community story framework of their outer conditions. It reveals how for my ongoing work as an indigenous artist, I became the learner and the teacher, the subject and the object. Of central importance for my exploration was the concept and methodology of bothways. As a social process, bothways action-learning methodology was found to incorporate the needs, motivations and cultural values of the learner through negotiated learning. Discussion of bothways methodology and disciplinary context demonstrated the relationships, connections and disjunctions shared by both Aboriginal and Western domains and informed the processes and techniques to position visual art as an educational experience and a tool for healing. From this emerged a range of ARTsongs - installations which reveal possible new alternatives sites for reconciliation, spaces and frames of reference to 'open our minds, heart and spirit so we can know beyond the boundaries of what is acceptable, so that we can think and rethink, so that we can create new visions, transgressions - a movement against and beyond boundaries' (hooks, 1994 p.12). Central to studio production was bricolage as an artistic strategy and my commitment to praxis - to weaving together my art practice with hands-on political action and direct involvement with my communities. I refer to this as the trial and feedback process or SIDEtracks. These were documented acts of personal empowerment, which led to a more activist role in the political struggle of reconciliation. I conclude that, as aboriginal people, we can provide a leadership role, and in so doing, we can demonstrate to the wider community how to move beyond a state of apathy.
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Croft, Pamela Joy. "ARTSongs: The Soul Beneath My Skin." Thesis, Griffith University, 2003. http://hdl.handle.net/10072/367423.
Full textAbstract:
This exegesis frames my studio thesis, which explores whether visual art can be a site for reconciliation, a tool for healing, an educational experience and a political act. It details how my art work evolved as a series of cycles and stages, as a systematic engagement with people, involving them in a process of investigating 'their' own realities - both the stories of their inner worlds and the community story framework of their outer conditions. It reveals how for my ongoing work as an indigenous artist, I became the learner and the teacher, the subject and the object. Of central importance for my exploration was the concept and methodology of bothways. As a social process, bothways action-learning methodology was found to incorporate the needs, motivations and cultural values of the learner through negotiated learning. Discussion of bothways methodology and disciplinary context demonstrated the relationships, connections and disjunctions shared by both Aboriginal and Western domains and informed the processes and techniques to position visual art as an educational experience and a tool for healing. From this emerged a range of ARTsongs - installations which reveal possible new alternatives sites for reconciliation, spaces and frames of reference to 'open our minds, heart and spirit so we can know beyond the boundaries of what is acceptable, so that we can think and rethink, so that we can create new visions, transgressions - a movement against and beyond boundaries' (hooks, 1994 p.12). Central to studio production was bricolage as an artistic strategy and my commitment to praxis - to weaving together my art practice with hands-on political action and direct involvement with my communities. I refer to this as the trial and feedback process or SIDEtracks. These were documented acts of personal empowerment, which led to a more activist role in the political struggle of reconciliation. I conclude that, as aboriginal people, we can provide a leadership role, and in so doing, we can demonstrate to the wider community how to move beyond a state of apathy.Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Queensland College of Art
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Yoon, InJeong, and InJeong Yoon. "Confronting Systems of Oppression: Teaching and Learning Social Justice through Art with University Students." Diss., The University of Arizona, 2017. http://hdl.handle.net/10150/625591.
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In this study I attempt to shed light on the experiences of the teacher researcher and university students who explored social justice issues in an art education course. The primary purpose of this study is to provide insights in teaching practice and students' learning processes when the course is designed to examine systems of oppression through class discussions and art-based assignments. The study delves into what challenges and rewards the teacher and students experience in an art class focusing on social injustice. I conducted this study in a semester-long art education course, where I taught as an instructor, with twelve university student participants. The questions that guided by study were: 1) How do I understand my experience of teaching social justice issues through art in an undergraduate art education course and what do I continue to learn from it?; 2) In what ways do undergraduate students navigate and learn about social justice issues through class discussions, writing and art-based assignments? I utilized two methodologies, autoethnography and case study, in order to provide in-depth descriptions of the participants' and my perspectives. The theoretical frame I used was critical race feminism, which highlights the intersectional experiences of females of color. For the autoethnographic study, I collected data from the artifacts I created during the study period including researcher’s journals, visual journals, and audio narratives. I also collected data from the participants, such as pre-course questionnaires, reading responses, reflection notes, personal narratives, peer interview responses, audio narratives, and final art projects. The findings of the study reflect different challenges and rewards that the student participants and I experienced in the university course on social justice art.
Themes included student resistance, the teacher's self-doubt, the students' vague understanding of social justice, a difficulty to understand the concept of privilege, and the lack of hands-on activities. The participants also addressed significant learning moments including, learning about colorblindness, personal reflections about their own social identities in relation to systems of oppression, and various art-based assignments they created during the course. Both the participants and I found strong connections between the teacher and students, a sense of learning community, and student empowerment as the rewarding experiences. These findings suggest the need for teachers to reconsider the meaning of a safe space, student resistance, and the role of emotions when they teach social justice issues. Furthermore, the findings suggest that female teachers of color need to positively acknowledge our racial, sexual, cultural, and linguistic identities and envision our roles as border-crossers and agents of change.
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Banks, Donna. "“Race”, history, and the African Caribbean diaspora: identity and representation in Bristol, England." Doctoral thesis, Universitat de Barcelona, 2022. http://hdl.handle.net/10803/673640.
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This dissertation takes a transatlantic approach in its exploration of identity and representation by examining artistic practices within areas of the Caribbean, Europe, and the United States. Australia is also used as a point of reference to further the discourse on representation and identity. While the focus is on the African Caribbean diaspora, specifically the Windrush generation in Britain, this work also engages with other immigrant and marginalized BIPOC communities to emphasize the social, cultural, and political importance of art that is representative of the diversity that exists within contemporary cities.
This is an ethnographic study that incorporates participant-observation, interviews, and archival research. It is postcolonial by its focus on place as defining identity, and fills a scholarly gap in the field of British history. It is grounded in the discipline of cultural studies, but is cross-disciplinary in nature, engaging anthropology, psychology, performance studies, and urban planning.
In an effort to understand implicit bias, bigotry, and racism -all of which contribute to racialized spaces- this dissertation analyzes place names and the psychological connection people have with places. In examining artistic practices and institutions, the ways that public spaces are racialized and gendered are explored. To that end, public art, specifically community-engaged murals, are contrasted against traditional art institutions. It is argued that such murals challenge the racialized status quo and allow for representation that would otherwise be unacknowledged.
In this work, the term art world refers to traditional art institutions such as museums and galleries, alternative spaces meaning unconventional venues,
academia, and public spaces. The former have long received criticism within public discourse and academia for racism and sexism as women and nonwhite artists have been woefully underrepresented in art exhibitions and museum collections. By comparison, public art has not received as much scholarly analysis and has often been promoted as having wide appeal, acceptance, and appreciation. However, portrayals of public art as universally understood and relatable are false and can further alienate members of society who do not see themselves and their communities represented. Increasingly, individuals and groups are protesting against such public art and in some cases taking it upon themselves to remove contentious and offensive statues from their exalted position.
While this dissertation draws from various geographic locations and populations, the focus is on Bristol, England, and members of the Windrush generation. In this regard, the country's colonial past, specifically its role in the transatlantic trafficking of enslaved people is examined. The concept of universal Britishness is interrogated for its racial and gendered biases. The racialized ways that public places are marked within Bristol are discussed, and creative placemaking through community-engaged murals is introduced as a means of disrupting the
status quo.
In examining how place naming and marking contributes to feelings of belonging and dis-belonging, critiques of previous creative placemaking studies are incorporated. To that end, gender, history, and "race” are added as place-defining parameters. Race relations in twentieth-century England are examined along with the ways that marginalized individuals of the Windrush generation negotiated themselves within dominant power structures, asserted their identity, and gained political strength.
After providing a socio-historical analysis, this dissertation introduces the Seven Saints of St. Pauls® Art & Heritage Trail, which consists of seven large-scale murals of individuals of the Windrush generation. I argue that this heritage trail contributes to Bristol’s livability by providing positive and authentic representation of a community of Black Britons, while also effectively disrupting the racialized spatial status quo of a city with a history rooted in enslavement and whose public memories of this past are normalized and represented as a regular part of daily life in contemporary Bristol.Esta tesis adopta un enfoque transatlántico en su exploración de la identidad y la representación mediante el examen de las prácticas artísticas en áreas del Caribe, Europa y Estados Unidos. Aunque el interés de esta disertación se focaliza en la diáspora afro-caribeña, específicamente en la generación Windrush en Gran Bretaña, este trabajo también incluye otras comunidades inmigrantes y marginadas de BIPOC para enfatizar la importancia social, cultural y política del arte que es representativa de la diversidad que existe dentro de las ciudades contemporáneas.Este es un estudio etnográfico que incorpora observación de participantes, entrevistas e investigación de archivo. Es poscolonial por su enfoque en el lugar como identidad definitoria, y llena una brecha académica en el campo de la historia británica. Se basa en la disciplina de los estudios culturales, pero es de naturaleza interdisciplinaria.En un esfuerzo por entender el sesgo implícito, la intolerancia y el racismo, esta tesis analiza los nombres de los lugares y la conexión psicológica que tienen las personas con los lugares. Al examinar las prácticas e instituciones artísticas, se exploran las formas en que los espacios públicos son racializados y se tienen en cuenta las cuestiones de género. Con ese fin, el arte público, específicamente los murales comprometidos con la comunidad, se contrasta con las instituciones de arte tradicionales. Se argumenta que tales murales desafían el status quo racializado y permiten una representación que de otro modo no sería reconocida.Mientras que esta tesis se basa en varias ubicaciones geográficas y poblaciones, el foco está en Bristol, Inglaterra, y los miembros de la generación de Windrush. En este sentido, se examina el pasado colonial del país, se discuten las maneras racializadas en que los lugares públicos están marcados dentro de Bristol y se introduce la creación creativa de lugares a través de murales comprometidos con la comunidad como un medio para perturbar el status quo.Después de proporcionar un análisis socio-histórico, esta disertación presenta el Sendero de Arte y Patrimonio Seven Saints of St. Pauls®, que consiste en siete murales a gran escala de individuos de la generación Windrush. Sostengo que este sendero patrimonial contribuye a la habitabilidad de Bristol al proporcionar una representación positiva y auténtica de una comunidad de británicos negros, al tiempo que interrumpe de manera efectiva el status quo espacial racializado.
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Holmes, Peter Ian. "Art, empire and humanity : a sociological study of relationships between artistic style, social structure and cultural concepts of race in sixteenth century Portugal." Thesis, University of Leicester, 1990. http://hdl.handle.net/2381/34520.
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The study is a sociological investigation of links between the imperial activities of the Portuguese in the late fifteenth and early sixteenth centuries (the Manueline period) - their aesthetic sensibilities, especially as revealed in the artworks produced during that time - and the nature of Portuguese race consciousness during the period. In its methodology and presentation of data, the study stresses the importance of "the visual" as a dimension of culture, as a means of making possible insights into relations between aesthetics and culturally constrained morphologies. The methodological focus of the work develops from a notion of 'iconology', which suggests that at a deep level there exists a relationship between culture, social structure and iconography. Iconology is shown to have an affinity with commodity fetishism, the two concepts jointly informing our appreciation of culture. The significance of race consciousness is considered within the context of conceptions of ideology. The importance of the aesthetic dimension is stressed. The historical circumstances underlying manueline Portuguese aesthetic and race consciousness are examined with special emphasis upon the perceived tendency for the development of egalitarian systems of human classification. Features of the manueline style in art are identified. These are related to the social, cultural and imperial circumstances of the Portuguese. Visual and pictorial data are considered for the light which they can shed upon the structure of Portuguese aesthetic and racial consciousness. The colour plates incorporated in the study are drawn from a unique collection compiled for the purposes of this research project. The anthropological implications of the manueline world view are considered. Its novelty is explored and its significance for our own appreciation of aesthetic sensibility and cultural domination is questioned. The theoretical orientation of the study informs an anti-foundational approach to the appreciation of the variety of human cultures.
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Suzana, Elisabete. "Performing islam in europe : a case study of Poetic Pilgrimage´s performance of empowerment in-between art and religion." Thesis, Södertörns högskola, Institutionen för historia och samtidsstudier, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-25185.
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In this thesis I explore performances of empowerment in the work and artistic persona of Londonbased hip hop duo Poetic Pilgrimage. By using intersectionality, critical race and performance theories, I sketched a possible reading of their performance of religion in the complex context of their positionality as black, british, women, muslim converts and performing artists. I looked specifically at how performance shapes possibilities of cultural and religious interpretations of race, religion, nationality, gender and the arts. The question that guides me is: how do they shape their Empowerment with their Performance? After becoming familiar with the material, I realised that one way of answering this question is by looking into how they relate to an intersectional idea of Empowerment, namely how they relate to race and gender in their islamic art (religion/occupation/class) and how Empowerment is directly connected with Performance, it is the Performance that enables their Empowerment: artistic Performance that shapes their ethnographic Performance of muslimness, womanhood, black womanhood, muslim womanhood, women artistry, britishness, etc. So in this text, it is their Performance of categories and themes that constitute strategies and processes or Empowerment. My focus of Empowerment is on representation, which makes me define Empowerment as the act of learning to Love yourself and others in positive ways. This is inspired in the work of Audre Lorde. And it is reflected in Poetic Pilgrimage's own stance, as revealed by the opening statement of this thesis, We have no LOVE OF SELF. My focus on Performance means that I distance myself from constructs of identity markers that are not sensitive to construction and deconstruction. My underlying approach is to reflect on how Poetic Pilgrimage are and have been constructed by deconstructing them, question them. Taking into account that I cannot not think intersectionally, all themes under scrutiny here deal with ways in which Poetic Pilgrimage expose, explore and create islam and the arts of Performance to forge possibilities of Empowerment, in a way that I attempt to research all categories intersected. In the first thematic chapter (black european islam), emphasis is put on race and in the second thematic chapter (modesty is the new cool), focus turns to gender, though understood in relation to each other and to other categories, such as nationality, class, occupation, ethnicity. In terms of material, I focus on the final product (on stage/videoclips), having Poetic Pilgrimage's Performance on facebook as public artistic persona as a framework for the event of artistic Performance itself. Performing self, or everyday life Performance using artistic means is the trade mark of hip hop culture, which Poetic Pilgrimage are a part of.
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Hamman, Amy Cathleen. "Eyeing Alameda Park: Topographies of Culture, Class, and Cleanliness in Bourbon Mexico City, 1700 - 1800." Diss., The University of Arizona, 2015. http://hdl.handle.net/10150/556702.
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This study addresses eighteenth-century illustrations of Mexico City's Alameda Park. The study reads views of Alameda Park for information about the cultural, political, and economic topographies of the colonial city. Alameda Park offered a place of leisure that was free and open to all members of society. It is argued that as a popular, public setting the Alameda represented a discursive space where cultural opinions were shaped. These beliefs found expression in physical objects: views of Alameda Park. Despite the informational value of these expressions, views of Alameda Park remain an untapped resource on account of the ambiguity surrounding their classification as either an objective map or an artful landscape. This study takes a visual culture approach; it calls attention to the ways views of Alameda Park utilize the conventions of both map and landscape. The study analyzes four views of the park. Each view illustrates a moment in colonial history. These include: the 1719 founding of a convent for Amerindian women—the first in two hundred years of colonial rule, the 1774 opening of the Hospicio de Pobres—a facility that incarcerated vagrants in order to rehabilitate them, the circa 1775 renovation of Alameda Park—a project joining citywide efforts to better police the population, and the 1778 promulgation of the Royal Pragmatic on Marriages—a bill designed to preserve Spanish hegemony in a racially-diverse context. Each view speaks a separate narrative; by reading the object, audiences gain detailed information about the shifting cultural landscape of eighteenth-century Mexico City.
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Jolly, Martyn. "Fake photographs : making truths in photography." Phd thesis, Sydney College of the Arts, 2003. http://hdl.handle.net/2123/4046.
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Peete, Ireanna Aleya. "A Historical Study on the Implications of Brown v. The Board of Education on Black Art Educators." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1592239705805405.
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Shabazz, Rashid K. "Brother, Where Art Thou?: An Examination of the Underrepresentation of African American Male Educators." Cincinnati, Ohio : University of Cincinnati, 2006. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1148318724.
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Thesis (Dr. of Education)--University of Cincinnati, 2006.Title from electronic thesis title page (viewed Sept. 13, 2006). Includes abstract. Keywords: African American; African American males; Black Males; African American male teachers; African American male educators; African American teachers; African American educators; Black educators; male teachers; Critical Race Theory; Qualitative study; Black male teachers; Black male educators. Includes bibliographical references.
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Burgel, Octavia M. "The Realness or, Liquid smoke or, This is what the f••k boutta happen." Oberlin College Honors Theses / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1559921388952569.
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Goncalves, Tiffany A. "A Photographic Navigation Through Mixed Racial Identity and the In-Between." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/763.
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This paper is an exploration of the meaning of mixed racial identity and the representation of such experience by multiracial artists. By analyzing the art of Amalia Mesa Bains, Richard Alexander Lou, and Samantha Wall, I examine how such self identified artists address the concept of the mixed race and in-between experience noting whether they take a celebratory approach or more resistive approach. I then expand on why I chose this topic and why I used specific methods to create and depict my own personal multiracial experience.
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Pycroft, Hayley. "Beyond Afrocentricism and Orientalism contemporary representations of transnational identities in the works of Nontsikelelo "Lolo" Veleko and Tracy Payne." Thesis, Rhodes University, 2010. http://hdl.handle.net/10962/d1002216.
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South African photographer Nontsikelelo “Lolo” Veleko and South African painter Tracy Payne explore different ways of communicating African realities. The visual imagery of these two artists focuses a lot on movement, challenging the rigidity of boundaries set by Western social constructs. In their work, Veleko and Payne critique the limitations of terms such as “authenticity.” It is extremely difficult to portray shifting notions of contemporary African identity in light of the stain of colonial philosophies which have, in times past, exoticised and appropriated the African body and ascribed conventions of “authenticity” to African representations. Undermining the burden of Western boundaries1, Veleko and Payne redefine what it means to operate in Africa today. Veleko seeks additional cultural realities to complicate her identity as a woman living in Africa while Payne uses concepts of movement to question the validity of structures which advocate an either/ or binary such as “East” and “West” and “masculinity” and “femininity”. By subtly merging aspects of these binaries in their representations, Veleko and Payne bring transnational possibilities to light by undermining the restrictions inscribed in the social and political history of (South) Africa with regard to collective and individual identities. Constructs of gender have contributed to a heightened sense of “African” “masculinity,” forming a stereotype of the African body which is difficult to break free from. Considering the notion of transnationalism and the issue of moving beyond boundaries, borrowing aspects of different cultures in attempt to better define a sense of self, Veleko and Payne engage in the sampling of different lifestyles and perspectives to better define their individualities. This thesis seeks to provide an analysis of the visual language used by Veleko and Payne to promote fluid “African” identities.
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Sutters, Justin Peter. "Taking Place and Mapping Space: How Pre-Service Art Education Students’ Visual Narratives of Field Experiences in Urban/Inner-City Schools Reveal a Spatial Knowing of Place." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1345065866.
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Cerdera, Pablo Miguel. "Healing and Belonging: Community Based Art and Community Formation in West Oakland." Oberlin College Honors Theses / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1436684169.
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Schwartz, Erin M. "Spheres of Ambivalence: The Art of Berni Searle and the Body Politics of South AfricanColoured Identity." Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1399305465.
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Owens, Ruth M. MD. "Visual Pleasure and Racial Ambiguity." ScholarWorks@UNO, 2018. https://scholarworks.uno.edu/td/2520.
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I struggle to present work that reflects a psychological expressivity which at the same time conveys intellectual concepts that are of concern to me. It seems that the fluidity of an image can communicate a certain pathos, and correspond to the fluid nature of one’s identity. Drippy paint, distorted bodies, and vertiginous video clips can give an indication about what a body feels like from within. Depictions of these bodily feelings help to communicate ideas about what it means to be alive in general, and a mixed race woman, in particular.
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Haerens, Timothy. "Defining Moments / A Life Portrait." CSUSB ScholarWorks, 2019. https://scholarworks.lib.csusb.edu/etd/914.
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Defining Moments / A Life Portrait
In his MFA Thesis Exhibition, Defining Moments / A Life Portrait, Timothy Haerens explores and celebrates our connectedness to one another as members of the human race. “We are here to awaken from the illusion of our separateness.” Haerens chose this quote from the Vietnamese Buddhist monk and peace activist, Thich Nhat Hanh, as the inspiration for his show because it affirms his belief that we are linked to one another by virtue of our humanness.
Through his abstract paintings on canvas and plexiglass, as well as through his prints and collagraphs, Haerens reflects on many facets of life – the sweet and sour moments we experience as part of the human condition. His art elicits an internal dialogue in an attempt to better understand himself and the world around him.
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Genshaft, Carole Miller. "Symphonic poem a case study in museum education /." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1196175987.
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Bluck, Emily C. "Mapping Community Mindscapes: Visualizing Social Autobiography as Political Transformation and Mobilization." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/scripps_theses/56.
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Historically, autobiography has been used to perpetuate neo-liberal ideologies. Yet, when autobiography becomes social and is used to engage political communities of color, political transformation is possible. This project, through the collaborative visualization of Asian American social biography using pedagogical and relational methods as a means for engagement, seeks to destabilize dominant notions of time and space, and provide a mechanism for the retention of and documentation of institutional, and social histories using the Asian American Student Union at Scripps College as the site for political praxis.
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Mitchell, DeAvin Anthony. "A Collection of 20 Poems: Using Poetic Inquiry in Response to Literature on Race, Work Policy, and Social and Cultural Theory." The Ohio State University, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu16186200315852.
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