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A Collective Case Study of Veterans Inside an Arts and Crafts Room and their Perceptions Regarding Empowerment
This presentation is part of the faculty lecture series UNT Speaks Out on Coming Home. The author discusses methods and findings from a project she participated in related to how veterans narrated their their experiences through art. Her component of the study evaluated participants and described what they gained through creating arts and crafts. digital.library.unt.edu/ark:/67531/metadc139459/
Reviewing American Quilts: A Record of Women's Political Engagement
This paper discusses research on American quilts and women's political engagement. Scholarship and museum exhibitions value quilts as women's craft that is separated from the public sphere of political activity. This paper argues that such treatment erroneously diminishes the significance of quilts as evidence of their makers' participation in political and social movements of the day. To advance this argument, the author uses Robin Hodgkin's linguistic theories to clarify how the representation of quilts in scholarship and in the exhibition "Partisan Pieces," held at the Dallas Women's Museum during 2008, distorts both the significance of quilts when they were made and their subsequent historical importance. The author redresses the exhibition's interpretations with additional research on a quilt made by the abolitionist, Deborah Coates. The author concludes that treating quilts in ways that underscore their status as craft obscures their validity as historical artifacts attesting to their makers' participation in American socio-political developments. digital.library.unt.edu/ark:/67531/metadc94279/
The Other Mary: The Absence of Mary Magdalene in the Santa Maria Trastevere, Rome
This presentation accompanies a paper discussing research on the absence of Mary Magdalene in the Santa Maria Basilica in Trastevere, Rome. The research examines the social context of Rome in this era, the status of prostitute, the neighborhood of Trastevere, and the entrance of promiscuity in the Santa Maria Basilica. digital.library.unt.edu/ark:/67531/metadc93294/
Photography in Colonial and Postcolonial India as an Agent of Cultural Dominance
This paper discusses research on the use of photography in colonial India. The thesis of the paper is that British photographers, through their choice of subjects and editing of their works, created a romanticized image of India as the British wished to see it. More recent photography has focused on the reality of the lives of the Indian people. Thus photography has moved from functioning as an agent of colonial domination and political propaganda to a tool used to bring aid and compassion to those in need. digital.library.unt.edu/ark:/67531/metadc93303/
Francisco de Goya and the Mirror's Reflection
This presentation accompanies a paper with research on Francisco de Goya and his use of mirrors. The author argues that the Spanish painter, Francisco de Goya (1746-1828), used mirrors to symbolize the harmonization of the subject with its true self throughout his work. digital.library.unt.edu/ark:/67531/metadc93293/
Goya's Fantastic Vision of Madness
This presentation discusses research on Francisco de Goya and his artistically recorded evolving definitions of madness that preoccupied the eighteenth-century. digital.library.unt.edu/ark:/67531/metadc93275/
Goya's Los Caprichos: An Enlightened Bestiary
This presentation discusses research on Francisco de Goya. The author argues that the iconography and allegories found within medieval bestiaries influenced certain prints depicting human, animal, and hybrid figures within Francisco de Goya's (1746-1838) series 'Los Caprichos'. However, in contrast to the medieval bestiary, which employs animal symbolism for morally didactic purposes, Goya reworks the composition of bestial allegories in order to enlighten the viewer on the immortality that is innate, universal, and destructive. digital.library.unt.edu/ark:/67531/metadc93299/
Enlightening Industry: Goya, Allegory and Women at Work
This presentation discusses research on Francisco de Goya's painting, 'Allegory of Industry', 1797-1802. digital.library.unt.edu/ark:/67531/metadc93230/
The Eighteenth Century Worker: Goya's Tapestry Cartoons and the Influence of the Enlightenment
This presentation includes images that accompany research analyzing the influence of royal patronage and liberal ideas on the artwork of celebrated Spanish artist, Francisco de Goya y Lucientes, in the context of the socio-political evolution of Spanish society during the eighteenth century, including the Bourbon Reforms and the influx of Enlightenment philosophy. digital.library.unt.edu/ark:/67531/metadc93241/
The Decapitation of Kings
This presentation accompanies a paper discussing research on Francisco de Goya. The author argues that the painting of Francisco de Goya (1746-1828) from 1800 ('The Cannibals') and his paintings from 1823 to 1825 (The Black Paintings; 'Judith' and 'Saturn' and Miniature 'Judith') represent the changing ideals on decapitation of a monarch. The research employs semiotics to determine the change in the representation of decapitation in relation to the King and his rule. digital.library.unt.edu/ark:/67531/metadc93296/
Photography in Colonial and Postcolonial India as an Agent of Cultural Dominance
This presentation accompanies a paper discussing research exploring the use of photography in colonial India. The thesis of the paper is that British photographers, through their choice of subjects and editing of their works, created a romanticized image of India as the British wished to see it. More recent photography has focused on the reality of the lives of the Indian people. Thus photography has moved from functioning as an agent of colonial domination and political propaganda to a tool used to bring aid and compassion to those in need. digital.library.unt.edu/ark:/67531/metadc86878/
The Political Rhetoric of American Quilts: Research into the Validity of Women's Participation in American Social Politics
This presentation discusses research on the political rhetoric of American quilts. This research examines the validity of women's participation in American social politics. digital.library.unt.edu/ark:/67531/metadc86919/
Man Ray's 'Noire et Blanche': Avant-garde, fashion, and Other(s)
This paper discusses research on Man Ray's 'Noire et blanche'. Abstract: Man Ray's photographic series, 'Noire et blanche', 1926, consists of more than twenty photographs of a pale-faced, female model holding a darkly stained African mask. Most of the photographs draw our attention to similarities in the shape of the model's face and that of the mask, as well as contrasts between the model's paleness and the mask's darkness. Although the first photograph from the series was published in 'Vogue' and 'Variétés' during the 1920s, the series did not gain attention in the art world until the 1980s when scholarly and critical interest in primitive art redeveloped within the contexts of postmodernism and post-colonialism. This paper advances beyond the too often superficially noted formal similarities and contrasts between the representations of the woman and the mask to identify cultural connections between the representations of the woman and the mask to identify cultural connections between them involving sexual and racial "Otherness". Establishing the connections involves a consideration of why modern artists often used African art or the female figure in their work. Importantly, by analyzing how the photographs foster formal similarities rendering the model and mask alike, the author is able to show how Man Ray commodified both the image of the modern woman and the image of African or "savage" to appeal to the fashion and fine art worlds. digital.library.unt.edu/ark:/67531/metadc86948/
Man Ray's 'Noire et Blanche': Avant-garde, fashion, and Other(s)
This presentation accompanies a paper examining Man Ray's photographic series, 'Noire et blanche' from 1926. 'Noire et Blanche consists of more than twenty photographs of a pale-faced, female model holding a darkly stained African mask. This presentation accompanies the research and shows four of the photographs in this series. digital.library.unt.edu/ark:/67531/metadc86929/
The Veiled Icon: National Geographic's Representation of The Women of Islam
This presentation discusses research on the National Geographic's representation of the women of Islam. The presentation includes numerous examples of photographic images that have appeared in National Geographic publications. The author's research was completed in the UNT art history Senior Seminar under the direction of Dr. Nada Shadout. digital.library.unt.edu/ark:/67531/metadc86866/
'Third World Artist': The Performance Art of Alexander Brener
This paper discusses research on the performance art of Alexander Brener. The author states that we should expand our understanding of contemporary art by considering it from ideological perspectives other than those of the West. The author will show the significance that certain established conventions of Western art criticism and history have for the Russian performance artist Alexander Brener. Western art critics perceive Brener's performances as destructive and perverse, which indicates the existence of accepted conventions and a tacit agreement concerning what is considered art. Art history also excludes Brener, not only because his work is so contemporary, but also because prevailing approaches to understanding art in the West require categorizing art movements and corresponding labeling of artists, which is difficult to achieve in Brener's case. Consequently, the author asks, how was Brener emphasized the importance of understanding art as an entity that has culturally specific features? The author considers Brener's use of the phrase "third world artist" in relation to the prevailing Western art critical terms "East" and "West." Finally, the author examines Brener's controversial performance at the Stedelijk Museum in Amsterdam in relation to the Western art world as a system consisting of artists, critics, historians, and patrons. digital.library.unt.edu/ark:/67531/metadc84348/
Enlightening Industry: Goya, Allegory and Women at Work
This paper discusses research on Francisco de Goya's painting, Allegory of Industry, 1797-1802. Abstract: Francisco de Goya's painting, Allegory of Industry, 1797-1802, departs from the traditional representation of woman as allegory. The dress, individualization and realism of the figures reflect the eighteenth century's shift in the role and representation of women of the working class. A comparison of Goya's four allegorical paintings of 1797-1802, with Cesare Ripa's Iconologia, reveals a transfiguration of allegory. Goya's Allegory of Industry, modeled after Diego Velázquez's The Weavers, abandoned the classical mythology of the seventeenth century painting and created an entirely new iconography of industry. Goya's divergence from classicism reflects a shift in the representation of working class women in eighteenth-century Spain. This shift coincided with changing gender roles and attitudes towards women as propagated by Spain's most enlightened institution, the Sociedades Económicas. Through the lenses of Feminism and Marxism, this study analyzes Goya's Allegory of Industry to highlight the relationships between gender and class in eighteenth-century Spanish industry and their visual representation in Enlightenment culture. digital.library.unt.edu/ark:/67531/metadc84325/
The Eighteenth Century Worker: Goya's Tapestry Cartoons and the Influence of the Enlightenment
This paper discusses research on Francisco de Goya's Tapestry Cartoons and the influence of the enlightenment. Abstract: This analysis covers the influences of royal patronage and liberal ideas on the artwork of celebrated Spanish artist, Francisco de Goya y Lucientes in the context of the eighteenth-century Spanish, socio-political evolution, society including the Bourbon Reforms and the influx of Enlightenment philosophy. We argue that under the patronage of the Royal Tapestry Factory, Francisco de Goya showed a romanticized depiction of the working class in the Tapestry Cartoons while criticizing class relations in his personal artwork. The analysis will first examine Goya's idealized depiction of workers in the Tapestry Cartoons in relation to the visual tradition. Then discuss Goya's association with Enlightenment liberals as evidence for his empathy with the working class. Lastly, the analysis covers Marxist and semiotic analysis to examine Goya's depictions, in his personal artwork, of struggles in the working class and the wrongdoing of the nobility. digital.library.unt.edu/ark:/67531/metadc84331/
The Government's Girls: How the United States Government Used War Poster Art to Recruit Women to the Workforce During World War Two
This paper discusses research on the recruitment of women via the medium of posters during World War Two (1941-1945). The purpose of the paper is to illuminate predominant practices by poster artists and argues that poster artists recruited women by creating two types of poster imagery, Static and Active. The article is informed by a comprehensive review of literature, including primary and secondary sources and several visual analyses conducted by the author. The article concludes that poster artwork shares visual traits with commercial and illustrational artwork created for female viewers prior to the war. digital.library.unt.edu/ark:/67531/metadc84354/
Francisco de Goya and the Mirror's Reflection
In this paper, the author gives an analysis of Francisco de Goya. Abstract: This analysis argues that Spanish painter Francisco de Goya (1746-1828), uses mirrors to symbolize harmonization of subject with its true self throughout his work. To argue this thesis, the analysis strategy employs a semiotic approach by first using the etching 'Hasta La Muerte' (1794-1799), of the 'Los Caprichos' series to define the mirror as a bridge between a perceived state of being and reality and then considers Goya's modern interpretation of the classic female nude through his drawing 'Nude Woman Holding a Mirror' (1796-1797). The following section addresses the artist's intentional reference to art history and an implied mirror in his painting 'Family of Carlos IV' (1800-1801). The analysis explores the circular similarities between the series 'Allegories of Commerce, Agriculture and Industry' (1802-1804), and traditional mirror form to determine how Goya intends to represent Spanish society. digital.library.unt.edu/ark:/67531/metadc84321/
Goya's Fantastic Vision of Madness
This paper discusses Francisco de Goya. Abstract: Francisco de Goya artistically recorded evolving definitions of madness that preoccupied the eighteenth-century. Questions arise regarding the origin and nature of madness, what to do with those that society deemed insane, and how to philosophically differentiate delusion from reason and imagination. In 'Madness and Civilization: A History of Insanity in the Age of Reason,' twentieth-century philosopher and art critic Michael Foucault traces a history of madness. He singles out Goya as an instrumental figure in influencing Western thought on the subject (Foucault 285). Goya's interest in themes of madness, imagination, and reason is apparent in his published and private artwork, particularly 'Citadel on a Rock' (Gudiol 10-16) (Figure 1), and the murals formerly in the Quinto del Sordo, his country house during the last few years of his life (Junquera 18, 28). Employing Foucault's discourse to these specific works reveals Goya's ability to represent visually the fundamental tension between Romantic and Classical ideas, especially the ambiguous line between reason and madness. digital.library.unt.edu/ark:/67531/metadc84355/
Goya's Los Caprichos: An Enlightened Bestiary
This paper discusses research on Francisco de Goya's series Los Caprichos. Abstract: Sinful behavior was ubiquitous despite the religious fervor of the Middle Ages and the Inquisition in eighteenth century Spain. To simplify church doctrine the medieval clergy employed the bestiary, a manuscript that categorizes animals and fantastic creatures by traits that symbolize moral behavior. This analysis argues that the iconography and allegories found within medieval bestiaries influenced prints depicting human, animal , and hybrid figures within Francisco de Goya's (1746-1838) series 'Los Caprichos'. However, in contrast to the medieval bestiary which employs animal symbolism for morally didactic purposes, Goya reworks the composition of bestial allegories in order to enlighten the viewer on the immortality that is innate, universal, and destructive to humanity. Accordingly, a semiotic analysis of Francisco de Goya's prints 'Todos Caeran' and 'Devota Profesion' examines how Goya modifies the medieval iconography of the siren, the owl, and the ass to embody immoral aspects of contemporary Spanish society. digital.library.unt.edu/ark:/67531/metadc84365/
A King's Decapitation
This paper presents research on Francisco de Goya. Abstract: This research proves that the painting of Francisco de Goya (1746-1828) from 1800 ('The Cannibals), and his paintings from 1820-1823 (The Black Paintings, 'Judith,' and 'Saturn,' and Miniature, 'Judith') represent changing ideas on decapitation of a monarch. First, one must look at representations of decapitations before the turn of the 19th century with focus on the French Revolution and Louis XVI. Then one needs to compare the early depictions with those twenty years later under the rule of Fernando VII in Spain when decapitation is represented in a new light through the works of Goya. The research strategy employs semiotics to determine the change in the representation of decapitation in relation to the King and his rule. digital.library.unt.edu/ark:/67531/metadc84351/
Making the Man: 'Suiting' Masculinity in Performance Art
This paper examines research on the significance of clothing, specifically, the "men's suit," in select examples of contemporary American performance art. Drawing on sociology and art history, it considers the suit as a form of communication, and it suggests that performance artists Chris Burden, Paul McCarthy, and Vanessa Beecroft have used the "men's suit" to explore and communicate something about masculinity as a socially and culturally constructed hegemony. digital.library.unt.edu/ark:/67531/metadc84324/
The Other Mary: The Absence of Mary Magdalene in the Santa Maria Trastevere
This paper discusses research on the absence of Mary Magdalene in the Santa Maria Basilica in Trastevere, Rome. Abstract: Ancient Rome is well known for its prostitution even as Christian conversion was on a rise throughout the medieval era. None the less, there is a distinct gap in research on medieval Christian art, particularly in Trastevere Rome, its relation to prostitution during that time, and how prostitution influenced religious art within the walls of the Santa Maria basilica. This basilica is dedicated to the Virgin Mary, the only female depicted in the series of mosaics by Pietro Cavallini. The church makes a covert statement by not displaying other women saints such as Mary Magdalene - an extremely significant female figure in Christianity. Avoiding images of Mary Magdalene and visually emphasizing the Madonna throughout the church was a clear, intentional device to promote their philosophy which forbids salvation or redemption after prostitution and promiscuous activity. The church depicts the Virgin as a rhetorical figure for abstinence through Pietro Cavallini's mosaic, 'Coronation of the Virgin'. The author's research examines the social context throughout Rome during the medieval era, the status of prostitution, spatial analysis of Trastevere, and the inevitable entrance of promiscuity through the Santa Maria Basilica in Trastevere. digital.library.unt.edu/ark:/67531/metadc84322/
UNT Speaks Out on No Child Left Behind: The Impact of NCLB on Arts Education
This presentation is part of the faculty lecture series UNT Speaks Out on No Child Left Behind. This presentation discusses the No Child Left Behind (NCLB) Act and its impact on arts education. digital.library.unt.edu/ark:/67531/metadc67601/