The subject of this dissertation is female self-portraiture in Australia of the interwar years, 1918 to 1939. The primary concern of this thesis is to consider self-portraiture as a conceptual process. Self-portrayal is understood as an act of cultural invention rather than an unmediated access to an essential core self. It is this invention and what is entailed in the process of self-imagining, rather than any formal analysis of the style, which is of greatest concern. (For complete abstract open document)

Thesis (Ph. D.)--Indiana University, Dept. of Fine Arts- History of Art, 2006.

Thesis (M.F.A)--Rochester Institute of Technology, 1992. / Typescript. Includes bibliographical references.

Thesis (Ph. D.)--New York University, School of Education, Health, Nursing and Arts Professions, 1986. / Typescript. Includes bibliographical references (leaves [623]-668).

Thesis (Ph.D.)--Virginia Commonwealth University, 2010. / Prepared for: Dept. of English. Title from title-page of electronic thesis. Includes bibliographical references.

This thesis explores how the Art+Feminism Wikipedia Edit-a-thon event impacts the people who coordinate and participate in it. I review museum catalogs to determine institutional representation of women artists, and then examine the Edit-a-thon as a vernacular event on two levels: national and local. The founders have a shared vision of combating perceived barriers to participation in editing Wikipedia, but their larger goal is to address the biases in Wikipedia’s content. My interviews with organizers of the local Eugene, Oregon, edit-a-thon revealed that the network connections possible via the Internet platform of the event did not supersede the importance of face-to-face interaction and vernacular expression during the editing process. The results of my fieldwork found a clear ideological connection to the national event through the more localized satellite edit-a-thons. Both events pursue the consciousness-raising goal of information activism and the construction of a community that advocates for women’s visibility online.

Scottish artists Margaret and Frances Macdonald produced their most innovative art during the last decade of the nineteenth century. They received their training at the Glasgow School of Art and became known for their contribution to "the Glasgow Style," Scotland's answer to Continental Art nouveau and Symbolism. Although they inherited their visual vocabulary from the male-dominated language of the fin-de-siècle, they produced representations of women that differed from those made by their male colleagues. I suggest that these representations were informed by the female experience and that they must be understood as such if we, as historians, are to discuss their art. Like many other women artists from this period, the Macdonalds relied heavily upon so-called feminine imagery. This could be flower painting, "dainty" landscapes, pictures of children or pictures of "lovely" women. The Macdonalds strayed from conventional meaning, however, and made pictures of women that, while retaining the mystery of symbolism, presented the viewer with contextually accurate representations of women who were bound and restricted by a society that had not yet allowed women the vote. I suggest that these representations be considered in the light of recent theoretical developments in feminist literary criticism and feminist film theory which give credence to women as producers of culture while remaining aware that culture is a patriarchal construction. My contention is that if we can comprehend the patriarchal construct of woman during the fin-de-siècle then we may be able to understand how the Macdonalds (and other women like them) strayed from this representation and made their own images (perhaps in their own likeness or at least in the likeness of their situation). Knowledge about how women's experience was integrated into the visual language may lead us to a greater understanding of that experience and its subsequent production as art and, in addition, may bring about a greater valuation of women's experience and its representation. / Graduate

No description available.

Chau, Tsz Kin. / "December 2011." / Thesis (M.Phil.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references. / Abstracts in English and Chinese. / Introduction --- p.1 / Chapter Chapter 1 --- Who's Pan Yuliang? Whose Pan Yuliang? --- p.7 / Who's Pan Yuliang? --- p.7 / Life and Art of Pan Yuliang: Existing Account --- p.12 / Whose Pan Yuliang? --- p.22 / "Summary of Existing Accounts: Biography, Oedipus complex and Narcissism" --- p.30 / Chapter Chapter 2 --- Reconsidering Pan Yuliang --- p.33 / Academic works in Mainland China and Taiwan since 2000 --- p.33 / Theorizing the Woman Painter --- p.42 / Background I: Modern Art in Republican China --- p.54 / Background II: Paris Modernism --- p.60 / Chapter Chapter 3 --- Expanding Biography into History --- p.63 / Chapter Chapter 4 --- The Political Xiesheng and its Gender Politics --- p.82 / "Pan Yuliang: from Shanghai (1928-32, 36-37) to Nanjing (1933-35)" --- p.83 / The Mission ofNanjang: National Administering of Modernism --- p.86 / Pan Yuliang and the Chinese Arts Association --- p.97 / Xiesheng and a New Woman/painter Subject --- p.113 / Conclusion: a Different Modern for a Woman Painter --- p.123 / Chapter Chapter 5 --- Differencing the Modern and Women's Culture --- p.127 / Theorizing Women's Culture --- p.130 / Pan Yuliang and Women's Community --- p.134 / Contextualizing Women's Community: Republican Modernity and Post-war / Pacifism --- p.137 / Conclusion: Women's Art and Modernism --- p.145 / Conclusion Rethinking Republican and Women's Art --- p.146 / Appendix --- p.150 / Glossary --- p.158 / Graphical Materials --- p.165 / Bibliography --- p.251

This thesis proposes that female physicality informs the psyche and thus in turn, art-making. My argument will be shown to be apposite and informative to the discussion of the work of Paula Rego, Jenny Saville and Cindy Sherman. Furthermore such an understanding is helpful to a reading of my practice. In examining issues of identity, which contribute to the formulation of a distinctly female psyche, I will base my critique on the philosophical positions of Sartre, de Beauvoir and Paglia.