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Sprinkle, Mark E. "Picturing home: Domestic painting and the ideologies of art." W&M ScholarWorks, 2004. https://scholarworks.wm.edu/etd/1539623460.
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This dissertation describes domestic painting in Atlanta, Georgia between 1995 and 2004 as a market defined by its intentional connection of the ideologies and spaces of art with those of bourgeois domesticity. The first half of the work seeks to contextualize the market's various objects and texts within public and academic discourses on culture that commonly posit an antithesis between the practices of bourgeois women (especially decoration) and "high" or avant-garde art, as suggested by the sentiment, "GOOD ART WON'T MATCH YOUR SOFA." Thus, Chapter 1 addresses the promises and pitfalls of sociological approaches to understanding art in general, Chapter 2 addresses two recent field studies of local markets as examples of how methodological decisions can mask ideological bias, and Chapter 3 discusses the historical context behind the divorce of art and the home as part of the gendering of aesthetic creativity as a predominantly masculine pursuit, each chapter examining the place of the literature itself in the creation of the categories of art. The second part of the dissertation provides an account of the way paintings produced in the market encode its social and spatial relations as a way of visualizing the private home and its interpersonal contents. In Chapter 4, the author proposes intuitive vision to name distinctive visual habits and bodily practices of bourgeois domesticity in contemporary Atlanta, especially the role of artworks in the phenomenological space of the home. Chapter 5 focuses on integration as domestic painting's central quality and goal: the market's various agents are integrated in a coherent social milieu not restricted to art-related roles, but that is, nevertheless, focused through aesthetic experience of the physical and stylistic features of artworks as they, themselves, are integrated into specific domestic settings. Chapters 6 and 7 chart the concrete terrain of 'home-like' spaces devoted to the production and distribution of paintings in the market, while developing the distinction between phenomenological and sight-based representations of domesticity. Finally, the Conclusion returns to the supposed antithesis between avant-garde aesthetics and the various practices known collectively as decoration as a way to address the question, "What is bourgeois art?"
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Barbour, Susan Jean. "Elegaic materialism : the poetry and art of Susan Howe." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:4a0decd4-dec1-4f23-9457-d4d8b58c97c1.
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The American poet Susan Howe (1937-present) began her career as a visual artist, but owing to a dearth of information about her early collages it has been difficult to say anything substantive about how they might have shaped her poetic practice. In 2010, she placed her collages on archive. Along with a number of personal interviews with Howe, this heretofore unavailable material has enabled me to consider Howe's subsequent work in a new light and to establish significant links between her early visual aesthetics and the poetics of bibliography, historiography, and elegy for which she is now known. Howe's collages, like her poetry, focus on details that are at risk of vanishing from cultural memory and printed record. For this reason, I argue that her work evinces an 'elegaic materialism', or a way of reading, viewing, and thinking about texts that is attuned to loss. If “history is the record of the winners,” as Howe says, then one way of rescuing marginalized perspectives is by regarding manuscripts as drawings, thereby rescuing the concrete particulars deemed irrelevant by editors and historians. As Howe's late work turned increasingly toward elegy, her early aesthetic contributed to a nuanced poetics of personal loss and to a series of astonishing new formal tropes. The Introduction to this thesis discusses Howe's materialism in the context of current literary theory and textual scholarship. Chapter 1 concerns itself with Howe's art historical context. Chapter 2 analyses a selection of her word-drawings. Chapter 3 considers Howe's transition to poetry. Chapter 4 addresses her turn to archival documents in her middle period. Chapter 5 looks at the influence on Howe of documentary film, especially in connection with the task of representing a lost loved one, and Chapter 6 discusses her two most recent elegies, The Midnight and THAT THIS. A Coda completes the circle by once more considering Howe in the context of the visual arts at the moment she was selected to exhibit at the 2014 Whitney Biennial.
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Stitt, Amber C. "American Images of Childhood in an Age of Educational and Social Reform, 1870-1915." Case Western Reserve University School of Graduate Studies / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=case1364908854.
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Lockette, Philip M. "Sex in the Kitchen: The Re-interpretation of Gendered Space Within the Post-World War II Suburban Home in the West." DigitalCommons@USU, 2010. https://digitalcommons.usu.edu/etd/668.
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In the decades following 1945, Americans moved increasingly out of cities into suburbs. The migration illustrated the emergence of a new, broader middle class as a result of growing postwar affluence. In the previous half-century, families living in a suburb could claim middle-class status. The emerging class built its identity on the forms and values adopted from this earlier, more affluent Victorian middle class. These adopted values were played out in a home designed around Progressive era ideals of the family. Through this Progressive filter, the new concept of the home was scaled down, without servants, and ceased existing wholly as the wife's sphere of influence--as in the Victorian version. The Progressive impulse also reduced the size of the house to make it more efficient, and through government subsidies shaped the home into a smaller, economically sized package. The financial framework that determined the shape of the postwar home also influenced the technology placed within its walls. This financially influenced technology particularly affected the shape and content of the kitchen. The new, efficient kitchen did not release women from their duty to provide daily family meals, but it did create a culturally safe space for men to cook as a hobby. In the postwar, suburban kitchen women and men contended with economic pressures and changing social realities which complicated the Victorian values and Progressive ideals. Middle-class women needed to leave the home for work, and--now separated from traditional urban social outlets--middle-class men sought refuge in the suburban home. By examining Sunset magazine's "Chefs of the West" column, traditional women's cookbooks and service magazines, men's magazines, building industry trade journals, and census reports, the kitchen demonstrates that women and men reshaped the home in response to changing middle-class values. While financing regulations at first shaped how the emerging middle class lived within the postwar, suburban home, residents reinterpreted the space as a reaction to the economic changes around them. This cycle continued with each new interpretation of the postwar single-family home.
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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<br>M.A.<br>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.<br>Temple University--Theses
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McVey, Shannon Lee. "A House But Not A Home? Measuring "Householdness" in the Daily Lives of Monticello's "Nail Boys"." Scholar Commons, 2011. http://scholarcommons.usf.edu/etd/3244.
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Monticello, the plantation home of Thomas Jefferson, was also home to more than 100 African American slaves between 1771 and 1826. As many as 40 members of this community lived and worked on Mulberry Row, once a bustling avenue of residential and industrial activity adjacent to the Palladian mansion. Archaeological excavations in 1957 and 1982–-1983 uncovered the remains of Mulberry Row's nailery, where preteen and teenaged enslaved "“nail boys”" manufactured nails for internal use and sale. These excavations revealed surprisingly high amounts of domestic artifacts, particularly ceramics and glass, indicating the young nailers also may have lived inside the nailery. This study investigates whether the nail boys maintained some semblance of childhood through ongoing participation in their parents'’ households or fully took on the mantle of adulthood by forming a household of their own, independent of their parents, as expressed in the local production and consumption of household goods.
This question is explored within the contexts of the archaeology of slavery, household archaeology, and the archaeology of children. The intersection of these three themes provides a richer and more realistic understanding of the boys'’ complex lives. In this study, artifact abundance indices and Pearson residuals are used to compare artifacts from the nailery to artifacts from industrial and dwelling sites across Monticello plantation. I hypothesized that if the nail boys were participating in food production and consumption, the abundance of refined and utilitarian ceramics and glass would be similar to or higher than the abundance of those artifacts in dwelling sites. If the abundance of the nailery artifacts was lower than those for dwelling sites and was therefore more similar to those for industrial sites, the nail boys probably did not participate in domestic activities. The indices and residuals reveal a high abundance of refined ceramics and glass in the nailery and a low abundance of utilitarian ceramics, which would have been needed to cook and store food. The data suggest the nail boys engaged in the consumption of food and associated artifacts but participated in little or no food production. It is likely that their age and gender prevented them from fully engaging in food production within the nailery. This project adds to the fledgling research into slave children, who have traditionally been ignored by childhood, slave, and household archaeologists.
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Wilson, Elizabeth Danielle. "I Want a Man Who: Desires, Wishes, Ideals, and Expectations in Women’s Online Personal Ads." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1284691475.
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Hebble, John. "The Vassall-Craigie-Longfellow House of 1759: From Colonial America to the Colonial Revival and Beyond." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/603.
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The Longfellow House in Cambridge, Massachusetts is one of America’s best known historic homes. Built in 1759 by Major John Vassall, the grand house exemplified Colonial English tastes and was at the center of a cycle of Colonial Royalist mansions. After the American Revolution, however, the house quickly became a symbol of American patriotism. Occupants ranging from General George Washington and Henry Wadsworth Longfellow each added to the legacy of the house. Early in the nineteenth century, the Longfellow House’s distyle portico- pavilion traveled to Canterbury, Connecticut, becoming a colloquial house-type. Aided by its connection to General Washington and its appearance in two World’s Fairs, the house gained further popularity around the American Centennial. This thesis provides the most expansive history of the house’s impact on American architecture to date and is the first to connect the house to both the Greenhouse at Mount Vernon and Connecticut’s “Canterbury Style.”
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Bingham, Margaret M. "Professional Machine Quilting and Its Impact On The Contemporary Quilt Movement." University of Akron / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=akron1279395269.
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Reeves, Hannah Stealey Josephine M. "Home-made home creating in the face of the nostalgic impulse /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2008. http://hdl.handle.net/10355/5634.
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Thesis (M.F.A.)--University of Missouri-Columbia, 2008.<br>The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on September 12, 2008) Vita. Includes bibliographical references.
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Clark, Toby. "Representations of Russian Art in American Art History and Criticism 1917-1939." Thesis, University of Sussex, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.522624.
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This dissertation examines the critical reception and historical construction of Russian art in the United States between 1917 and 1939. The study focuses on two main types of Russian art; that of the Russian avant-garde, and that of artists who emigrated to the United States and achieved a high level of critical visibility and commercial success there during the 1920s. The discussion of the Russian emigre artists concentrates on the treatment of their work in the American curatorial system and art market. It examines the critical strategies used to promote these artists, particularly in the writings of Christian Brinton, who formulated a new category termed 'Slavic art' which relied on theories of racial essentialism. The subsequent decline of the careers of the emigre artists can be explained partly by reference to the reorientation in American critical values after the early 1930s. Research on the interpretation of the Russian and Soviet avantgarde in the United States is focussed on two main Modernist institutions; the Societe Anonyme during the 1920s and the Museum of Modern Art in New York after 1929. The Societe Anonyme's management of its large collection of Russian avant-garde art is discussed in relation to the contrasting aesthetic perspectives and political alignments of Katherine Dreier and Louis Lozowick, and compared with alternative interpretations in western Europe. The study of the representation of the Russian avant-garde by the Museum of Modern Art is concentrated on the writings of Alfred Barr and his critical theory of Modernism. Barr's account of the history of Russian Constructivism and Soviet cultural policies in 1936 is seen to have performed an important function for establishing an ideological position for the ascending discourses of American Modernism in opposition to the competing positions of conservative anti-Modernism and left-wing aesthetics.
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Morozova, Ekaterina. "American art criticism and the crisis of art history writing : 1962-1967." Thesis, Open University, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.413811.
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Forster, Patrick A. ""Art Feeling Grows" in Oregon : The Portland Art Association, 1892-1932." PDXScholar, 2011. https://pdxscholar.library.pdx.edu/open_access_etds/220.
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Founded in 1892, the Portland Art Association (PAA) served as Oregon's and the Pacific Northwest's leading visual arts institution for almost a century. While the Association formally dissolved in 1984, its legacy is felt strongly today in the work of its successor organizations, the Portland Art Museum and Pacific Northwest College of Art. Emerging during a period of considerable innovation in and fervent advocacy for the arts across America, the Association provided the organizational network and resources around which an energetic and diverse group of city leaders, civic reformers and philanthropists, as well as artists and art educators, coalesced. This thesis describes the collaboration among arts and civic advocates under the banner of aesthetic education during the Association's first four decades. Though art education continued to be critically important to the organization after 1932, the year the Association opened its new Museum, art was no longer conceived of as an instrument for improving general community life and programs focused on more specialized, fine arts-related activities.
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Paniagua, Amanda Anastasia. "An American Woman's Gaze: Mary Cassatt's Spanish Portraits." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1461149840.
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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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Walker, Nancy J. "The Fox in the Mirror| Bertha Lum and American Japonisme." Thesis, California State University, Long Beach, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1570862.
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<p> The introduction of Japanese art and culture to the Western world prompted a powerful response from an entire generation of artists, writers, and musicians, including a gifted American artist named Bertha Lum. Lum travelled to Japan in the early 1900s to train with Japanese masters in the design, cutting, and printing of woodblock prints. Lum was a passionate exponent of <i> Japonisme,</i> and a study of her work illuminates how this phenomenon manifested itself in American art and culture.</p><p> In cultural and artistic terms, <i>Japonisme</i> emerged as a selective interpretation of Asian culture, a conveniently constructed image that reinforced the ideals of many at the turn of the last century. For graphic artists like Lum, the example of Japanese art provided leverage against the weight of European classicism, championed the role of the decorative arts, exemplified exquisite handcraft, and epitomized an art of natural beauty and grace.</p>
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Mincher, Sally. "The Chicano art movement in American art history : post-1970s evolutions in the Los Angeles context." Thesis, University of Essex, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.573017.
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The history of the Mexican American population of the United States has involved a succession of socio-political phases since the beginning of the twentieth-century. One phase termed the 'Chicano era' emerged in mid-century culminating in the 1960s period of civil-rights activism. In this unified social movement acting for change of the historical situation of oppression, the crucial role of the arts contributed to the formation of the Chicane art movement. This thesis concerns developments in Chicano art production following the civil rights era from the 1970s to the present day. Through its examination of the complexities of the strategic purpose of Chicano cultural production this thesis critiques established narratives of the genealogy of art history. It addresses how the Chicano art movement has contributed to a dismantling of late twentieth-century rigid paradigmatic art-historical structuring and has continued to generate a critique of the social system of the United States. This central premise draws on formative theoretical and ideological perspectives in the fields of Chicano Studies, Border Studies, postcolonial theory and cultural theory. Focusing on the California region and the urban centre of Los Angeles, it selectively examines the philosophical approaches and methodologies of individual artists and collaborative groups relative to transitional social processes and ongoing cultural evolutions in this growing heterogeneous community. This examination of the trajectory of the Chicano art movement into the twenty-first century indicates its significance for a future generation of artists.
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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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Galliher, Allison. "Early American Silver at the Currier Museum of Art." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:24078350.
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This project-based thesis has added five stops and an introduction to American Silver to the Currier Museum of Art’s mobile tour. The Museum has an extensive silver collection but has very little information readily available for its visitors in the galleries. This thesis provides those visitors with information about the Currier’s American silver collection. It uses the Currier’s current mobile application as a template while incorporating museum education teaching methods to create an engaging tour.
The thesis begins with a history of silver in America from Colonial times to the start of the nineteenth century. This time period is best represented in the Currier’s American silver collection. The thesis discusses the role and development of the silversmith as a craftsman as well as the social history of silver in America during this period. It also discusses the use and advantages of using mobile technology in the museum setting. Many visitors already own mobile devices. Museums can take advantage of visitors’ familiarity with these tools by creating programs specifically for this technology.
The tour itself is based on teaching methods outlined by the museum educator George E. Hein in his book: Learning in the Museum (1998). These methods are used to build upon the standards set by the Currier Museum of Art’s “Audience Engagement and Interpretation Philosophy” in order to make the tour more engaging for visitors. Articles by museum technology professionals Robert Stein and Nancy Proctor were also consulted when researching the best practices for mobile tours. Their work lays out many key elements for successful mobile applications including the use of media assets, stops where these assets are experienced and the connections used to move between the stops. The accessibility benefits of mobile technology for visitors, especially the use of audio recordings for visitors with disabilities, are also discussed and were taken into account when creating the tour.
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Fadorsen, Stephanie Alexandra. "American Art Pottery: Ohio's Influence on Transforming a Local Craft into a World Renowned Fine Art." Kent State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=kent1342890450.
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Pfohl, Katie A. "American Painting and the Systems of World Ornament." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11537.
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This dissertation examines the work of nineteenth-century American painters Frederic Edwin Church, William Michael Harnett and Albert Pinkham Ryder, and focuses on the relationship between their work in painting and their work in the decorative arts. Through their decorative work, all three artists explored "systems of world ornament" that introduced them to an international range of ornamental form by compiling, cataloguing, and comparing ornament from nearly all cultures and eras. Combining all of world culture single folios, these "systems of world ornament" promised to help American artists and designers study and sort a wide range of cultural influences into temporal and geographic order and thus make sense of the increasingly internationalized nature of American material culture. As this dissertation argues, the study of these "systems of world ornament" became for American artists and designers a powerful--if problematic--tool for distilling the increasingly international nature of American art and culture into a material form--and a formal painterly language--that opened it up to comment and critique. Ornament has to a large extent been understood as a mode of retreat rather than engagement with the clean lines and streamlined aesthetic of the twentieth-century, a crust that had to be cleared from painting's surface so that it might embrace the revolutionary potential of the technological and artistic innovations of the twentieth-century, but this dissertation argues the opposite--that ornament crucially informed American painters' attempts to update painting in response to the artistic challenges of increasingly internationalized twentieth-century life.<br>History of Art and Architecture
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Kaufmann, Laurel Jeanne 1966. "Creation of an identity: American Indian protest art." Thesis, The University of Arizona, 1993. http://hdl.handle.net/10150/291933.
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This thesis addresses and critically reviews American Indian protest art as a legitimate art genre. Brief discussions of the Studio (the first formal American Indian art school), the Institute of American Indian Arts (IAIA), and the American Indian protest movements of the 1960s and 1970s, as well as irony, satire, and humor in Indian art are included. The concept of the "Indian" identity as a motivating factor of the art, and the redundant use of stereotypical imagery as it relates to cultural conflicts are addressed. Descriptive interpretations of the art of David Bradley, Alex Jacobs, and Stan Natchez, and the three fundamental elements of this art style are presented in detail.
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Cirino, Gina. "American Misconceptions about Australian Aboriginal Art." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1435275397.
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Lauzon, Claudette. "Precarious occupations: the fragile figure of home in contemporary art." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=66805.
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This dissertation addresses contemporary art's capacity to facilitate ethical encounters with the suffering of others. Arguing that any effort to understand how trauma marks the present must also recognize ours as an age in which "home," particularly for those vulnerable to contingency (the exile, the migrant, the asylum seeker, the homeless), can no longer accommodate its presumed status as a stable haven from the troubled world, I identify and analyze a select group of contemporary artists who seek to mediate legacies and conditions of trauma through representations or evocations of the fractured, fragile, or otherwise unsettled home. In the practices of Krzysztof Wodiczko, Santiago Sierra, Doris Salcedo, Alfredo Jaar, Emily Jacir, Ursula Biemann, Yto Barrada, Tony Labat, and Mona Hatoum, I suggest, loss is represented as an "unhomely" experience and home is imagined and remembered as a site of provisionality, a lost territory of belonging, and a tenuously sustained but tenaciously held memory. Drawing on but also challenging the assumptions of psychoanalytically-informed trauma studies, I furthermore suggest that these practices harness the constructive and creative nature of melancholic attachment to loss in order to facilitate recognition of both the material nature of loss and the universality of human vulnerability. I propose that the fragile figuration of home, which I theorize as an "unhomely" aesthetic, has a twofold function: first, to construct (literally or figuratively) a material structure around loss that preempts the cathartic resolution of unresolved situations; and second, to imagine this material structure as a liminal space of unresolved trauma that articulates the fragility of self-other relations and, in the process, transforms home into a potential site for empathetic engagements with the suffering of others. In the process, these artists provide critical insights into how we migh<br>Cette thèse aborde la capacité qu'a l'art contemporain de faciliter des rencontres éthiques avec la souffrance des autres. En tentant de saisir la manière dont le traumatisme marque le présent, il nous incombe de constater que le « domicile » à notre époque, particulièrement pour ceux vulnérables aux imprévus (l'exilé, le migrant, le demandeur d'asile, le sans-abri) n'a plus la stabilité nécessaire pour pouvoir soutenir son statut traditionnel de refuge au sein d'un monde perturbant. Dans cet esprit, cet ouvrage identifie et analyse le travail d'un nombre d'artistes contemporains cherchant à négocier les conditions et les héritages du traumatisme à travers de multiples représentations ou évocations d'un domicile fracturé, fragile ou autrement déstabilisé. Son corpus est donc précis, incluant le travail de Krzysztof Wodiczko, Santiago Sierra, Doris Salcedo, Alfredo Jaar, Emily Jacir, Ursula Biemann, Yto Barrada, Tony Labat, et Mona Hatoum. Je propose que la notion de perte est représentée dans ces œuvres comme expérience de « l'abri inquiet » (unhomely) et que le domicile est imag(in)é en tant que site provisoire, un territoire d'appartenance perdu, un souvenir qui persiste obstinément malgré son caractère précaire. M'appuyant (tout en les contestant) sur les théories psychanalytiques du traumatisme, je soutiens que ces pratiques artistiques exploitent l'attachement mélancolique à la perte dans sa dimension constructive et créatrice afin de mieux saisir la nature matérielle de celle-ci ainsi que l'universalité de la vulnérabilité humaine. Je propose d'examiner la figuration fragile du domicile, que je théorise en tant qu'esthétique de « l'abri inquiet », sous ses deux fonctions. D'abord, sa capacité de constituer (au sens propre ou figuré) une structure matérielle autour de la perte qui anticipe une résolution cathartique de situations irrésolues. Mais$
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Schachnow, Ellionore. "The Staging of Nynäs Castle : From Private Home to Museum." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-193261.
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The thesis examines the reason behind the overtaking of Nynäs castle by the State Art Museums and how Nationalmuseum choose to stage the period rooms during 1984-2020 and how it relates to contemporary trends within museology. Furthermore, the thesis examines possible similarities in how the National Trust stages their historic houses. The thesis emanates from Emma Barker’s art historical approach to critical studies of the historic buildings owned by the Trust and discusses the possibilities and limitations of the historic house museums in the context of house museology. This thesis also discusses the differences between an ethnographic and an art museum in a historic house context and the function of the period room. The State Art Museum managed to receive funds for the acquisition of Nynäs collections through private donations and funds from the State. The original intention was to stage the interior rooms as it was found, and this approach partly resembles the staging of a house owned by the National Trust. This approach was questioned by Nationalmuseum during 2008 and they initiated a project of re-arranging the rooms which resulted in a chronological display. The display of the kitchen and service areas since the opening can relate to a rising interest in New Museology.
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White, Steven Robert. "A confluence of thinking: The influence of 20th century art history on American landscape architecture." Thesis, The University of Arizona, 1997. http://hdl.handle.net/10150/278634.
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Since beginning my graduate studies in landscape architecture, I have encountered many situations in class in which references to art were used. I discovered a connection in the usage of the jargon of art in landscape architecture study. People, for the most part, do not know what landscape architects do or who we are. In this thesis I will make the case for aligning the profession of landscape architecture with the fine arts and humanities. An art history component in the curriculum and education and training of landscape architects would augment their design and presentation skills in the workplace. I have included the results of a survey questionnaire that I sent to 65 landscape architecture teaching faculty representing 38 landscape architecture programs in the United States. These individuals held either a Bachelor of Fine Arts degree, a Master of Fine Arts degree, or they had a scholarly research interest in art.
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Hoeffler, Michelle Leah. "The moment of William Ralph Emerson's Art Club in Boston's art culture." Thesis, Massachusetts Institute of Technology, 2000. http://hdl.handle.net/1721.1/67166.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2000.<br>Includes bibliographical references (p. 183-225).<br>This thesis will analyze the architect William Ralph Emerson's (1833-1917) Boston Art Club building (1881-82) and its station within Boston and New York's art culture. Even though there has been considerable research on the Gilded Age in general and certain art clubs specifically, this club remains a neglected element in art's social history. During the rising development of art culture, a small group of artists founded the Boston Art Club (1854-1950) as a vehicle for production, education and promotion of the arts. To assert their club's presence within patrons' circles, the members commissioned a flagship clubhouse adjacent to Art Square (now known as Copley Square). Emerson, primarily a residential architect and the first Shingle Style architect, won the competition with a unique amalgamation of Queen Anne and Richardson Romanesque styles, an alliance with the nearby Museum of Fine Arts and the Ruskin and the English Pre-Raphaelites. The resultant clubhouse was a declaration of the club's presence amid America's established art culture. Through this building design the Club asserted its status for the thirty years that the arts prevailed on Boston's Art Square. The Art Club's reign, along with the building's prominence, ended when the Museum deemed their building's architectural style out of date, among other reasons. That faithful decision to abandon Art Square and the revival Ruskinian Gothic style would take with it the reverence for the Art Club's building and, eventually, the club itself. Within forty years and through several other struggles the Art Club closed its doors, ending a chapter that began with the need for art in Boston, thrived within the culture of the Gilded Age and sank from the changing trends in architecture.<br>by Michelle Leah Hoeffler.<br>S.M.
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Worrell, Colleen Doyle. "'Post-Humously Hot': Bill Traylor's Life and Art." W&M ScholarWorks, 1994. https://scholarworks.wm.edu/etd/1539625854.
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Balcerek, Katherine Emma. "The Whitney Museum of American Art gender, museum display, and modernism /." NCSU, 2010. http://www.lib.ncsu.edu/theses/available/etd-04012010-131832/.
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The Whitney Museum of American Art founded in 1931 by Gertrude Vanderbilt Whitney offers insight into the role of women patrons in the American art world. Furthermore, the Museumâs contemporary identification with the Museum of Modern Art obscures its unique history and different founding principles. This paper explores the foundation of the Whitney Museum in roughly the first two decades of its existence from 1931 to 1953 to examine how Whitney and the Museumâs first director, Juliana Force, negotiated gender and class ideology and the Modernist discourse to found the first museum solely devoted to American art. Gertrude Vanderbilt Whitney and Juliana Force operated the Whitney Museum based on three main principles: the primacy of the individual artist, the promotion of American art, and the importance of an informal museum space. The Whitney Museum of American Art, staked Whitney and Forceâs claim in a male dominated art world. The Museum was a complex space, representing a modern feminine viewpoint that embraced inclusivity and elitism, masculine and feminine, Modernism and conservatism. Whitney and Force wanted the Whitney Museum to be less formal and more inclusive, so they designed it like a middle class home with intimate galleries, furniture, carpets, and curtains. However, the decor hindered the Whitney Museumâs influence on the modern art canon because critics perceived the Museum as feminine and personal, Modernismâs rejection of the feminine and realism that ultimately led to the exclusion of the Whitney Museumâs collection of realist art from the modern art historical canon.
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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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<p> 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. </p><p> 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.</p><p>
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Chieffo-Reidway, Toby Maria. "Nathaniel Jocelyn: in the service of art and abolition." W&M ScholarWorks, 2005. https://scholarworks.wm.edu/etd/1539623473.
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Through my dissertation, I embark on a biographical, cultural and historical study of artist and abolitionist Nathaniel Jocelyn (1796-1881), primarily known as a nineteenth-century portrait painter and engraver in New Haven, Connecticut. Although Jocelyn received little formal training, he sought to become a preeminent portrait painter. Together with his younger brother, Simeon Smith Jocelyn (1799-1879), he established a successful engraving firm designing banknotes, maps, atlases, and book illustrations.;Jocelyn lived in an age of evangelical revivalism commonly called the Second Great Awakening. He was a devout Congregationalist and saw the various aspects of his life embedded in his religious convictions. Jocelyn's diary chronicles his beliefs, social views, hopes, fears, daily struggles, and his plans to develop and attain artistic acclaim and economic success.;My dissertation reveals an artist not unlike other enterprising men of the New Republic or most portrait painters of his era who struggled to earn a living. Yet Jocelyn was extraordinary because he created the most important portrait of an African in the nineteenth-century, Cinque (c.1813-1879), leader of the Amistad rebellion of 1839. This portrait challenged Jacksonian-era concepts of portraiture and became one of the most significant icons for the abolitionist movement. For Jocelyn the portrayal of Cinque was the galvanizing event of his life as an artist, abolitionist, and Christian.;Jocelyn not only challenged the concept of conventional portraiture, but also nineteenth-century racial stereotypes by depicting a black man as a man of dignity. Jocelyn used Cinque's portrait to dissociate black skin and African-ness from traditional depictions of black men that linked them with slavery. Jocelyn was not afraid to show an African as a man of power, independence, and intelligence---traits portraitists generally associated with white people.;His depiction of Cinque as an idealized hero was intentional, and it aided the abolitionist cause. Nathaniel Jocelyn created a visual abolitionist language in his portrayal of Cinque by crossing the boundaries of race and imbuing the portrait with an iconography rich with abolitionist and Christian symbolism.;Jocelyn led a multifaceted life as a Christian, abolitionist, portrait painter, inventor, engraver, and esteemed teacher. He had the confidence, admiration, and respect of his peers and the New Haven notables as he maintained intimate ties with the world of art and abolition.
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Critchley, Zachary R. "The Art of the Spearthrower| Understanding the Andean Estolica through Iconography." Thesis, State University of New York at Binghamton, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10808392.
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<p> Spearthrower devices held a role around the world as a primary weapon and tool before slowly falling out of favor in certain areas for other projectile weapons. While it is widely accepted that spearthrowers were used by the people of the ancient central Andes, comparatively little research has gone into the role that they had as weapons of war, hunting tools, and objects of ceremonial reverence. In addition, the Andes developed a unique style of spearthrower and have produced many examples of spearthrowers with exceptional craftsmanship, leading me to believe that these tools were given special reverence. </p><p> This thesis compiles evidence of who in the Andes was using spearthrowers, and in what contexts, by comparing iconography to existing artifacts. It was determined that they saw the heaviest use among the coastal societies through the Early Intermediate Period and were primarily seen as a symbol in the following years.</p><p>
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Grogan, Elise Kathleen. "Thomas Hart Benton's Indiana Murals in History and Memory." Master's thesis, Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/396679.
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Art History<br>M.A.<br>Thomas Hart Benton was commissioned to paint murals depicting Indiana history for the Indiana state pavilion at the 1933 Century of Progress Exposition in Chicago. The completed Indiana murals were twelve feet high and over two hundred feet long, wrapping around the entire exhibition hall. Visitors to the Indiana pavilion experienced Indiana’s history through a continuous stream of narrative imitating the flow of time. After several years of storage following the fair, the panels were given to Indiana University in Bloomington in 1938, where they currently reside. While most scholarship has focused on the original message and context of the Indiana murals, the murals’ nearly seventy-five year display at IU necessitates a more thorough analysis of the murals at the university, with specific attention to the contextual changes since the time of the fair. The relocation of the murals to IU and the resultant restructuring of their historical narrative have altered perceptions of their imagery and attributed new meanings to the historical scenes Benton depicted. The aim of this study it to better understand the complex nature of Benton’s Indiana murals by exploring the ways in which changes in context result in alteration of the original message and the viewers’ reception of the murals. My research explores the murals’ role in university politics, reactions to the murals by their university audience, and recent controversies. A study of the Indiana murals in terms of the fluidity of historical construction and the effects of collective memory on their reception is significant because it leads to a greater understanding of the present’s cultural ideals, and begins to explain why the murals continue to elicit such strong reactions from viewers—whether to protest against their presence at the university or promote their preservation for the benefit of future generations.<br>Temple University--Theses
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Ferrell, Susanna S. "Black and White: The Exhibiting of Chinese Contemporary Ink Art in European and North American Museums." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/688.
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Contemporary Chinese ink art is often seen as a part of an ongoing history in the Western art world, as opposed to a part of the contemporary. This thesis addresses the history of Chinese ink, the Westernization of the Chinese art world, and the major exhibitions of Chinese contemporary ink artwork that have been held in the Western world.
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Asplan, Michael Jay. "PAINTING THE DRAMA OF HIS COUNTRY: RACIAL ISSUES IN THE WORK OF WIFREDO LAM IN CUBA, 1941-1952." University of Cincinnati / OhioLINK, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=ucin973709584.
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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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<p> Conceptualized by Costa Rican artist Guillermo Vargas Jiménez (known as Habacuc), <i>Exposición #1</i> [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, <i>Exposición #1,</i> 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 <i>Exposición #1</i> 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.” </p><p>
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McMaster, Ann Michelle M. "The Butler Institute of American Art: Pro Bono Publico." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1437661274.
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Hernandez, Dahnya Nicole. "Funny Pages: Comic Strips and the American Family, 1930-1960." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/pitzer_theses/60.
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This thesis examines a selection of American newspaper comic strips from approximately 1930 to 1960. At the height of their runs, many strips appeared in upwards of a thousand newspapers in the United States alone, and syndicates crafted and adjusted the content of these strips according to their image of the average American. This work discusses the pop cultural significance of these strips as well as the traditional American values revealed through each of them. Three strips in particular are the focal point for this thesis: Blondie, created by Chic Young in 1930, Little Orphan Annie created by Harold Gray in 1924, and Li’l Abner created by Al Capp in 1934. The first chapter, focusing on the relationship between Blondie and Dagwood Bumstead, will discuss how power within the family hierarchy is predicated on moral character, as well as how the recurring theme of punishment develops through Dagwood’s personal failures. The second chapter will look at the idea of cultural regularity in Little Orphan Annie through an examination of Daddy Warbucks. It will also deal with themes of leadership and legacy as communicated by the relationship between Annie and Warbucks. The third and final chapter will discuss how the satirical strip Li’l Abner responded to Blondie and Little Orphan Annie in terms of its rejection of traditional family hierarchy, specifically relating to male-female relationships. Ultimately, this thesis seeks to illustrate how a selection of comic strips expressed certain moral values, and the way in which they placed the characters at the mercy of following those values.
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Cooley, Kristin Nicole. "The 1889 and 1900 Paris Universal Expositions: French masculine nationalism and the American response." Thesis, The University of Arizona, 2001. http://hdl.handle.net/10150/278775.
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Universal expositions of the later nineteenth century were opportunities for the host country to reinforce its sense of nationalism and to showcase its technological progress or, read differently, the progress of man. This thesis examines nationhood as defined in terms of masculinity at the 1889 Paris Universal Exposition, which demonstrated French technological, colonial, and artistic superiority over all other nations. This superiority was trumpeted not just through architecture and colonial exhibits, but also through criticism of other countries' artwork, particularly painting and sculpture from the United States. Also discussed is the reaction of American artists to the criticism received in 1889 by producing art at the 1900 Paris Universal Exposition that resonated with masculinity, thereby projecting an enhanced national identity in fine art.
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Grace, Claire Robbin. "Group Material and the 1980s: A Materialist Postmodernism." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11662.
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Group Material's seventeen-year collaboration began in New York in 1979 through the artists' shared interests in collective, politicized practices and their immersion in a localized network of countercultural activities. While GM's cadre of participants shifted over time (from the dozen who launched its first year to a smaller core comprising Doug Ashford, Julie Ault, Mundy McLaughlin, Félix González-Torres, and Tim Rollins), its practice developed a consistent aesthetic vocabulary in dialogue with major figures of 1980s art and with an eye to 1960s conceptualism and the Soviet avant-garde. GM threw open the class coordinates of art's public and introduced a distinct set of responses to the central problematics of 1980s art: the debates over representation, appropriation, painting, public space, and activism.<br>History of Art and Architecture
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Loscher, Tricia, and Tricia Loscher. "Lone Wolf (Hart M. Schultz): Cowboy, Actor and Artist." Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/621717.
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The art and art history of the American West has long been uncritically accepted as embodying positive nationalistic values that include courage, optimism, democracy, and individualism. In 1991, William Truettner's The West as America: Reinterpreting Images of the Frontier, 1820-1920 (1991) became one of the most politically charged western art exhibitions in American history to question and criticize these values and to underscore the ideological content of western art. The exhibition with its accompanying catalogue reinterpreted nineteenth-century images of the American West as expansionist propaganda. In spite of this groundbreaking and controversial exhibition and catalogue, exhibitions continue to promote largely romanticized and idyllic images of pristine landscapes with American Indians living in a harmonious world. The scholarly essay and museum exhibition entitled Lone Wolf (Hart M. Schultz): Cowboy, Actor and Artist, focuses on the artwork and life of Blackfeet artist Lone Wolf, (aka Hart Merriam Schultz, 1882-1970), who was active from 1915 to 1960, painting in Montana at Glacier National Park in the summertime, and wintering in Tucson, Arizona. As a little known and understudied American Indian artist, this exhibition and essay serve to expand awareness of the significant contributions by marginalized artists who successfully negotiated the terrain of the mainstream art world. Lone Wolf exemplifies a unique case study as an artist with American Indian heritage, who actively participated in the creation of stereotypical and romantic images about the American West, while he maintained that his first-hand experience and indigenous knowledge helped him to accurately depict what was considered the authentic American West. The exhibition and essay adds to the growing scholarly interest in the art of the American West and incorporates contemporary theories and scholarship that recognizes the American West and the art devoted to it as distinctly heterogeneous and embedded in a number of discourses that are overshadowed by the lingering romanticism and nostalgia that clings to much art of the American West.
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Long, Jessica X. "She Inked! Women in American Tattoo Culture." Ohio University Honors Tutorial College / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1588796599281498.
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Reece-Hughes, Shirley (Shirley Ellen). "Arthur Garfield Dove's landscape assemblages: a unique intersection of European modernism, American ideas, and nature-based abstraction." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc798472/.
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In the middle of his career, Arthur Garfield Dove created a smell yet novel body of landscape assemblages. They illustrate Dove's central interest in evoking nature--its motifs and rhythms--through imaginative associations of organic and man-made materials. These works represent Dove's synthesis of contemporary European stylistic and intellectual ideas as well as American philosophies and concerns. They also reflect the influence of Alfred Stieglitz and his circle and the artist Helen Torr, Dove's second wife. This study examines how Dove used a complex interplay of European theory and technique, American ideas and his own nature-based abstract style to create the landscape assemblages, works that are uniquely independent in the history of American art.
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Washington, Tiffany Elena. "Selling Art in the Age of Retail Expansion and Corporate Patronage: Associated American Artists and the American Art Market of the 1930s and 1940s." Case Western Reserve University School of Graduate Studies / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=case1349292575.
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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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Terjesen, Lori Ann Martin. "Collecting the Brücke: Their Prints in Three American Museums, A Case Study." Case Western Reserve University School of Graduate Studies / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=case1291164225.
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Buhler, Doyle Leo. "Capturing the game| The artist-sportsman and early animal conservation in American hunting imagery, 1830s-1890s." Thesis, The University of Iowa, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3567993.
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<p> During the last half of the nineteenth century, American sportsmen-artists painted hunting-related images that were designed to promote the ideals of sporting behavior, conservationist thought, and the interests of elite sportsmen against non-elite hunters. Upper-class American attitudes regarding common hunters and trappers, the politics of land use, and the role of conservation in recreational hunting played a significant part in the construction of visual art forms during this period, art which, in turn, helped shape national dialogue on the protection and acceptable uses of wildlife. </p><p> This dissertation takes issues critical to mid-century American conservation thought and agendas, and investigates how they were embodied in American hunting art of the time. Beginning with depictions of recreational sportsmen during the era of conservationist club formation (mid-1840s), the discussion moves to representations of the lone trapper at mid-century. These figures were initially represented as a beneficial force in the conquest of the American frontier, but trappers and backwoodsmen became increasingly problematic due to an apparent disregard for game law and order. I explore the ways in which market hunting was depicted, and how it was contrasted with acceptable "sportsmanlike" hunting methods. Subsequent chapters consider the portrayal of the boy hunter, an essential feature to the sportsman's culture and its continuance, and the tumultuous relationship between elite sportsmen and their guides, who were known to illegally hunt off-season. The last chapters address the subject of the wild animal as heroic protagonist and dead game still life paintings, a pictorial type that represented the lifestyle of sportsmen and their concern for conservative catches and adherence to game law. Developments in conservation during the period were significantly tied to class and elitist aspirations, and artist-sportsmen merged these social prejudices with their agenda for game conservation. Their representations of hunting art both responded to and promoted the conservationist cause.</p>
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Stover, Louise 1962. "A celebration without shadows: Ansel Adam's and Nancy Newhall's collaborations on "The Pageant of History in Northern California" and "Fiat Lux: The University of California"." Thesis, The University of Arizona, 1992. http://hdl.handle.net/10150/292016.
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Throughout the 1950s and '60s Ansel Adams and Nancy Newhall collaborated on eight books devoted to photography. Two of these publications stand apart as books which were distinctly commercial in character. The Pageant of History in Northern California (1954), created for the American Trust Company of San Francisco, and Fiat Lux (1967), commissioned by the University of California, are linked by a number of interesting similarities. The ultimate function was identical--to create a work that would reflect the institution's commitment to the State of California. This essay will examine the character of Adams's photographs, Newhall's text, and their collaboration itself. It will explore the decisions and compromises Adams and Newhall were compelled to make between the requirements of the commercial commission and the preservation of their personal agenda of promoting photography as a tool of visual communication.
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Uecker, Jeffry Lloyd. "From Promised Lands to Promised Landfill: The Iconography of Oregon's Twentieth-Century Utopian Myth." PDXScholar, 1995. https://pdxscholar.library.pdx.edu/open_access_etds/5026.
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The state of Oregon often has been viewed as a utopia. Figures of speech borrowed from the romantic sublime, biblical pilgrimage, economic boosterism, and millenialist fatalism have been used to characterize it. The visual arts also have responded to Oregon's utopian myth. During the nineteenth century, the landscape was a primary focus for utopian art. In the twentieth century, past human achievements, recreation, agriculture, and industry have joined the environment as themes which inspire utopian imagery. The objective of this study is to demonstrate that twentieth-century art that responds to Oregon's utopian myth has given rise to an iconography which both energizes and reflects the development of that myth and which informs an important component of the state's identity. Using as a criteria that which idealizes Oregon as a place, an inventory of utopian art was compiled. It includes over 300 works of visual art, plus a number of artists for whom utopian subjects served as a consistent element. From this information, dominant themes were identified which demonstrate the existence of iconography, or visual symbolism, that expresses Oregon's utopian myth. Through the themes of natural environment, heroic images of Oregon's human past, and interaction between humans and the environment-plus numerous sub-themes-the artistic evidence demonstrates that visual imagery and symbols play an important role in how Oregonians define themselves and their history. It also suggests what form the state's utopian myth, identity' and the decisions made by its people may take in the next century.
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Arana, Emilia. "Eighteenth century caste paintings: The implications of Miguel Cabrera's series." Thesis, The University of Arizona, 1996. http://hdl.handle.net/10150/278537.
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This study examines caste paintings, an art form unique to eighteenth century colonial Mexico. Hundreds of caste paintings were produced, following a compositional template that remained fairly uniform throughout the century. The distinguishing characteristic of these images is their depiction and labeling of Mexico's racially mixed population. A broad discussion of the caste genre places these works in the context of hierarchical colonial society. Focus is on select images by prominent Mexican artist Miguel Cabrera, and the changes Cabrera brings to the caste template. This study places particular emphasis on the women of Cabrera's first two caste paintings, using examples from portraiture and other art forms for contrast. The noble cacique Indian woman of the first image is used as a way to highlight and explore representation of the European and Indian cultures that comprised the major dichotomy of New Spain's social organization.