Adulé ou détesté, l’op art a marqué les esprits par son incroyable réception populaire. Damiers à renflements, moirage, jeux de trompe-l’œil, clignotements épileptiques… Avec son insatiable appétit scopique, cette avant-garde a fait l’objet de nombreux réemplois dans la publicité, le design, la mode, à la télévision, et plus que jamais au cinéma. Art de l’œil et du mouvement, sa géométrie illusionniste avait matière à s’y épanouir – la moindre caméra décuple ses vertus de métamorphose. A l’inverse, ses gadgets sophistiqués ont sublimé à moindre coût les décors de science-fiction, son économie pulsatile a piloté des mises en scène d’horreur et de suspense, et le cinéma réaliste en a fait un puissant miroir de la société. Pourtant, l’histoire de l’art a longtemps ignoré voir blâmé ces reprises. Comme à l’époque, on les ravalait au rang de la récupération. C’étaient sinon le symptôme d’un art décérébré, décadent, vulgairement rétinien. Il importe aujourd’hui de les reconsidérer. Comment ces « œuvres de prolongement » travaillent les imaginaires de l’op art ? Au cours de ses réemplois, que perd et gagne une œuvre d’art ? A travers trois capitales, Paris, Londres et Rome, cet essai décrypte les enjeux d’une fascination visuelle dans un après-guerre hanté, bouleversé par l’imagerie médiatique (guerre froide, fabrication du consentement) et les technologies engageant l’œil et le cerveau (contre-espionnage, cryptanalyse). Cette thèse se réclame des « factual studies », une approche nouvelle, non moins iconographique que les visual studies, mais davantage sensible à une pensée de l’événement. Soit la rencontre des faits historiques avec les refoulés de l’histoire. / Worshiped or hated, op art is famous for its amazing popularity. Raised checkboards, moiré patterns, trompe l’oeil games, epileptic flashes… Because of its insatiable scopic appetite, this artistic movement was abundantly used in advertising, fashion, television and, above all, in movies. Art of the eye and the motion, its illusionist geometry could find a large expression in cinema – a shaking camera could increase its metamorphic power. Its sophisticated gadgets magnified science-fiction sets at minimal cost, its stroboscopic aesthetic fuelled the staging of horror films and thrillers, and realistic cinema has used it as a faithful mirror of society. However, history of art has always condemned this kind of reuse and was reluctant to study it. As in the sixties, one considered it as an enterprise of looting, or even as the sign of a decadent, enervated and strictly retinal art. Visiting three capitals, Paris, London and Rome, this thesis aims at decrypting issues related to visual fascination in a post-war time challenged by the media imagery (Cold War, manufacturing consent) and the new technologies such as counter-espionage and cryptanalysis. What does an artwork win or lose through its transformations? To what extent do these “objects of extension” reflect the fantasy of op art and even of society? While taking into account the historical dimension, this study experiments a new research method : the “factual studies” – that is however equally iconographic as the “visual studies”. In other words, the encounter of historical events and repulsed history.

abstract: La autobiografía, como medio de expresión y reivindicación del yo, ofrece a las autoras/artistas femeninas la oportunidad de definirse a sí mismas. El género autobiográfico tiene orígenes muy antiguos y resulta fundamental en el proceso de construcción de la identidad por parte de mujeres pertenecientes a grupos étnicos minoritarios. El discurso autobiográfico permite a la mujer ser al mismo tiempo escultura y escultor, creador y creación. El objetivo de este trabajo es ofrecer una nueva aproximación al universo femenino de la autorepresentación visual. La autonarración debería estar en el centro de la atención feminista, siendo uno de los métodos más efectivos que las mujeres pueden aplicar para hablar sobre sus experiencias y condiciones. Esta investigación intenta reunir voces multiétnicas y promueve un recurso interdisciplinario que interesa no solo a la literatura y la cultural, sino también a otros campos de las humanidades, como la historia, la sociología y los estudios de género y de la discapacidad. Una de las principales intenciones es desmantelar las formas tradicionales de identidad y destruir las fronteras sociales, adoptando la diferencia y la alteridad como un componente único de cada individuo. Mi proyecto de disertación analiza textos autobiográficos femeninos en sus diferentes formas visuales poniendo especial énfasis en los países de Argentina, México y Estados Unidos. A través de narrativas personales, fotografías, películas, pinturas, murales y producciones digitales, estas obras femeninas examinan temas como la homofobia, la identidad política, la soberanía nativa, la maternidad, la identidad lesbiana y diferentes identidades culturales minoritarias. Algunas de las autoras seleccionadas viven al margen de la supremacía blanca por el hecho de pertenecer a grupos étnicos y sociales minoritarios. Otras voces viven al margen del sistema heteronormativo dominante para reconocerse a sí mismas como lesbianas o bisexuales. Más allá de estos contextos, todas las autoras se encuentran discriminadas por ser mujeres en un contexto patriarcal. Los marcos teóricos que se emplean incluyen en sí definiciones autobiográficas interdisciplinarias teorizadas exclusivamente por mujeres. Podrían mencionarse, por ejemplo, los conceptos de HERstory (Ashby y Gore 1995), Autohistoria (Anzaldúa 1999) Pathography (Hawkins 1999), Feminography (Abrams 2017) y Autobiografilm (Paola Lagos Labbé 2011). Las diferentes historias visuales exploran los diferentes matices de la identidad racial y/o lesbiana de las mujeres que a menudo se perciben como forasteras dentro de su propio país. Todas las artistas objetos de mi análisis se enfrentan a diferentes formas de represiones y están motivadas por un deseo de reconocimiento social. Estos grupos marginados invitan a los lectores a desarrollar nuevas formas de diálogos, prácticas y alianzas transculturales. / Dissertation/Thesis / Doctoral Dissertation Spanish 2020

The artist discusses his Master of Fine Arts exhibit, titled DUNIDEDCUDIGUNADIE. The exhibit is to be held at the Tipton Gallery in downtown Johnson City, TN, from April 2nd to April 10th, 2020. A live reception will be held the evening of April 3rd, featuring a performance with the work, titled Look at You! The following thesis explores the artist’s formative years – investigating how childhood experiences combine with artistic and theoretical influences to inform his art-making process.

This essay is primarily focusing on finding the purpose of Abdullah Buhari’s homoerotic miniature paintings. We may never know for sure the sole purpose and know what Buhari’s intentions was when creating these paintings. By creating categories focusing on homoerotic artwork I have tried to answer that question. To be able to create these categories and to further use them as a tool to analyse and discuss Buhari’s artwork, I have analysed and discussed other homoerotic art from different genres and eras and looked for significant characteristics and elements in these work of art that can be connected to each respective category. To support these characteristics and these different categories I have refered to existing research and literature. Although Buhari is mostly known for his artwork portraying women, I chose his homoerotic art as my main focus. Mainly because I was positively surprised when I first saw them and also because I found the lack of references to these homoerotic art rather puzzling. How come one primarily focus on Buharis portrayal of women and heterosexual relations when talking of him and not those portraying manly relations? Since my main focus in this essay, was to analyse art portraying sexual relations between men, and because there are significantly more sources and studies regarding same sex relationship between men I have chosen not to include work portraying woman and lesbian relationships, although a female perspective will be present to some degree since I identify as female myself.

The implication of space in film is worth exploring in detail particularly with regard to the films of Alfred Hitchcock, since he is, perhaps more than any other filmmaker, concerned with the dynamics of proximity. Possibly because of his experience as a set designer on Graham Cutt’s silent films Woman to Woman (1922), The White Shadow (1923), The Passionate Adventure (1924), The Blackguard, and The Prude’s Fall (both 1925), Hitchcock very early in his career was faced with the task of expressing himself - without words - through setting, set shape, and room size. In Francois Truffaut's book, Hitchcock, the Master relates an important (since he remembers his) childhood episode in which his father arranged for the chief of police to lock him in a jail cell for five or ten minutes, admonishing that, “This is what we do to naughty boys.” Consequently, we see in Hitchcock’s films (which were all visually designed by him in the storyboard process) a persuasive aura of claustrophobia which involves a certain amount of connotes guilt and fear. As I intend to explain, this claustrophobia has far-reaching implications in five hermeneutic contexts, proving to be an important key to his moral-aesthetic universe.

No description available.

Mon mémoire porte sur les représentations des Premiers Peuples dans les manuels scolaires d’histoire francophones, produits et utilisés au Québec entre 1920 et 1960, avec une attention particulière portée à ceux destinés aux jeunes du primaire. Cette recherche est au croisement des études sur le colonialisme québécois, de l’histoire de l’enfance et de l’étude des représentations. Plusieurs théories émanant des études visuelles, de l’altérité et des performances studies sont aussi mobilisées dans mon étude des manuels scolaires d’histoire. En se positionnant à l’intersection de cette mosaïque d’historiographies et d’approches conceptuelles, mon mémoire répond aux questions suivantes : comment sont représentés les Premiers Peuples au Canada dans les manuels d’histoires francophones produits entre les années 1920 et 1960 et dans quelle mesure ces représentations sont en rupture avec la période précédente ? Comment sont mobilisées ces représentations dans l’imaginaire colonial québécois ? De quelle manière est reçue, appropriée et performée l’image coloniale de l’« Indien imaginaire » par les enfants ? Mon étude vient compléter une historiographie qui couvrira, dès lors, toute l’histoire des représentations des Premiers Peuples dans les manuels scolaires d’histoire depuis les débuts de l’instruction publique au Québec. Le premier chapitre explore trois champs historiographiques sur lesquels mon mémoire s’appuie : l’histoire des enfants, le colonialisme d’occupation et les représentations des Premiers Peuples dans la culture populaire nord-américaine. Les chapitres deux et trois sont consacrés, dans l’ordre, à l’analyse des manuels scolaires d’histoire produit entre 1920 et 1950 et ceux entre 1950 et 1960. Je démontre que la figure de l’Indien est mobilisée par les auteurs des manuels des années 1920-1950 pour justifier la dépossession et les violences coloniales du passé, notamment par l’utilisation d’arguments politiques, moraux et généalogiques. Dans la série de manuels des années 1950, nettement plus nationaliste, les auteurs reprennent ces mêmes idées en appuyant toutefois plus fortement sur l’idée de la « mission civilisatrice » au point de nettoyer le récit historique québécois de sa violence originelle. De plus, j’établis que ces manuels montrent la prolongation du colonialisme dans le présent. Les Premiers Peuples ne disparaissent plus du récit après la Conquête, contrairement à ce qui était le cas dans les manuels d’histoire avant 1950, mais ils sont toujours sujets à un discours colonial qui les dénigre, les invisibilise et tente de justifier la dépossession de leurs terres. / My master’s thesis examines the representations of First Peoples in French-language history textbooks produced and used in Quebec between 1920 and 1960, with a particular focus on those intended for elementary school children. This research is at the crossroads of studies on Quebec colonialism, childhood history and the study of representations. Several theories emanating from visual studies, othering and performance studies are also mobilized in my study of history textbooks. By positioning itself at the intersection of this mosaic of historiographies and conceptual approaches, my master’s thesis answers the following questions: how are the First Peoples in Canada represented in French-language history textbooks produced between the 1920s and the 1960s and to what extent are these representations at odds with the previous period? How are these representations mobilized in the Quebec colonial imagination? How is the colonial image of the ‘imaginary Indian’ received, appropriated and performed by children? My study contributes to a historiography exploring history of representations of the First Peoples in history textbooks since the beginning of public education in Quebec. The first chapter explores three historiographical fields on which my dissertation draws: children's history, settler colonialism, and representations of First Peoples in North American popular culture. Chapters two and three are devoted, in order, to the analysis of history textbooks produced between 1920 and 1950 and those between 1950 and 1960. I show that the figure of the Indian is mobilized by the authors of the first period’s textbooks to justify the dispossession and colonial violence of the past, notably through the use of political, moral and genealogical arguments. In the latter period’s, more nationalistic series of textbooks, the authors reiterate these same ideas, but with a stronger emphasis on the idea of the ‘civilizing mission’ to the point of cleansing the Quebec historical narrative of its original violence. Furthermore, I argue that these textbooks show the continuation of colonialism in the present. First Peoples no longer disappear from the narrative after the Conquest, as was the case in history textbooks before 1950, but they are still subject to a colonial discourse that denigrates and invisibilizes them, while attempting to justify the dispossession of their lands.

This thesis paper reflects upon the costume design process taken by Mikayla Reid to explore how color choice and application within designs can help create storybook characters off the page and onto the stage. This concept is explored through the costume designs for the opera The Cunning Little Vixen, a production theoretically staged at the Alice Busch Opera Theater for the Glimmerglass Festival in New York. The paper discusses Reid’s attempt to create designs that still feel like watercolor illustrations, even when realized in physical garments. It follows her process as she tests different dye techniques in search for what produces the most effective color application. This paper also breaks down each step taken while constructing the main character, the Vixen, through the build, fittings, and color application.

<p>This study considers the pedagogical significance of mourning and remembrance in the context of the commemorative culture surrounding the “9/11” attacks on America, which have stimulated recent explorations of what it might mean to commit to ethical remembrances of the dead. Critical of “9/11” memorial discourses that provide justifications for heightened “homeland” security and military mobilization in the “War on Terror,” this project not only addresses the educative force of memorial-artistic responses in creating meaning out of mass deaths, but also dissociates the concept of the public memorial as foremost an apparatus of the state, private corporations, and other institutions which seek to use memorials towards amnesiac or ideological objectives. Analyses of the memorial responses addressed in this project unpack how particular modes of remembering “9/11” and its victims are themselves reflections upon the meanings and objectives of collective remembrance. The project first explores the “September 11^th Families for Peaceful Tomorrows” organization and how it negotiates the ways public sentiment is mobilized “in the name of” victims and their families. Through an analysis of Art Spiegelman’s <em>In the Shadow of No Towers</em>,<em> </em>I examine the capacity of graphic narrative to bear witness to traumatic events and speak to their legacies in non-hegemonic ways. Lastly, the project explores how Samira Makhmalbaf’s film <em>God, Construction and Destruction</em> calls for the re-evaluation of strategic memorial practices that risk reducing “9/11” remembrance pedagogies to universalizing modes of remembrance that further subjugate already marginalized communities. Stimulated by such memorial responses that interrogate conventional practices and assumptions of collective remembrance, the project argues that the public remembrance of “9/11” is a crisis of and for education: that is, an important occasion to seek and call for modes of remembrance and sites of pedagogies that foster an openness to the critical and transformative force of historical trauma.</p> / Doctor of Philosophy (PhD)

ABSTRACT HEARD OR DREAMED ABOUT MAY 2014 PRIYA NADKARNI, B.F.A. RUTGERS UNIVERSITY M.F.A. UNIVERSITY OF MASSACHUSETTS AMHERST Directed by: Professor Shona Macdonald