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# Title Semester Author Description Access Restrictions
1 reMediating soFAs and rabbits 2018 Spring Dzuricsko, Elisabeth B. This thesis is only viewable on the SAIC campus.
2 How Does Freedom Smell or My Cup of Coffee 2018 Summer Fainshtein, Margarita This thesis is only viewable on the SAIC campus.
3 Comfort, Chairness and the Anthropocene 2018 Summer Saffren, Joanne April Tepper On January 1, 2018, I walked to my neighboring lake and found the entire shore covered with a layer of tangled tree limbs. This uncanny...
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On January 1, 2018, I walked to my neighboring lake and found the entire shore covered with a layer of tangled tree limbs. This uncanny site was the result of California's extreme and exceptional drought, 2012-2017, which caused over 135 million tree deaths. I began making chairs from the tree limbs and, in the process of my art practice, I started thinking about the connection between comfort and the anthropocene. Designing and crafting functional chairs, along with my design practice history, also led to a discussion on the modernist divide between high art and functional design through an engagement of thinkers like Clement Greenberg. I also introduce artists Donald Judd, Jessi Reaves, Mary Heilmann and others into this discussion.
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4 Embracing the Grotesque: An Art Historical and Critical Journey With Poetic Digressions Into a Persona/ Art Practice 2018 Summer Shevchenko, Galina Embracing the Grotesque is an art historical and critical journey culminating with poetic digressions into my personal art practice....
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Embracing the Grotesque is an art historical and critical journey culminating with poetic digressions into my personal art practice. Combining art history and feminist theory, this project plumbs the depths of the aesthetic and conceptual aspects of the "Grotesque": an extremely captivating but incongruent cultural phenomenon and critical idiom. The story of Grotesque is a winding road taking us back to the origins of creation and creativity, a sacred place of intersection between visual culture and the depths of the subconscious. Aesthetics of Grotesque is based on The Renaissance's visualization and recontextualization of the "pagan dream." Visual explorations of the Grotesque could be regarded as conceptual precursors to Freudian excavations in psychoanalysis.
Embracing the Grotesque intersects art historical discourse on the Grotesque explored by Alessandra Zamperini, Nicole Dacos, Ewa Kuryluk, and Frances Connely with theoretical and literary discourse of Mikhail Bakhtin and Geoffrey Galt Harpham. It also owes a debt to the feminist theories o[Julia Kristeva, Luce Irigaray, Helene Cixous, Elizabeth Grosz, and Rosi Braidotti. Throughout my investigation I am attempting to identify mythological tropes, methodological traits, and unveil the means of "grotesque" knowledge production through images and metaphors. This process of inquiry through interjecting analysis of art and language is helping me with identification and verbalization of my own creative process, which is equally indebted to the phenomenon of Grotesque.
In the final part of the paper, I attempt to translate into language my own version of the Grotesque: the essence of intuitive, introspective femininity that permeates my work. Voice what invisibly drives my practice. Reveal my Grotesque methodology and validate my mothering discourse of desire and madness. The work will culminate with visual documentation of my recent exhibitions and studio experiments.
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5 The Dotted Line 2018 Summer Whitaker, Marika Every relationship is an interface where stories collide in the threshold and create more thresholds and more stories, and sometimes even...
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Every relationship is an interface where stories collide in the threshold and create more thresholds and more stories, and sometimes even a shared story. According to media theorist Alexander Galloway, an interface is not a mechanism but an "effect", a set of conditions for exchange and transformation. He writes: "Interfaces are not simply objects or boundary points.They are autonomous zones of activity. Interfaces are not things, but rather processes that effect results of a certain kind ... Interfaces themselves are effects, in that they bring about transformations in material states. But at the same time interfaces are themselves the effects of other things, and thus tell the story of the larger forces that engender them.' This thesis takes that definition of the interface (that it is a set of conditions for exchange and transformation) and applies it to my intimate relationships as a way to interrogate power dynamics ("the larger forces that engender them") encoded in those specific relational arrangements. The thesis is also itself an interface through which different works of art interrogate, interrupt, repeat themselves, and speak over one another to bring about "transformations in material states". Transformation does not necessarily imply progress: an undoing is also a transformation. Interruption is a tool of undoing. The form of the paper is discontinuous or fragmentary: chunks of text which, page by page, acknowledge their existential debt to the silence "beforeyou, behindyou, aboveyou, belowyou, from your heart, to your !tps, to everyone." Ideas are interrupted and begin again; the relation between the reader and the work starts over, accumulates, says too much, drains out. There are gaps, holes, odd shapes, deposits. This commitment to interruption (to be interrupted) is a commitment to dying over and over, which is a commitment to the possibility of beginning again. The dotted line is the primary motif in my visual work and in this thesis. The first chapter ruminates on the formal and symbolic qualities of the dotted line and the necessity of between-space: we make it or it makes us. In this section I also observe that Fred Sandback's sculptures embody the properties of the dotted line. The second chapter, Thresholds, Conductors, Skin, builds on the idea of the dotted line as an interrupted form that creates threshold conditions for relation. Guided by Kaja Silverman's analyses of filmmaker Jean-Luc Godard, in this section I discuss his use of interruption and thresholds in the 1990 film Nouvelle Vague, as well as exploring skin as an intimate interface of family life, and the art form of pin pricking- a dotted line expanded into a field of touch. The third chapter, Stringed Instruments, is an extended meditation on musical instruments as multidimensional forms of the dotted line. I write on my relationship with my father by way of Beethoven's Symphotry No. 6, Op. 68. With the notes of Sandback, Godard and Beethoven still hovering in the air, in the final section, Gewetter. Sturm. (translation: Thunder. Storm), I explore residue of religious ideas which say that self-annihilation is necessary for love to exist. I confess and wrestle with rupture as the difficult - and, I think, necessary- "interfacial" condition for love to be given, received, exchanged: difficult because it is so counter-intuitive to give up the egoic self and maybe more-so to be destroyed by an external agent of rupture. I'm not sure which. I work and unwork ideas of self, safety, betrayal, forgiveness, and the uncontrollable givenness of love. Self- annihilation (or, as stated earlier, a commitment to/ ethic of interruption) feels urgent to me because like Godard, I want to experience the "existence of love on earth". The question that emerges again and again throughout this thesis: what is the difference between the lived practices of loving on earth and the presence of love itself- and what can the dotted line teach us about it?
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6 Not Drawing, But the Drawing Away of Drawing 2018 Spring Alder, Kathryn Using the metaphor of a well-worn path, this paper explores drawing exposed to its limits- the cut and the spill. I play the "disruptive...
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Using the metaphor of a well-worn path, this paper explores drawing exposed to its limits- the cut and the spill. I play the "disruptive figure" as a way of staking a claim on the historical problem of form, the overall expressiveness of writing, and meaning-making in art.
The paper begins with a short section on the "disruptive figure" in the context of contemporary art. After which the paper is divided into three parts. The first, looks at two drawings by Francis Picabia through the eyes of art historian George Baker. The second, takes stock of meaning making, and the loss of meaning in the building of psychoanalysis based on the research of psychoanalyst Carlo Bonomi. The third part, examines Cy Twombly's art, and following the example of Laura Mulvey's canonical work "Visual Pleasure in Narrative Cinema," I discuss gendered meaning-making in my own work, in the context of Theresa Hak Kyung Cha's, and Leigh Ledare's work.
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7 Laocoön 2018 Spring Bulluck, Jason The US crack epidemic-hereafter The Crack Wars-marks a nadir in federal efforts to combat illicit drug distribution and consumption that...
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The US crack epidemic-hereafter The Crack Wars-marks a nadir in federal efforts to combat illicit drug distribution and consumption that is the War on Drugs. America's ghettoized urban, suburban and even exurban African-American populations suffered disproportionately under the brutalities of an invigorated coke industry and draconian attempts by their government at prohibition. In 1996, Gary Webb's San Jose Mercury News series 'Dark Alliance' captured national attention charging the CIA with some measure of complicity in the wholesale importing of cocaine (as part of its anti-communist interventions in Latin America), expressly for the industrial production and distribution of crack. This multimedia graphic novel will interrogate, in Rashomon-like manner: popular histories, social geographies, material landscapes, Zen dialectics and autobiographical narrative situated in a psychoanalytic framework, in an effort to offer competitive models against prevailing Crack Wars propaganda for understanding this episode of violently erupting American underworld. Acts are interwoven throughout the graphic novel. Storylines are coded by stylistic visual cues, e.g. all geography and landscapes are related silently via Augmented Reality linear narrative and accessed via the LifePrint smartphone application.
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8 The New Brag: Erasure and Co-constitution of Self 2018 Spring Spicer, Nancy Murphy Throughout history, and in myriad ways in our present world, the humanity of marginalized people is routinely erased in acts ranging from...
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Throughout history, and in myriad ways in our present world, the humanity of marginalized people is routinely erased in acts ranging from subtle to emphatic to fatal. The result of this aggression is felt in the body and the spirit. Strategies for surviving and thriving are critical. The project of my thesis, this paper and a series of paintings, The New Brag, represents a radical optimism in the face of this reality. I bear witness to the deep core of self-recognition that I find in the selfies created by my subjects which inspired this series of paintings. Through a spiral of seeing and being seen, we co-constitute one another. And in stepping into painting as a new medium, I acknowledge the erasure and exclusion of women that is an essential aspect of the history of painting. I thank Sharon Olds for her poem, The Language of the Brag, which provoked me to reclaim the definition of brag as being "full of oneself' as a positive and necessary stance for marginalized people in a deeply misogynist, racist, homophobic, xenophobic, and patriarchal world.
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9 Letters to Suck 2018 Spring Wong, Margaret What awaits you is a series of three letters that practice sentimentality and parasitism. These letters form the lead in a schmaltzy...
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What awaits you is a series of three letters that practice sentimentality and parasitism. These letters form the lead in a schmaltzy waltz, and I follow by taking the dip. To be honest, it's a dangerous move. The more I "lean-in" the closer I fall into trappings of binary relationships. Or I risk falling out of love - bringing a feeling of loss, detachment, and ungroundedness to some structural order. These anxieties to and fro, showing possible movement in the given structures of language, photography, objects, or art institutions. I trust my nerves, and push the sentimental to the limits - bathing in delight and nausea. My moves are a feedback loop, where I am feeding off of the forms and structures that mitigate intimacy and creates the other "who does not speak" (A Lover's Discourse). I feed like a parasite in love with a host, which will not reciprocate the sentiment. I persist because I want to know how close I can get to a loved object and see how that object forever escapes comprehension. I write through a sensuous and analytical effort to reach an old professor, a wedge, and a mentor I met in an archive. These three figures are who the letters are addressing. Simultaneously, each letter become a location itself - an address. The letters are sites that mediate a mothering, or a holding, space of communication. I invite you to nestle in this thesis, which is made from letters to suck.
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10 Untold Histories and Secret Stories of Domestic Textiles 2018 Summer Schaedig, Kris Marie Domestic textiles that are shared and used throughout several generations become suffused over time with the histories of those who used...
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Domestic textiles that are shared and used throughout several generations become suffused over time with the histories of those who used them. The energy, the traces, memories and experiences of the users is held within these fabrics. These textiles become connections between past and present, documenting the passing of time, and serving as evidence of unknown histories of lives lived. In this paper, narratives of familial textiles are told through the materiality of the fabric. The history of each textile is traced from its current state, back through its life, by way of anecdotes and memories, to its creation and origins.
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This thesis is only viewable on the SAIC campus.
11 Untitled Lipsync 2018 Summer Basco, Tosh This paper is a performative, poetic, written undoing of the Self through the cross-examination of drag, improvisation and a queer...
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This paper is a performative, poetic, written undoing of the Self through the cross-examination of drag, improvisation and a queer refusal of the image through my own iterative performance series titled UNTITLED Lipsync (2013-present). A remixed, vectored biography of the performance entity called boychild. Owed to Fred's constant reminder of love and Wu's constant Love. Ode to collaboration and a never-ending dance.
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12 Portalist Manifesto: Create the Future Using the Syntax of Arting & the Morals of a Rebel 2018 Summer Boyles, Marjorie J. This thesis is only viewable on the SAIC campus.
13 Perceptual Superposition: A Holographic Ontoepistemology for The Intimacy of Vision 2018 Spring Clark, C. Alex As science enters the age of optical computing, it is becoming imperative, in many fields of study, to understand light as a phenomenon...
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As science enters the age of optical computing, it is becoming imperative, in many fields of study, to understand light as a phenomenon accompanied by optical technology. A prime example of optical technology is the hologram, a seldom understood concept which brings with it insights into new, higher-dimensional, non-Cartesian ways of being. Comprehension of the theoretical and phenomenological function of a hologram will benefit many philosophies-individually and in unison-by providing a container within which to co-exist and function as diffractors in an elaborate non-linear dimensional structure. As theoretical concepts are revealed by the material function of the hologram, concept and function together will serve as the guiding principle for the fusion of several existing theories of technology, ontology and epistemology, perception and art.
Accounts of my own experience making and viewing holograms will provide firsthand knowledge of the ways in which a holographic method might act as a framework for new conceptions of reality and perception. As much as this survey will be a display of the significance of the hologram as more than a mere illusion and novelty, it will also allow the other theories and concepts analyzed to gain deeper meaning from the function of the hologram.
My postulations will be based on the exploration of diffraction as a methodology in Karen Barad's 2007 book Meeting the Universe Halfway. The holographic recording of these theories in superposition will be re-illuminated to confront essential questions of metaphysics, while acting as a method of selectively filtering out the performativity of subject-objects in order to explore notions of intimacy as detailed in the works of Donna Haraway. Though the scope of these investigations seems broad, I am in no way attempting the universalization of theory or information. Rather, I intend to allow each thought, concept, object, or subject reveal and revel in its own agency and complexity, while providing a mesh of support to its neighbors. Through concise yet thorough explanations the hologram will act as a stone skipping over the surface of reality, dipping into concepts and creating waves which conglomerate into interference patterns co-created with the waves made by other concepts. During this analysis the nature of light and its reciprocal interaction with matter will demonstrate the intimacy of vision as more than a perceptual phenomenon.
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14 Unsettled Space 2018 Spring Drey, Laura The work investigates migration as told through stories, sculpture and space. It is an examination of personal and cultural identity. A...
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The work investigates migration as told through stories, sculpture and space. It is an examination of personal and cultural identity. A sense of home, belonging, and Other are a part of this inquiry. The work stems from life stories that are a part of my own family history, as well as migration stories and conversations I have encountered along the way.
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This thesis is only viewable on the SAIC campus.
15 No Regards Pass: a shallow grave 2018 Summer Fox, Morris This thesis is only viewable on the SAIC campus.
16 The Archipelago 2018 Summer Getz, Brendan Louis There is a curious inversion to the term , archipelago. While it brings to mind a series of islands, it can also be seen as the sea that...
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There is a curious inversion to the term , archipelago. While it brings to mind a series of islands, it can also be seen as the sea that contains them. This movement between space shows itself on the skin, where phantom islands of blushing flesh are more than the sum of their parts. As a thesis, this body of language navigates past the sunset. It follows through to the unstable shores of the real found in fiction, while keeping one eye on the fiction found in the real.
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This thesis is only viewable on the SAIC campus.
17 We Are Not a Coming People, We Are Here: Confronting History, Endless Struggle, and New Beginnings 2018 Spring Kochak, Natalya Two years ago my mother, a journalist, connected with Paula Whatley, a documentary filmmaker and former professor at Howard University....
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Two years ago my mother, a journalist, connected with Paula Whatley, a documentary filmmaker and former professor at Howard University. Paula was a descendant of a slave owned by my mother's family, and this was shocking for both my mother and me. My mother learned this through a DNA test. At least one ancestor was a slaveholder and a rapist, and there were probably more like him in our family line. My mother always thought she was from a poor farming family, and I had never thought about my American roots because 1 am half Ukrainian and from New York. We are both deeply aware, however, of the necessity of learning from history to bring change and awareness to ourselves and others.
We Are Not a Coming People, We Are Here, which began as a personal exploration, has become a place for four women-Paula Whatley, her daughter Mashadi Matabane, my mother and me-to literally come to the table. We are creating together, storytelling, and discussing the violence that has marked our shared American history, in hopes of healing on both sides and of growing into a family through open discussion. We must discuss and challenge the amnesia that has erased so much of the memory of white America. White woman, as well as black men and women, were very much entrapped by the patriarchal system of the 19th century; this is the subtext of We Are Not a Coming People, We Are Here. As a woman, I could have protested the fact that my husband owned slaves, but what real agency would I have had? Yet I must acknowledge that my ancestors (including women) were part of a white power structure that benefited from the subjugation of a people.
My paper takes a critical look at the photographs in our family archives. The writing of Barthes and Sontag influence how I analyze each photograph. I also assess my own paintings, which are based on stories and discussions. Finally, I look at the words of activists throughout history, including Angela Davis and Rebecca Solnit, and their thoughts on how looking at the past can change the future.
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18 Mother Art (a personal history, collective making, and the gift) 2018 Spring Mueller, Jessica This paper is an attempt to investigate 'culture jamming' as a framework for considering the art practice of 'Mother Artist.' Many still...
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This paper is an attempt to investigate 'culture jamming' as a framework for considering the art practice of 'Mother Artist.' Many still believe that a mother's work is best done when it goes unseen or when the labor appears effortless. I am proposing that Mother Artists, by making this work visible and creating and maintaining meaningful, reciprocal connections that are intentional, act as a cultural jamming tool against isolation, capitalism, patriarchy, and the status quo. Despite the progress that Mother Artists have achieved, mother work, that is both care and domestic work and the artwork, is still often disregarded or discounted by society. For a single mother the weight of mothering is a uniquely challenging and solitary endeavor.
Culture jamming, a method of disruption that aims to impact social progress, is a result of Mother Artists' work through visibility, collaboration, and the gift. Visibility; how does making multiple attributes of motherhood visible through artistic practice, by claiming mother work to be one's artistic practice, challenge traditional gender roles; as artists, as homemakers, as caregivers, as laborers? Collaboration; how do multiple narratives brought together by the common thread of mothering contribute to or become the momentum of the gift, creating community and shared spaces for exchange? The Gift; although never without complications, how does the exchange (initiated by the gift) contribute to building alternative communities? How does mother art combined with the theory and custom of the gift create culture jamming in a society that often rejects Mothers?
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19 Witness/Creep: Surveillance & Gesture on Facebook Live Map 2018 Spring Green, Morgan This thesis is only viewable on the SAIC campus.
20 Happily, Ever After: An Inoculation 2018 Spring Jackson, Ayo Janeen This thesis is only viewable on the SAIC campus.

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