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For Alexander: An Exploration of Good Ole Boy Identity and Mortality.
Title
For Alexander: An Exploration of Good Ole Boy Identity and Mortality.
Creator
Johnson, Chad, Kim, Joo, Kovach, Keith, Isenhour, David, Price, Mark, University of Central Florida
Abstract / Description
(")For Alexander(") is an exhibition about masculinity as it is exhibited by Southern (")good ole boys("). I rely on original and appropriated imagery, as well as memories of loss and humor from my childhood in Alabama. Combining mixed media and sculptural elements has allowed me to investigate the subjects that interest me. I explore and artistically comment on these subjects through a mix of personal and culturally loaded imagery that records what I have either experienced or researched,...
Show more(")For Alexander(") is an exhibition about masculinity as it is exhibited by Southern (")good ole boys("). I rely on original and appropriated imagery, as well as memories of loss and humor from my childhood in Alabama. Combining mixed media and sculptural elements has allowed me to investigate the subjects that interest me. I explore and artistically comment on these subjects through a mix of personal and culturally loaded imagery that records what I have either experienced or researched, and which I realize through the ironic use of non-traditional materials, such as sequins and rhinestones.My work examines stereotypes and my own beliefs about Southern good ole boys. I also reflect on elements of Southern hypocrisy, and I question long standing social practices with the help of historical and contemporary media sources.My exhibition is dedicated to my great uncle, who was murdered by his father, a preacher, during the Great Depression.
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Date Issued
2013
Identifier
CFE0004698, ucf:49856
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0004698
JOURNEY
Title
JOURNEY.
Creator
Martinsen, Suzann, Haxton, John, University of Central Florida
Abstract / Description
In my drawings and animation, I create a representation of a culture that is instilled in me, yet foreign. The work is inspired from a childlike perspective to depict a personal primitive experience with the Korean culture. The subtleties of the animations are meant to reflect the quiet nature of Asian paintings and to allow the viewer to experience and interpret it as they choose. I want others to see without hearing words in an already noisy world.
Date Issued
2008
Identifier
CFE0002089, ucf:47528
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0002089
At Face Value: Investigating Perception Through Photographs
Title
At Face Value: Investigating Perception Through Photographs.
Creator
Dipaolo, Dominic, Raimundi-Ortiz, Wanda, Adams, JoAnne, Price, Mark, University of Central Florida
Abstract / Description
(")At Face Value: Investigating Perception through Portraiture(") is a body of work that examines how people process their perception in imagery. The Deadpan Aesthetic, photographic truth and American identity are discussed, as well as the amount of influence a photographer has in his work. Since perception is defined as an understanding of setting via the senses, I hope to challenge viewers by employing strategies to destabilize the viewer's reception of my photographs.
Date Issued
2015
Identifier
CFE0005788, ucf:50052
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0005788
TO BE MAGIC: THE ART OF ANA MENDIETA THROUGH AND ECOFEMINIST LENS
Title
TO BE MAGIC: THE ART OF ANA MENDIETA THROUGH AND ECOFEMINIST LENS.
Creator
Baker, Elizabeth Ann, Mendoza, Ilenia Colon, University of Central Florida
Abstract / Description
Ana Mendieta was a Cuban-born American artist whose unique body of work incorporated performance, activism, Earth art, installation, and the Afro-Cuban practices of Santer�a. She began her career at the University of Iowa, were she initially received her degree in painting in 1969. It was not until 1972 that Mendieta shifted radically to performance art. Though she was raised Catholic, she developed an interest in the rituals involved with Santer�a, a culturally predominant Cuban religion,...
Show moreAna Mendieta was a Cuban-born American artist whose unique body of work incorporated performance, activism, Earth art, installation, and the Afro-Cuban practices of Santer�a. She began her career at the University of Iowa, were she initially received her degree in painting in 1969. It was not until 1972 that Mendieta shifted radically to performance art. Though she was raised Catholic, she developed an interest in the rituals involved with Santer�a, a culturally predominant Cuban religion, and it deeply influenced her work in her choice of materials and settings. Santer�a is one of the major faith-based lifestyles of Cuba and is characterized by a synthesis of Afro-Cuban and Catholic characteristics, along with its own unique teachings and rituals. Also a prominent theme in Mendieta�s work was her sense of displacement and her insatiable desire to reconcile her Cuban heritage, which she attempts to resolve, not only through her art, but also during several trips to Cuba. Greater still in its contribution of influence to Mendieta�s work was the ecofeminist movement which amalgamated elements of the feminist and environmental movements; Ecofeminism�s emergence in the United States coincided with the rise of Mendieta�s career during the 1970�s. The movement focused on the correlation between the oppression, degradation, and exploitation of women and the oppression, degradation, and exploitation of the Earth. This thesis examines the life of Ana Mendieta and analyzes how her works may be viewed in an ecofeminist context. It analyzes how Mendieta�s work acts as a reflection of her cultural, social, and political reality and discusses ways in which characteristics of Santer�a and ecofeminism as a discourse influenced the imagery and symbolism used in Mendieta�s artwork throughout her brief career. Formal analysis of Mendieta�s artwork and contextual and historical analysis of Mendieta�s life, the ecofeminist discourse, and Afro-Cuban spirituality are explored in this research.
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Date Issued
2016
Identifier
CFH2000003, ucf:45571
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFH2000003
"This Stuff Is Finished": Amiri Baraka's Renunciation of the Ghosts of White Women and Homosexuals Past
Title
"This Stuff Is Finished": Amiri Baraka's Renunciation of the Ghosts of White Women and Homosexuals Past.
Creator
Stone-Lawrence, Susan, Rusnock, Joseph, Harris, Lani, Listengarten, Julia, Boyd, Belinda, University of Central Florida
Abstract / Description
This study examines auto/biographical, theoretical, critical, literary, and dramatic works by and about LeRoi Jones/Amiri Baraka, primarily focusing on the eruption of (")Hate Whitey(") sentiment and rhetoric that characterized a decadelong cultural nationalist phase of the henceforth self-declaredly Black poet-playwright's career. As a black militant, LeRoi Jones left his white wife and other white associates in Greenwich Village, moved to Harlem, changed his name to Amiri Baraka, converted...
Show moreThis study examines auto/biographical, theoretical, critical, literary, and dramatic works by and about LeRoi Jones/Amiri Baraka, primarily focusing on the eruption of (")Hate Whitey(") sentiment and rhetoric that characterized a decadelong cultural nationalist phase of the henceforth self-declaredly Black poet-playwright's career. As a black militant, LeRoi Jones left his white wife and other white associates in Greenwich Village, moved to Harlem, changed his name to Amiri Baraka, converted to Islam, and started the Black Arts Repertory Theatre/School. This thesis contends that Baraka's Black Arts Movement era plays emphasize negation of the value of white women and gay men, who had formed his most intimate prior cohorts, and use extreme imagery to malign, belittle, and abjure representatives of both groups as evil, ridiculous, and disgusting archetypes in an attempt to affirm the political stance of the author and preempt doubt about his level of commitment to his chosen cause during that period. Through these plays written from the mid-1960s to mid-1970s, Baraka denies his own personal history and appears to protest too much the virtues of corrective Afrocentric relationships which his works fail to affirm as much as he condemns their alternatives. However, after the purgative effect of these revolutionary works, Baraka's evolution arrived at a place where he could once again acknowledge and promote a diverse equality that included respect for the partners and peers he had abnegated. Conclusions of this research suggest connections between the personal implications of Baraka's individual journey and prominent themes stressed in the broader field of identity politics. ?
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Date Issued
2013
Identifier
CFE0005062, ucf:49948
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0005062