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- All Subjects: Alfonso Ossorio
Description
In this dissertation I present data gathered from an eleven-month qualitative research study with adolescents living and working on the streets of Lima, Peru. Through the pairing of photovoice with participant observations, this work incorporates distinctive methodological and theoretical viewpoints in order to complicate prevailing understandings of street life. In this dissertation, I examine the identities that children and adolescents on the street develop in context, and the ways in which photography can be a useful tool in understanding identity development among this population. Through a framework integrating theories of identity and identity performance with spatial theories, I outline how identity development among children and adolescents living on the street is directly connected to their relationships with the urban landscape and the outreach organizations that serve them. The organizations and institutions that surround children on the street shape who they are, how they are perceived by society, and how they view and understand themselves in context. It is through the interaction with aid organizations and the urban landscape that a street identity is learned and developed. Furthermore, as organizations, children and adolescents come together within the context of the city, a unique street space is created. I argue that identity and agency are directly tied to this space. I also present the street as a thirdspace of possibility, where children and adolescents are able to act out various aspects of the self that they would be unable to pursue otherwise. Weaved throughout this dissertation are non-traditional writing forms including narrative and critical personal narrative addressing my own experiences conducting this research, my impact on the research context, and how I understand the data gathered.
ContributorsJoanou, Jamie Patrice (Author) / Swadener, Beth B. (Thesis advisor) / Margolis, Eric (Committee member) / Arzubiaga, Angela (Committee member) / Fischman, Gustavo (Committee member) / Arizona State University (Publisher)
Created2011
Description
People in college are made vulnerable to sexual, domestic, and relationship violence by narratives of individual “bad apples” that obscure violence as a cultural condition. Scholars in Gender Studies have worked to name and identify the extent of the problem of sexual, domestic, and relationship violence and argue that victims must be centered in campus-based research. Cultural Geographers have investigated violence as socially re/produced through the relationships between culture, community, and space. However, few works have engaged survivors as research partners to investigate survivorhood, relationality, and trauma to understand how to undo rape culture, thus endorsing survivors as passive subjects rather than active agents for social change. My dissertation asserts that home work is the personal and relational labor of practicing community and enacting justice that survivors engage in to come to feel at home in our bodyminds and relationships. My interlocutors are 10 survivors of sexual violence experienced while attending university in Minneapolis and five survivor-advocacy practitioners. To be survivor-centered and uplift survivor-voice, this project partners with my interlocutors as co-researchers and is built upon critical ethnography and Indigenous methodologies. I utilize semi-structured interviews, walking conversations, and group discussions in which I co-performatively witness survivorhood with my interlocutors. Chapter 1 situates sexual violence in the United States, discusses survivor-voice and the project’s method/ologies, and the significances of Minneapolis as the site of study. Chapter 2 explores “why” my interlocutors “do community”: To meet various needs, to support their growth, and to engage in mutual aid. Chapter 3 explores “how” my interlocutors do community: Showing up, vulnerability, and mutual care. In Chapter 4, my interlocutors and I build our theory of justice as a process of doing community rooted in accountability, responsibility, and relationships that allows us to feel at home in our bodyminds, relationships, and encounters. My research shows that active community engagement is the core variable for pursuing justice, shifting views on community building, campus policies, and processes of justice related to sexual violence. Situated in Minneapolis, my research connects rape culture, white supremacy, and state violence to the crisis of sexual violence on campus.
ContributorsGoldberg, Brett S. (Author) / Shabazz, Rashad (Thesis advisor) / Bailey, Marlon M. (Committee member) / Swadener, Beth B. (Committee member) / Arizona State University (Publisher)
Created2022
Description
Despite his critical role in the development of American Surrealism, Abstract Expressionism, and Postwar Assemblage, gay Filipino-American artist Alfonso Ossorio remains at the margins of the historiography of these movements. Born in Manila, Philippines, the artist immigrated to the United States in 1930 where he lived and worked until his death in 1990 at his home city of East Hampton, New York. He is among the few Philippine-descended artists living in 20th-century America producing museum-collected works. Since America’s colonial occupation of the Philippines in the 19th-century, immigration has been increasing as a result of migrant labor, military recruitment, and economic exchange. However, the Philippine diaspora’s artistic contributions and visual identity before 1980 are largely under-researched in the United States. Queer artists of color, especially Filipinx-Americans, rarely feature in the dominant narratives of American modernity. Ossorio deeply inflected the trajectory of the American avant-garde yet his marginal place in the history demonstrates how art communities excluded queer and Philippine-American identities in the 20th-century during the development of two major American modernist movements. The scholarship has increased since Ossorio’s death in 1990 as a result of museum and gallery exhibitions. Previous writers focus on biographical description or contextualize Ossorio’s work within a broad movement category without considering Ossorio’s Filipino-American and gay identities in advanced detail from queer and critical race frameworks. These studies lack specific theoretical analysis around race, sexuality, and colonialism on Ossorio’s identity and his artistic communities. Through the analysis of his paintings and archival documents, this thesis argues that Ossorio’s negotiation of these intersecting minority categories is central to understanding his artistic production and his relationship to the American avant-garde. This research applies the current literature on queer theory, critical race theory, and postcolonial theory on Filipinx-American identity to Ossorio’s life and artwork. I center the work of Philippine psychologist Virgilio G. Enriquez with additions from Filipinx-American scholars Martin F. Manalansan IV, Vicente Rafael, Denise Cruz and American scholars art historian Richard Meyer and queer theorist Judith Butler when examining the artworks Untitled 1944 (1944) and Astonished Mother (1950) in the context of Surrealism and Abstract Expressionism respectively.
ContributorsMiranda, Matthew Villar (Author) / Afanador-Pujol, Angélica J. (Thesis advisor) / Mesch, Claudia (Committee member) / Bailey, Marlon M. (Committee member) / Guevarra Jr., Rudy P. (Committee member) / Arizona State University (Publisher)
Created2021