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- Creators: Arizona State University
Description
Simultaneously culture heroes and stumbling buffoons, Tricksters bring cultural tools to the people and make the world more habitable. There are common themes in these figures that remain fruitful for the advancement of culture, theory, and critical praxis. This dissertation develops a method for opening a dialogue with Trickster figures. It draws from established literature to present a newly conceived and more flexible Trickster archetype. This archetype is more than a collection of traits; it builds on itself processually to form a method for analysis. The critical Trickster archetype includes the fundamental act of crossing borders; the twin ontologies of ambiguity and liminality; the particular tactics of humor, duplicity, and shape shifting; and the overarching cultural roles of culture hero and stumbling buffoon. Running parallel to each archetypal element, though, are Trickster's overarching critical spirit of Quixotic utopianism and underlying telos of manipulating human relationships. The character 'Q' from Star Trek: The Next Generation is used to demonstrate the critical Trickster archetype. To be more useful for critical cultural studies, Trickster figures must also be connected to their socio-cultural and historical contexts. Thus, this dissertation offers a second set of analytics, a dialogical method that connects Tricksters to the worlds they make more habitable. This dialogical method, developed from the work of M. M. Bakhtin and others, consists of three analytical tools: utterance, intertextuality, and chronotope. Utterance bounds the text for analysis. Intertextuality connects the utterance, the text, to its context. Chronotope suggests particular spatio-temporal relationships that help reveal the cultural significance of a dialogical performance. Performance artists Andre Stitt, Ann Liv Young, and Steven Leyba are used to demonstrate the method of Trickster dialogics. A concluding discussion of Trickster's unique chronotope reveals its contributions to conceptions of utopia and futurity. This dissertation offers theoretical advancements about the significance and tactics of subversive communication practices. It offers a new and unique method for cultural and performative analyses that can be expanded into different kinds of dialogics. Trickster dialogics can also be used generatively to direct and guide the further development of performative praxis.
ContributorsSalinas, Chema (Author) / de la Garza, Amira (Thesis advisor) / Carlson, Cheree (Committee member) / Olson, Clark (Committee member) / Ellsworth, Angela (Committee member) / Arizona State University (Publisher)
Created2013
Description
This study is intended as a catalyst to inspire new ways of thinking by educators, school administrators, and museum educators. It is a study of six K-12 art teachers who have both the technology and the opportunity at their school campuses to use collaborative videoconferencing as part of their instruction in multicultural art, linking their students to the resources of the Smithsonian Institute in Washington D.C. The art unit used for the purpose of this study was Latina/o art. Findings show the Smithsonian American Art Museum program to be of high quality and useful i students see the connection between identity of self and multicultural art.
ContributorsFosnight, Estelle (Author) / Erickson, Mary (Thesis advisor) / Stokrocki, Mary (Committee member) / Young, Bernard (Committee member) / Arizona State University (Publisher)
Created2013
Description
This study gathers the expertise of three reputable art teachers, through analysis of qualitative data collected during in-person interviews and classroom observations, as they share their experiences and insights regarding successful methods of motivating and engaging students in their beginning-level art classes. Various works of literature regarding educational motivation are reviewed, and this study begins to address the need for additional research involving this issue, as it applies to teachers of art. Commonalities between the motivational tactics of the participating teachers are discussed, as well as comparison of findings to existing literature. This may be useful to art teachers who are new to the field or who are seeking information regarding successful methods of encouraging motivation and engagement in their beginning -level art classes.
ContributorsClark, Erica (Author) / Young, Bernard (Thesis advisor) / Erickson, Mary (Committee member) / Stokrocki, Mary (Committee member) / Arizona State University (Publisher)
Created2012
Description
A high voltage plasma arc can be created and sustained in air by subjecting the gases to an electric field with high voltage potential, causing ionization. The internal energy of the ionized gases can be transferred to corresponding pressure waves when the matter involved switches between the gaseous and plasma states. By pulse-width modulating a transformer driving signal, the transfer of internal electrical energy to resonating pressure waves may be controlled. Audio wave input to the driver signal can then be modulated into the carrier wave and be used to determine the width of each pulse in the plasma, thus reconstructing the audio signal as pressure, or sound waves, as the plasma arc switches on and off. The result will be the audio waveform resonating out of the plasma arc as audible sound, and thus creating a plasma loudspeaker. Theory of operation was tested through construction of a plasma arc speaker, and resultant audio playback was analyzed. This analysis confirmed accurate reproduction of audio signal in audible sound.
ContributorsBoehringer, Brian Thomas (Author) / Roedel, Ronald (Thesis director) / Huffman, James (Committee member) / Barrett, The Honors College (Contributor) / Electrical Engineering Program (Contributor)
Created2014-05
Description
The Beauty Within is a ceramics show displaying human body anatomy, which seeks to bridge aspects of my biological sciences major in the School of Life Sciences with aspects of my studio art minor in the Herberger Institute for Design and the Arts. My goal in creating the show was to change the opinion of people on human body organs from unease to admiration by recreating these organs in an artistic light. By stylizing the construction of the pieces and bringing in the contemporary form of art \u2014 makeup art \u2014 I hoped to bring a new light to the pieces and highlight the beauty within the human body. By leaving the pieces partly unfinished I further hoped to draw attention to the natural beauty within the pieces regardless of the makeup that covers them. By holding the show in the human anatomy lab room on campus and having both animal and human organs on display I was able to create that sense of disgust toward the organs in the viewers. The beauty of my created pieces was then directly contrasted with the disgust felt about the real organs by displaying each of my pieces next to a real organ. The reactions of the viewers reflected a change in view from the actual organs to my re-created organs, and therefore the goal of the show was achieved.
ContributorsThomas, Brandon Lee (Author) / Weiser, Kurt (Thesis director) / Chung, Samuel (Committee member) / School of Art (Contributor) / School of Life Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2017-05
Description
Western cultures on the whole have a particular fascination surrounding tattoos, and academia is no different. There are numerous studies that discuss why people get tattoos and what peoples’ perceptions of those with tattoos are. However, there has only been a minuscule amount of research on the ones who even make tattoos possible: Tattoo artists. This work endeavors to provide a platform for tattoo artists to share their stories and experiences, and, in turn, help provide academia and the public at-large with a better understanding of tattoo artist identity and how the tattoo artist residual community functions and defines itself. Through ethnography, ethnographic interviews, and autoethnography, the everyday lives of tattoo artists will be explored. This work also seeks to provide an understanding of the history, skillsets, artistry, and creativity of Western tattoo artists, while simultaneously arguing for how tattoos and their creators can open the world of “fine art” to a broader audience and make it more accessible for all.
ContributorsHawn, Allison (Author) / Mean, Lindsey (Thesis advisor) / Schleif, Corine (Committee member) / Guerrero, Laura (Committee member) / Arizona State University (Publisher)
Created2022
Description
In the fifty-five years since its founding in 1966, Goodman Gallery of South Africa has established itself as a renowned and commercially successful art gallery of contemporary African art. Established during the height of apartheid, Goodman Gallery was the only venue to show Black African artists amongst their white counterparts. As the art world and market has expanded globally, so has the role of commercial galleries in maintaining, creating, and establishing new international artists’ work to be exhibited and sold. With the market becoming ethnically and culturally inclusive, the gallery has been a pioneer in embedding those goals in its mission since the beginning. Because it is unusual for commercial galleries to have a long commitment to confronting power structures, I will examine Goodman within a global context as both an anti-racist business and a space whose owner seeks equal representation in the art world by exhibiting new and established artists, including David Goldblatt, David Koloane, Sam Nhlengethwa, Sue Williamson, William Kentridge, Kapwani Kiwanga, Nolan Oswald Dennis, Shirin Neshat, and Alfredo Jaar. With an emphasis on its stated mission, I construct a narrative of the gallery as a critical space for social and political change within the growing interest of the Western market.
ContributorsCundill, Samantha (Author) / Fahlman, Betsy (Thesis advisor) / Codell, Julie (Committee member) / Reilly, Maura (Committee member) / Arizona State University (Publisher)
Created2021
Description
This thesis explores various modes of experiencing art through the realms of the traditional museum and alternative museums/art organizations. The history of the museum is deeply entrenched in segregated and colonialist pasts, particularly in private and public displays of looted objects from around the world. In addition, museums have historically spotlighted and catered to white, European-based, male artists and audiences. These legacies have created a divide within the art world, particularly in how these traditional structures have excluded and alienated communities that have been marginalized (women, people of color, queer, etc.). Through explorations within the traditional and alternative museums/organizations in the United States and abroad, interviews, bell hooks’ theorizations and personal narratives, this thesis explores how cultural workers are restoring these severed bridges between Black, Indigenous, and other people of color’s (BIPOC) communities and the art world. Many museum workers are renovating the traditionalist museum from the inside, diversifying the artwork shown, creating more outreach and inclusion programs, and calling for the support/reorganization of the board and trustees. Alongside these efforts, alternative organizations to the museum are doing the work that oftentimes cannot be done within the traditionalist structures due to their more rigid internal structuring -- giving them greater opportunities to work in tandem with the diverse communities that they represent. Though their foundations vary, both traditional and alternative art organizations have created strong bridges between the artworld and BIPOC communities by prioritizing paid fellowships for artists/art workers, studio space, education on navigating the art world, and accessibility for the community to join and see the art on display. Ultimately, the necessity for variance within art spaces, how they’re structured, who they cater to, and what they have on display is necessary in order to accurately represent the vast, diverse field of art.
ContributorsSalia, Mariama (Author) / Hoy, Meredith (Thesis advisor) / Reyes, JoAnna (Committee member) / Morgan, Kelli (Committee member) / Fajardo-Hill, Cecilia (Committee member) / Arizona State University (Publisher)
Created2024
Description
Abstract
On a daily basis I am bombarded with images in every walk of life. I encounter images crossing my path constantly through media such as the internet, television, magazines, radio, social media, even in the grocery store line on screens intended to capture our attention. As I drive down the roadways, I am invaded by images that at times can be distracting with their dazzling displays, attempting to get our attention and get us to consume their product or service or understand a historical meaning. In this dissertation I intend on looking at murals and two social studies textbooks to focus types of media; then construct an argument about how these media impact social studies curricula in the communities in which they are located taking into consideration race, social class, language, location, and culture. The intent is to critically analyze traditional curricula and curricula found in public pedagogy in communities located on the borderlands. I also asked local high school-aged students, teachers, artists, and activists from both sides of the border analyze the images through photo elicitation and traditional interviews. Students were interviewed with a focus on interpreted meanings of images presented. Teachers and artists were interviewed to discover their intended meanings as displayed through their production and circulation of intended meanings via lessons and the images they select or create. Activists were interviewed to discover local history, images, and history of the educational space where the artwork and schools are located. I used these data to create an argument as to how these forms of media impacts school curricula in the areas on both sides of the United States/Mexico border. The study was conducted in border cities El Paso, Texas and Juarez, Chihuahua. The ultimate goal was to look at how academics and curricula developers can use this information to decolonize curricula in the field of curricula studies. Moreover, this information can be used to create decolonized ideologies in curricula that can be used at the school sites to promote diversity and social justice for students in their schooling experience.
On a daily basis I am bombarded with images in every walk of life. I encounter images crossing my path constantly through media such as the internet, television, magazines, radio, social media, even in the grocery store line on screens intended to capture our attention. As I drive down the roadways, I am invaded by images that at times can be distracting with their dazzling displays, attempting to get our attention and get us to consume their product or service or understand a historical meaning. In this dissertation I intend on looking at murals and two social studies textbooks to focus types of media; then construct an argument about how these media impact social studies curricula in the communities in which they are located taking into consideration race, social class, language, location, and culture. The intent is to critically analyze traditional curricula and curricula found in public pedagogy in communities located on the borderlands. I also asked local high school-aged students, teachers, artists, and activists from both sides of the border analyze the images through photo elicitation and traditional interviews. Students were interviewed with a focus on interpreted meanings of images presented. Teachers and artists were interviewed to discover their intended meanings as displayed through their production and circulation of intended meanings via lessons and the images they select or create. Activists were interviewed to discover local history, images, and history of the educational space where the artwork and schools are located. I used these data to create an argument as to how these forms of media impacts school curricula in the areas on both sides of the United States/Mexico border. The study was conducted in border cities El Paso, Texas and Juarez, Chihuahua. The ultimate goal was to look at how academics and curricula developers can use this information to decolonize curricula in the field of curricula studies. Moreover, this information can be used to create decolonized ideologies in curricula that can be used at the school sites to promote diversity and social justice for students in their schooling experience.
ContributorsGonzales, Darlene M (Author) / Margolis, Eric (Thesis advisor) / Ovando, Carlos (Committee member) / Malewski, Erik (Committee member) / Arizona State University (Publisher)
Created2018
Description
Art is a form of spiritual expression that is thriving in many Indigenous cultures. It can take many forms, meanings and have a multitude of emotional, mental, physical and spiritual effects on its creator as well as its audience. Amongst American Indians, art has been a method for maintaining holistic well-being intended to heal and cope with traumatic experiences. In this thesis, I examine the western societal and cultural influences that have led to the loss of cultural identity and examine approaches and practices that aim to re-establish a resilient connection to identity and well-being using art as a spiritual catalyst. Literary research and articles were reviewed related to the issue of art as a form of spiritual expression in Indigenous cultures. An autoethnography was conducted with the intent to record and reflect on the well-being of the researcher in relation to her artistic expression. Journaling and vlogging were used as research methods and painting, sketching, and beading was used as artistic methods. Over the course of six months, over 50 videos with 30 hours of raw footage were recorded; averaging 2 hours per day. The results are reflected in the researchers free-flowing and emotionally driven reflection of experiences that have driven her artwork. This thesis supports the establishment of art as a form of spiritual expression for transforming the current western focused health care paradigm to one that recognizes, values and employs Indigenous insight, methodologies, worldviews, culture and spirituality.
ContributorsRobbins, Marlena (Author) / Romero-Little, Eunice (Thesis advisor) / Marley, Tennille L (Committee member) / Meders, Jacob (Committee member) / Arizona State University (Publisher)
Created2018