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This project is a feminist exploration of the muse as a cultural icon, and of the relationship dynamic between artists and their muses, using specific twentieth century photographers and their models as examples. The pairs discussed are Lee Miller and Man Ray, Georgia O'Keeffe and Alfred Stieglitz, and Charis Wilson and Edward Weston.
ContributorsFanguy, Rachel Marie (Author) / Dove-Viebahn, Aviva (Thesis director) / Fahlman, Betsy (Committee member) / Barrett, The Honors College (Contributor) / Department of Psychology (Contributor)
Created2015-05
Description
This project, (im)permanence, aims to analyze the impact of temporary and permanent public art in downtown Phoenix through the voices of various artists, curators, city officials and art managers. Downtown Phoenix has seen rapid change and an influx of growth and development in recent years, yet its vibrant arts scene still characterizes and helps define much of the area. This project consists of five profile stories about public works of art downtown, organized on a scale of permanent to temporary. The stories feature the artists discussing the impact of their work in the public realm, the benefits and drawbacks of both temporary and permanent work, and the role public art plays amid downtown's many changes. The pieces and programs included in (im)permanence are the sculpture Her Secret is Patience at Civic Space Park, the forthcoming Wallace and Ladmo statue and Civic Space Park, the Three Birds in Flight Mural on Roosevelt Row, the public art incorporated into Valley Metro's light rail stops, and the temporary art projects of Scottsdale Public Art's IN FLUX program. These pieces, as determined by Leslie-Jean Thornton and myself, represent a microcosm of the temporary and permanent public art in the area, and showcase a range of stories emblematic of the character of downtown Phoenix. The design of the website features animations indicative of the temporary nature of the pieces -- elements fade in incrementally based on their degree of "permanence." This website was made using wix.com, and it incorporates multimedia elements such as photos, photo galleries, an infographic, and a photo slider. Website URL https://sundevilsgirl.wixsite.com/impermanence
ContributorsJarvis, Sarah Ashley (Author) / Thornton, Leslie (Thesis director) / Fahlman, Betsy (Committee member) / College of Integrative Sciences and Arts (Contributor) / School of Politics and Global Studies (Contributor) / Walter Cronkite School of Journalism and Mass Communication (Contributor) / Barrett, The Honors College (Contributor)
Created2016-12
Description
Freewheelin': The American Counterculture in Museums is the first study to explore American museums that collect artifacts from the counterculture era at length. Examining institutions whose specialized collections and histories represent the recent, dynamic social movements of the mid-twentieth century begets particular institutional challenges and extraordinary opportunities; both factors causing the evolution of some American history museums into premier social history centers. I have focused on four institutions for research: the Beat Museum, the GLBT History Museum, the Rock and Roll Hall of Fame, and the Museum of Sex. The analysis of each organization contains a brief account of the history they strive to preserve, a case study of their professional operations, and objective recommendations. Ultimately through researching the four selected institutions and museum studies at large, it was determined that certain collective features are propelling a paradigm shift in modern American history museums.
ContributorsSenjamin, Willow (Author) / Fahlman, Betsy (Thesis director) / Codell, Julie (Committee member) / Susser, Deborah (Committee member) / Barrett, The Honors College (Contributor) / Herberger Institute for Design and the Arts (Contributor)
Created2012-12
Description
Shifting gender roles and deviations from societal norms are exemplified in portraits created by queer women artists active during the early twentieth century. A transformative period for women, the beginning of the twentieth century brought the concept of the New Woman to the fore and provided opportunities for independence and self-expression for women. The New Woman is a term from the late nineteenth century, referring to women who were less interested in marriage and raising families and more interested in access to jobs and education. Through self-portraits and portraits of women in their circles, artists represented gender expression including androgyny and performative cross-dressing as declarations of queer women’s identity. This thesis focuses on works by the painters Romaine Brooks, Gluck, Florine Stettheimer, and photographers Berenice Abbott, Alice Austen, Marie Høeg and Bolette Berg. The artists socialized in queer circles and fostered new styles and forms of gender representation. In my study I explore how each artist approached her portraits, what each was trying to convey, and how their work aligns or diverges from the queer New Woman ideal. Their identities and shared experiences, both as queer women and artists, shaped their practice.
In addition, the artists’ sexualities are reflected in their pieces through their representation of their bodies. Often, this requires the interpretation of subtle visual clues and crucial images of androgyny, cross-dressing, and the dandy aesthetic. Queer artists often embraced clothing and accessories to express their identity and signal to others adept at recognizing such identifiers that they are queer. The painter Gluck exemplifies how androgynous clothing can be used as a statement of her sexuality in self-portraits as visual signifiers to those in queer circles. Through salons held in their homes, or a hidden back room of their studio in the case of Marie Høeg and Bolette Berg, artists created communities to inspire each other’s achievements and unique styles. In this paper I intend to shed light on how the portraits I am explicating are declarations of queerness, and how they present the artists’ deviations from gender norms to the art world and broader society.
In addition, the artists’ sexualities are reflected in their pieces through their representation of their bodies. Often, this requires the interpretation of subtle visual clues and crucial images of androgyny, cross-dressing, and the dandy aesthetic. Queer artists often embraced clothing and accessories to express their identity and signal to others adept at recognizing such identifiers that they are queer. The painter Gluck exemplifies how androgynous clothing can be used as a statement of her sexuality in self-portraits as visual signifiers to those in queer circles. Through salons held in their homes, or a hidden back room of their studio in the case of Marie Høeg and Bolette Berg, artists created communities to inspire each other’s achievements and unique styles. In this paper I intend to shed light on how the portraits I am explicating are declarations of queerness, and how they present the artists’ deviations from gender norms to the art world and broader society.
ContributorsAnderson, Ruby (Author) / Fahlman, Betsy (Thesis director) / Codell, Julie (Committee member) / School of Art (Contributor) / School of Social Transformation (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
Chinese landscape painting has a long history and is one of the most practiced traditions in Chinese art. There are many different styles within this genre, from the larger and bold style of the Northern Song dynasty to the smaller, softer paintings of the Southern Song dynasty. Yang Yongliang is a contemporary Chinese artist that was born in 1980 in Shanghai, China. He was trained in traditional Chinese painting styles from a young age and, during his university schooling, he focused on digital art and graduated with a degree in Visual Communication. Yang combines these two distinct backgrounds in his art by creating pieces inspired by classical Chinese genres in a digital manner, using composite photographs. He creates different scenery by piecing small clips of pictures together to create one larger image. Yang takes the traditional style of work and changes it to comment on modern Chinese and global values. While many artists that focus on social or political messages create works that are not visually appealing, Yang has been able to create works that are powerful through their message while still being beautiful. Through his works, he successfully brings together both “New China” and “Old China” within every piece.
ContributorsBrown, Ciara (Author) / Brown, Claudia (Thesis director) / Fahlman, Betsy (Committee member) / Barrett, The Honors College (Contributor) / School of Art (Contributor)
Created2022-05
Description
Museums are influential platforms due to the high degree of trust the public places in their information. This platform becomes especially useful for curators and activists seeking to increase awareness around social justice issues. A way curators can connect with audiences and further the potential impact of their art exhibitions is by cultivating empathy within their audiences, especially social empathy. There are two forms of empathy, interpersonal and social, both of which help an individual gain knowledge and understanding about the world around them. Museums are institutions that teach empathy by providing opportunities for visitors to interact with different people and learn new perspectives. Curators can encourage empathy by using three methods of audience engagement: reflection, discourse, and building relationships with outside community organizations and individuals. Through the analysis of three social justice contemporary art exhibitions, Beyond Borders: Stories im/Migration (2018) at Santa Clara University, Reproductive: Health, Fertility, Agency (2021) at the Museum of Contemporary Photography, and Undoing Time: Art and the History of Incarceration (2021 - 2022) at the Arizona State University Art Museum, I identify examples of how these methods can be utilized to grow empathy and suggest changes museums, curators and audiences can implement to build empathy and increase the plausibility for positive change within communities.
ContributorsAvila, Camille (Author) / Fahlman, Betsy (Thesis director) / O'Connell, Lauren (Committee member) / Barrett, The Honors College (Contributor) / School of Human Evolution & Social Change (Contributor) / School of Art (Contributor)
Created2022-05