Unsettling Histories: Representation and Indigenous Creative Art Praxis in Official Indian Residential School Redress

This dissertation offers an investigation of the role of visual strategies, art, and representation in reconciling Indian Residential School history in Canada. This research builds upon theories of biopolitics, settler colonialism, and race to examine the project of redress and reconciliation as nation and identity building strategies engaged in the ongoing structural invasion of settler colonialism. It considers the key policy moments and expressions of the federal government—from RCAP to the IRSSA and subsequent apology—as well as the visual discourse of reconciliation as it works through archival photography, institutional branding, and commissioned works. These articulations are read alongside the creative and critical work of Indigenous artists and knowledge producers working within and outside of hegemonic structures on the topics of Indian Residential School history and redress. In particular the works of Jeff Thomas, Adrian Stimson, Krista Belle Stewart, Christi Belcourt, Luke Marston, Peter Morin, and Carey Newman are discussed in this dissertation. These works must be understood in relationship to the normative discourse of reconciliation as a legitimizing mechanism of settler colonial hegemony. Beyond the binary of cooptation and autonomous resistance, these works demonstrate the complexity of representing Indigeneity: as an ongoing site of settler colonial encounter and simultaneously the forum for the willful refusal of contingency or containment.

“Art Will Not Disappear Into Nothing; It Will Disappear Into Everything“: The Black Audio Film Collective and Latin America

The development of Latin American cinema in the 1960s was underwritten by a number of key texts that outlined the aesthetic and political direction of individual filmmakers and collectives (Solanas and Getino, 1969; Rocha, 1965; Espinosa, 1969). Although asserting the specificity of Latin American culture, the theoretical foundations of its New Wave influenced oppositional filmmaking way beyond its own regional boundaries. This chapter looks at how movements in British art cinema, especially the Black Audio Film Collective, were inspired and propelled by the theories behind New Latin American cinema. Facilitated by English translations in journals such as Jump Cut in the early ‘80s, Cuban and Argentine cinematic manifestoes provided a radical alternative to the traditional language of film theory available to filmmakers in Europe and works such as Signs of Empire (1983-4); Handsworth Songs (1986) and Seven Songs for Malcolm X (1993) grew out of this trans-continental exchange. The Black Audio Film Collective represented a merging of politics, popular culture, and art that was, at once, oppositional and melodic. Fusing postcolonial discourse with pop music, the avant-garde and re-imaginings of subalternity, the work of ‘The Collective’ provides us with a useful example of how British art cinema has drawn from theoretical foundations formed outside of Europe and the West. As this chapter will argue however, the Black Audio Film Collective’s work can also be read as a reaction to the specificity of British socio-politics of the ‘80s and ‘90s. Its engagement with the aesthetico-political strategies of Latin American cinema, then, undercut what was a solidly British project, rooted in (post)colonial history and emerging ideas of disaporic identity. If the propulsive thrust of The Black Audio Film Collective’s art was shaped by Third Cinema, its images and concerns were self-consciously British.

Two Women; On the Cinematic Experience in Installation Art

Thesis (Ph.D.)--University of Washington, 2016-07

Theatre History and Historiography Ethics, Evidence and Truth

This collection of essays is the first time a group of theatre historians have come together to consider the challenge of applying ethical thinking to attempts to truthfully represent the past. Topics include the life of the celebrated Restoration actor Thomas Betterton, the little-known records of hitherto forgotten women involved in Victorian theatre, amateur theatricals enjoyed by the British army in colonial India, the loss of a pioneering arts centre for African and Caribbean culture, performance art in Wales and present-day community arts in Northern Ireland. While confronting such difficult issues as the instability of evidence and the unreliability of memory, the contributors offer fresh perspectives and innovative strategies for fulfilling their ethical responsibility to the lived experience of the past.

The Essay as Art Form

Beginning with Montaigne’s essayistic dictum Que sais je? — ‘What do I know?’ — this PhD thesis examines the literary history, formal qualities, and theoretical underpinnings of the personal essay to both investigate and to practice its relevance as an approach to writing about art. The thesis proposes the essay as intrinsically linked to research, critical writing, and art making; it is a literary method that embodies the real experience of attempting to answer a question. The essay is a processual and reflexive mode of enquiry: a form that conveys not just the essayist’s thought, but the sense and texture of its movement as it attempts to understand its object. It is often invoked, across disciplines, in reference to the possibility of a more liberal sense of creative practice — one that conceptually and stylistically privileges collage, fragmentation, hybridity, chance, open-endedness, and the meander. Within this question of the essay as form, the thesis contains two distinct and parallel strands of analysis — subject matter and essay writing as research. At the core of the study lie two close-readings: Ana Mendieta’s Labyrinth of Venus (1982) and Le Couvent de la Tourette (1959) by Le Corbusier and Iannis Xenakis. In each case, the writing draws, in its tone and texture, on a range of literary influences, weaving together different voices, discussions, and approaches to enquiry. The practice of essay writing is presented alongside, part and party to, research: a method of interrogation that embraces risk and uncertainty, and simultaneously enacts its own findings as a critical-creative mode of study-via-form, and form-via-study. The thesis is presented as a book-length essay, in which the art in question is equal and intimately connected to the writing used to address it. Method and form are designed to respond to the oft-cited challenge of the essay as fundamentally unmethodical, ranging, and diverse. Research, critical study, writerly description, and storytelling are combined to elucidate and expose each other based not on surface continuity, but on a deep interconnection among ideas that, through language, cohere and become related — imbued with an affinity for one another. The consummate product is the argument, as it works across genres, disciplines, descriptive and critical models, to challenge the narrative structure and language used within contemporary writing about art.

Relocating the Frame: Object-Oriented (1.) and Locative Art (2.) Environments

The locative project is in a condition of emergence, an embryonic state in which everything is still up for grabs, a zone of consistency yet to emerge. As an emergent practice locative art, like locative media generally, it is simultaneously opening up new ways of engaging in the world and mapping its own domain. (Drew Hemment, 2004) Artists and scientists have always used whatever emerging technologies existed at their particular time throughout history to push the boundaries of their fields of practice. The use of new technologies or the notion of ‘new’ media is neither particularly new nor novel. Humans are adaptive, evolving and will continue to invent and explore technological innovation. This paper asks the following questions: what role does adaptive and/or intelligent art play in the future of public spaces, and how does this intervention alter the relationship between theory and practice? Does locative or installation-based art reach more people, and does ‘intelligent’ or ‘smart’ art have a larger role to play in the beginning of this century? The speakers will discuss their current collaborative prototype and within the presentation demonstrate how software art has the potential to activate public spaces, and therefore contribute to a change in spatial or locative awareness. It is argued that the role and perhaps even the representation of the audience/viewer is left altered through this intervention. 1. A form of electronic imagery created by a collection of mathematically defined lines and/or curves. 2. An experiential form of art which engages the viewer both from within a specific location and in response to their intentional or unintentional input.

Re-viewing history: antiquaries, the graphic arts and Scotland's lost geographies, c.1660-1820

This thesis examines topographical art depicting Scotland’s natural scenery and built environments, architecture, antiquities and signs of modern improvement, made during the period 1660 to 1820. It sets out to demonstrate that topography and topographical art was not exclusively antiquarian in nature, but ranged across various fields of learning and practice. It included the work of artists, geographers, cartographers, travel writers, poets, landscape gardeners, military surveyors, naturalists and historians who were concerned with representing the country’s varied, and often contentious, histories within an increasingly modernising present. The visual images that are considered here were forms of knowledge that found expression in drawings, paintings and engravings, elevations, views and plans. They were made on military surveys and picturesque tours, and were often intended to be included alongside written texts, both published and unpublished, frequently connecting with travels, tours, memoirs, essays and correspondence. It will also be argued that topography was a social practice, involving networks of artists, collectors, publishers and writers, who exchanged information in drawings and letters in a nationwide, and often increasingly commercial enterprise. This thesis will explore some of the strands of such a vast network of picture-making that existed in Scotland, and Britain, between 1660 and 1820, as visual images were circulated, copied, recycled and adapted, and topographical and antiquarian visual culture emerges as a complex, synoptic form of inquiry.

Art and the Body Image: about Self and Stereotypes

Today's man is socially absorbed by problematic body issues and everything that this means and involves. Literature, publicity, science, technology and medicine compound these issues in a form of this theme that has never been seen before. In the artistic framework, body image is constantly suffering modifications. Body image in sculpture unfolds itself, assuming different messages and different forms. The body is a synonym of subject, an infinite metaphorical history of our looks, desires, that leads one to interrogate his/her image and social and sexual relations. These are understood as a manifestation of individual desires freed from a moral and social imposition. It attempts a return to profound human nature before we are turned into a cloning industry. In thisstudy it isimportant for usto understand in which form doessculpture reflect body image as a sociocultural and psychological phenomenon within the coordinates of our time. To understand how they represent and what artists represent in sculpture as a multiple and complex structure of human sexuality. Today, the sculptural body, expanding its representation, no longer as a reproduction of the corporal characteristics, presents the body in what it possesses of most intimate, unique, human and real, that moves, reacts, feels, suffers and pulsates, a mirror of us all.

Planting a Melodious Vegetable Garden: Where the History of Food & Drink Meets a Musical Composition

Presentation from the MARAC conference in Philadelphia, PA on November 7-9, 2013. S6 - Art from Archives

The destruction of heritage: rock art in the Burrup Peninsula

The destruction of rock art in the Burrup Peninsula, performed by several mammoth industries strategically located in the Peninsula since the 1960s, allows me to analyse the concept of heritage within a global history of art and find meaning in the difficult task of interpreting rock art. The Burrup Peninsula not only hosts the largest rock art site in the world, but also one of the largest deposits of natural gas, iron ore and salt. As a consequence, the land (sacred to the Indigenous people), becomes extremely important in order to sustain the booming economy of Australia. In this difficult negotiation between heritage and progress the rock art is embedded with new meanings and the heritage becomes ephemeral. Failing to include the site in the World Heritage Site list created by UNESCO, the roles of identity and memory are contested by the two groups represented on each side of the debate: on one hand, the Aboriginal Traditional owners and the archaeologists; on the other, the Australian government and the cultural establishment that denies the rock art an aesthetic significance by considering it “primitive” and “archaic”. The debate becomes even more pertinent after realizing that the Australian government has flagged other buildings and natural parks as World Heritage Sites, while the rock art in the Burrup Peninsula is catalogued as national, but not World, Heritage. As a result, the concept of heritage can be defined on several levels: local, regional, national and international.

How many times can the same image change? The history of the image in Murujuga

In this paper, I will analyze the history of the image in Murujuga, located in Western Australia, through three stages: creation, preservation and destruction. I will argue that each stage is linked to a turning point in the history of Australia. The first stage is linked to the Dreamtime, a time where Aboriginal cosmology sets the origin of the world. The second stage is linked to the arrival of the white settlers and colonialist practices, where surprisingly the images were neither appropriated nor destroyed, but neglected. The third stage is linked to destruction, where the Aboriginal images from Murujuga does not find a place, and instead are excluded from the multicultural frame of heritage, that Australia boasts. The conclusion will give me the opportunity to discuss how these changes have affected the meaning and perception of these specific images (Aboriginal rock art), by contesting the concept of heritage.

HOG CHAINS AND MARK TWAINS: A STUDY OF LABOR HISTORY, ARCHAEOLOGY, AND INDUSTRIAL ETHNOGRAPHY OF THE STEAMBOAT ERA OF THE MONONGAHELA VALLEY 1811-1950

This dissertation examines a unique working class in the United States, the men and women who worked on the steamboats from the Industrial Revolution until the demise of steam-powered boats in the mid-20th century. The steamboat was the beginning of a technological system that was developed in America and used in such great numbers that it made the rapid population of the Trans-Appalachian West possible. The steamboat was forever romanticized by images of the antebellum South or the quick wit of Samuel Clemens and his sentimental book, Life on the Mississippi. The imagination swirls with thoughts of boats, bleach white, slowly churning the calm waters of some Spanish moss covered river. The reality of the boats and the experience of those who worked on them has been lost in this nostalgic vision. This research details the history of the western steamboat in the Monongahela Valley, the birthplace of the commercial steamboat industry. The first part of this dissertation examines the literature of authors in the field of labor history and Industrial Archaeology to place this work into the larger context of published literature. The second builds a framework for understanding the various eras that the steamboat went through both in terms of technological change, but also the change the workers experienced as their identity as a working class was being shaped. The third part details the excavations of two steamboat captains houses, those of Captain James Gormley and Captain Michael A. Cox. Both men represented a time in which the steamboat was in an era of transition. Excavations at their homes yield clues to their class status and how integrated they were in the local community. The fourth part of this study documents the oral histories of steamboat workers, both men and women, and their experience on the boats and on the river. Their rapidly declining population of those who lived and worked on the boats gives urgency for their lives to be documented. Finally, this study concludes with a synthesis of how worker identity solidified in the face of technological, socio-economic, and ideological change especially during their push for unionization and the introduction of the diesel towboat.

Neuroscience and Hindu Aesthetics: A Critical Analysis of V.S. Ramachandran’s “Science of Art”

Neuroaesthetics is the study of the brain’s response to artistic stimuli. The neuroscientist V.S. Ramachandran contends that art is primarily “caricature” or “exaggeration.” Exaggerated forms hyperactivate neurons in viewers’ brains, which in turn produce specific, “universal” responses. Ramachandran identifies a precursor for his theory in the concept of rasa (literally “juice”) from classical Hindu aesthetics, which he associates with “exaggeration.” The canonical Sanskrit texts of Bharata Muni’s Natya Shastra and Abhinavagupta’s Abhinavabharati, however, do not support Ramachandran’s conclusions. They present audiences as dynamic co-creators, not passive recipients. I believe we could more accurately model the neurology of Hindu aesthetic experiences if we took indigenous rasa theory more seriously as qualitative data that could inform future research.

Lecture by Art Spiegelman, given at Florida International University, October 23, 1998

Art Spiegelman discusses the history of comics the importance of comics as an art medium. Introduction by Dahlia Morgan.

Supplement to A Teacher’s Guide to African American Historic Places in South Carolina : integrating art into classroom instruction

Within this booklet, teachers will find instructional resources covering a wide array of genres, including, dance, choral music, general music, instrumental music, media arts, theatre, and the visual arts. These lesson plans are explicitly designed to integrate artistic expression and comprehension with other academic disciplines, such as English, History, and Social Studies. Each submission highlights the grade level, artistic genre, sources, learning objectives, instructional plans, and modes of evaluation. This Arts Integration Supplement to the Teacher’s Guide to African American Historic Places in South Carolina outlines 22 lesson plans that meet the 2010 Visual and Performing Arts Standards of South Carolina and integrates the arts into classroom instruction. Where applicable, other standards, such as those for math and social studies, are listed with each lesson plan. The teaching activities in this supplement are provided to aid in the development of lesson plans or to complement existing lessons. Teaching activities are the simplest means of integrating art in classroom instruction.