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Art on the border: political dialogue and the use of visual art in the U.S.-Mexico border debate

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This thesis seeks to answer the question: "What do artistic representations add to the dialogue about the U.S.-Mexico border and immigration beyond political rhetoric and popular media portrayals?" Drawing on political communications (as put forth by Edelman and Altheide), socio-political construction (particularly the White Racial Frame put forth by Feagin),…

This thesis seeks to answer the question: "What do artistic representations add to the dialogue about the U.S.-Mexico border and immigration beyond political rhetoric and popular media portrayals?" Drawing on political communications (as put forth by Edelman and Altheide), socio-political construction (particularly the White Racial Frame put forth by Feagin), and collective memory theory (especially those of Halbwachs and Pollak), this thesis uses a dual-coding, content analysis to examine the linguistic and visual messages disseminated through news media. Then, interviews with and the work of six immigrant artists are examined for their contribution to the information put forth in the news media. This study finds that news reporting bias falls along a continuum from pro-immigration to extreme anti-immigration (labeled "fearful" reporting). The news media skew strongly toward anti-immigration to fearful in bias, and there is no opposite pro-immigration bias. Through observations of artists' work, the study concludes that artistic representations of the border can fill this strongly pro-immigration void on this bias continuum.
ContributorsMcCarty, Kelly Erin (Author) / Téllez, Michelle (Thesis advisor) / Stancliff, Michael (Committee member) / Segura, Joseph (Committee member) / Arizona State University (Publisher)
Created2011
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Uneasy provenances: exhibiting, collecting, and dealing in the Nazi era

Description
During the Nazi era, which is historically regarded as lasting from 1933-1945, the National Socialists both looted and made “legal” confiscations of art and artifacts they deemed “degenerate” from museums throughout occupied Europe. The art they seized was sold abroad in exchange for foreign currency that not only funded their…

During the Nazi era, which is historically regarded as lasting from 1933-1945, the National Socialists both looted and made “legal” confiscations of art and artifacts they deemed “degenerate” from museums throughout occupied Europe. The art they seized was sold abroad in exchange for foreign currency that not only funded their war efforts, but also allowed for purchases of art for Hitler’s un-realized Führermuseum in Linz, Austria. The rapid transfer of objects flooded the art market, making this period one of the most prosperous times for collectors and dealers. However, due to the overall hasty nature of the displacements, the ownership history, or provenance, of the works became extremely convoluted. Institutions in the United States, as well as individual collectors, began to buy pieces, unaware of their provenance. Without this knowledge as a good-faith purchaser, many institutions never delved deeper into the background of the objects and the works remained in their collections until the present day. In this thesis, I argue that provenance research can shape a museum’s history through changing the relationship it has with its permanent collection. Insight into the ownership history of the collection must be made a priority in order for museums to remain transparent with their visitors, thus allowing for perceived notions of exclusivity, or distrust, to be eliminated. I researched two institutions, the Kunstmuseum Bern and the Krannert Art Museum, which recently examined their own holdings for incomplete attributions, with one establishment conducting a study after it became enmeshed in public scrutiny generated by a controversial bequest. Lastly, I employ both art historical scholarship and legal resources to investigate how provenance can be more widely used as a valuable asset in an increasingly globalized society.
ContributorsSmiley, Meghan (Author) / Fahlman, Betsy (Thesis advisor) / Codell, Julie (Committee member) / Afanador-Pujol, Angélica (Committee member) / Arizona State University (Publisher)
Created2019