Dissertations / Theses: 'Department of Art History'

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Li, Xin Jie. "Weituo : a protective deity in Chinese Buddhism and Buddhist art." Thesis, University of Macau, 2012. http://umaclib3.umac.mo/record=b2585607.

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Hansson, Amanda. "Jon Rafman at Zabludowicz Collection : A study in Reception aesthetics." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-274993.

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In this study, I will be applying Art historian Wolfgang Kemp’s theory of the aesthetics of reception as described in the article The Work of Art and Its Beholder: The Methodology of the Aesthetic of Reception (1998) to the Jon Rafman solo exhibition at Zabludowicz Collection in London (2015). A close study has been carried out on a selection of exhibition objects, as well as the exhibition space, to investigate how they address and interact with the beholder. An examination of Rafman’s art practice will also be disclosed. Throughout the study I will answer the following questions; How are the influences that inspired the exhibition, presented in the exhibition?, How do Jon Rafman’s installations at Zabludowicz Collection engage the beholder? And, how can the composition of the exhibition space be described?

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Chmielewski, Matthew D. "Successful Corporate Art Collections: Two Case Studies." University of Akron / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=akron1270923865.

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Hei, Rui. "Hariti, from a demon mother to a protective deity in Buddhism : a history of an Indian pre-Buddhist goddess in Chinese Buddhist art." Thesis, University of Macau, 2010. http://umaclib3.umac.mo/record=b2537050.

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Cruse, Stephen Douglas. "Roads for Texas: Creation of a State Highway Department." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc500305/.

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The work traces the early history of the Texas State Department of Highways. Beginning with the first efforts to create a department, the study focuses on the period between 1917 and 1923. Much attention goes to the legislative background of the early actions of the department. Subsequently, the work examines various statistical measures of the department's performance. This includes comparisons between Texas and nearby states, and the national highs, lows, and averages. Concluding the study is an examination of the department's immediate goals and long range plans in the years after 1923. The general conclusion of the study is that the department played a useful role in the development of state roads in Texas.

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Davison, Camon. "West Point of the West: A History of the Department of Military Science at Utah State University." DigitalCommons@USU, 2016. https://digitalcommons.usu.edu/etd/5032.

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The Department of the Military Science at Utah State University was created in 1898 and is the oldest department at USU. Until the mid-1950s it was mandatory that all male students be enrolled in Military training at the school and, if they so decided, would finish up the last two years of military training to become officers in the United States Military. This program is known as ROTC. Fully implemented at USU in 1916 the ROTC program continued to grow and would help fund the growth of campus during the 1920’s and 30’s. Following World War II the program became the largest ROTC unit in the nation and was nicknamed “West Point of the West”. The school produced more officers than any other college besides the Military Academy at West Point. The documentary film that I made follows the history of Utah State University from its founding in 1888 to the modern day research University of today. Using interviews of past and current ROTC cadets as well as the experts on the history of USU and ROTC, the film weaves the history of the expansion of the USU campus and the role that the Army ROTC unit had in the school’s development. Much of my research was done in special collections at the USU library where many of the photos for the film were found. Some of my research took me to the National Archives and the Library of Congress which proved to be invaluable when finding early military photos and documents. A total budget cost of USD$10,000 was spent on camera gear, travel expenses, drone footage, and digital storage solutions. The film was fully funded, written, shot, edited, and finished by myself and took 1 ½ years to make from start to finish. The end result is a 53-minute documentary delivered on a Blu Ray disk, the film is also accessible to the public via online streaming.

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Vickery, Edward Louis, and annaeddy@cyberone com au. "Telling Australia's story to the world: The Department of Information 1939-1950." The Australian National University. Faculty of Arts, 2003. http://thesis.anu.edu.au./public/adt-ANU20040721.123626.

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This study focuses on the organisation and operation of the Australian Governments Department of Information that operated from 1939 to 1950. Equal weighting is given to the wartime and peacetime halves of the Departments existence, allowing a balanced assessment of the Departments role and development from its creation through to its abolition. The central issue that the Department had to address was: what was an appropriate and acceptable role for a government information organisation in Australias democratic political system? The issue was not primarily one of formal restrictions on the governments power but rather of the accepted conception of the role of government. No societal consensus had been established before the Department was thrust into dealing with this issue on a practical basis. While the application of the Departments censorship function attracted considerable comment, the procedures were clear and accepted. Practices laid down in World War I were revived and followed, while arguments were over degree rather than kind. It was mainly in the context of its expressive functions that the Department had to confront the fundamental issue of its role. This study shows that the development of the Department was driven less by sweeping ministerial pronouncements than through a series of pragmatic incremental responses to circumstances as they arose. This Departmental approach was reinforced by its organisational weakness. The Departments options in its relations with media organisations and other government agencies were, broadly, competition, compulsion and cooperation. Competition was never widely pursued and the limits of compulsion in regard to its expressive functions were rapidly reached and withdrawn from. Particularly through to 1943 the Department struggled when it sought to assert its position against the claims of other government agencies and commercial organisations. Notwithstanding some high profile conflicts, this study shows that the Department primarily adopted a cooperative stance, seeking to supplement rather than supplant the work of other organisations. Following the 1943 Federal elections the Department was strengthened by stable and focused leadership as well as the development of its own distribution channels and outlets whose audience was primarily overseas. While some elements, such as the film unit, remained reasonably politically neutral, the Department as a whole was increasingly employed to promote the message of the Government of the day. This led to a close identification of the Department with the Labor Party, encouraging the Departments abolition following the Coalition parties victory in the 1949 Federal elections. Nevertheless in developing its role the Department had remained within the mainstream of administrative practice in Australia. While some of its staff assumed a greater public profile than had been the practice for prewar public servants, this was not unusual or exceptional at that time. Partly through the efforts of the Department, the accepted conception of the role of government had expanded sufficiently by 1950 that despite the abolition of the Department most of its functions continued within the Australian public sector.

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Psaltis, Kosta. "Presidential Power in an Era of Congressional Deference: How Congress and the American People Are Failing Each Other." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/cmc_theses/1124.

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In this thesis I diagnose the health of the United State’s constitutional regime and extensively explore the changing relationship between Congress and the president. I began by diving into the arguments laid out in The Federalist Papers to explain the basis of America’s separation of powers system. I then explore the rise of presidential power and the increase in congressional deference and abdication through the lens of the budget process and war authority. Next, I provide suggestions for ways in which Congress should assert itself. Lastly, I provide recent indications that Congress may be willing to express its institutional will. In conclusion, I argue that the modern world has changed the incentive structure for representatives who now cater primarily to their constituents and avoid making controversial decisions instead of acting as a check on executive power. I distribute blame between Congress and American citizens for allowing this change to occur and stress the importance of civic education and civic participation in a healthy constitutional regime.

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Haxton, Robert Peter. "Refusal and rupture as a postdramatic revolt : an analysis of selected South African contemporary devised performances with particular focus on works by First Physical Theatre Company and the Rhodes University Drama Department." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1015671.

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This mini-thesis investigates the concepts of refusal and rupture as a postdramatic revolt and how these terms can be applied and read within the context of analysing contemporary devised performance in South Africa. The argument focuses on the efficacy of Hans-Thies Lehmann’s postdramatic terminology and the potential of its use in an appreciation of contemporary performance analysis. I investigate the potential in South African contemporary devised performance practice to challenge prevailing modes of traditional dramatic expectation in order to restore the experience of discovery and questioning in the spectator. This research is approached through a qualitative process which entails a reading and application of selected critical texts to the analysis with an application of Lehmann’s terminology. This reading/application is engaged in a dialogue with the interpretative and experiential aspects of selected South African devised performances with particular focus on four cross-disciplinary works selected for analysis. Chapter One functions as an introduction to the concept of postdramatic theatre and the application of the terms refusal and rupture as deconstructive keywords in the process of a devised performance. Chapter Two is an analysis of several South African contemporary performances with particular focus on Body of Evidence (2009) by Siwela Sonke Dance Company, Wreckage (2011) a collaboration by Ubom! Eastern Cape Drama Company and First Physical Theatre Company, Discharge (2012) by First Physical Theatre Company, and Drifting (2013) by The Rhodes University Drama Department. This mini-thesis concludes with the idea that with an understanding of refusal and rupture in a postdramatic revolt, contemporary devised performance achieves an awakening in its spectators by deconstructing the expectation of understanding and the need for resolve; the assumption and need for traditional dramatic structures and rules are challenged. Instead, it awakes an experience of discovery and questioning.

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Byers, Daniel Thomas. "Mobilizing Canada : the National Resources Mobilization Act, the Department of National Defence, and compulsory military service in Canada." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36881.

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Compulsory military service took on the most organized, long-term form it has ever had in Canada during the Second World War. But few historians have looked beyond the politics of conscription to study the creation, administration, or impact of a system that affected more than 150,000 men. This thesis examines the Army's role in creating and administering the compulsory military training system, and particularly the influence of Major-General H. D. G. Crerar and other senior officers. Faced with the federal government's policy of conscripting manpower only for home defence in 1940, and influenced by their own personal and professional desires to create a large, powerful Army that could take a leading role in the fighting overseas, Army leaders used conscripts raised under the National Resources Mobilization Act to meet both purposes. In this development can be found the origins of the "big army" of five divisions that fought for Canada overseas. Ultimately, thanks to the burden created by the "big army," and the entry of Japan into the war in late 1941, the NRMA failed to meet the huge demands imposed on the nation's manpower resources. The result was the political crisis that almost brought down the federal government in October and November 1944.
This thesis also explores the origins and background of the conscripts themselves, and the impact of the NRMA on their lives. As the NRMA became more and more central to the Army's plans after 1941, conscripts were exposed to a number of pressures designed to convince them to volunteer for overseas service. By late 1944, the only ones who remained were those who had most strongly resisted these efforts, a fact that the country's generals understood better than its politicians. The events of late 1944 brought the Cabinet to an awareness of the situation, but only at the cost of the prestige and influence that the Army had built up over the earlier years of the war. Thus, the way that the Army managed the NRMA came very much to shape the political debates that took place, and the place of the Army in Canada after the war.

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Menking, Christopher Neal. "Catalyst for Change in the Borderlands: U.S. Army Logistics during the U.S.-Mexican War and the Postwar Period, 1846-1860." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609058/.

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This dissertation seeks to answer two primary questions stemming from the war between the United States and Mexico: 1) What methods did the United States Army Quartermaster Department employ during the war to achieve their goals of supporting armies in the field? 2) In executing these methods, what lasting impact did the presence of the Quartermaster Department leave on the Lower Río Grande borderland, specifically South Texas during the interwar period from 1848-1860? In order to obtain a complete understanding of what the Department did during the war, a discussion of the creation, evolution, and methodology of the Quartermaster Department lays the foundation for effective analysis of the department's wartime methods and post-war influence. It is equally essential to understand the history of South Texas prior to the Mexican War under the successive control of Spain, Mexico and the United States and how that shaped the wartime situation. The wartime discussion of Department operations is divided into three chapters, reflecting each of the main theaters and illustrating the respective methods and influence within each area. The final two chapters address the impact of the war on South Texas and how the presence of the Quartermaster Department on the Río Grande served as a catalyst for economic, social, and political changes in this borderland region. Combining primary source analysis of wartime logistics with a synthesis of divergent military and social histories of the Lower Río Grande borderland demonstrates the influence of the Department on South Texas during the mid-nineteenth century. The presence of the Quartermaster Department created an economic environment that favored Anglo-American entrepreneurs, allowing them to grow in wealth and begin to supplant the traditional Tejano/Mexican-American power structure in South Texas. Despite remaining an ethnic minority, Anglos used this situational advantage to dominate the region politically. This outcome shaped South Texas for decades to follow.

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Craig, Maddison L. "Women in the Foreign Service: A Case Study of Margaret Parx Hays, 1942-1964." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609150/.

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This project seeks to include the historical significance of women in the Foreign Service and subsequently the United States Department of State between 1942 and 1964. Using the life and experience of Margaret Parx Hays, one of fewer than three hundred female foreign service officers before 1960, this study explores the importance of examining women at the "ground level." This narrative examines the life of Hays at several different duty stations and her experience navigating a male-dominant workplace congruent to the political and diplomatic missions of each stations. Hays was stationed in Buenos Aires, Argentina (1942-1945); Bogota, Columbia (1945-1947); Rio de Janeiro, Brazil (1948-1950); Washington D.C., U.S. (1951-1954; 1959-1962); Manila, Philippines (1954-1956); Mexico City, Mexico (1956-1958); and Hong Kong, China (1962-1964). Throughout the deployment at each station, Hays was confronted with major political events in her duty station's history or in the intersection of American foreign and domestic policy. Through the use of Hays's archived collection of personal papers, including letters and newspapers, this thesis presents a more representative story about women and about the Department of State as a larger whole than previous scholarship that has ignored how gender affected diplomatic history.

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Strong, Edward Trowbridge. ""The Jaws of Mars are Traditionally Wide ... And His Appetite Is Insatiable": Truman, the Budget, and National Security." Miami University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=miami1564568978026948.

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Peete, Ireanna Aleya. "A Historical Study on the Implications of Brown v. The Board of Education on Black Art Educators." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1592239705805405.

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Lam, Chou I. "A descriptive study of how culture-specific terms are glossed in a Chinese translation of Angels and Demons." Thesis, University of Macau, 2012. http://umaclib3.umac.mo/record=b2586620.

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Williams, David J. (History teacher). "Company A, Nineteenth Texas Infantry: a History of a Small Town Fighting Unit." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc699958/.

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I focus on Company A of the Nineteenth Texas Infantry, C.S.A., and its unique status among other Confederate military units. The raising of the company within the narrative of the regiment, its battles and campaigns, and the post-war experience of its men are the primary focal points of the thesis. In the first chapter, a systematic analysis of various aspects of the recruit’s background is given, highlighting the wealth of Company A’s officers and men. The following two chapters focus on the campaigns and battles experienced by the company and the praise bestowed on the men by brigade and divisional staff. The final chapter includes a postwar analysis of the survivors from Company A, concentrating on their locations, professions, and contributions to society, which again illustrate the achievements accomplished by the veterans of this unique Confederate unit. As a company largely drawn from Jefferson, Texas, a growing inland port community, Company A of the Nineteenth Texas Infantry differed from other companies in the regiment, and from most units raised across the Confederacy. Their unusual backgrounds, together with their experiences during and after the war, provide interesting perspectives on persistent questions concerning the motives and achievements of Texas Confederates.

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Ivanov, Gunnela. "Vackrare vardagsvara – design för alla? : Gregor Paulsson och Svenska Slöjdföreningen 1915–1925." Doctoral thesis, Umeå University, Historical Studies, 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-275.

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This thesis is structured in six chapters. Chapter I contains an introduction and includes purpose, theory, method, and concepts. The main purpose, as depicted by the title, is to examine the roots of Swedish ideology concerning what today is generally named design, as embodied in the concept of more beautiful or better things for everyday life (in Swedish: ”vackrare vardagsvara”).

Chapter II contains a background and includes philosophical ideas and aesthetic movements in Europe which have influenced the Swedish Society of Arts and Crafts (in Swedish ”Svenska Slöjdföreningen”, abbreviated SSF) which was later renamed the Swedish Society of Crafts and Design (in Swedish: ”Föreningen Svensk Form”). It considers these activities: the Arts and Crafts movement in England, the Swedish national romantic movement, Deutscher Werkbund in Germany, and Swedish moulders of public opinion and new ideas, like Ellen Key, Carl Larsson and Gregor Paulsson.

Chapter III is an ideological biography of Gregor Paulsson. The chapter deals with biographical data and ideological development, and the social aesthetical texts which were important in his activity in the National Museum and as director of The Swedish Society of Arts and Crafts. Gregor Paulsson is considered mainly in his role as social aesthetical propagandist and museologist.

Chapter IV concerns the early history and activities of the Swedish Society of Arts and Crafts seen as an introduction to the Baltic Exhibition 1914, and the subsequent schism which eventually led to its reorganization and a new ideological orientation. Its activities were directed towards increased cooperation between artists and industry, and a special department was established as an employment office for companies and designers under the management of the textile artist Elsa Gullberg. This chapter also includes a brief portrait of key persons in the Society.

Chapter V is a study in several sections of the articles for everyday use seen in industrial practice, with Gustavsberg’s china factory and Orrefors’ glassworks as two separate historical studies. The 1917 Home Exhibition is surveyed as an example of the educational ambitions in the development of people’s taste. The focus of the chapter, however, is the international industrial art exhibition in Paris 1925, Exposition International des Arts Décoratifs et Industriels Modernes, and the debate about it in the Swedish and French press.

Chapter VI consists of a concluding discussion with a final epilogue. It contains suggested questions for future research including relations between design and ethics.

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Halsall, Francis. "Art, art history and systems-theory." Thesis, University of Glasgow, 2004. http://theses.gla.ac.uk/5392/.

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Williams, Cheryl Lynn. "Mapping the art historical landscape : genres of art history appearing in art history literature and the journal, Art education /." Connect to this title online, 1997. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1102365647.

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Smartt, Elizabeth Thalhimer. "Thalhimers Department Store: Story, History, and Theory." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/1447.

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This thesis looks at Thalhimers department store through the lenses of story, history, and theory. It first introduces the intertwining narratives of the author's paternal family and the store's history, then shares the author's personal story of Thalhimers. The second half outlines the master narrative of the American department store then applies "fantasy-theme analysis" and the symbolic convergence theory to stories and artifacts related to Thalhimers. A conclusion discusses the end of the department store era including a deeply personal goodbye from the author.

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Masters, Hannah L. "Art Therapy and Art History Theories, an Inquiry." Digital Commons at Loyola Marymount University and Loyola Law School, 2018. https://digitalcommons.lmu.edu/etd/515.

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This research uses critical theory inquiry with interviews and arts-based research to explore biases about art making in clinical art therapy practice. The literature review establishes an historical link between theoretical tenets in fields of art therapy and art history. Participants are chosen from experts in the fields of art therapy and art history. Interviews explore what art making means to each participant, utilizing both verbal and arts-based processing. The data is condensed through coding and arts-based reflection, and seven emergent themes are identified. The themes are checked with the participants for accuracy. The findings of the paper integrate the insight from the literature review with the expressed views of the participants to illuminate meaning-making processes of art. The paper concludes with identification of an “art historical lens” for practicing art therapy and discussion of treatment considerations, limitations of the study, and suggestions for further research.

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Lintner, Natalie Elaine. "Living art history in the elementary art room." The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1407397595.

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Kirkham, Deborah Anne. "Medieval art writing and the study of art history." Thesis, University of Manchester, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.529796.

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Neuenschwander, J. Brody. "The art history of Speyer." Thesis, Courtauld Institute of Art (University of London), 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.325778.

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MacFarlane, Dana. "Walter Benjamin and art history." Thesis, University of Essex, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.419285.

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Sonter, Sharyn Louise, University of Western Sydney, of Performance Fine Arts and Design Faculty, and School of Design. "The museum and the department store." THESIS_FPFAD_SD_Sonter_S.xml, 1997. http://handle.uws.edu.au:8081/1959.7/553.

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This research aims to show the relationships between the museum and the department store and the visitor who engages with both institutions. The visitor to these spaces is the focus for the development of meaning, and reaction, to the objects on display in both spaces. The methods of interior and exterior design, planning and circulation, and object display, are discussed in relation to the vital context of the viewer, and the consequent construction of meaning and value. Value itself, becomes a recurring theme in these discussions since design and display within both institutions can perpetuate value, desire, and fetishism for the object. These concepts are further related to the appropriation of Minimalist aesthetics in boutiques. This analysis is applied to the critique of two exhibitions: 'Islands: Contemporay Installations' at the National Gallery of Australia, and, 'The Second Asia-Pacific Triennial of Contemporary Art' at the Queensland Art Gallery. These exhibitions which predominantly involve installation art are discussed as examples relating to the phenomena of viewing, and the impact of design and display
Master of Arts (Hons) Visual Arts

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Marquez, Jessica. "A natural history /." Online version of thesis, 2008. http://hdl.handle.net/1850/6249.

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Charlesworth, J. J. "Art criticism : the mediation of art in Britain 1968-76." Thesis, Royal College of Art, 2016. http://researchonline.rca.ac.uk/1803/.

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This thesis studies the changes in the nature of critical writing on contemporary art, in the context of the British art world across a period from 1968 to around 1976. It examines the major shifts in the relationship between the artistic production of the period and the forms of writing that addressed it, through those publications that sought to articulate a public discourse on art in a period where divergent accounts regarding the criteria of artistic value, and the terms of critical discourse, came increasingly into conflict. This thesis takes as its main subject a number of publication venues for art-critical writing of the time, and their responses to the rapidly changing scene of artistic production. It examines the forms of writing that attended emerging artistic practice and the theoretical and critical assumptions on which that writing depended, highlighting those moments where critical discourse was provoked to reflect self-consciously of the relation between discourse and artistic practice. By tracing the repercussions of the cultural and political revolts of the late 1960s, it examines how the orthodoxies of art criticism came to be challenged, in the first instance, by the growing influence of radical artistic practices which incorporated a discursive function, and by leftist social critiques of art. It explores how, in the first half of the 1970s, radical and political artistic practice was promoted by a number of young critics, and sanctioned by its presentation in public art venues. Examining the history of magazines such as Studio International and a number of smaller specialist and non-specialist magazines such as the feminist Spare Rib and the left-wing independent press, it attends to how debates over the cultural and social agency of art began to draw on continental theoretical influences that put into greater question the role of subjective experience and the nature of the human subject. It examines how this shift in the relation between practice and discourse manifested itself in the editorial and critical attitudes of publications both from within the field of artistic culture, and from a wider context of publications embedded in the radical political and social currents of the early 1970s. It gives particular attention to the careers of a number of prominent critics, while situating the later reaction against alternative artistic practices in the context of the politically conservative turn of the end of the decade.

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Cline, Abrahams Cheryl L. "Art knowledge and the social role of the university art department in the aftermath of postmodernism." Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/28658.

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This study presents a sociology of art knowledge. It explores relationships between art knowledge and institutional structures, making visible how and why certain conceptions of art are hierarchized and generalized so as to be considered essential to the nature of all art. It renders problematic the existing situation in which the art traditionally taught in schools and universities is, for the most part, insular and culturally singular in basis, and examines why this cultural singularity persists in a society which is culturally pluralistic. The thesis is that the university art department has the monopoly on defining, legitimating, and perpetuating this insular and culturally singular art knowledge for transmission through the school' system to all cultural and social groups. The ways in which the university effects art knowledge are discussed in terms of ' the university's curricular structuring and disciplinary ties; its social role as patron, producer, definer, legitimator, and socializer in the arts; and in terms of its ability to neutralize "avant-garde" attacks, including the postmodernist incursion of popular culture into the realm of "sacred" culture. The theoretical framework of this critical analysis is a sociology of knowledge, and the materials for analysis were obtained by reviewing public documents on art programs, policy on the arts in postsecondary education, and a cross-disciplinary selection of literature in social theory, educational theory, aesthetics, and art history. The institutional structures and norms described throughout the study present significant resistance to the postmodernist commitment to challenge conceptual parameters and hierarchies of art knowledge that hinder a broadening of the cultural base of art. The study makes imperative the need to seriously consider this resistance if educational systems are to embrace the artistic activities of a diverse population and if art is to move into a more vital and relevant role in society. It makes imperative for sociological study of art systems (which in the past has concentrated almost exclusively on the role of museums, galleries, critics, dealers, and artists' "lofts") to take into account the role of the university art department as a primary institutional basis of art knowledge, and as a definer of cultural knowledge about art.
Graduate and Postdoctoral Studies
Graduate

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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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Risen, Jeremy D. "Indianapolis department store architecture : the national and local development of the department store building type." Virtual Press, 2000. http://liblink.bsu.edu/uhtbin/catkey/1178347.

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The department store retailing concept grew out of the nineteenth century dry goods retail trade. Dry goods stores were usually housed in a group of nineteenth century commercial buildings. As the United States became more prosperous during the late nineteenth century, dry goods establishments outgrew their buildings and developed a new department store building type. The "second generation" store design was generally tripartite: large ground floor display windows, intermediate stories with regular banks of windows, and decorative upper one or two stories capped with an elaborate cornice. These flagship buildings were expanded and remodeled until the 1950s, when the focus of department store retailing shifted to the suburban branch stores. The branch stores anchored shopping centers in the 1950s and 1960s and enclosed shopping malls thereafter.
Department of Architecture

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McCurdy, Jessie, Alexandria Richardson, and Kathaleena Thirtle. "A People's History of Art Therapy." Digital Commons at Loyola Marymount University and Loyola Law School, 2019. https://digitalcommons.lmu.edu/etd/800.

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The following research examined a survey on the identity and feelings of inclusion among alumni of Loyola Marymount University’s Marriage and Family Therapy with Specialization Training in Art Therapy graduate program. The survey found that a majority of the responding alumni did not feel their identities were represented in multiple aspects of the program, and there was a clear call to action for more representation of diversity. More research on the subject is needed to expand a variety of art therapy programs to better understand implications of art therapy pedagogy on identity, representation, and inclusivity within the art therapy community.

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Thomas, Jeanette Ann. "A history of the BBC features department 1924-1964." Thesis, University of Oxford, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.359694.

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Parbhoo, Nagin. "The Department of Anaesthesia, UCT 1920-2000 : a history." Master's thesis, University of Cape Town, 2002. http://hdl.handle.net/11427/3027.

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Sapin, Julia Elizabeth. "Liaisons between painters and department stores : merchandising art and identity in Meiji Japan, 1868-1912 /." Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/6236.

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Rosenberger, Nathan C. "Art in the ashes| Class, race, urban geography, and Los Angeles's postwar Black art centers." Thesis, California State University, Long Beach, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10032310.

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“Art in the Ashes” uncovers the implications of race, place, and class in Los Angeles through an in depth exploration of urban black art centers. By examining a cross-section of creative spaces in the city, including the Watts Towers Arts Center, Compton Communicative Arts Academy, the Inner City Cultural Center, and Brockman Gallery in Leimert Park, this thesis probes the real and imagined meanings associated with these centers’ social, economic, and cultural geography. In doing so, the work redefines and refines current understandings of the black community in the postwar era, exposing the complicated racial and ethnic partnerships and pressures that grew out of art and activism in the 1960s. Through extensive archival research, secondary source analysis, and personal interviews, “Art in the Ashes” finds a vibrant and highly diversified black experience and identity in Los Angeles that closely follows issues of economics, geography, racial understanding, politics, and culture.

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King, Abigail Graham. "Community Art as an Interdisciplinary Challenge to Fine Art." Miami University Honors Theses / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1123084206.

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Roussouw, Chad. "A history of failure." Master's thesis, University of Cape Town, 2011. http://hdl.handle.net/11427/10653.

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Includes bibliographical references.
A history of failure implies several things. It can point to a chronology of the concept of failure, like so many contemporary history books that chart a minute aspect of culture. It could refer to a personal record, like a criminal having a history of violence. The implication is also there that history itself has failed to achieve, failed to describe, failed to move forward, failed to be history at all. History in this essay is not just the study of the past, but also its use in culture - to separate us from nature, to validate ideologies or to provide insight into our present. History in these terms is not a sequence of physical events, but the representation of these events. These representations exhibit curious behaviour: no matter their function they appeal to truth. History uses the language of the real to validate itself (Culler 2002: Kindle edition'), and this language is often constituted into narrative (which I will discuss in some detail later).

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Kundu, Rina. "The Discursive Formation of An Art History Survey Classroom." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1211958271.

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Williams, Stephanie Danielle. "ART AT THE AIRPORT AND THE INTERSECTION OF PUBLIC ART AND PUBLIC HISTORY." Master's thesis, Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/448628.

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History
M.A.
This thesis is a study of the intersection of public art and public history in Philadelphia. This project looks at Philadelphia based case studies to see how the intersection of public art and public history can bring in new audiences, act as a form of advertisement, and shape interactive experiences for visitors. Connecting to a body of literature that deals with the power of place, I ask in this study how public history in unexpected places has the power to bring in new audiences that may not have the chance or even want to visit a traditional history museum or historic site. How do these projects and programs serve a community? The study features the history of Art at the Airport, an international series of art exhibits and programs at major airports. Among these, the Philadelphia International Airport’s Art at the Airport program exhibits traditional and innovative art and regularly features historic content. Any airport today is a place of high stress, but surveys of airport visitors indicate that for some art has the ability to relieve anxieties. So what happens when public art and public history collide in this space? While studying Art at the Airport as an intern, I witnessed people who stopped, learned, and gained knowledge of history in a public setting without a book, a teacher, or tour guide. This study allows me to show the power of public history and public art.
Temple University--Theses

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Horne, Victoria. "History of feminist art history : remaking a discipline and its institutions." Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/16194.

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Recognising art’s crucial function for reproducing economic and sexual differences, feminist political interventions - alongside a range of ‘new’ critical perspectives including Marxism, psychoanalysis and poststructuralism - have wrought historic changes upon the production, circulation and consumption of art. This is widely acknowledged in art historical scholarship. However, understanding that ‘art history’ (as a historically conditioned discipline) is concurrently reproductive of these ideological and material inequalities, feminist scholars have significantly and continually sought to intervene at the point of production – the writing of art’s history – to expose its social role and remake the fundamental terms of the discipline. This is a truth less widely acknowledged or, at least, less well-understood within contemporary scholarship. This thesis, therefore, seeks to examine the discipline of art history in Anglo- American contexts to assess the impact that feminist models of scholarship have had upon its knowledges and practices. This is attained through extensive literature overviews, archival research and, to a lesser extent, email interviews with key contributors to the discourse. Ultimately, this examination endeavours to address the production and regulation of feminist knowledge across a number of expanded (and interconnected) institutional sites. Case studies track the impact of feminist strategies upon the authoring of art history in the classroom, within scholarly professional organisations, academic publishing, the museum sector, and upon art-making itself. The research evaluates the mutable power structures of the discipline, how feminist interventions have had success in rethinking the limits of institutional knowledge, and how it may be possible to articulate critique under twenty-first-century conditions of institutional complicity and the hegemonic recuperation (or indeed ‘disciplining’) of radical practices. To date – and despite its prominence within much feminist writing - the importance of art historiography for the feminist political project has not been properly examined; the aim of this thesis is therefore to redress this omission and provide a timely and comprehensive critical reading of feminist knowledge production since around 1970.

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Sun, Yuyu. "A history of Britain's export credits guarantee department, 1919-1979." Thesis, University of the West of Scotland, 2017. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.742767.

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Anonyuo, Emeka G. "Nigerian Skokian art : a microanalysis of the realistic visual expression in contemporary Nigerian art /." The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488187763846333.

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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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Willis-Fisher, Linda Salome Richard A. "A survey of the inclusion of aesthetics, art criticism, art history, and art production in art teacher preparation programs." Normal, Ill. Illinois State University, 1991. http://wwwlib.umi.com/cr/ilstu/fullcit?p9203045.

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Thesis (Ed. D.)--Illinois State University, 1991.
Title from title page screen, viewed December 21, 2005. Dissertation Committee: Richard A. Salome (chair), Jack Hobbs, Noreen Michael, Marilyn P. Newby, Fred A. Taylor. Includes bibliographical references (leaves 112-115) and abstract. Also available in print.

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Fossen, Pamela, and n/a. "Errol Morris and the art of history." University of Otago. Department of Media, Film and Communication, 2009. http://adt.otago.ac.nz./public/adt-NZDU20091001.154456.

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The work of documentary director Errol Morris can be approached in a variety of ways as it intersects and engages with many of the major themes of film and television scholarship - genre, authorship, and historical representation. But while his films and television episodes expose debates within film and documentary studies, they also call up major elements of postmodern debates within the historical discipline. Morris makes historical documentaries that do not simply render a (hi)story visually; he also attempts to draw viewers' attention to the conventions and construction of both visual media and of history. His work reveals both his keen awareness of postmodern historical debates, and a willingness to play, to confront basic assumptions, question boundaries, and to contribute to those debates. In 'Errol Morris and the Art of History', I argue that Morris is a visual historian; his films and television episodes draw as much from his understanding of historiographical debates as they do from his knowledge and artistic approach to visual media. All of Morris' work challenges the notion of objectivity in both documentary filmmaking and history; he attempts to illuminate the limits and conventions of visual depictions of history; he uses strategies to denaturalise historical and narrative construction, the naturalising tendencies of visual media, and the conventions of documentary practice; and he attempts to promote increased critical reflection. This thesis closely examines Morris' documentary films and television episodes to consider the structure and strategies that characterise his work, and situate it within contemporary film and historical debates. I explore Morris' methods and approach to documentary and history, showing how his work relates to postmodern history debates, to written and visual representations of history, and to documentary history and theory, including more recent factual forms like reality television.

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Maeorg, Michael. "Art, myth and history in the Parthenon /." Title page, contents and introduction only, 1986. http://web4.library.adelaide.edu.au/theses/09AR/09arm185.pdf.

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Bacharach, Sondra Wynne. "Definitions of art : narratives, history and essentialism /." The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486402288259281.

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Sonter, Sharyn Louise. "The museum and the department store." View thesis, 1997. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030911.113738/index.html.

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Dissertations / Theses on the topic 'Department of Art History'

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