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Full-Text Articles in Arts and Humanities
Boundary As Borderland: Mexico City’S Central Plaza And The Politics Of Presence, Re'al Christian
Boundary As Borderland: Mexico City’S Central Plaza And The Politics Of Presence, Re'al Christian
Theses and Dissertations
In the postcolonial era, the land surrounding national borders—the borderland—has inherited a specific identity and relationship with those who navigate it. While national borderlands are oft discussed amid conversations on globalization, land disputes, and war, the Spanish colonization of the Americas in the fifteenth and sixteenth centuries saw the new establishment of borderlands from within in the form of segregative boundaries that purported to separate Indigenous and European peoples. This thesis concerns the manifestation of the borderland as not only an external entity, but an internal one as well. Using Mexico City, the center of the Spanish colonial empire, as …
Art 3700: Politics Of Display, Approaches To Non-Western Art, Midori Yamamura
Art 3700: Politics Of Display, Approaches To Non-Western Art, Midori Yamamura
Open Educational Resources
This class is an introduction to non-Western art. We will study the unique aesthetics and the basic ideas behind the arts made in the Islamic world, Asia, Africa, the Americas, and their diaspora. The course will consider the exhibition as a politicized arena and determine how particular ways of selecting and displaying the artworks or their lack of representation in museums can influence our knowledge. Students are encouraged to choose images and write their papers to communicate their ideas about the four focal areas and their diaspora. They are encouraged to think about how their knowledge and worldview can complement …
The Adobe Frontier, Christopher J. Gauthier
The Adobe Frontier, Christopher J. Gauthier
Theses and Dissertations
The Adobe Frontier is a documentary film about Ronald Rael and Virginia San Fratello—together known as “Studio Rael San Fratello” —and their work connecting contemporary technology with the legacy of pottery making and adobe architecture in the Southwest United States.
Using Monuments To Teach About Racism, Colonialism, And Sexism, Susan Phillip
Using Monuments To Teach About Racism, Colonialism, And Sexism, Susan Phillip
Publications and Research
This chapter examines how an interdisciplinary high-impact practice approach to teaching and learning using selected contested monuments can reveal intersections of racism, colonialism, and sexism, and lay the foundation for students’ civic engagement. In place-based and virtual experiences, students observe and investigate local and national monuments, integrating knowledge from multiple disciplines, including history, psychology, art, culture, and tourism. Students make critical analyses about how monuments reveal power relationships in our society. Students from various disciplines explore the origin of contested monuments, the evolving national and local debates around them, and their effect on students’ learning to evaluate historical, contemporary, and …
Layered Histories, Interpretive Desires, Rachelle Dang
Layered Histories, Interpretive Desires, Rachelle Dang
Theses and Dissertations
I aim to excavate source material from the past and reinterpret its significance in the present through art. I merge history with the contemporary through acts of appropriation and material exploration, creating conditions for the viewer to grapple with colonial legacies in an affective space of visual experience.
Fauve Masks: Rethinking Modern 'Primitivist' Uses Of African And Oceanic Art, 1905-8, Joshua I. Cohen
Fauve Masks: Rethinking Modern 'Primitivist' Uses Of African And Oceanic Art, 1905-8, Joshua I. Cohen
Publications and Research
Fauve painters “discovered” African and Oceanic sculpture beginning in 1905. From that time, Vlaminck first collected African art; Derain studied Oceanic works at the British Museum in spring 1906; and Matisse struggled to paint a Kongo-Vili statuette he purchased in fall 1906. Fauve interests in shallow-relief, relatively naturalistic, and surface-ornamented sculptural works suggest conformity with turn-of-the-century artistic and scientific ideas conflating heterogeneous strains of so-called “primitive” material culture. Nevertheless, the dominant conceptual framework of “primitivism” has tended to limit art-historical understandings of external formal influences on modernism, which can be gleaned here by investigating the particular objects the Fauves appropriated.