Thesis (M.F.A.) -- Montana State University -- Bozeman, 2007. / Typescript. Chairperson, Graduate Committee: Richard Helzer.

Thesis (Ph.D.)--University of Nebraska-Lincoln, 2006. / Title from title screen (site viewed May 23, 2007). PDF text: 70 p. UMI publication number: AAT 3250371. Includes bibliographical references. Also available in paper, microfilm and microfiche formats.

No description available.

Horace Pippin (1888-1946) was a self-taught American artist who served in World War I. While he used art as a therapeutic outlet to process the horrors of war, his work also served as documentation of the environmental scars that were enacted upon the landscape. This paper will examine his war paintings through an ecocritical lens using Pippin’s style, technique, and subject to argue that the artist overlaid his personal war experiences onto his images of battlefields. The resulting perspective will connect the marks left on nature by military techniques with the artistic marks Pippin enacted on his canvases, one mirroring the other. This is specifically noted through the metaphorical and physical scar of trench warfare on the environment, which I argue Pippin emphasized in his painted scenes. I will then compliment this physical scarring with an examination of the therapeutic role painting played for Pippin in processing the emotional scars of war that continued to plague him well after the ceasefire. In this thesis, I will examine Pippin’s style, method, and subject matter, while considering both preliminary sketches and finished paintings. This study of Pippin’s work will culminate with the painting The Ending of the War, Starting Home completed in approximately 1933. It visually represents the moment of German surrender in dark, muted tones with stark brush strokes. The layering of paint and carved frame create a sculptural effect, and it is these marks fashioned by the layered brushwork that mirror the trench scars. Ultimately, this painting stands as one of the strongest examples of Pippin’s work to be considered with an ecocritical perspective. / Art History

This thesis examines a selection of American newspaper comic strips from approximately 1930 to 1960. At the height of their runs, many strips appeared in upwards of a thousand newspapers in the United States alone, and syndicates crafted and adjusted the content of these strips according to their image of the average American. This work discusses the pop cultural significance of these strips as well as the traditional American values revealed through each of them. Three strips in particular are the focal point for this thesis: Blondie, created by Chic Young in 1930, Little Orphan Annie created by Harold Gray in 1924, and Li’l Abner created by Al Capp in 1934. The first chapter, focusing on the relationship between Blondie and Dagwood Bumstead, will discuss how power within the family hierarchy is predicated on moral character, as well as how the recurring theme of punishment develops through Dagwood’s personal failures. The second chapter will look at the idea of cultural regularity in Little Orphan Annie through an examination of Daddy Warbucks. It will also deal with themes of leadership and legacy as communicated by the relationship between Annie and Warbucks. The third and final chapter will discuss how the satirical strip Li’l Abner responded to Blondie and Little Orphan Annie in terms of its rejection of traditional family hierarchy, specifically relating to male-female relationships. Ultimately, this thesis seeks to illustrate how a selection of comic strips expressed certain moral values, and the way in which they placed the characters at the mercy of following those values.

Thesis (Ph.D.)--Pennsylvania State University.

No description available.

William Rimmer is an enigmatic figure in the history of American art. Works created by him are the single exception to an otherwise undistinguished body of mid-nineteenth century sculpture. Yet, Rimmer was virtually ignored by the art public of his generation. In his own lifetime the considerable skill and talent Rimmer evinced as a sculptor and draftsman were overshadowed by the novelty of his medical practice and teaching career. Rimmer's only true fame was to come not as an artist, but from the popular success of his "art anatomy" lecture courses in Boston and New York. Acknowledgement of the excellence of his teaching method and drawing skill, however, must have been insufficient praise to a man seeking artistic celebrity. The closed eye of the American art public could only have increased the existing feelings of frustration in Rimmer and made more bitter the fate he believed had been dealt him. Ironically, his fatalistic view of life became both the wellspring and circumscription of his artistic expression. William Rimmer's importance in the American art scene of the mid-nineteenth century is lost in the maze of contradiction that was his life.

Stella Jones Gallery: An Organizational Analysis and Suggested Marketing Plan is based on my internship as Managing Director of Stella Jones Gallery. The internship report will focus on 1. Analyzing the organizational structure and cultures of Stella Jones Gallery as it relates to the internship and 2. Creating a marketing plan to support, expose, and expand the mission of the organization. Because of the report's objectives, the internship report has been segmented into the following sections: Part I: Organizational Analysis Stella Jones Gallery's organizational structure and culture will be analyzed to determine the effectiveness and efficiency of its methods and practices. Through the analysis, a description and evaluation of my internship as Managing Director will be provided to discuss the overall effectiveness of the position. It will also discuss the position's contribution to the strengths and weaknesses of the organization. This section will be immediately followed by suggestions in management and staffing as well as ways in which the organization can redefine and strengthen its organizational culture. Part II: Suggested Marketing Plan At the time of the internship, Stella Jones Gallery had been in existence for three and a half years and is emerging as one of the leading African-American galleries in the southeast region of the United States. The gallery has been very fortunate to have reviews in highly regarded magazines such as Art Business News, Art and Antiques, and the International Review of African-American Art. It has not, however, established a strategic marketing plan to propel the gallery to the forefront of the commercial arts industry. The marketing plan created will suggest ways the gallery can capitalize on the medial attention it has received. Secondly, it will illustrate how the gallery can promote and establish its product within the commercial arts industry and non-profit sector of the visual arts. Finally, it offers ways in which the gallery can forge ahead of its competition by offering on-line as well as curatorial and educational services. The issues addressed and suggestions made are to help Stella Jones Gallery reach its potential as a leading art organization. In conclusion, this report will note any changes or improvements made in the gallery's management practices, staff, and marketing strategies as a result of the suggestions offered.

archives@tulane.edu / My dissertation, entitled “Hijas del horror: Rocío Silva Santisteban y Regina José Galindo. El testimonio como herramienta discursiva del arte de la memoria,” focuses on the representation of sexual violence in the poetry of Rocío Silva Santisteban and the performances of Regina José Galindo. I analyze the discursive tools that these artists use to represent violence in a way that allows the public or reader to engage with women’s point of view. Silva Santisteban as well as Galindo were inspired by the thousands of oral testimonies that women survivors told to the truth commission in Peru and Guatemala. First chapter, “Crimes Against Women in the Armed Conflict in Guatemala and Peru,” is a review of the internal wars in Guatemala (1962-1996) and Peru (1980-2000), focusing especially on the crimes and consequences these wars had for women. Second chapter, “Theoretic Foundations of Sexual Violence Against Women: The Role of the Testimonies,” is a review of the different approaches that seek to explain the characteristic of sexual violence against women, why most of women doesn’t denounce it and which is the conception of women that is behind this violence expression. Third chapter, “Daughters of Horror or Experiencing Others’ Pain,” is a close reading of the most recent poetry book by Rocío Silva Santisteban, Las hijas del terror (2007), in which the author represents rape, forced displacement, and fear from the perspective of Peruvian women. I give special attention to the way testimonies inspired the book and are used as a poetic tool. Fourth chapter, “Regina José Galindo or the Body as Testifying to Pain,” is an analysis of two performance pieces –Mientras, ellos siguen libres (2007) and La verdad (2013)–, where Galindo represents the crimes suffered by women during the Guatemalan war. She places her body in the place of the female that suffered rape, torture, destruction, horror. I give special attention to the contradictions that the representation of violence can lead to, without intention, the perpetuation of violence, and the strategies that Galindo uses to avoid that misunderstanding. The fifth concluding chapter established a dialogue between these two artists. / 1 / Bethsabe Huaman Andia