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Thesis (Ph.D.)--Capella University, 2003. / Title from screen (viewed on February 20, 2009) School of Psychology, Capella University. Includes bibliographical references (leaves 69-78)

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This dissertation analyzes the institutionalization of avant-garde artistic practice within an American university, the University of Iowa between the years 1967 and 2000. In order to understand the development of the Intermedia program at Iowa, the institutional context of the "Iowa Idea" as it was developed on campus from the 1930s that emphasized the simultaneous instruction of art history and theory with instruction in the graphic and plastic arts. Following the success of the Iowa Writers' Workshop, the University of Iowa received a major grant from the Rockefeller Foundation in 1970 to form the Center for New Performing Arts. Following the development from Happenings to Intermedia, and gradually into specific "disciplines" of performance art and video art, this dissertation demonstrates how the institution was inseparable from these avant-garde practices which required significant resources to develop. The importance of technology is traced through the digital revolution in the arts, and the role of "intermedia" is shown to be part of a process of changing consciousness as opposed to commonly accepted definitions of "multimedia" or Gesamtkunstwerk.

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Thesis (Ph. D.)--Catholic University of America, 1941. / Bibliography: p. 415-426.

Ana Mendieta was a Cuban-born American artist whose unique body of work incorporated performance, activism, Earth art, installation, and the Afro-Cuban practices of Santería. She began her career at the University of Iowa, were she initially received her degree in painting in 1969. It was not until 1972 that Mendieta shifted radically to performance art. Though she was raised Catholic, she developed an interest in the rituals involved with Santería, a culturally predominant Cuban religion, and it deeply influenced her work in her choice of materials and settings. Santería is one of the major faith-based lifestyles of Cuba and is characterized by a synthesis of Afro-Cuban and Catholic characteristics, along with its own unique teachings and rituals. Also a prominent theme in Mendieta’s work was her sense of displacement and her insatiable desire to reconcile her Cuban heritage, which she attempts to resolve, not only through her art, but also during several trips to Cuba. Greater still in its contribution of influence to Mendieta’s work was the ecofeminist movement which amalgamated elements of the feminist and environmental movements; Ecofeminism’s emergence in the United States coincided with the rise of Mendieta’s career during the 1970’s. The movement focused on the correlation between the oppression, degradation, and exploitation of women and the oppression, degradation, and exploitation of the Earth. This thesis examines the life of Ana Mendieta and analyzes how her works may be viewed in an ecofeminist context. It analyzes how Mendieta’s work acts as a reflection of her cultural, social, and political reality and discusses ways in which characteristics of Santería and ecofeminism as a discourse influenced the imagery and symbolism used in Mendieta’s artwork throughout her brief career. Formal analysis of Mendieta’s artwork and contextual and historical analysis of Mendieta’s life, the ecofeminist discourse, and Afro-Cuban spirituality are explored in this research.

Includes Van Allen thesis (M.S.)--University of Iowa, 1936, and thesis (Ph.D.)--University of Iowa, 1939.