UMD Theses and Dissertations
Permanent URI for this collectionhttp://hdl.handle.net/1903/3
New submissions to the thesis/dissertation collections are added automatically as they are received from the Graduate School. Currently, the Graduate School deposits all theses and dissertations from a given semester after the official graduation date. This means that there may be up to a 4 month delay in the appearance of a given thesis/dissertation in DRUM.
More information is available at Theses and Dissertations at University of Maryland Libraries.
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Item Oppositions: A United Nations Consensus Building(2011) Amaral Campos, Jimena; Ambrose, Michael A.; Architecture; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Opposition works as the framework for this thesis investigation of ideas of conflict and negotiation viewed through the lens of collage. Although the mission of the UN Consensus building is to arrive to a resolution of conflict, the exploration focuses more on the idea that when in conflict people are often in opposition but they are willing to sit and negotiate because they share one collective identity, the "UN identity". As a result, the research focuses on conflict negotiation and the architecturalization of negotiated opposing conditions. Collage, as a visual and conceptual artifact of oppositional conditions, works as the foundation for this exploration where techniques of juxtaposition, layering and simultaneity, are used to challenge ideas of connection and separation; architectural concepts found nested in the culture, site and program of the building. Oppositions between cultures, political identities, program pieces, circulation patterns and perspectives are collaged together to reflect the United Nations mission, agenda and values.Item CREATIVE REBELLION FOR THE TWENTY-FIRST CENTURY: THE REINVIGORATION OF AMERICAN POLITICAL LIFE THROUGH PUBLIC ART(2010) Boros, Diana Zsuzsanna; Glass, James M.; Government and Politics; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Drawing on the work of Tocqueville, Nietzsche, Camus, and Marcuse, this work argues that there is an urgent political and societal need for greater support of public art projects and better access to these sources of funding. More art in public spaces would revive and animate communal environments, create new relationships between the individual and the public, strengthen feelings of community, and foster the desire to participate in the public. All art creates participatory desire and behavior, but visionary art is how political progress through individual rebellion can be best accessed and articulated. This work defines visionary artistic creation as the union of instinctual creative energies and rational reflection. Mainstream art, despite its aesthetic rearrangements, fails to connect the viewer with questions that will engage them over time. Visionary art, especially the public and social, is needed to seek out and materialize the newest, alternative possibilities for our individual lives, for our societies, and for the political systems under which they abide.Item Luo Qing's Paintings of Post-Industrial Taiwan and Their Incompatibility with Guohua(2010) Wang, Jen-Yu; Kuo, Jason; Art History and Archaeology; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)This thesis examines the career and artwork of Luo Qing in the context of past artistic movements and current academic discourse. Using Luo Qing and his work as a point of departure, this thesis aims to combine diachronic and synchronic concerns in the arts, specifically art that is made in the medium of ink. Luo Qing is famous for his inventive style in poetry and ink paintings. The two bodies of work selected,"Here Comes the UFO" and "Asphalt Road", not only exemplify his creative spirit in redefining ink art, they also establish him as a member of the modern Chinese literati, a scholar artist, in Taiwan. Both series were Luo's ongoing projects in the 1980s and the 1990s. A conflict between the traditional and the new was present in Chinese politics and culture at the time, and this tension affected the creative community. The dynamics between Chinese imperial history and modern Chinese industry is the subject of most of Luo's work. He creatively portrayed conflicts between traditional Chinese heritage and contemporary Western commercialism. "Here Comes the UFO"and " Asphalt Road" both depict the modern subject of industrialization in traditional Chinese ink painting format. Luo Qing's novel way of approaching Chinese artistic traditions, both in painting and poetry, validated its importance as a new paradigm. Luo's artistic world depicted in these two bodies of work was representative of a tumultuous era in Chinese history that took place not in China, but in Taiwan. In stark contrast, the current academic discourse on ink art originated in China and quickly spread through the research of Chinese scholars, most of whom work in North American academia. Compelling debates on ink art's importance and passionate proclamation associating ink art with Chinese nationhood are popular subjects. These subjects, however, are distant and irrelevant to Luo's early cityscapes. The contemporary paradigm may ignore why Luo Qing came to international fame. The first part of this thesis profiles Luo's two bodies of work and provides a comprehensive survey of his training and inspiration from the past. The second part connects these works with a thorough overview of scholarship on contemporary ink art. Using Luo's work as an intersecting point of reference, I hope to revive Luo Qing's significance to the Chinese art community and address specific, larger issues concerning contemporary theories on ink art.Item Mary Coble: Performance Art and Poltics of an Archive(2010) Talwar, Savneet K.; Struna, Nancy L; American Studies; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)This dissertation explores the relationships among performance art, the archive and intersubjectivity. Using methods of critical ethnography, visual and textual analysis, I examine the archive of performance art, and the discourses of the body, especially in the work of performance artist Mary Coble. I explore the ways in which performance art disrupts the ideological discourses of the institutional archive, especially those surrounding the body and constructing normative sexual and civic identities. The institutional archive has served as a guardian of memory that makes it the creator of knowledge. Performance artists work within the conceptual space of an archive as a way to make visible the ideological systems of power; this they do through reenactments and re-presentations, in effect creating a counter-archive of political and gendered memorial spaces. I question how performance artists, critiquing the visual hegemony of the white, male dominated art world, confront issues of identity and difference, including ones of race, gender, sexuality and citizenship. I am interested in how "knowledge" is situated in the embodied experiences of the performer, researcher, artist, community and its participants. In this sense the archive is not simply a site of documentation and knowledge retrieval, but also as a locus of the feelings and emotions that produce knowledge and meaning.Item Art Criticism Through Storytelling(2006-05-12) Schappelle, Laura Scott; Hendricks, Susan; Curriculum and Instruction; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)This Action Research study focused on the use of storytelling as a means of critically analyzing a work of art. The participants in this study were elementary students in the Fifth Grade. The participants wrote a story and verbally told a story in response to looking at a work of art. The researcher then compared the written and oral forms of communication to determine which yielded better results in terms of producing an effective art criticism. These responses will be compared to Feldman's Model, a popular approach of art criticism. The primary goal of the study was to see whether storytelling would prove to be an effective format for an art criticism. The secondary goal of this study was to analyze the difference between written and verbal forms of communication.