Relevant bibliographies by topics / Museum of American Folk Art / Dissertations / Theses
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Dissertations / Theses on the topic 'Museum of American Folk Art'

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Published: 4 June 2021
Last updated: 13 February 2022

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1

Wong, Ngai-leung Aman, and 黃毅樑. "Museum of Guangdong folk art." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B3198552X.

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Wong, Ngai-leung Aman. "Museum of Guangdong folk art." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B2594552x.

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3

Poe, Preston. "American folk." [Tampa, Fla.] : University of South Florida, 2004. http://purl.fcla.edu/fcla/etd/SFE0000590.

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4

Carpenter, Lisa. "Folk into Art: John Fahey, Modernism and the American Folk Revival." W&M ScholarWorks, 2017. https://scholarworks.wm.edu/etd/1516639659.

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John Fahey’s music holds a distinct place in the mid-century folk revival--distinct because he is difficult to fit in with traditional narratives of the revival. John Fahey created a unique musical style through incorporation of traditional American music with classical music forms. His musical “quotations” and renditions of American blues, folk, ragtime, Protestant hymns, and parlor songs did not merely revive traditional music, but gave it new form and newfound respect in order to further artistic exploration. Fahey was a musical modernist, infusing tradition with the new. Fahey’s work can be situated in the context of modernist/folk connections that began earlier in the century.
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5

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

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6

Dobler, Robert. "New American Ways of Death: Anxiety, Mourning, and Commemoration in American Culture." Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/18430.

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The experiences of grief and mourning in response to loss are fundamentally transformative to the self-identity of the mourner, necessitating an array of ritualized behaviors at the communal and individual levels. These rituals of mourning both create a space in which this transformation may take place and provide the structure that can direct that transformation. My focus is on historical and emerging forms of vernacular commemoration, by which I refer to material forms that are created by, acted upon, or in other ways utilized by a person experiencing grief in the service of regaining a sense of stability in the aftermath of loss. The re-integration of the bereaved, through mourning, back into society in new relation with the departed is often assisted by these vernacular memorial forms. My analysis focuses on three specific forms of commemoration: spirit photographs, ghost bikes, and memorial tattoos. These are vernacular forms of expression in the sense that they have emerged from and cater to individual needs and desires that are not satisfied by the more official and uniform materials and processes of mourning, such as the funeral service and subsequent visits to a gravesite or contemplation of an ash-filled urn. The power of these memorial forms rests in the adaptive and restorative abilities of memory to retain the lost relationship and to pull it forward and reconstitute it in a changed state as enduring and continuing into the future. When faced with the sudden death of a loved one, the traditional rituals that surround modern death may seem too rigid and homogenized to satisfy the wide array of emotions demanding attention in the bereaved. This is where the vernacular rituals and new forms of commemoration discussed in this dissertation spring up and make themselves known. Highly individual, yet often publicly and politically motivated, these new American ways of interpreting death and performing mourning represent the changing needs of contemporary mourners. As death has become increasingly hidden away and discussion of it rendered taboo, the need for personal and direct interaction with the processes of grief and mourning have become more and more important.<br>2016-09-29
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7

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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8

Brooks, Queen E. "The ties that bind : art of an African American artist." The Ohio State University, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=osu1144433506.

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9

Macaluso, Rose E. "The Smithsonian Institute Smithsonian American Art Museum registration internship." ScholarWorks@UNO, 2003. http://scholarworks.uno.edu/aa_rpts/88.

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This detailed report of a registration internship at the Smithsonian American Art Museum includes an organizational profile of the Smithsonian Institute, the Smithsonian Institute Affiliate Program, and the Smithsonian American Art Museum, a description of the activities performed during the internship, an analysis of a volunteer management challenge, a proposed resolution to the volunteer management challenge, and a discussion of the short and long term effects of the internship. The duties and expectations of volunteers, the staff preparation for volunteers, and the empowerment of volunteers are important aspects of the analysis and resolution of the volunteer management challenge.
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10

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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Weimer, Emery Christian. "An Examination of American Sideshow Banners as Folk Art, ca. 1920-1960." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3302/.

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This thesis redresses the lack of scholarly attention paid to painted circus banners produced in the United States during the first half of the twentieth century by exploring the extent to which American folk art painting scholarship, methodologies, and objects can be used to articulate the meaning and significance of banner painting. This study expands the disciplinary treatment of banner painting by introducing domesticated art as a means of representing non-academic art produced in the U.S. The thesis also presents a model for exploring banner painting after identifying traditional American folk art painting methodologies, which fail to investigate banner painting style, format, and artistic training associated with banner work.
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CARDASSILARIS, NICOLE RUTH. "Bringing Cultures Together: Elma Pratt, Her International School of Art, and Her Collection of International Folk Art at the Miami University Art Museum." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1204738152.

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Strandjord, Erika Claire. "Lived Ethos in Norwegian America: Rhetorical Education and Practice." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1374050044.

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Cardassilaris, Nicole Ruth. "Bringing cultures together Elma Pratt, her international school of art, and her collection of international folk art at the Miami University Art Museum /." Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1204738152.

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Thesis (M.A.)--University of Cincinnati, 2008.<br>Advisor: Theresa Leininger-Miller, PhD (Committee Chair); Mikiko Hirayama, PhD (Committee Member); Anne Timpano, MA (Committee Member). Title from electronic thesis title page (viewed May 8, 2008). Includes abstract. Keywords: Elma Pratt; International School of Art; Zakopane, Poland; Miami University Art Museum; folk art; material culture; art education; museum collections; Polish folk art; women in art education; Brooklyn Museum; Franz Cizek. Includes bibliographical references.
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15

Howe, Laura Paulsen. "Navajo Baskets and the American Indian Voice: Searching for the Contemporary Native American in the Trading Post, the Natural History Museum, and the Fine Art Museum." Diss., CLICK HERE for online access, 2007. http://contentdm.lib.byu.edu/ETD/image/etd2015.pdf.

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16

McFelter, Gypsy. "Is the price right? : Admission fees and free admission in American art museums /." [Pleasant Hill, Calif. : John F. Kennedy University Library], 2006. http://library2.jfku.edu/Museum_Studies/Is_the_Price_Right.pdf.

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17

Chasse, Sarah Noble. ""A Certain Kinship": The First Exhibitions of American Folk Art, New York, 1924-1932." W&M ScholarWorks, 2012. https://scholarworks.wm.edu/etd/1539626675.

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18

De, Villiers Katerina Lucya. "The JH Pierneef collection of the City Council of Pretoria housed in the Pretoria Art Museum." Diss., University of Pretoria, 1997. http://hdl.handle.net/2263/27532.

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This study is based on the catalogue/checklist of Pierneef works in the Pretoria Art Museum collection. The artist’s life, social, political and artistic influences of the period, both local and international, may be deduced from works analysed and discussed. The Arts and Crafts movement was a powerful influence affecting ideas on national identity, folk art and the vernacular from the middle of the nineteenth century onwards. A world-wide romantic nationalism stimulated a search for identity and exploitation of the indigenous. It is argued that these trends may be identified in the artistic development of Pierneef who, through friends, wide reading and intensive study was alive to European developments but focused on the indigenous arts of Southern Africa. He was the first South African artist to recognize Busman art and that of the black peoples. They had a profound influence on his own development and the motifs of his art.<br>Dissertation (MA)--University of Pretoria, 1997.<br>Historical and Heritage Studies<br>unrestricted
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19

Decker, Jillian. "The Restitution of World War II-Era Looted Art: Case Studies in Transitional Justice for American Museum Professionals." Walsh University Honors Theses / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=walshhonors155561854704584.

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20

Tolley, Rebecca. "Review of Drawing on America’s Past: Folk Art, Modernism, and the Index of American Design." Digital Commons @ East Tennessee State University, 2003. https://dc.etsu.edu/etsu-works/5717.

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21

Bryan, Amanda. "New Museum Theory in Practice: A Case Study of the American Visionary Art Museum and the Representation of Disability." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1627.

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Since the inception of new museum theory, and the emphasis it places on the social purpose of museums within society, museum professionals and museum studies theorists have struggled to define what role museums must take in combating prejudices and fostering better understating of difference. Richard Sandell is one such theorist who writes about the importance of, and need for, greater inclusion of disabled artists and works of art containing themes of disability into exhibitions and display. This thesis examines Sandell’s scholarship, noting its foundation in new museum theory and disability studies, and then, employing a case study of the American Visionary Art Museum, illustrates the issues illuminated in Sandell’s writing. Finally, utilizing the case study, this thesis will offer aims for further research within museum studies not yet considered by Sandell, especially within educational goals and activities of the museum.
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Mowery, Samantha Renee. "Stephen Foster and American Song: A Guide for Singers." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1234810817.

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23

Picknell, Amy Lynn. "The American Art Museum and the Internet: Public Digital Collections and Their Intersections of Discourse." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1374224652.

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24

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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Betancourt, Verónica E. "Brillan por su ausencia: Latinos as the missing outsiders of mainstream art museums." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1339516509.

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26

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

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<p> Early European travel literature was a prominent source from which information about the New World was presented to a general audience. Geographic regions situated within what is now referred to as Latin America were particularly visible in these accounts. Information regarding the religious customs and styles of dress associated with the indigenous peoples who inhabited these lands were especially curious points of interest to the European readers who were attempting to understand the lifestyles of these so-called &ldquo;savages.&rdquo; These reports, no matter their sources, always claimed to be true and accurate descriptions of what they were documenting. Despite these claims, it is clear that the dominant Western/Christian perspective from which these sources were derived established an extremely visible veil of bias. As a result, the texts and images documenting these accounts display highly flawed and misinformed representations of indigenous Latin American culture. Although it is now understood that these sources were often greatly exaggerated, the texts and images within them are still widely circulated in present-day museum exhibitions. When positioned in this framework, they are meant to be educational references for the audiences that view them. However, museums often condense the amount of information they provide, causing significant details of historical context to be excluded. </p><p> With such considerable omission being common in museum exhibitions, it causes one to question if this practice might be perpetuating the distribution of misleading information. Drawing on this question, I seek, with this research, to investigate how early European representations of Latin American culture in travel literature may be linked to current issues of misrepresentation. Particularly, my research is concerned with finding connections that may be present with these texts and images and the negative aspects of cultural appropriation. Looking specifically at representations of Aztec culture, I consult three texts and their accompanying illustrations from the sixteenth, seventeenth, and eighteenth centuries to analyze their misrepresentational qualities, and how they differed between time periods and regions. Finally, I use this information to analyze museum exhibition practices and how they could be improved when displaying complex historical frameworks like those of indigenous Latin American cultures.</p><p>
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Karcheski, Gabrielle Rae. "Balancing Finances, the Mission, and Public Trust in the American Art Museum: Controversy at the Solomon R. Guggenheim Museum and the Barnes Foundation." Thesis, The University of Arizona, 2013. http://hdl.handle.net/10150/311773.

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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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Mullen, Emily. "Fighting against Indigenous Stereotypes and Invisibility| Gregg Deal's Use of Humor and Irony." Thesis, University of Colorado at Boulder, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10793926.

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<p> Stereotypes of Indigenous peoples, formed according to Western notions of cultural hierarchy, as savage, exotic, and only existing in a distant past, are still prevalent in the popular imaginary. These stem from misunderstandings and misrepresentations of Indigenous peoples that developed after contact between Indigenous peoples and European settler communities, and exist in concepts such as the noble savage, the wild heathen, or the vanishing Indian. In this thesis I argue that contemporary artist Gregg Deal (Pyramid Lake Paiute) successfully challenges and disrupts such stereotypes by re-channeling their power and reappropriating them through his strategic use of humor and irony in performances, paintings, and murals. Through these tools, Deal is able to attract audiences, disarm them, and destabilize their assumptions about Indigenous peoples. I frame Deal&rsquo;s use of humor and irony outside the trickster paradigm, drawing instead on Don Kelly&rsquo;s (Ojibway) theorization of humor as a communicative tool for making difficult topics accessible, and Linda Hutcheon&rsquo;s theorization of irony as a discursive strategy for simultaneously presenting and subverting something that is familiar. </p><p> In a second line of argument, I foreground Deal&rsquo;s agency as an artist through analysis of his strategies to reach audiences and gain visibility for his art. Contemporary Indigenous artists are often excluded from mainstream art institutions, and can struggle to find venues to exhibit their work. I argue that Deal&rsquo;s strategic use of public space and the internet to show and publicize his art is significant. It has helped him to reach audiences and gain recognition for his work. He now exhibits and performs in university and state museums. I argue that the authority of museum space, in turn, gives him a greater opportunity to disrupt stereotypes and educate people about misperceptions of Indigenous peoples.</p><p>
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Genshaft, Carole Miller. "Symphonic poem a case study in museum education /." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1196175987.

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Larsen, Devon P. "Rethinking the Monumental: The Museum as Feminist Space in the Sexual Politics Exhibition, 1996." [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001540.

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Parker, Marie Ann 1960. "The Hopi Craftsman Exhibition at the Museum of Northern Arizona: Only the finest in Hopi art." Thesis, The University of Arizona, 1997. http://hdl.handle.net/10150/291572.

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Mary-Russell and Dr. Harold Colton, co-founders of the Museum of Northern Arizona in Flagstaff, opened the Hopi Craftsman Exhibition, a show of fine Hopi art, in July of 1930. Believing that traders' emphasis on mass production of tourist trinkets contributed to a decline in the quality of Hopi art, Mary-Russell determined to introduce the buying public to quality Hopi art, hoping this would stimulate better prices. Through the Hopi Craftsman Exhibition, Mary-Russell encouraged Hopi artists to use quality materials and sought ways to help them improve their techniques. Throughout the years, the goals and logistics of the Hopi Craftsman Exhibition have changed to keep up with the ever-increasing interest in Hopi arts. Today, the Hopi Marketplace showcases quality Hopi art to a discerning public. Hopi artists appreciate the encouragement, exposure, and recognition the Hopi Craftsman Exhibition has given them and their art over the years.
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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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Michel, Karl Frederick. "Drawing on experience a study of eighteen artists from the National Vietnam Veterans Art Museum collection /." Full text available online (restricted access), 2001. http://images.lib.monash.edu.au/ts/theses/Michel.pdf.

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Mwendo, Nilima Z. "Passionate visions of the American South: self-taught artists from 1940 to the present: an Arts Administration internship at the New Orleans Museum of Art." ScholarWorks@UNO, 1995. http://scholarworks.uno.edu/aa_rpts/54.

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This paper demonstrates the overall success of bringing non-traditional audiences to a New Orleans Museum of Art (NOMA) exhibition, "Passionate Visions of the American South: Self-Taught Artists from 1940 to the Present." It also highlights the success of some of its public programs. However, the process of attracting these audiences to the museum falls short in its attempts at developing long-term relationships with NOMA. The first chapter provides historical background on NOMA and offers an overview of the "Passionate Visions" project. Chapter Two describes, in relative detail, the project's community outreach component and implementation of its public programs. It closes with an analysis of short range and long term impacts. The final chapter further analyzes the project experience, inclusive of the management style of the project director, issues surrounding conflict of interest and ethics, and the degree of NOMA's commitment, or lack thereof, to long-term non-traditional audience inclusiveness.
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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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Dawley, Martina Michelle. "An Analysis of Diversifying Museums: American Indians in Conservation." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/311567.

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An investigation was conducted to show the number of American Indians in the field of conservation, through a quantitative and qualitative analysis. The research investigated the primary question, why are there so few American Indian conservators. In addition, the following secondary questions were examined: 1) How many conservators of American Indian ethnicity are there? 2) What factors influence the number of American Indian conservators? 3) How will American Indians qualified to practice conservation benefit museums? The findings for this study were collected through an online survey, personal interviews, and observations. The results showed that there was a significant relationship between education, conservation, and being American Indian. The study proved the hypothesis that there were not a lot of American Indian conservators. An earlier report investigating the status of American Indians in professional positions in museums nationwide revealed similar results (Rios-Bustamante, 1996). Other publications mentioned Indigenous people as collaborators and participants in various museum practices such as curatorial work, preservation, conservation, and exhibits; but did not specifically name an American Indian as a professional conservator (Bloomfield, 2013; Clavir, 2002; Erickson, 2002; Lonetree, 2012; Odegaard and Sadongei, 2005).A total of eleven participants were interviewed. Of the eleven participants interviewed, nine identified as American Indian from the United States, one identified as Maori from New Zealand working temporarily in the United States, and one as Italian-American (Table 13). Of the eleven interviewed, three identified as trained conservators qualified to practice conservation as a professional conservator. Of the three identifying at trained conservators, two were American Indian, Navajo/Assiniboine and Navajo. A total of ninety-three participants responded to the online survey. Univariate analysis using the standard t-test was used to compare each variable to the dependent, binomial variable (variable of interest=American Indian Conservator, yes or no) to determine its initial significance (Table 12). Significant variables were then added into the model and logistic regression analysis was performed to capture any effect a variable might have on the dependent variable. As a result, the data showed that a conservator was 8.6 times more likely not to be American Indian than conservators who were not American Indian in this study. This analysis and interpretation of the data was used as a preliminary study for future research.
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Lenhardt, Amy. "Research and Interpretive Plan for the First Permanent Exhibition of Ancient American Art at the Virginia Museum of Fine Arts." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2097.

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The Virginia Museum of Fine Arts (VMFA) of Richmond, Virginia, is completing its largest expansion and reinstalling over 6000 artworks, including the Ancient American art collection, to be displayed in the museum’s first permanent gallery space for Ancient American art. In preparation for expansion, the VMFA issued its “Interpretive Plan Guiding Principles,” identifying visitor motivations for viewing the collections. As collection accessibility is central to the museum’s mission statement, all galleries are to provide visitors with the tools to engage with artworks. This thesis project presents a comprehensive history of Pre-Columbian collecting in museums and the history of the VMFA including its Pre-Columbian collection, which will be displayed in the Ancient American Gallery. It includes a summary of research conducted on objects designated for installation. Finally, this project addresses how the Ancient American Gallery will serve as an environment adapting to the principle experiences established by the VMFA.
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Boorn, Alida S. "Interpreting the transnational material culture of the 19th-Century North American Plains Indians: creators, collectors, and collections." Diss., Kansas State University, 2016. http://hdl.handle.net/2097/34472.

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Doctor of Philosophy<br>Department of History<br>Bonnie Lynn-Sherow<br>American Indian material culture collections are protected in tribal archives and transnational museums. This dissertation argues that the Plains Indian people and Euroamerican people cross pollinated each other’s material culture. Over the last two hundred years’ interpretations of transnational material culture acculturation of the 19th - Century North American Plains Indians has been interpreted in venues that include arts and crafts, photography, museums, world exhibitions, tourism destinations, entertainments and literature. In this work, exhibit catalogs have been utilized as archives. Many historians recognize that American Indians are vital participants and contributors to United States history. This work includes discussions about North American Indigenous people and others who were creators of material culture and art, the people who collected this material culture and their motives, and the various types of collections that blossomed from material culture and oral history proffering. Creators included Plains Indian women who tanned bison hides and their involvement in crafting the most beautiful art works through their skill in quillwork and beadwork. Plains Indian men were also creators. They recorded the family’s and tribe’s histories in pictograph paintings. Plains Indian storytellers created material that was saved and collected through oral tradition. Euroamerican artists created biographical images of the Plains Indian people that they interacted with. Collections of objects, legends, and art resulted from those who collected the creations made by the creators. Thus today there exists fine examples of ethno-heirlooms that pay tribute to the transnational acculturation and survival of the American Indian people of the Great Western Northern American Plains. What is most important is the knowledge, and an appreciation for the idea that a transnational cross-pollination of cultures enriched and became rooted in United States history.
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Van, Arsdall Jason K. "Joe Minter and African Village in America." Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1483451351038828.

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White, Stephanie Jeane. "Jeg Gikk Meg Over Sjo og Land: A Journey for the Future into the Past." The University of Montana, 2007. http://etd.lib.umt.edu/theses/available/etd-07202007-125240/.

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Using Scandinavian immigrant culture as a backdrop, this project presents an integrated multiple intelligences approach to teaching Kindergarten and elementary school students about their music, history, and cultural inheritance. The paper describes eight themes that formed the framework of the eight-week music curriculum used in the project. Examples of the childrens artwork and creative writing are included in the work. The author concludes that raising childrens awareness of a single specific culture through their music, dance, art, and food preferences stimulates the childrens curiosity about their own heritage resulting in increased communication with their family members and greater self-knowledge. The project also created a more positive and productive teaching/learning relationship between the instructor and the various class members and gave the students an opportunity to share their discoveries with the rest of the schools population.
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Cooley, Jessica Allene. "An Inartistic Interest: Civil War Medicine, Disability, and the Art of Thomas Eakins." Master's thesis, Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/197655.

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Art History<br>M.A.<br>While there is an extensive and distinguished body of scholarship exploring the intersection of Thomas Eakins and medical science, his art has not been contextualized critically in relation to American Civil War medicine or the institutional practices of the Army Medical Museum. Within the context of Civil War medicine, Eakins's heroic portraits of surgeons and scientists become more than a reflection of his personal admiration of science and medicine, more than a reflection of the growing professionalization of the medical community in the United States, but implicates him in the narrative of offsetting the horrors wrought by the Civil War by actively enshrining the professionalization of medicine and claims to the advancement of body-based research. Furthermore, while there is an extensive and distinguished body of scholarship exploring the intersection of Thomas Eakins and the body from the perspective of race, gender, and sexuality, the consideration of his work from the perspective of critical disability theory has not been contemplated. Civil War medicine is critical to the art of Thomas Eakins because it demystifies his fascination with the human body, and engages him in the aesthetic reconstruction of disabled veterans and the cultural privileging of the healthy body during and after the American Civil War. By historicizing the science and medical practices that Eakins used and by critically examining his depictions of the body through the lens of disability studies, my thesis raises new critical questions about two of the most researched and theorized topics in Eakins scholarship: medicine and the body.<br>Temple University--Theses
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Smith, Douglas. ""My Journey"." Scholar Commons, 2004. https://scholarcommons.usf.edu/etd/1253.

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This is a copy of my thesis which I have written in its original form as a travel journal that I brought with me on a trip I took driving across the country. I have duplicated it word for word so that it may be more accessible to review. Accompanying this copy are a few photographic samples of different places I've been that offer a visual feeling of what I'm talking ahout thru-out the journal. The original copy of the journal will be displayed as part of my show (March 1st-5th at the Oliver Gallery) and can be viewed in its entirety. The form of this thesis is in journal format so you as a reader will enter right into my life on a specific data and will follow my experiences on a daily basis. The writing is done with no consideration to proper grammar so that I could flow better when I wrote it. In a lot of ways the creation of this project parallels my painting processes. The journal exists as an object that I have transformed through layers of words and images and materials that all together form an overall "big story" in it about who I am. My paintings seem to follow the same master and even though they have individual personalities they as a whole tell my story. All these different ways of communicating my experiences (painting, writing, talking) have brought out a variety of ways of remembering them and the explanation of them as stories of voice and words and paint.
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Harrington, Kaysie Marie. "The American Studio Glass Movement: A Regional Study of its Birth in Northwest Ohio." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1542125173303787.

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Ragen, Helen. "Norton Simon: The Man with "Two Hats"." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/638.

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Norton Simon was a unique collector because he let passion guide his collecting interests, but he controlled his passion by making his purchases based on smart economic decisions bolstered by years of experience in successful business negotiations. The Norton Simon Museum, today in Pasadena, California, displays the eccentric collectors life work as he created one of the greatest and most recognized collections on the west coast. By examining the progression and establishment of Norton Simon Inc., alongside the creation of the Norton Simon Art Foundation, multiple parallels can be drawn between Simons’ unique approach to business and the application of his unorthodox techniques to his purchases in the art world – Norton Simon’s “two hats”.
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Webb, Brittany. "Materializing Blackness: The Politics and Production of African Diasporic Heritage." Diss., Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/504409.

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Anthropology<br>Ph.D.<br>"Materializing Blackness: The Politics and Production of African Diasporic Heritage” examines how intellectual and civic histories collide with the larger trends in the arts and culture sector and the local political economy to produce exhibitions at the African American Museum in Philadelphia (AAMP) and structure the work that museum exhibitions do to produce race visually for various audiences. Black museums are engaged in the social construction of race through their exhibitions and programs: selecting historical facts, objects and practices, and designating them as heritage for and to their audiences. In tracking this work, I am interested in 1) the assemblages of exhibits that are produced, as a function of 2) the internal logics of the producing institutions and 3) larger forces that structure the field as a whole. Looking at exhibits that engage Blackness, I examine how heritage institutions use art and artifacts to visually produce race, how their audiences consume it, and how the industry itself is produced as a viable consumptive market. Undergirded by the ways anthropologists of race and ethnicity have been explored and historicized race as a social construction I focus on an instantiation of the ways race is constructed in real time in the museum. This project engages deeply with inquiries about the social construction of race and Blackness, such as: how is Blackness rendered coherent by the art and artifacts in exhibitions? How are these visual displays of race a function of the museums that produce them and political economy of the field of arts and culture? Attending to the visual, intellectual, and political economic histories of networks of exhibiting institutions and based on ethnographic fieldwork in and on museums and other exhibiting institutions, this dissertation contextualizes and traces the production and circulation of the art and artifacts that produce the exhibitions and the museum itself as a way to provide a contemporary concrete answer. Overall “Materializing Blackness” makes the case for history and political economy as ghosts of production that have an outsized impact on what we see on exhibition walls, and are as important to the visual work as a result. Further it takes the Black museum as a site of anthropological engagement as a way to see the conjuncture of the aesthetic and the political, the historical and the material in one complicated node of institution building and racecraft in the neoliberal city.<br>Temple University--Theses
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Romano, Cara L. "Gallery 66 selling the Southwest /." Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1194999497.

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Betancourt, Veronica Elena. "Visiting while Latinx: An Intersectional Analysis of the Experiences of Subjectivity among Latinx Visitors to Encyclopedic Art Museums." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1561819806003679.

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Hill, Caroline. "Art versus Propaganda?: Georgia Douglas Johnson and Eulalie Spence as Figures who Fostered Community in the Midst of Debate." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555276218786986.

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Siler, Hayley B. "A Space of Their Own: The Clyfford Still and Georgia O'Keeffe Museums." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/673.

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This study of the single artists museums using the Clyfford Still Museum in Denver, Colorado and the Georgia O'Keeffe Museum in Santa Fe, New Mexico aims to compare these institutions to each other in terms of organizational practice and design as well as to the broader museum industry.
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