Thesis (Ph.D.)--Princeton University, 2005. / Title from PDF title page. Available through UMI ProQuest Digital Dissertations. Includes bibliographical references (leaves 282-286). Also issued in print.

In the 1950s, a group of African-American artists based around Ft. Pierce, Florida, began selling their landscapes of palm hammocks, colorful sunsets, and Evergladian fauna to tourists traveling south to the Sunshine State. Mass-produced in the artists' backyards, these subtropic landscapes found their way into Florida's motels, hotels, banks, and office buildings as well as private homes. The regional art form fell out of favor until the mid-1990s when an art aficionado coined the name "Highwaymen." Since then a resurgence of interest has brought new fame to the surviving members of the group. Along with this modern interest in the Highwaymen comes another facet of the subject : Several Highwaymen have sons and daughters who paint. Do the children paint like their parents? Are the children riding on the coattails of their parents or have they developed their own original style? Is the legacy of the Highwaymen continued in their progeny? / by Elissa Rudolph. / Thesis (M.A.)--Florida Atlantic University, 2005. / Includes bibliography. / Electronic reproduction. Boca Raton, FL : 2005 Mode of access: World Wide Web.

Thesis (doctoral)--Universität, Freiburg, 2001. / Mixed media. Includes bibliographical references and register.

Thesis (Ph. D.)--Ohio State University, 2006. / Full text release at OhioLINK's ETD Center delayed at author's request

Thesis (D.C.A.)--University of Western Sydney, 2008. / A thesis submitted to the University of Western Sydney, College of Arts, School of Communication Arts, in fulfilment of the requirements for the Doctor of Creative Arts. Includes bibliographical references.

Thesis (Ph. D.)--Ohio State University, 2006. / Includes color illustrations. Includes bibliography and index. Full text release at OhioLINK's ETD Center delayed at author's request

Title from first page of PDF document. Includes bibliographical references (p. 68-70).

My investigation of women artists and their status in society today as a result of the feminist movement, revealed issues which, I felt, were multifaceted. This necessitated an exploration of many aspects in order to arrive at a fairly satisfactory conclusion as to whether the revolt and the aggression on the part of the feminists had borne any fruit, either generally in everyday life, or artistically. It has proved most stimulating and informative. I think that the need to assess oneself as a woman, working within a male-dominated creative environment is a very necessary process and one which has been most beneficial to me. The subsequent research revealed that a radical, thematic change had occured within the feminist movement at the start of the Eighties; a fact of which, till recently, I was largely unaware. What I discovered was that the militant, feminist approach of the Sixties and Seventies had given way to a more realistic involvement brought on partly by the economic recession and the effects as well of earlier feminist movements, leading to a relaxation on the part of the younger generation. The Violence had faded. Hard times curbed the excesses of the movement and took it along the road to practicality. Dovetailed to this and seeming to run concurrently was the phenomenon of the demise of the Modern Art Movement. These changes described were not only artistic and feminist, but cut right across the board. involving all facets of life. To take one as an example. the political with conservatism reinstating itself in America not merely as an alternative but as a worthwhile direction in itself. Other issues included the sociological, historical, biological, and cultural; all closely interwoven and therefore requiring some generalisations at times. Previous to becoming involved with my topic, I had been reacting to pre-conceived ideas laid on me as a student in the Sixties and Seventies - a militant, aggressive approach acquired as a protective shield, to deal with the masculine environment which denigrated in varying degrees mine and fellow female artists work, sometimes overtly, sometimes subconsciously. This discrimination, is usually denied as ever having existed by the men involved. It shows a lack of awareness of what, we, as female art students, were subjected to. This is one of the main reasons why I undertook this subject; partly out of interest and perhaps partly as some sort of catharsis.

In 1964 Clement Greenberg suffered his greatest setback as the critical arbiter of modern painting. The "Post Painterly Abstraction" exhibition he had helped to organize at the Los Angeles Museum of Art was critically demolished, definitively shattering the myth of invincibility surrounding Greenberg's modernism, an aesthetic which had been a powerful influence in the United States and Canada in the post-war period. For many contemporary critics, the early to mid-1960's is the period in which a stultified and institutionalized modernism was finally usurped by an approach to culture that was less elitist and more socially engaged. The new cultural model that was taking shape within the Kennedy Administration's vision of the New Frontier sought to remotivate a sense of "national purpose" within the United States to counter the nation's preoccupation with consumerism and affluence. The pragmatic liberal concept of culture sought to rework the relationship between work and play in order to promote a new relationship between individualism and civic virtue. The impetus to re-shape the boundaries between art and society under the New Frontier was a direct response to the political and military challenge posed by the Soviet Union in the late-1950s, especially after the launch of Sputnik in 1957, and the inability of the Eisenhower Administration to respond to the anxieties generated by the intense superpower rivalry. This international environment also exacerbated the ongoing tensions between Canada and the United States, culminating in the 1962 Cuban Missile Crisis . Canadian Prime Minister Diefenbaker delayed in responding to the U.S. alarm over the presence of Soviet medium range nuclear weapons in Cuba, and the political firestorm that followed this delay highlighted the frictions that had developed in the unequal bilateral relationship between the United States and Canada after World War Two. While the Cold War was approaching its ultimate showdown, Greenberg was proceeding to a geographical margin of North America — Saskatchewan — to participate in the Emma Lake Artists' Workshops. Ironically, while Greenberg was extolling the virtues of Canadian abstract painters such as Art McKay and Kenneth Lochhead, going so far as to argue that the Saskatchewan abstract painters were New York's only competition, Los Angeles was asserting itself as New York's cultural rival . As a consequence of the phenomenal post-war growth of the military - industrial complex in the American Southwest, a fierce rivalry was developing with the traditional bases of power in the Northeast. The Southwest, and Los Angeles in particular, was the major beneficiary of the accelerated defense spending resulting from the heightened tensions of the Cold War in the 1950s. Partially in response to a regional dispute over military appropriations, the economic and cultural elites of Southern California sought to counter the pragmatic liberal agenda of the Kennedy Administration by promoting Los Angeles as the Second City of American Art. Greenberg's "Post Painterly Abstraction" exhibition was intended to draw attention to the Los Angeles cultural renaissance and the maturing of the city's independent cultural identity. Thus, Greenberg's sojourn to Saskatchewan at the height of the Cold War and during a crucial period of his formulation of his theory of modernist painting after abstract expressionism provides the focus for an examination of the status of modernism in the early 1960s, especially in the context of U.S.-Canadian relations and interregional rivalry between the Northeast and the Southwest. This thesis seeks to explain the complex cultural and political dynamic of modernist painting in the United States in the Cold War years of 1957 to 1965 and the effect of this dynamic on the development of Canadian modernist painting.

In 1964 Clement Greenberg suffered his greatest setback as the critical arbiter of modern painting. The "Post Painterly Abstraction" exhibition he had helped to organize at the Los Angeles Museum of Art was critically demolished, definitively shattering the myth of invincibility surrounding Greenberg's modernism, an aesthetic which had been a powerful influence in the United States and Canada in the post-war period. For many contemporary critics, the early to mid-1960's is the period in which a stultified and institutionalized modernism was finally usurped by an approach to culture that was less elitist and more socially engaged. The new cultural model that was taking shape within the Kennedy Administration's vision of the New Frontier sought to remotivate a sense of "national purpose" within the United States to counter the nation's preoccupation with consumerism and affluence. The pragmatic liberal concept of culture sought to rework the relationship between work and play in order to promote a new relationship between individualism and civic virtue. The impetus to re-shape the boundaries between art and society under the New Frontier was a direct response to the political and military challenge posed by the Soviet Union in the late-1950s, especially after the launch of Sputnik in 1957, and the inability of the Eisenhower Administration to respond to the anxieties generated by the intense superpower rivalry. This international environment also exacerbated the ongoing tensions between Canada and the United States, culminating in the 1962 Cuban Missile Crisis . Canadian Prime Minister Diefenbaker delayed in responding to the U.S. alarm over the presence of Soviet medium range nuclear weapons in Cuba, and the political firestorm that followed this delay highlighted the frictions that had developed in the unequal bilateral relationship between the United States and Canada after World War Two. While the Cold War was approaching its ultimate showdown, Greenberg was proceeding to a geographical margin of North America — Saskatchewan — to participate in the Emma Lake Artists' Workshops. Ironically, while Greenberg was extolling the virtues of Canadian abstract painters such as Art McKay and Kenneth Lochhead, going so far as to argue that the Saskatchewan abstract painters were New York's only competition, Los Angeles was asserting itself as New York's cultural rival . As a consequence of the phenomenal post-war growth of the military - industrial complex in the American Southwest, a fierce rivalry was developing with the traditional bases of power in the Northeast. The Southwest, and Los Angeles in particular, was the major beneficiary of the accelerated defense spending resulting from the heightened tensions of the Cold War in the 1950s. Partially in response to a regional dispute over military appropriations, the economic and cultural elites of Southern California sought to counter the pragmatic liberal agenda of the Kennedy Administration by promoting Los Angeles as the Second City of American Art. Greenberg's "Post Painterly Abstraction" exhibition was intended to draw attention to the Los Angeles cultural renaissance and the maturing of the city's independent cultural identity. Thus, Greenberg's sojourn to Saskatchewan at the height of the Cold War and during a crucial period of his formulation of his theory of modernist painting after abstract expressionism provides the focus for an examination of the status of modernism in the early 1960s, especially in the context of U.S.-Canadian relations and interregional rivalry between the Northeast and the Southwest. This thesis seeks to explain the complex cultural and political dynamic of modernist painting in the United States in the Cold War years of 1957 to 1965 and the effect of this dynamic on the development of Canadian modernist painting. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate