This research involves a discourse analysis of several alternative video works produced by Paul Wong, an alternative video artist based in Vancouver, BC. Utilizing Judith Butler's "Subjects of sex/gender/desire," (1999) to comment and expand on Michel Foucault's four 'rules' for conducting discourse analysis, as laid out in The history of sexuality volume I: An introduction, Part Four, Chapter 2, "Method," (1978, 1990) I analyse Wong's 60 unit: Bruise (1976), Confused: Sexual views (1984) and So are you (1994). By focusing on discourses addressing the intersections of gender, race and sexuality in Wong's work, this analysis focuses on how alternative video art can be examined as activist work from a sociological perspective. Wong's video works reflect his engagements with intersecting queer and racialised identities and, through discourse analysis, can be shown to reflect, question and challenge mainstream queer and Chinese histories in Canada. Exploring Wong's contribution to discourses on gender, race and sexuality acts to underscore the contributions of alternative media artists to changing understandings of historical relations and to mainstream historical constructions of identity. Postmodern perspectives inform much alternative video practice and have worked to break down the distinctions between disciplines, recognize previously ignored mediums as legitimate and important forms and also to recognize a multiplicity of narratives and engage with marginalized perspectives. Utilizing postmodern perspectives, then, this research challenges notions of historical 'truths,' in mainstream narratives and histories. / Arts, Faculty of / Sociology, Department of / Graduate

In this investigation, I explored the praxes of three Black women multimodal artists--including their perspectives, artistic strategies, and creation of material culture objects--to illuminate the myriad ways their work may inspire teachers and learners across various settings. I examined the complex interplay between art, education, and social justice through the lens of Black women's artistic practices. In this research project, I sought to illuminate the transformative potential these practices hold for formal and informal educational settings and assert the need to recognize and integrate Black women artists' diverse epistemologies and aesthetic experiences into broader educational discourses. A central goal entails recognizing the knowledge these artists draw upon and produce. Therefore, this study centers Black women artists’ multimodal production and creative values from an inter-arts perspective that reckons with socio-political critique and aesthetic sensibilities. Theoretical underpinnings for this research are grounded in interlocking critical discourses involving gender, race, power relations, and education. Using a critical arts-knowledge lens, this arts-based project dialogues with and explores ways to make visible the radical aims, unorthodox practices of belonging (McKittrick, 2021), and artistic strategies of Black women artists to reflect on and reimagine the world as they see and experience it. Employing a critical arts-based research methodology, the research engages with the work and perspectives of three Black multimodal artists—Sable Elyse Smith, Renée Cox, and Nanette Carolyn Carter. By examining their artistic strategies, creations, and the socio-political critique embedded in their work, the dissertation reveals how their art challenges conventional educational paradigms and offers radical curricular and pedagogical possibilities. The study is grounded in interlocking critical discourses on gender, race, power relations, and education, utilizing a rhizomatic conceptual framework to explore the interconnectedness of these themes. This research's findings illuminate art's significant role in fostering critical consciousness, challenging existing norms, and advocating for change. Through the narratives and artistic expressions of Black women artists and Black women art educators, the dissertation underscores the urgency of integrating multisensory and multimodal approaches into educational curricula. Such integration enriches the academic experience and prepares students to navigate the complexities of a multicultural world with a deeper understanding and appreciation for the diversity of human expression and knowledge."Beyond Beauty" calls for expanding curriculum and pedagogy that centers on Black women artists' aesthetic encounters, creative processes, and social justice commitments. I advocate for a more inclusive, dynamic, and transformative educational landscape by highlighting these women's narratives and artistic insights. This research contributes to the ongoing discourses on the importance of art in and as education, pushing for a future where the rich tapestry of human experiences is fully recognized and integrated into the very fabric of learning and teaching.

Thesis (Ph. D.)--Ohio State University, 2007. / Title from first page of PDF file. Includes bibliographical references (p. 215-226).

Thesis advisor: Joni L. Kinsey. Thesis advisor: Joni Kinsey. Includes bibliographic references (p. 287-299).

South African photographer Nontsikelelo “Lolo” Veleko and South African painter Tracy Payne explore different ways of communicating African realities. The visual imagery of these two artists focuses a lot on movement, challenging the rigidity of boundaries set by Western social constructs. In their work, Veleko and Payne critique the limitations of terms such as “authenticity.” It is extremely difficult to portray shifting notions of contemporary African identity in light of the stain of colonial philosophies which have, in times past, exoticised and appropriated the African body and ascribed conventions of “authenticity” to African representations. Undermining the burden of Western boundaries1, Veleko and Payne redefine what it means to operate in Africa today. Veleko seeks additional cultural realities to complicate her identity as a woman living in Africa while Payne uses concepts of movement to question the validity of structures which advocate an either/ or binary such as “East” and “West” and “masculinity” and “femininity”. By subtly merging aspects of these binaries in their representations, Veleko and Payne bring transnational possibilities to light by undermining the restrictions inscribed in the social and political history of (South) Africa with regard to collective and individual identities. Constructs of gender have contributed to a heightened sense of “African” “masculinity,” forming a stereotype of the African body which is difficult to break free from. Considering the notion of transnationalism and the issue of moving beyond boundaries, borrowing aspects of different cultures in attempt to better define a sense of self, Veleko and Payne engage in the sampling of different lifestyles and perspectives to better define their individualities. This thesis seeks to provide an analysis of the visual language used by Veleko and Payne to promote fluid “African” identities.

This study takes up the phrase ‘the skin of all’ as a means to explore the tension between the singular and the collective, and between union and estrangement. I examine aesthetic, symbolic, and theoretical attempts at unification amidst various forms of difference and the political imperatives and implications attached to this aim. The goal is to analyze how such attempts were related to the development of artistic institutions and discourses as well as to broader sociopolitical conditions within and beyond Brazil’s dictatorship era (1964-1985). This dissertation reflects on the reemergence of the discourse of antropofagia throughout the sixties and seventies in Brazil, a concept first developed in the 1920s as an explicit rejection of the privileged position of European culture and the assertion of a unified Brazilian national identity forged from its colonial histories and the co-presence of indigenous, African, and European identities. I emphasize that antropofagia has functioned as a counterhegemonic proposition reliant on the appropriation of marginal racial positions and their integration into a larger national framework, while still acknowledging the productive potentials that antropofagia’s collapsing of boundaries facilitates. My project challenges simplified narratives of harmonic exchange, embracing contradiction and the tensions of privilege, access, and power. Examining primary sources, contemporaneous writings and present-day scholarship, this project interrogates the mythos, life, and after-life of Pape and Oiticica’s performance and participatory works and analyzes these alongside both artist’s media-based practices. Analyzing the broader aims and implications of Lygia Pape and Hélio Oiticica’s engagement with Black and indigenous cultures, I unpack the ways their works irresolutely engage with race in the Brazilian context and how a primitivistic essentialism has been central to these works and their reception.