Dissertations / Theses: 'Art criticism|Art history|Latin American studies'

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Kluck, Marielos C. "You are What You Read| Participation and Emancipation Problematized in Habacuc's Exposicion #1." Thesis, California State University, Long Beach, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10604666.

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Conceptualized by Costa Rican artist Guillermo Vargas Jiménez (known as Habacuc), Exposición #1 [Exposition #1](or its more infamous moniker “starving dog art”)(2007) operates as a multifarious transgressive work of art. A main point of contention within the artwork is the rumored starvation of a dog during the course of artwork’s exhibition. This thesis analyzes Habacuc’s proposition within contemporaneous debates around participatory practices and Internet art. This examination is provided in order to present an alternative interpretation of the work relative to the divisive practices of the artist. Similar to other artists working with the period known as postinternet, Habacuc engages in a form of art that is counter-cultural, utilizing misinformation as a catalyst for his viral proposition. While Habacuc employs a strategy of critique throughout his varied oeuvre, Exposición #1, arguably his most complex work to date, wholly demonstrates his approach to the Internet as an intrinsically hybridized, political, and oppositional medium. Within the following chapters I focus on the types of participatory relations being produced within Exposición #1 and Habacuc’s authorial intent to challenge the principles of emancipation promised in the discourses around participation in art and the Internet as “global village.”

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McKinney, Jane Dillon. "Anguilla and the art of resistance." W&M ScholarWorks, 2002. https://scholarworks.wm.edu/etd/1539623402.

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This study begins with two premises. The first is that American Studies needs to move beyond the borders of the United States to examine the ideological, cultural and economic effects our country has had on others. The United States has historically been deeply involved in Anguilla's economy, revolution and ideology. The second is that history is a commodity that is selectively deployed in the creation of personal and national cultural values in Anguilla. I use Sherry Ortner's concept of serious games and James Scott's theory of the arts of resistance to analyze how Anguilla's contemporary culture is a product of its history, environment, and a particular industry. Colonial institutional failure created a vacuum in which Anguillians were permitted, even encouraged, to conceptualize themselves as independent. The harsh environment prevented the formation of a plantocracy based on sugar production. The means and modes of the production of salt, Anguilla's only staple, resulted in a social structure that contrasts with those of the sugar islands in the Antilles. Today, independence remains Anguilla's serious game and sole art of resistance on a personal, cultural and national level.;The definition of self and nation as independent is based upon a radical excision of history that is articulated in an invention of tradition. Plato's idea of mythos and logos serve as methodological tools for unpacking how history has been strategically utilized and suppressed to support cultural concepts. The hypothesis of this dissertation is that, if history repeats, Anguilla is trapped in the box of dominant discourse. Anguillians' history does repeat; their version of history fails to benefit them because it elides their basic dependency.;The conclusion is that, in positioning independence as the contrariety of colonialism, Anguilla has created a false dichotomy that is symptomatic of an underlying social malaise. On a personal level, independence is the antithesis of community and nationalism. On a political level, independence works against regionalism. Dependence, the hidden narrative of the Anguillian public discourse of independence, undermines the mythos. Only by deconstructing the contrarieties of independence and colonialism into subcontrarieties, can Anguilla address its cultural dissonances and position itself in a global world.

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Hole, Yukiko. "The Art of David Lamelas| Constructions of Time." Thesis, California State University, Long Beach, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=10977417.

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David Lamelas’s life-long research projects have included examinations of social phenomena. The artist takes interest in the dynamics of mass communication and media, urban mundane activities, and documentary films. He employs the element of time often in the structure of his art as an innovative approach by which to study his subjects.

I argue that in pairing the element of time with social phenomena, Lamelas exposes how people’s perceptions, both the visual experience and the thought processes impacted by these experiences, tend to work, therefore leading viewers to consider systems of knowledge and their own accumulation of knowledge. His artwork provokes viewers to open their minds to new ways of seeing and thinking, stimulates self-awareness, and challenges their concepts of knowledge.

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Stair, Jessica J. "Indigenous Literacies in the Techialoyan Manuscripts of New Spain." Thesis, University of California, Berkeley, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=13423818.

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Though alphabetic script had become a prevailing communicative form for keeping records and recounting histories in New Spain by the turn of the seventeenth century, pre-Columbian and early colonial artistic and scribal traditions, including pictorial, oral, and performative discourses still held great currency for indigenous communities during the later colonial period. The pages of a corpus of indigenous documents created during the late-seventeenth and early-eighteenth centuries known as the Techialoyan manuscripts abound with vibrantly painted watercolor depictions, alphabetic inscriptions, and vivid invocations of community elders’ speeches and embodied experiences. Designed in response to challenging viceregal policies that threatened land and autonomy, the Techialoyans sought to protect and preserve indigenous ways of life by fashioning community members as the noble descendants of illustrious rulers from the pre-Columbian past. The documents register significant events in the histories of communities, often creating a sense of continuity between the colonial present and that of antiquity. What is more, they provide the limits of the territory within a depicted landscape using a reflexive, ambulatory model. Representations of place evoke ritual practices of walking the boundaries from the perspective of the ground, enabling readers to acquire different forms of knowledge as they move through the pages of the book and the envisioned landscape to which it points. The different communicative forms evident in the Techialoyans, including pictorial, alphabetic, oral, and performative modes contribute to understandings of indigenous literacies of the later colonial period by demonstrating the diverse resources and methods upon which indigenous leaders drew to preserve community histories and territories.

The Techialoyans present an innovative artistic and scribal tradition that drew upon pre-Columbian, early colonial, and European conventions, as well as the contemporary late-colonial pictorial climate. The artists consciously juxtaposed traditional indigenous materials and conventions with those of the contemporary colonial moment to simultaneously create a sense of both old and new. Not only did the documents recount indigenous communities’ histories and affirm their noble heritages, they also proclaimed possession of an artistic and scribal tradition that was on par with that of their revered ancestors, thereby strengthening corporate identity and demonstrating their legitimacy and autonomy within the colonial regime.

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Kovach, Jodi. "Remotely Mexican| Recent Work by Gabriel Orozco, Carlos Amorales, and Pedro Reyes." Thesis, Washington University in St. Louis, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3595232.

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This dissertation contributes to an understanding of contemporary art practices from Mexico City, as they are received in Mexico and abroad, by interpreting the meaning of local and global sources in recent work shown in Mexico, the U.S., and Europe by three internationally established, contemporary artists from Mexico City: Gabriel Orozco, Carlos Amorales, and Pedro Reyes. These three artists established their careers in the 1990s, when, for the first time, Mexican artists shifted from a national plane to a global realm of operation. Through three case studies of recent bodies of work produced by these artists, I show how each of them engages with both Mexico's artistic lineages and global art currents in ways that bring to light the problem of identity for Mexican artists working internationally. This study explores the specific ways in which each artist deals with Mexican content, in order to discuss how contemporary notions of `Mexican' are framed, misconstrued, and contested in the artworks themselves, and in the critical discourse on these artists, in Mexico and internationally.

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Scott, Gabriella Boschi. "Dismantling cultural hierarchies| A prefiguration of Mexican postmodernism in Enrique Guzman's paintings." Thesis, The University of Texas at San Antonio, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1556588.

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This thesis argues that Mexican painter Enrique Guzmán is a central figure in the transition between the Ruptura movement and postmodernism. Construed by many as a surrealist artist, Guzmán employs idiosyncratic imagery not to probe inner realities, but to explore themes such as abjection and the fragmentation of self into commodity images. Inhabiting the chasm between an oppressive ultra-conservative provincial culture and the turbulent revolutionary ideology of Mexico City of the sixties and seventies, Guzmán articulates, by fusing aesthetic categories such as, among others, the grotesque, the campy and the advertising cliché and exploring language, paradox and gaze, a deconstruction of cultural and political codes by satirizing their interlocking systems of signs and simulacra, initiating a critique of national and personal identity that will later be developed by the Neo-Mexicanists (Neomexicanistas) into a bold denouncement of sexual, socioeconomic and national marginalization.

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Winfield, Shannen M. "Containers of power| The Tlaloc vessels of the Templo Mayor as embodiments of the Aztec rain god." Thesis, Tulane University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1566580.

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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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Huffstetter, Olivia. "From Sahagun to the Mainstream| Flawed Representations of Latin American Culture in Image and Text." Thesis, Oklahoma State University, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=10808090.

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Early European travel literature was a prominent source from which information about the New World was presented to a general audience. Geographic regions situated within what is now referred to as Latin America were particularly visible in these accounts. Information regarding the religious customs and styles of dress associated with the indigenous peoples who inhabited these lands were especially curious points of interest to the European readers who were attempting to understand the lifestyles of these so-called “savages.” These reports, no matter their sources, always claimed to be true and accurate descriptions of what they were documenting. Despite these claims, it is clear that the dominant Western/Christian perspective from which these sources were derived established an extremely visible veil of bias. As a result, the texts and images documenting these accounts display highly flawed and misinformed representations of indigenous Latin American culture. Although it is now understood that these sources were often greatly exaggerated, the texts and images within them are still widely circulated in present-day museum exhibitions. When positioned in this framework, they are meant to be educational references for the audiences that view them. However, museums often condense the amount of information they provide, causing significant details of historical context to be excluded.

With such considerable omission being common in museum exhibitions, it causes one to question if this practice might be perpetuating the distribution of misleading information. Drawing on this question, I seek, with this research, to investigate how early European representations of Latin American culture in travel literature may be linked to current issues of misrepresentation. Particularly, my research is concerned with finding connections that may be present with these texts and images and the negative aspects of cultural appropriation. Looking specifically at representations of Aztec culture, I consult three texts and their accompanying illustrations from the sixteenth, seventeenth, and eighteenth centuries to analyze their misrepresentational qualities, and how they differed between time periods and regions. Finally, I use this information to analyze museum exhibition practices and how they could be improved when displaying complex historical frameworks like those of indigenous Latin American cultures.

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Trever, Lisa Senchyshyn. "Moche Mural Painting at Pañamarca: A Study of Image Making and Experience in Ancient Peru." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11013.

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This dissertation is a study of the late Moche murals found within the adobe temples of Pañamarca, Peru (ca. 600-850 CE). This project was designed to redress the problem of iconographic decontextualization of the Pañamarca paintings that, through limited documentation and repetitive scholarly publication, had become effectively untethered from their material moorings and spatial settings. New fieldwork succeeded in contextualizing and conserving remains of all known mural paintings. This field research also resulted in the discovery of a new corpus of paintings at the site. Together these paintings form a case study on image making and visual experience in a Pre-Columbian era without contemporaneous writing. This art historical study of archaeological monuments makes several contextual moves. Most concretely it mounts evidence for the situated experiences of images by ancient beholders. This includes analysis of spatial patterns that governed both visual and kinaesthetic approaches to images, as well as forensic indices of human-image engagement and response through time. The approach is not, however, exhausted by the nested contexts of architecture, archaeology, and geography. Meaning is further established through the discernment of philosophical propositions set forth in the broader corpus of ancient Moche art, material culture, and ritual practice. This work proposes to yield emic perspectives on mimesis, corporeality, and spatiality. An embodied approach to image and space is not merely imported from theory developed elsewhere, but is grounded in the Andean cultural setting at hand. The orthodox Moche imagery of the Pañamarca murals was arrayed in specific, strategic ways in both plazas and private spaces. In some areas life-size paintings may have modeled mimetic performance that perpetually enlivened ritual architecture. Elsewhere densely composed imagery would have enveloped the bodies of ritual practitioners and devotees, as they were absorbed into a private architectural repository of specialized knowledge. This is unusual in the Moche world where the innermost spaces of lavishly decorated temple complexes are themselves usually devoid of painted images. The paintings of Pañamarca are interpreted as efficacious in the articulation, embodiment, and recollection of late Moche ideology and identity as it crystallized on the southern periphery in the Nepeña Valley.
History of Art and Architecture

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Kowalczyk, Stephanie W. "Beyond the Painted Diary: Love, Loss, and Modernity in the Landscapes of John Singer Sargent." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1470007149.

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Bonilla-Puig, Alicia I. "Printmaking, Politics, and the Art of Protest in Modern Mexico." Master's thesis, Temple University Libraries, 2015. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/310769.

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Art History
M.A.
My thesis seeks to establish a fuller, more nuanced historical account of socially and politically oriented printmaking during the long 20th century in Mexico. In order to remedy what is currently a fragmented and incomplete narrative composed of canonical artists, my project integrates recent studies that acknowledge the role of lesser-known artists from various moments of the 20th and 21st centuries. The broader approach of this thesis reveals that the history of politically oriented Mexican prints spans a longer period of time and a larger geographic area than previously thought. Mexico experienced several waves of political turmoil and social upheaval throughout the 20th century, beginning with the Mexican Revolution (1910-1920), including the 1968 student movement, and extending to present day clashes between citizens and their government leaders. In this context, art and printmaking in particular served as persistent vehicles for Mexican artists to engage in social and political activism. Integrating the critical analysis of earlier research along with newer studies that recognize the impact of Mexican printmakers often overlooked in broad survey texts and exhibitions allows for further conclusions to be drawn regarding the multifaceted relationship between the print medium and the art of protest. My thesis introduces the notion that educational institutions in Mexico played an active part in this historical narrative, highlights the significance of Mexican artists' choice to work in collaborative environments versus individually, and notes modern activist printmakers' strong preference for the woodblock print.
Temple University--Theses

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Diaz, Ella Maria. "Flying under the radar with the Royal Chicano Air Force: The ongoing politics of space and ethnic identity." W&M ScholarWorks, 2010. https://scholarworks.wm.edu/etd/1539623562.

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This dissertation explores the Royal Chicano Air Force (RCAF), a Chicano/a arts collective that produced numerous murals in Sacramento, CA, for over forty years. Grounded in Mexican and US aesthetic traditions, their murals reflect cultural hybridity and re-imagine US history through a Chicano/a perspective. Many of their works were and are located in Sacramento's Chicano/a barrios, while others occupy interethnic, public space in the vicinity of the State Capitol. By encoding hidden Chicano/a iconographies within each mural, the RCAF offers what scholar Alicia Gaspar de Alba calls "alter-Native" narratives of American history because they posit "Other" views of local history, which trouble larger frameworks of US history.;The exposition begins by exploring the RCAF's origin's-story---or, how the group emerged in the 1960s and '70s Civil Rights Movement, and also in relation to events of the early twentieth century. Both the Mexican Revolution of 1910 and the 1942 Bracero Program in the US impacted Mexican Americans in meaningful ways that resonate in the memories and biographies of the RCAF. After locating the group's historical antecedents, Chapter Two examines the rise of public art in the wake of the 1960s and '70s civil rights era, which reflected ethno-political activism as well as ethnic self-actualization.;Chapter Three explores issues of gender in the RCAF, since most of the artists that comprise the group are male. Chapter Four provides a historical overview of their murals, all of which convey messages and themes of historical inclusion and intervention. Chapter Five proposes a theoretical framework on the notion of 'remapping' and how it's been used in American Studies, Literary Studies and related intellectual fields.;Finally, Chapter Six enacts a remapping by rethinking Sacramento's history according to the murals and historic spaces of the RCAF. as a conclusion, this chapter also charts the RCAF and Chicano/a art's movement into institutional space, both literally---through museum and library collections---and figuratively---in perceptions and paradigms of US art history.

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Lynch, Sylvio III. "Morality and Aspiration: Some Conditions of Norman Rockwell's Four Freedoms." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1577554501384163.

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Hamilton, Andrew James. "Scale and the Incas." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11294.

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This dissertation studies the concept of scale in the worldview of the Inca civilization, and was precipitated by the countless "miniature" objects made throughout the Pre-Columbian Andean world. Often relegated to the background of scholarship, scaled objects are not well understood and have exerted little influence on the academic understandings of the Incas.
History of Art and Architecture

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Jamieson, Ross W. "The Potential for Colonial Period Archaeology in La Libertad, Peru." W&M ScholarWorks, 1990. https://scholarworks.wm.edu/etd/1539625578.

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Schneider, Leann G. "Capturing Otherness on Canvas: 16th - 18th century European Representation of Amerindians and Africans." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1437430892.

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Martínez, Rodríguez Fabiola. "Civilizing the prehispanic : neo-prehispanic imagery and constructions of nationhood in Porfirian Mexico (1876-1910)." Thesis, University of the Arts London, 2004. http://ualresearchonline.arts.ac.uk/7751/.

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This work looks at the artistic production of the Porfiriato (1876-1910) with particular attention to the representation of prehispanic cultures and their incorporation into an official historiography. Whilst highlighting the growing popularity of prehispanic and conquest themes, during the last two decades of the nineteenth century, the research centres on the study of what may be described as a 'neo-prehispanic' genre in order to explore issues of identity and nationalism in the arts. The use of academic styles for the artistic interpretation of prehispanic material coincides with an already growing concern to redefine prehispanic cultures as 'classical' civilisations. The neo-prehispanic as a style may therefore be understood as a reappropriation of the past via western canons and art schools, and the construction of a neo-prehispanic imagery as a means of 'cleansing' the barbaric. The analysis concentrates on the function of neo-prehispanic representations by looking at the reception of these images in relation to the aesthetic ideas operating at the time, and their production within the institutional framework of the Academy of San Cartos. It also looks at State-funded projects in order to highlight the cultural politics of the Porfiriato which sought to celebrate the cultural legacies of prehispanic Mexico. The study will hence seek to explore the particularities of a national style, the function of art in the Porfiriato, and the relationship between artistic production and the construction of a national identity. All of this will be looked at in relation to history painting, monuments and architecture. The main objectives of the research aim to be both practical (a catalogue of material 'Appendix B'), and interpretative. The correct cataloguing and identification of this material together with an analysis of their function within the context of Porfirian society will provide invaluable material for more research, and will constitute the original contribution of my PhD.

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Aguirre, Lina. "ENTRE LA VULNERABILIDAD Y EL GOCE: PRECARIEDAD Y GLOBALIZACION EN EL ARTE JOVEN CHILENO ACTUAL." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1345488169.

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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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Schneider, Mary Emily. "Material Witness: Doris Salcedo's Practice as an Address on Political Violence through Materiality." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11285.

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Morales, Mariah. "Children of Hispaniola: Báez and Duval-Carrie´, Mending the Future by Visually Exploring a Turbulent Past and Present." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1526269413936894.

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Hutchinson, Kenneth. "A Study of the Performance of Magic During the Golden Age." University of Akron / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=akron1366570812.

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Iturralde, Mantilla Diana. "Between New York and the Andes, Abstraction and Indigenismo: Camilo Egas's Paintings from the 1940s and 1950s." Master's thesis, Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/506052.

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Art History
M.A.
Recent studies of Andean Indigenismo and Andean abstraction tend to overlook the intersections between these two artistic trends, as well as schematize the production of artists who experimented with both. The scholarship on Ecuadorian artist Camilo Egas, for example, only focuses on his role as a precursor of Indigenismo without delving into the diverse artistic styles that intertwine in his transnational career. Such selective interest in his Indigenist production, which tends to focus on his early works from the 1910s to the 1930s in Ecuador, Paris, and the first decade in New York, might be related to the fact that his oeuvre from those periods can be clearly connected to documented developments of modern nationalist painting in the Andean region. Yet, this gap in art historical studies ignores the compelling visual experimentations that Egas undertook in the 1940s and 1950s while residing in New York. Particularly interesting is an exhibition of these works organized in Quito in 1956 by the Casa de la Cultura Ecuatoriana, and Egas’s peculiar avant-gardist role in the country’s artistic milieu, at a time when Indigenismo, the country’s dominant aesthetic trend, was being challenged by other alternatives. In this thesis, I examine Egas’s position in-between two different contexts, cultures, and temporalities, which informed artistic experimentations and how these two contexts did not necessarily ascribe to the same ideas of modernism and art’s role in society. This thesis is based in archival research conducted both in Quito, Ecuador, and in New York. From May 2017 to February 2018 I visited several archives in public institutions and private holdings in both countries in search of the exhibited artworks, exhibition ephemera, written reviews of the work, relevant correspondence, Egas’s personal documentation of his work, and other existing academic material, to inform my research and writing.
Temple University--Theses

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Gontovnik, Monica. "Another Way of Being: The Performative Practices of Contemporary Female ColombianArtists." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1420473106.

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St, Clair Michelle C. "Mission San Juan Bautista: Zooarchaeological Investigations at a California Mission." W&M ScholarWorks, 2005. https://scholarworks.wm.edu/etd/1539626485.

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Tejero, Nikolasa. "NATIONALISM AND ITS EXPRESSION IN CUBA’S ART MUSIC: THE USE OF FOLKLORE IN MARIO ABRIL’S “FANTASIA (INTRODUCTION AND PACHANGA)” FOR CLARINET AND PIANO." UKnowledge, 2011. http://uknowledge.uky.edu/gradschool_diss/215.

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In the centuries since the colonization of the New World, the people of Cuba created a strong musical tradition. Initially, their music mirrored the European composition canons of structural, melodic and harmonic order. The eventual confluence of its distinct cultural elements (i.e. the European, African, and, to a lesser extent, Amerindian) led to the emergence of a new, distinctly Cuban musical tradition. The wars for independence that began in the United States and Europe in the eighteenth century created a surge towards political and cultural autonomy that swept across the Latin American colonies, generating a wave of nationalism during the nineteenth century. After finally gaining its independence in 1902, Cuba sought to define itself as a nation. Cubans looked inward to their regional folklore—their indigenous and popular traditions—for the source of their national identity, a trend that became of primary interest to Cuban artists. The nationalist trend found full musical expression during the twentieth century, when composers turned to folklore for their inspiration in creating new art music (works for the concert hall) with a unique sound and vitality. This study concerns itself with the Cuban nationalist movement and its role in the creation of art music by twentieth-century Cuban composers, most specifically that of Mario Abril. The monograph is organized into three general sections: the first section (Chapters 2 and 3) identifies the significant characteristics of nationalism, describes the manifestation of some relevant nationalist movements (e.g., in Europe and Latin America), and explores the manifestation of the nationalist movement in Cuba. The second section (Chapters 4 and 5) provides a history of Cuban art music, concluding with a biographical sketch of composer Mario Abril. The third part (Chapters 6 and 7)consists of a study of the music, beginning with a description of the pertinent characteristics of Cuban popular music, followed by an examination Mario Abril’s Fantasía (Introduction and Pachanga) for clarinet and piano. The document concludes with remarks about the characteristics that qualify the work as an example of Cuban nationalist art music with suggestions for the study and interpretation of the work.

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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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Feder, Louise Howard. "Lloyd Ney's "New London Facets:" Abstraction and Rebellion in the Section of Fine Arts." Master's thesis, Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/236292.

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Art History
M.A.
Lloyd Raymond "Bill" Ney's mural New London Facets was commissioned for the New London, Ohio post office through the Treasury Department-run New Deal program, the Section of Fine Arts (the Section), and is the only mural that program officials considered abstract. An examination of the mural today reveals that the label of "abstract" may be a bit extreme; objects in the piece have been abstracted but the mural as a whole is not at all strictly non-representational. This discrepancy and the ensuing controversy over Ney's mural reveal much about the sensitivity of Section officials to abstraction and to subjects outside genre or allegorical scenes typical of Section commissions. Correspondence between Ney and Section officials indicate a fear in the Section that the public would reject and fail to understand or relate to anything outside of the representational norm, a belief against which Ney adamantly and successfully argued. As a result, the Section made its lone exception in the case of Ney and New London Facets. While Ney did not achieve national renown as an artist within his lifetime, his work is still exhibited and auctioned relatively regularly in his hometown of New Hope, Pennsylvania. With the exception of Karal Ann Marling's description of the New London Facets incident in her book Wall to Wall America: A Cultural History of Post-Office Murals in the Great Depression, there is nothing significant published on Ney or his mural. With this thesis I hope to raise awareness of Ney as an artist, provide readers with a complete understanding of the New London Facets commission and approval, and explore the relationship between abstraction and the New Deal art programs.
Temple University--Theses

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Boe, Jeffrey L. "Painting Puertorriqueñidad: The Jíbaro as a Symbol of Creole Nationalism in Puerto Rican Art before and after 1898." Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/4290.

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In the three decades surrounding the Spanish-American war (1880-1910), three prominent Puerto Rican artists, Francisco Oller (1833-1917), Manuel E. Jordan (1853-1919), and Ramón Frade (1875-1954) created a group of paintings depicting "el jíbaro," the rural Puerto Rican farm worker, in a way that can be appropriately labeled "nationalistic." Using a set of motifs involving clothes, customs, domestic architecture and agricultural practices unique to rural Puerto Rico, they contributed to the imagination of a communal identity for creoles at the turn of the century. ("Creole" here refers to individuals of Spanish heritage, born on the island of Puerto Rico.) This set of shared symbols provided a visual dimension to the aspirational nationalism that had been growing within the creole community since the mid- 1800s. This creollismo mythified the agrarian laborer as a prototypical icon of Puerto Rican identity. By identifying themselves as jíbaros, Puerto Rican creoles used jíbaro self-fashioning as a way to define their community as unique vis a vis the colonial metropolis (first Spain, later the United States). In this thesis, I will examine works by Oller, Jordan and Frade which employ jíbaro motifs to engage this creollismo. They do so by painting the jíbaro himself, his culture and surroundings, the fields in which he worked, and the bohío hut which was his home. Together, these paintings form a body of jíbaro imagery which I will contextualize, taking into account both the historical circumstances of jíbaro life, as well as the ways in which signifiers of jibarismo began to gain resonance amongst creoles who did not strictly belong to the jíbaro class. The resulting study demonstrates the importance of the mythified jíbaro figure to the project of imagining Puerto Rican creole society as a nation, and the extent to which visual culture participated in this creative process.

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Watts, Chelsea Anne. "Painting Parisian Identity: Place and Subjectivity in Fin-de-siecle art." Scholar Commons, 2011. http://scholarcommons.usf.edu/etd/3403.

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In this thesis I provide analysis of several nineteenth-century artworks in order to elucidate the connections between place and identity as expressed in visual representations of Paris. I utilize Bakhtin's idea of the dialogical as a means of identifying multiple subject positions that might be accessed by particular individuals who live in socially constructed spaces specific to fin-de-siècle Paris. I discuss the construction of three performed identities unique to nineteenth-century Paris: the Flâneur, the bohemian, and the primitivist. In each chapter I will parse out the social construction of the spaces where these identities existed and were performed, and link those identities to their discursive functions as particular models of Parisian life. I will discuss the relationship of each representation of identity to Henri Lefebvre's concept of socially-produced space through analysis of the stylistic and compositional choices made by the artist. The visual artworks I discuss include Edouard Manet's A Bar at the Folies-Bergère, Vincent van Gogh's The Outskirts of Paris, Night Café, and Café Terrace at Night, and Henri de Toulouse-Lautrec's Jane Avril and Divan Japonais.

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Pucci, Alicia Meredith. "Consuming Surrealism in Modern Mexican Advertising: Remedios Varo's Pharmaceutical Illustrations for Casa Bayer, S.A." Master's thesis, Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/516897.

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Art History
M.A.
My thesis investigates an interdisciplinary narrative of the transatlantic migration of Surrealism to Mexico during the 1940s. I focus on the ways exiled European Surrealists approached notions of Mexican material culture in a hybrid society where local traditions coexisted with a global modernity. Looking to popular and print culture outlets, I concentrate on how Mexican material culture was perceived, promoted, and marketed through a Surrealist lens. Specifically, I consider the collaboration of the German pharmaceutical company Casa Bayer, S.A. and exiled Spanish-born Surrealist Remedios Varo, who produced a series of medical advertisements during her first decade in Mexico City from 1943 to 1949. Through an examination of Varo’s work, my thesis explores the changing boundaries of fine and commercial art that resulted from the efforts of artists who participated in modern mass culture and consumerism. I investigate the significance of her Surrealist advertisements for Casa Bayer as a material culture bound on one side with fine art and the other side with the development of Mexican advertising. This case study supports my argument that Surrealism, as a transnational aesthetic, was one alternative way of demonstrating the new cultural meanings of advertising in an ambiguous, modern Mexican society. Examining Varo’s illustrations in light of the movement of western Europeans to Mexico and the country’s commitment to modern progress explains why the artist negotiated her past avant-garde sensibilities with her Mexican present.
Temple University--Theses

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Humphrey, Ashley Renee. "Where's the Roda?: Understanding Capoeira Culture in an American Context." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1543574890650575.

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Petrus, John Stephen. "Gender Transgression and Hegemony: the Politics of Gender Expression and Sexuality in Contemporary Managua." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429609857.

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Simons, Gary. ""Show Me the Money!": A Pecuniary Explication of William Makepeace Thackeray's Critical Journalism." Scholar Commons, 2011. http://scholarcommons.usf.edu/etd/3347.

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Scholars have heretofore under-examined William Makepeace Thackeray's early critical essays despite their potential for illuminating Victorian manners and life. Further, these essays' treatments of aesthetics, class, society, history, and politics are all influenced by the pecuniary aspects of periodical journalism and frequently expose socio-economic attitudes and realities. This study explicates the circumstances, contents, and cultural implications of Thackeray's critical essays. Compensatory payments Thackeray received are reconciled with his bibliographic record, questions regarding Thackeray's interactions with periodicals such as Punch and Fraser's Magazine answered, and a database of the payment practices of early Victorian periodicals established. Thackeray's contributions to leading London newspapers, the Times and the Morning Chronicle, address history, travel, art, literature, religion, and international affairs. Based upon biblio-economic payment records, cross-references, and other information, Thackeray's previously skeletal newspaper bibliographic record is fleshed out with twenty-eight new attributions. With this new information in hand, Thackeray's views on colonial emigration and imperialism, international affairs, religion, medievalism, Ireland, the East, and English middle-class identity are clarified. Further, Thackeray wrote a series of social and political "London" letters for an Indian newspaper, the Calcutta Star. This dissertation establishes that Thackeray's letters were answered in print by "colonial" letters written by James Hume, editor of the Calcutta Star; their mutual correspondence thus constitutes a revealing cosmopolitan - colonial discourse. The particulars of Thackeray's Calcutta Star writings are established, insights into the personalities and viewpoints of both men provided, and societal aspects of their correspondence analyzed. In his many newspaper art exhibition reviews Thackeray popularized serious painting and shaped middle-class taste. The nature and timing of Thackeray's art essays are assessed, espoused values characterized and earlier analyses critiqued, and Thackeray's role introducing middle-class readers to contemporary Victorian art explored. Other Thackeray newspaper reviews addressed literature; indeed, Thackeray's grounding of literature in economic realities demonstrably carried over from his critical thesiss to his subsequent work as a novelist, creating a unity of theme, style, and subject between his early and late writings. Literary pathways originating in Thackeray's critical reviews are shown to offer new insights into Thackeray novels Catherine, Vanity Fair, Henry Esmond, and Pendennis.

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Gilbertson, Theresa Jane. "A Comparative Analysis of Portable X-ray Fluorescence Spectrometry and Stable Isotopes in Assessing Ancient Coastal Peruvian Diets." Scholar Commons, 2015. http://scholarcommons.usf.edu/etd/5951.

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This dissertation explores a cross-cultural analysis of the dietary signatures of four coastal cultures of prehistoric Peru. A combination of elemental analysis based on portable x-ray fluorescence spectrometry (pXRF), testing trace elements presented in 209 individuals’ skulls representing the Nazca (38), Cañete (33), Lima (40), and Moche (98) valleys and/or cultures of the first millennium AD, is weighed in conjunction with isotope ratio mass spectrometry (IRMS) to analyze human bone collagen and bone apatite derived from a portion of the individuals represented in the Nazca, Cañete, and Lima cranial samples. Evidence from the results of both tests are weighed using descriptive statistics supported with bivariate correlations and linear regression to determine that the pXRF data on the trace elements strontium (Sr), barium (Ba), and iron (Fe) from the Moche collection do present potential for accurately portraying diet of those individuals represented in this sample. Additional hypotheses tested include potential for preferential diets based on sex, age, and status as well as attempting to place the valley of Cañete in the cultural sphere of either Lima or Nasca during the Early Intermediate Period. While there was no significant statistical difference in diet based on age in any of the individual valley datasets, there was one valley, Nazca, which showed a considerable variation in diet based on sex. From data derived from this particular sample set, there are mixed results in attempting to apply status to a diet of preferential high nitrogen sources such as marine mammals and large fish. In attempting to place Cañete in the cultural sphere of either Lima or Nasca, it was determined that cultural remains appear to be linked predominately to artifacts and practices of the Lima Culture, but the dietary difference in both stable isotope and trace elements signatures combined with the samples which instead aligned more closely with the Nasca Culture suggests that perhaps Cañete was a marginal space which allowed for the settlement and interaction of peoples from both neighboring cultures without prejudice. Overall, results indicate it would be premature to suggest pXRF replace destructive analysis in determination of diet. Due to the small sample size of stable isotopes deemed viable in testing, it is suggested that a larger sample of stable isotopes should be considered in similar testing and that the major elements from pXRF should also be used before a suggestion that destructive analysis was no longer warranted in many cases for deducing diet in ancient populations.

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Granados, Salinas Rosario. "Fervent Faith. Devotion, Aesthetics, and Society in the Cult of Our Lady of Remedios (Mexico, 1520-1811)." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10398.

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This study examines the cult of Our Lady of Remedios from an art-historical perspective. Choosing this specific cult statue as a case study is not arbitrary: Remedios is among the oldest Marian images in the New World and was named first patroness of Mexico City in 1574, when the city council became the patron of her shrine and a confraternity was founded to better disseminate the cult. As a result, the statue was carried fifty-seven times through the streets of New Spain's capital in three hundred years (an average of one procession every five years), thus outnumbering any other religious event that was not part of the liturgical calendar. The fame of Our Lady of Remedios was closely linked to her role as Socia Belli of the Spanish army, as she was believed to have protected Hernán Cortés and his allies during the conquest of Mexico-Tenochtitlán in 1520-21. Her character as protector in times of war was enhanced in the centuries to come, when she was called to the city on every occasion when the Spanish Crown was involved in military campaigns. Her protection, however, was mainly requested in times of drought and epidemics, a reason for which her fame as protectress of the city grew intensively, and all sectors of society (Spanish, Indians, and Castas) followed her with the same fervent faith. This dissertation is a monographic study of a miraculous image that has hitherto been overlooked in the history of colonial religiosity of New Spain despite its symbolic relevance for the society of its time. It considers the sixteenth-century statue and the ways it was displayed to its devotional audiences as documents that inform us about its social role. By placing this cult image in the ritual context to which it belonged, both spatial and spiritual, this study considers the devotional gaze with which her devotees engaged her showing how devotion, aesthetics and politics were intertwined during colonial Mexico.
History of Art and Architecture

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Cornejo, Happel Claudia A. "Decadent Wealth, Degenerate Morality, Dominance, and Devotion: The Discordant Iconicity of the Rich Mountain of Potosi." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1404653562.

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Broughton, Katherine. "Cuentos de resistencia y supervivencia: Revitalizando la cultura maya a traves del arte publico en Guatemala." Ohio University Honors Tutorial College / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1556561584195135.

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Valladares, Gisel Corina. "Maybe She's Born With It, Maybe it's Mexicanidad: Depictions of Mexican Feminine Beauty and the Body in Visual Media During the 1950s." Miami University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=miami1493336026688153.

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Ramos, Isabella. "Walking in The City: Koji Nakano’s Reimagining and Re-Sounding of The Tale Of Genji." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1037.

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Imagined Sceneries is a work written by composer Dr. Koji Nakano of Burapha University, Thailand for two sopranos, koto, light percussion, narrations, soundscapes recorded in Kyoto, Japan in December 2015, and digital projections of Ebina Masao’s 1953 print series Tale of Genji. Imagined Sceneries’ reimagining and “re-sounding” of Heian Kyoto relies on a balance between what is imagined and what is experienced in performance. Its many elements collectively explore multiple layers of Japanese histories, soundscapes, environments, and sensibilities. Using Michel de Certeau’s concepts of the city, this thesis journeys through Nakano’s imagined spaces.

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Rocha, Eva. "Antithetical Commentaries on X, Y and the Disruption of Being." VCU Scholars Compass, 2016. https://scholarscompass.vcu.edu/etd/4278.

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Through discursive essays and poetic narrative, Antithetical Commentaries on X, Y and the Disruption of Being explores the tenuous relationship between modes of measurement and the struggle for human relevance in the post-contemporary digital age. In the introductory essay, “Not the Feather, but the Bird”, I give an overview of the inherent problems of object-oriented ontology, and how it relates to aesthetics and social issues of our times. In the Developmental Overview, I detail how I developed my installation approach and techniques, particularly with regard to the three-way dynamic of the artist:work:viewer relationship and how it can encourage a ‘transgression’ that leads to the possibility of a transformative awareness of being. Subsequently, I present a series of ‘antithetical’ commentaries that neither explain nor expand the installation, rather, they create a non-binary duality that, through an entirely non-linear anti-narrative, work to erode the overlay of personal, civic and collective grids present in the memory space/time referenced in the video, TAG. Finally, in “Grid: Towards a Transgressive Humanism.” I propose a path by which installation art might serve to create transgressive opportunities for viewers, rather than the transcendence sought through religious rituals, which often reinforce stigmas, fears and authoritarian social dynamics, or worse, the reductive loop, of many contemporary approaches to art which proclaim their detachment in wordy displays, essentially leading to a form of aesthetic nihilism. This Transgressive Humanism is not presented as a dogma, but rather a revitalization of the work as a vessel of possibilities, an agent of creative growth for the artist and the viewer.

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Ganoe, Kristy L. "Mindful Movement as a Cure for Colonialism." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1367936488.

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Church, Rebecca. "The Influence of Culture and Arts on the Development of Peruvian Children." University of Toledo / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=toledo1271384749.

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Austin, Travis R. "Laminated PAINT." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5462.

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Though we may not perceive it, we are surrounded by material-in-flux. Inert materials degrade and the events that comprise our natural and social environments causally thread into a duration that unifies us in our incomprehension. Sounds reveal ever-present vibrations of the landscape: expressions of the flexuous ground on which we stand.

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Crousier, Elsa. "Marta Traba ou l'art en écriture : recherches sur les dialogues entre littérature, critique d'art et arts plastiques dans l'oeuvre de Marta Traba." Thesis, Lyon, 2016. http://www.theses.fr/2016LYSE2125.

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Marta Traba (1923-1983), écrivaine et critique d’art argentino-colombienne, est principalement connue en Amérique latine pour ses écrits critiques, son engagement pour le développement de l’art moderne en Colombie, et plus largement pour sa « théorie de la résistance » qui prône dans les arts plastiques une défense des identités culturelles latino-américaines. Son œuvre littéraire, en revanche, est beaucoup moins connue. Or, elle est non seulement très riche, mais elle forme le pendant narratif à son œuvre critique, un ensemble de récits innervés, de manière plus ou moins profonde, des conceptions et de la culture trabiennes sur l’art. Il s’agit dès lors de reconsidérer ces deux pans de sa production écrite comme un tout cohérent, et de montrer les influences et les interactions entre sa critique d’art et sa littérature, mais également entre les arts plastiques qui forment sa culture artistique et ses écrits fictionnels. Il apparaît alors que Marta Traba conçoit et pratique son écriture critique comme une écriture « littérarisée » et, réciproquement et surtout, sa littérature comme une littérature « artialisée » : la valorisation constante du regard esthétique sur le monde et d’une sensorialité exacerbée dessine un idéal de contemplation tout au long de son œuvre littéraire ; les insertions continues d’une terminologie critique et de références aux œuvres d’art, sur un mode tantôt clairement didactique, tantôt subtilement ludique, invitent le lecteur à lire ses fictions et poèmes au prisme du sous-texte artistique qui enrichit leur sens ; enfin, le récit devient le lieu d’expérimentation des théories trabiennes de la « résistance », entre réaffirmation de la place de l’Amérique latine sur la carte de l’art mondial, mise à distance défensive des influences nord-américaines et réappropriation locale, par « transculturation », des modèles artistiques étrangers. L’étude de l’artialisation de la littérature trabienne est donc loin d’être l’analyse d’un simple procédé formel : elle dégage, nous semble-t-il, un véritable style trabien, miroir de l’écrivaine et de ses convictions
Marta Traba (1923-1983), an Argentinian-Colombian writer and art critic, is most famous in Latin America for her critiques, her commitment to develop modern art in Colombia, and, more generally, for her “theory of resistance” which advocates the defence of the many cultural Latin-American identities in fine arts. Her literary work, however, is far less well-known. And yet, not only is it very rich, but it also constitutes the narrative counterpart to her critiques – a collection of tales innervated, to different degrees, with Traba’s notions on and knowledge of art. It is consequently about reconsidering these two sides of her written production as a consistent whole, and identifying the influences and interactions between her art critiques and her literary work, as well as between the fine arts which make up her artistic culture and her fictional writings.It then appears that Marta Traba devises and practices her critical writing “literarily” as she does, above all, her literary work “artistically”: the constant enhancement of the aesthetic eye on the world and of an intensified sensory experience shape an ideal of contemplation throughout her literary work; the continuous inserts of a critical terminology and of references to art works, sometimes in a clearly didactic mode, sometimes in a subtly playful manner, invite the reader to read her fiction stories and poems in the light of the artistic subtext which enriches their meaning; finally, the tale becomes the place where Traba’s theories of “resistance” are tested, at the crossroads of the re-affirmation of the place of Latin America on the map of international art, of the defensive distancing from North American influences, and of the local re-appropriation, by “transculturation”, of the foreign artistic models. The study of the artistic mutation of Traba’s literary work is therefore far from boiling down to the analysis of a mere formal process: from our point of view, it reveals an authentic style, Traba’s style, which is the mirror of the writer and her convictions

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Davenport, Jeremiah Ryan PhD. "From the Love Ball to RuPaul: The Mainstreaming of Drag in the 1990s." Case Western Reserve University School of Graduate Studies / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=case1499363704491381.

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Gittinger, Anne Meredith. "Class Act: Negotiating Art and Market in the Career of Isadora Duncan." W&M ScholarWorks, 2010. https://scholarworks.wm.edu/etd/1539626615.

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Hester, Zoe. "Storytelling through Movement: An Analysis of the Connections between Dance & Literature." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/honors/470.

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Movement and storytelling are the links between past and present; both dance and literature have the same artistic and primal origins. We began to dance to express and communicate, to worship and feel. We tell stories for the same reasons: to learn from the past and to be able to communicate in the present. This work explores the many connections between literature and dance through examinations of six dance forms: Native American, Bharatanatyam, West African, Ballet, Modern, and Post-Modern dance.

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Wierich, Jochen. "The domestication of history in American art: 1848-1876." W&M ScholarWorks, 1998. https://scholarworks.wm.edu/etd/1539623945.

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This dissertation traces the decline of history painting and its domestication in Other artistic forms in the United States. In the three decades between the Mexican-American War and the Centennial, the market for historical art went through a major transformation. Artists shifted from historical to contemporary subjects or represented historical themes in everyday-domestic settings. Monumental history painting, which was supported by art unions and private patrons during the antebellum period, came under critical attack and lost its status as a form of high art. Critical opinion turned especially against paintings of historical struggle and heroic sacrifice which seemed to be removed from the domestic experiences of middle class audiences. Painters domesticated the high moral drama of history painting in more intimate scenes.;I analyze the contest over historical representation from several directions. Part One discusses the institutional changes affecting the transformation of historical art. I focus on two institutions, the American Art-Union and the Cosmopolitan Art Association, a number of private patrons, and several art critics and art journals. Part One establishes a historical framework for the discussion of three individual painters discussed in Part Two. The careers of Emanuel Leutze, Lilly Martin Spencer, and Eastman Johnson allow me to trace the domestication of history through a spectrum of cultural forms including history, genre, and portrait painting.;This study links the decline of history painting to a cultural process which included specific constituencies---artists, patrons, critics---competing for cultural authority. Antebellum history painting had a weak institutional basis and was unable to consolidate a supportive audience. The focus on three painters and their attempts to negotiate changing perceptions of what constituted historical authenticity reveals complex process in which history painting lost its credibility.;My approach to the transformation of history painting relies on various methodological and theoretical sources, including the social history of art, cultural studies, material culture, and the philosophy of history. The dissertation applies theoretical framework to the study of history painting and other historical representations and brings into focus an emerging bourgeois art public in the States.

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Dissertations / Theses on the topic 'Art criticism|Art history|Latin American studies'

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