If community is defined as a group of teachers, learners, and others who collaborate to achieve common goals, art education that is based on the interests and needs of that community can be identified as community-based art education (CBAE). CBAE programs often have goals that are congruent with educational theory or pedagogy for social justice. In this study five CBAE programs were examined for purposes, goals, instructional methods, and curriculum in order to determine how pedagogy for social justice could be applied to art education in community-based settings. The five CBAE programs were evaluated with a rubric integrating social justice into community-based art education. That information was used to create a set of best instruction practices for teaching for social justice in CBAE, as well as curriculum recommendations.

Accompanying a solo gallery exhibition of painting and drawing, SelfSame explores the impact and influence of doubles, twins, and doppelgangers in visual art. Doubles, such as twins and doppelgangers, have an uncanny presence tied to loneliness, melancholy, and death. The presence of doubles in art not only questions the instability of identity and individuality, but calls into play personal reflection, and concepts of mortality. I draw on personal memories growing up as an identical twin to contextualize memory, narrative, and mythology as they are referenced within the artwork.

“Tomorrow is Saint Valentine’s Day” is a manic line of dialogue spoken by Ophelia in Shakespeare’s Hamlet. I have chosen that line as the title of my thesis and exhibition. Much of my graduate work has emanated from scenes in Shakespeare’s plays. I make dimensional paintings, prints, and sculptures that leverage a wide variety of media, material, and processes. I have chosen the intense drama of Ophelia’s final appearance on stage to inspire this body of work. The drama and imagery of Shakespeare’s plays has been a profound source of ideas for me. They motivate me to connect with all available resources in an energetic way to create visually captivating pieces of art. My objective is not to illustrate any given scene but to leverage the text for a personal artistic experience. The result is an abstraction that captures the energy of a dramatic moment. The art I produce is an expressive record of my relationship with the literature. / Includes bibliography. / Thesis (M.F.A.)--Florida Atlantic University, 2020. / FAU Electronic Theses and Dissertations Collection

This thesis adopts an interdisciplinary approach, drawing on literary, art historical and textual sources to examine how the act of looking, images, and artistic and textual creation are both dramatized and problematized in the works of the Gawain-poet: Pearl, Cleanness, Patience, and Sir Gawain and the Green Knight (with some discussion of St Erkenwald, a work often attributed to the same author). Analyzing in detail the texts and illustrations in the Gawain-manuscript (British Library, Cotton MS Nero A.x), the thesis argues that the poet weaves together classical and biblical narratives, along with exegetical and iconographic traditions, in shaping his distinctive reflections on the use and making of images, body and performance, in response to late fourteenth-century religious controversies. The thesis starts by tracing a network of ideas about gaze, sin, body and text through late-medieval biblical and mythographical texts and images. Working text-by-text through the poet’s oeuvre, it then discusses the use of Ovidian materials and the motif of metamorphosis in his complex meditation on ethical and specifically gendered practices of reading, writing and looking. It concludes by assessing the poet’s idea of poetic creation and his own role as a creative artist. In doing so, it suggests that the poet’s self-conscious artistry works together with a consistent emphasis on humility in human’s relations with the divine. The thesis contributes to a growing scholarly interest in the Gawain-illustrations, and a developing focus on visuality in studies of late-medieval devotional and literary works. By linking the analysis of classical/biblical intertexts, visual traditions and the manuscript’s own illustrated texts, it suggests a fresh area of study for the Gawain-poet and his milieux.

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This study investigates the representation of gender and sexuality in Brazilian popular comedies. Due to its responsiveness to contemporary trends, popular cinema is a privileged locus for the analysis of social and cultural change. Comedy, in particular, is a fecund corpus for the study of power relations due to its ambivalent relation with the hegemonic power. While inherently relying on the status quo, comedy constantly pushes the boundaries of the socially acceptable; by transgressing and therefore expanding the boundaries of traditional gender representations, new models of femininity and masculinity emerge in these films in line with the changes of their time. This argument is supported by the close analysis of ten influential films spread across the three most prominent cycles of Brazilian popular cinema history: the chanchada in the 1950s, the pornochanchada in the 1970s and the Globochanchada in the 2000s. In the light of Mikhail Bakhtin's theorisation on the carnivalesque, and with the support of psychoanalytical theory, this study demonstrates that times of profound economic and political change call for a revision of gender models, and that comedy has been the preferred genre for Brazilian directors to provide a means of addressing, and coping with, the new demands on femininity and masculinity.

The third place of the corner café has historically served as a community living room, providing an essential setting for social interaction and flânerie within the built environment. With modern technology and communication methods, however, interaction that once required physical proximity can now occur virtually. So where does this leave the corner café in today’s society? Have our third places moved online into fourth places such as Facebook and Twitter? A gallery exhibition entitled #Community is discussed as a visual representation of this written thesis. Methods and frequency of interaction – with others in the physical space as well with those not present – are discussed, providing information which may inform design and provide insight into the relevancy of the built environment in the face of evolving technology.

This thesis is concerned with the ways in which whiteness and authenticity are manifested within contemporary visual culture in South Africa. The project begins as an artistic inquiry grounded in autobiography, which becomes an elaborate self-portrait narrated from the distance of the third person. My practice aims to address the trajectories that I am unable to articulate through my theoretical analysis. Through a process of solvent release printing, I explore the dualities of my own identity as African and white in an attempt to counteract the view that one negates the other. Part I attempts to provide an archive-able record of this practice. Part II shows that a long history of dichotomous art-historical practice has resulted in differentiated artistic pressures for black and white South African artists. I discuss the development of platforms that have contributed to the shifting of such classificatory trends without dissolving them completely, namely the first and second Johannesburg Biennales, Africus (1995) and Trade Routes (1997). In doing so, I trace how these events have troubled such stereotypes. Whiteness is identified as the overriding factor which allows the dominant discourse of Western- and Euro-centric ideals to remain prioritised. Brett Murray and Minnette Vári are discussed as examples of white South African artists who problematise whiteness by addressing racial fluidity, belonging, authenticity and identity. The theme of autobiography is reintroduced in the conclusion, where I argue that my own practice could be seen to mirror the strategies that each artist has employed to subvert their whiteness, and to build a case for accessing a multiple identity that is African in its ability to be diverse. I conclude that it is ultimately the artists’ performative use of their own bodies which allows them to discuss issues of representation without falling into the ideological position of the coloniser.

An internship experience in the Office of the Registrar and Collections Management at the New Orleans Museum of Art is reviewed alongside discussion of the Museum’s history, structure, and permanent collection, in addition to analyses of the organization’s finances and its institutional strengths, weaknesses, opportunities and threats. Discussion topics also include the intern’s experience, best practices in similar institutions, and a conclusion with recommendations made by the intern.

Being First generation born Mexican American I am looking into the blend of the two cultures and the disparity between them. The border is the core of my investigation; by traveling across the border I have become conscious of the differences among both sides and duality within myself. My identity has developed from a synthesis of these two cultures, and my wok explores these two factions that cannot be one without the other. fusion is apparent in my self-portraits where I dress up with the colors from both sides of the border. But I also take a personal look into understanding the history and identity of each nation. I create a juxtaposition with these two identities that become one and explore the social, cultural, and political issues we face in the everyday. I recreate my “investigation,” by trying to dig deeper, exposing the layers, and facing my own identity crisis in the process.