Matching Items (5)
Description
This thesis explores the ways two contemporary artists engage the archive to challenge ideas calcified through visual culture. Steven Yazzie and Lorna Simpson respond to constructions of history through art making strategies and practices. Yazzie's photogravure Tsosido Sweep Dancer (2009) presents a carefully constructed image of a ceremony drawing on symbols of Indianness to provoke a critical dialogue that questions the role of the American Indian stereotype in the United States imaginary. Simpson's Counting (1991) is a multilayered work that juxtaposes text and image to address the capriciousness of memory, power and other issues found at the intersection of race and gender. These photography-based works draw on the histories of ethnographic and criminal photography to deconstruct the same knowledge that photography helped to construct. Throughout the thesis I examine the relationship of the photographic archive to colonial histories by considering whose history is represented through photography. These thoughtful and challenging artworks contribute to a growing body of work that proposes new narratives drawing on embodied knowledge and experience to create a counter-archive.
ContributorsWaitoller, Lekha Hileman (Author) / Malagamba-Ansótegui, Amelia (Thesis advisor) / Lineberry, Heather S (Committee member) / Mesch, Ulrike C (Committee member) / Arizona State University (Publisher)
Created2011
Description
The position of Dean of Women was created in response to novel exigencies rising from women’s acceptance to coeducational institutions of higher learning in the late nineteenth century. While these early women administrators had a profound impact on women’s higher education in the United States, their work has received relatively little attention. In response to this discriminatory erasure, this dissertation applies feminist historiographical approaches and qualitative methods that center these women and their rhetoric within the historical narrative. In particular, this dissertation explores, synthesizes, and analyzes the archived rhetorical documents produced by the National Association of Deans of Women (NADW) and Evelyn Jones Kirmse, an early University of Arizona dean of women, between 1922 and 1942. By privileging the rhetoric of these women and positioning them as authorities of their own experience within hegemonically masculine coeducational systems and administrations, this dissertation brings to light their own theories, debates, and arguments concerning how to best make room for women in higher education professionally, physically, and intellectually.
While positing the complexity and efficacy of their rhetoric, this dissertation also marks critical ideological negotiations within the deans’ arguments in response to socio-cultural shifts and opportunities born of the Progressive Era. By locating paradoxical navigations of traditional essentialist values and burgeoning progressive ideas within the deans’ rhetoric, this dissertation provides an important illustration of the awkward stage of growth within feminism’s development. It provides insight to deans of women’s own rhetorical explorations on how their identity and success should be constructed, attained, and measured in the new academic territory of coeducation.
ContributorsPrice-McKell, Cheryl (Author) / Goggin, Maureen D (Thesis advisor) / Rose, Shirley K (Committee member) / Ratcliffe, Krista (Committee member) / Arizona State University (Publisher)
Created2022
Description
The archive has always been a central piece to William S. Burroughs’ generative legacy. I argue that the William S. Burroughs Papers accentuate the cut-up/fold-in as contingent on perception and a product of being-in-the-world, as described in The Third Mind and in interview. These experimentalist forms are noticeably replicated throughout the W.S.B Papers, and are a heuristic to his literary oeuvre: specifically, the relationship between word and image, and entering the “image” within his word. The cut-up/fold in methods are more than a literary device. They are captured throughout the archive as a rhetorical tool. As curator Robert Sobieszek observes that Burroughs introduced a new dimension into the field of writing (1996), this paper displays the visual overture of this new dimension accentuated via an interdisciplinary approach: Burroughs utilizes the fields of visual culture (with collaborator Brion Gysin) and photography to apply a replication of the cut-up (a literary form) to the image, illuminating newfound, semiotic pathways of visual communication. Through evidence of cut daily news, plural grids, and pantropic street photography, Burroughs’ new dimension germinates visually, and is a reflection of how and what Burroughs, one of the most profound authors of the 20th century, keeps in his field of view. In the W.S.B Papers at Arizona State University, the cut-up pattern, if cut and shot appropriately, is applicable to both word and image.
ContributorsNiño, Alexa S. (Author) / Broglio, Ron (Thesis advisor) / Hope, Jonathan (Committee member) / Rose, Shirley (Committee member) / Arizona State University (Publisher)
Created2023
Description
The Hidden Price is a website made as a creative thesis project that archives 21st-Century occurrences of international human rights abuses caused by armed conflict. The Hidden Price is accessible at TheHiddenPrice.com and features an interactive map with markers that each represent an individual instance of a record in the archive. The Hidden Price also contains pages of different country maps, a search builder to analyze the events, an exploration tab to view every record as posts, forms for users to submit their own experiences, research, suggestions, and more. That is for you to find out, so go forth and discover your own hidden price.
ContributorsBachmeier, Thomas (Author, Co-author) / Acierto, Alejandro (Thesis director) / McCarthy, Paul (Committee member) / Barrett, The Honors College (Contributor) / School of Humanities, Arts, and Cultural Studies (Contributor) / School of Mathematical and Natural Sciences (Contributor)
Created2022-12
Description
Only in recent decades have music libraries become more aware of the importance of preservation of musical scores and materials in their collections. It follows that the preservation goals in a library differ from those in a museum due to the specific purpose of the collecting institution. As a student of paper conservation in an art museum setting and a musician with classical training, I wanted to investigate the scope of art conservation as it applies to cultural heritage objects outside the realm of works of visual art in a museum—namely the musical scores and ephemera contained in the Bavicchi archive in the ASU Music Library Special Collections. The archive is a large, unexplored collection of materials pertaining to approximately ninety opuses composed by the teacher, conductor, and composer, John A. Bavicchi (1922-2012). These materials include final scores, drafts of scores, preliminary sketches, programs from performances, correspondence, news publications, publishing agreements, and financial records. Although these types of ephemera materials are transitory by nature and pose considerable problems for the institution responsible for their preservation, the goal of this project is to demonstrate the importance of preserving non-art objects related to non-visual artforms in a music library context, to show the value of musical ephemera in general, and to advocate for the care of the Bavicchi archive in particular. Using one Bavicchi composition, Opus 51, as a case study from which to develop a protocol for the preservation of the rest of the archive, I made an inventory of all seventy-four objects pertaining to Opus 51, executed and documented conservation treatment, and implemented proper housing for all objects. Making sure to consider how and where these archival materials are most likely to be used—for scholarly research in a music library—I established guidelines for evaluating condition and assigning treatment priority, provided descriptions of relevant remedial treatment procedures, and recommended rehousing and potential preservation practices. Additionally, I offered justification for my conservation work through the contextualization of the archival materials relating to Opus 51. I provided an initial musical analysis of the archival materials and compared the informational content of the Opus 51 ephemera to general information gathered from outside sources, with the intention of illustrating the need to preserve these materials in order to better understand Bavicchi’s compositional process and the public reception of his work.
ContributorsTuijl-Goode, Remi (Author) / Saucier, Catherine (Thesis director) / Mossman Tepper, Dana (Thesis director) / Mehrens, Christopher (Committee member) / Barrett, The Honors College (Contributor) / School of Art (Contributor) / School of Music, Dance and Theatre (Contributor) / School of Molecular Sciences (Contributor)
Created2022-12