Queer artists have engaged archives throughout modern and contemporary American art, but art historical discourse of their work has centered the writing of Jacques Derrida and Michel Foucault to theorize these spaces without considering archival scholarship. This text takes up Gabriel Martinez’s Archive series as a case study to critique archival selection theory and better understand how prejudice has affected the preservation of queer folx’s collections. Martinez’s series is situated amongst other Western artworks that center archival records and queer themes throughout the last century. This section places his artwork in dialogue with other artists for whom the archive is the subject of their artwork. The artworks detailed exemplify the multiplicity of ways that queer folx critique and interpret the histories preserved in these institutions. Following this survey of art is an analysis of how archival records are selected for preservation and the inherent subjectivity of this task. Pedagogical writing on archival selection by Frank Boles, Richard Cox, and James O’Toole are consulted to better understand how archivists working in the field are taught to handle this type of work. Most of their writing is focused on traditional archives and fails to articulate the challenges facing counterarchives, spaces formed to compensate for the erasure of queer persons in traditional institutions. This review of archival scholarship ends with a critique of how queer counterarchives have fallen short of their inclusive aims. The final section of this text is dedicated to a close study of Martinez’s Archive series. His photographs document the Harry R. Eberlin photograph collection and the John J. Wilcox, Jr. Archives in Philadelphia. The historical context of the Eberlin collection and the founding of its host repository are presented in conjunction with Archive series because Martinez’s compositions are inseparable from these histories. Philadelphia queer culture in the 1970s and 1980s is revealed through the retelling of these histories and by examining who was visualized in the images themselves. These images of bars and events simultaneously reveal the gender and racial disparity of patronage within these spaces and exemplify long-standing tensions in the city’s queer spaces. Lastly, this text posits a practice called “pseudo-processing” where artists document and preserve facsimiles of archival records to question the divisions of archival labor from that of an artist performing comparable tasks. / Art History

This thesis explores best practices in teaching religious history in public schools using primary sources. Lesson plans on specific sites and themes within the history of religious freedom in Philadelphia contextualize and celebrate the religious diversity that the city has known since its inception. By understanding how this diversity developed over time and through obstacles, students will be more willing and motivated to do their individual part to maintain and protect religious liberty. This goal is emphasized through the use of primary sources, which bring gravity, accessibility, and engagement to a topic that might otherwise be considered controversial, distant, or unnecessary. / History

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The prominent division in early America between the established eastern populations and communities in the West is evident when viewed through the lens of eighteenth-century Philadelphia newspapers, which themselves employed an East-West paradigm to interpret four events: the Paxton Boys Incident, Regulator Rebellion, Shays's Rebellion, and Constitutional Convention. Through the choices of what words to use to describe these clashes, through oversights, omissions, and misrepresentations, and sometimes through more direct tactics, Philadelphia newspapermen revealed a persistent cultural bias against and rivalry with western communities. This study illustrates how pervasive this contrast between East and West was in the minds of easterners; how central a feature of early American culture they considered it to be.

This research examines Black educators' professional experiences in the School District of Philadelphia (SDP) over forty years, through six superintendents and a state takeover. Using critical race theory, this research uncovers how Black educators' perceptions of SDP, based on district leadership, combined with their interpretations of the historical, social, and political contexts, influenced how they defined their professional situations, interpreted the culture of the District, and how they performed their roles. A phenomenological, historical ethnography approach is employed to investigate person to institution interactions interpreted through the historical record and educators' narratives. This research explores power relations and disjuncture between the goals, assumptions, and rhetoric of the School District of Philadelphia as expressed through its policies, politics, and practices, juxtaposed against the narratives of Black educators. This research found that SDP is peculiar, particular, unforgiving, and deeply politically entrenched. Its politics are complicated by issues of race and insider-outsider tensions and are compounded by state politics and the national political landscape. The politics within SDP were also influenced by the interpretation of the contemporary political narrative by the superintendent and his or her epistemological beliefs and ontological bent within that narrative. / Urban Education