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Articles 1 - 3 of 3
Full-Text Articles in American Studies
Ecotones, Chas Schroeder
Ecotones, Chas Schroeder
CGU MFA Theses
My work explores the intersection of pastoral, urban and idiosyncratic visions. It may reveal the aesthetic and emotional possibilities inherent in the broad-ranging subjects I employ: game animals, advertising, colonialism, love, numerals, textiles, drugs, abstraction, competitive sports, displacement, architecture, gender-bending, civil-rights movements, transgressive literature, social media, indigenous peoples, graphic design, glamour, fashion, hip-hop, rock-n-roll, graffiti, cowboy, exhibitionism and other niche cultures in America. Pieces emerge intuitively via personal narrative and lodged memories as guides. The disjunctive compositions are a breed of contemporary formalism mated with abstraction.
Tiki Kitsch, American Appropriation, And The Disappearance Of The Pacific Islander Body, Daniel Mcmullin
Tiki Kitsch, American Appropriation, And The Disappearance Of The Pacific Islander Body, Daniel Mcmullin
LUX: A Journal of Transdisciplinary Writing and Research from Claremont Graduate University
After Greenberg's famous analysis of kitsch in terms of aesthetics, Art critic James Gaywood, reasserted the question of kitsch in terms of market. (Gaywood 1997) Here Picasso and cultural appropriation were supplanted by Marcel Duchamp and the readymade. The products of art became completely non-native on all fronts, the world so reflected was postcultural. In that sense, cultural appropriation was no longer an aesthetic, it was a commodity for production, and as much as possible, production by machines. The form of such commodity, of Pacific Islander cultures, was highly variable, from a 17th century English play by John Clarke, to …
Dirty Pictures—Not For Sale: Re-Reading Bellocq’S Storyville Portraits, Mollie S. Le Veque
Dirty Pictures—Not For Sale: Re-Reading Bellocq’S Storyville Portraits, Mollie S. Le Veque
CGU Theses & Dissertations
In this paper, I examine E.J. Bellocq's "Storyville Portraits" within art historical and feminist historiographies. One of the most infamously alluring parts of New Orleans at the turn of the century, the Storyville red light district is hardly part of contemporary American consciousness today. Part of my work involves an evaluation of what a lack of archival resources does to perceptions of Storyville and more broadly, the stereotypical late Victorian “fallen women” that has been read into history - both by historians and popular culture. However, my focal point is indeed the portraits and how they might be re-read and …