Art and Design Commons^™

Paul R. Williams At Work In Photographs: Tarrying With Cites/Sights/Sites Of Trouble, Denise M. Johnson

CGU Theses & Dissertations

Ariella Azoulay and W. J. T. Mitchell have called for a new users’ manual for photographs, urging that theory finally wrest itself from the authoritative singular gaze of the patriarchal imperial photographer so that the plurality inherent within the ontology of viewing photographs be engaged. Azoulay cogently argues that the photographer is not the only person to act when a photographic event takes place. By turning critical analysis to the photographic subject and advising viewers to both watch and listen to photographs rather than gaze, a space of appearance is activated in which the photographic subject engages in dialogue with …

Representing The Ali'i And Monarchy: Dress, Diplomacy, And Featherwork In Hawai'i, Tess Anderson

Scripps Senior Theses

When Native Hawaiians and haole (foreigners) first met, both participants belonged to fashion systems unknown to the other, composed of different materials, styles, tastes, standards, and construction techniques. As the outside world was introduced to the cultural heritage of Hawaiian hulu manu (featherwork), kūkaulani (chiefly fashion), and European skewed conceptions of Hawaiian indigeneity; the ali‘i (chiefs) and kama‘āina (commoners) received and adapted to incoming materials, technologies, and information. When these encounters transitioned into “prolonged contact” and settlement, dress and adornment proliferated in new ways. Analyzing the case studies of historic pā‘ū, holokū, ‘ahu'ula, and military uniforms shows the significance of …

Popping (Post)Modernism: Joaquín Torres-Garcia & Latin America's Pop Art Movement, Alexandra Branscom

Scripps Senior Theses

Even though the canon of Western Art History has attributed the Pop movement to the US and the UK, artists from around the world have made significant contributions to pop art and formed their own Pop movements. This includes the Latin American pop artists Felipe Ehrenberg (Mexican), Antonio Henrique Amaral (Brazilian), and Juan Dávila (Chilean), who, between the years 1968 and 1974, fled right-wing political unrest of their respective home countries and gained artistic education in dominant, imperialistic countries. These artists subvert the capitalistic, adverting language of pop art to promote the localized political sensibilities of their home countries and …

Painting While Black: Exploring Racial Identity Through Iconography, Blake Morton

CMC Senior Theses

An exploration grounded in the works of visionary artists within the contemporary Post-Black era. Artists such as Kara Walker, Kerry James Marshall, and Glenn Ligon whose works resonate with the fears, anxieties, and intentions that I wrestled with. I engaged with the iconography and historical background of the contemporary Post-Black era. A dive into the historical, philosophical and artistic implications behind making art about race and racism as a Black artist. Ultimately, through the aid of artists from the Post-Black era, I created a three-part response to the initial question: “Why don’t you make art about race?”

Foster Rhodes Jackson And The Visual Conquest Of The West, Eve Kaufman

Scripps Senior Theses

Colonizers settled the Los Angeles and the Southern California region in part by using Modernism’s visual rhetoric and propagandic implications during the time of suburban sprawl. Suburban sprawl refers to the mass single family home development which took place from the 1920^[1]s until now but peaked from the 1970s to the 1990s. Los Angeles sprawl grew particularly in the 1950^[2]s as soldiers returned from WWII. It was a way for middle class white families to accrue generational wealth and follow through on the American Dream^[3].

The primary result however disenfranchised already marginalized groups. This …

Woven By The Grandmothers: The Development Of The National Museum Of The American Indian Throughout The 1990s, Lucy Winokur

Scripps Senior Theses

In 1994, the National Museum of the American Indian (NMAI) opened the George Gustav Heye Center in New York City, the first of what would be three campuses. Ten years later, in 2004, the NMAI opened its main campus in Washington, D.C., already having cemented their place as leaders in a movement to center indigenous voices within museums housing indigenous material culture. By examining the history of the NMAI from the first acquisition of George Gustav Heye to its earliest approaches to exhibition design and collections management policy in the 1990s, it is possible to track the development of the …

Globalized Interfaces And Anticolonial Engagements With Material Technologies Of Empire: Tabita Rezaire And Morehshin Allahyari’S Works, Neelufar Franklin

Scripps Senior Theses

The virtual is far from immaterial and its expressions are multifarious. The infrastructure of a technologic-globalism has opened new pathways of desecration, created new networks of exploitation, and reinforced fraught foundations. Tabita Rezaire and Morehshin Allahyari are two artists whose radical technofeminist and new materialist practices engage with counterdiscourses in the face of the globalized interfaces of technology; from mappings of submarine fiber optic network cables or understanding water as a knowledge repository, to 3D printed queered figures of Islamic mysticism and hypertext narratives. In these anachronistic approaches to technological use and analyses, archives become possibilities for renderings of futurity …

Nostos: On Recollecting Loss And The Physical Manifestation Of Loss, Stephanie M. Huang

Scripps Senior Theses

This paper examines nostalgia in photo-poetry book Nostos, and nostalgia’s existence as a theoretical global condition arising from displacement, looking at nostalgia specifically not as a yearning for home, but a yearning for a lost sense of feeling at home. It traces the lineage of image-text hybrid art practices and examines the significance of conveying meaning through both synergistically. It studies the psychoanalytic process of transforming loss into object, or absence into presence, ultimately using the object as a lens to view oneself and the way in which nostalgia manifests itself.

Understanding Postcolonial South Asian Communities Through Bollywood, Noor A. Asif

Scripps Senior Theses

Inspired by my personal experience as a South Asian-American, I chose to create a series of paintings that seek to analyze the relationship between South Asians and a Western environment. I was further influenced by Bollywood painted posters, which I argue encapsulate postcolonial aesthetics in the form of fair skin, colored eyes, and exoticism. Moreover, I believe that Bollywood has continued to disseminate these aesthetics to the South Asian collective community. Bollywood and its implicit fascination with the West, in addition to its inherently South Asian identity, embody the struggle that many South Asians face. This struggle, which I as …