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THREADS OF IDENTITY: MARISOL'S EXPLORATION OF SELF
Title
THREADS OF IDENTITY: MARISOL'S EXPLORATION OF SELF.
Creator
Williams, Emily, Colo'n Mendoza, Ilenia, University of Central Florida
Abstract / Description
Marisol Escobar, known in the 1960s as the "Latin Garbo," is a sculptor famous for showing with the Pop art greats. However, Marisol holds a curious position in art history, stranded between the formalism of the 50s and 60s male dominant Pop movement and the conceptual experimentation and radicalism of the 1970s. Her quiet yet intense observation pinpoints the overriding human elements present in the objects of her scrutiny. Most notable for turning her gaze inwards, her self-portraiture...
Show moreMarisol Escobar, known in the 1960s as the "Latin Garbo," is a sculptor famous for showing with the Pop art greats. However, Marisol holds a curious position in art history, stranded between the formalism of the 50s and 60s male dominant Pop movement and the conceptual experimentation and radicalism of the 1970s. Her quiet yet intense observation pinpoints the overriding human elements present in the objects of her scrutiny. Most notable for turning her gaze inwards, her self-portraiture defies easy categorization. Marisol's approach to self-portraiture is in service to the exploration of her own identity. Yet, from the 1990s onwards, Marisol's work has received little scholarly coverage despite her stylistic affinities within Postmodern discourse. Therefore, I will discuss Marisol's body of work, use of iconography and development of style in the last three decades which focuses on the artist's expression of identity, sexuality, and power.
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Date Issued
2013
Identifier
CFH0004535, ucf:45208
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFH0004535
Living Between Two Worlds: Conflict, Investigation And The Change
Title
Living Between Two Worlds: Conflict, Investigation And The Change.
Creator
Shuqair, Noura Abdulhameed H, Raimundi-Ortiz, Wanda, Poindexter, Carla, Price, Mark, University of Central Florida
Abstract / Description
Beginning with my exploration of art as an aesthetic object, this paper shows the growth of my work and concept. Through my practice, I have been able to understand the contradictions in my traditional society and western modernity. It has helped me grapple with my own beliefs, and begin to confront those I don't agree with.
Date Issued
2013
Identifier
CFE0004751, ucf:49792
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0004751
VISUAL AND VERBAL RHETORIC IN HOWARD CHANDLER CHRISTY'S WAR-RELATED POSTERS OF WOMEN DURING THE WORLD WAR I ERA: A FEMINIST PERSPECTIVE
Title
VISUAL AND VERBAL RHETORIC IN HOWARD CHANDLER CHRISTY'S WAR-RELATED POSTERS OF WOMEN DURING THE WORLD WAR I ERA: A FEMINIST PERSPECTIVE.
Creator
Gomrad, Mary Ellen, Kitalong, Karla, University of Central Florida
Abstract / Description
This thesis explores the development of a series of posters created by Howard Chandler Christy during the World War I era. During this time, Christy was a Department of Pictorial Publicity (DPP) committee artist commissioned by the committee chair, Charles Dana Gibson. The DPP was part of the Committee on Public Information (CPI) developed by the Woodrow Wilson administration to generate the propaganda necessary to gain the support of the American people to enter World War I. The CPI was...
Show moreThis thesis explores the development of a series of posters created by Howard Chandler Christy during the World War I era. During this time, Christy was a Department of Pictorial Publicity (DPP) committee artist commissioned by the committee chair, Charles Dana Gibson. The DPP was part of the Committee on Public Information (CPI) developed by the Woodrow Wilson administration to generate the propaganda necessary to gain the support of the American people to enter World War I. The CPI was headed up by George Creel, a journalist and politician, who used advertising techniques to create the first full-scale propaganda effort in United States history. American poster images of women during World War I represent an era when propaganda posters came of age. These iconographic interpretations depicted in political propaganda helped shape the history of the twentieth century. While exploring these portrayals of women, the observer looks through a historical lens to contemplate the role of propaganda in the American war effort, while considering the disparity between images of women and the reality of their experiences in the patriarchal society in which they lived. Howard Chandler Christy's war-related posters represented the gendered rhetoric of a social order that functioned under the well-established assumption that men and women both had their place in society based on gender-specific stereotypic characteristics. Women were central to propaganda posters from this era; their images were widely used in posters encouraging Americans to support the war effort. With few exceptions, these representations perpetuated traditional concepts of appropriate gender roles. Posters often used women as icons characterizing the nation in time of war. For example, a beautiful woman, with a backdrop of the United States flag or sometimes even dressed in Old Glory, suggested why the nation was fighting. Some posters explicitly used beautiful women to signify that America's honor was at stake and we needed fighting men to protect it. The poster art form spread rapidly during the early twentieth century, putting a woman in her place rather than challenging the historical circumstances that created the complex, problematic issues related to the visual representation. Reading these posters as cultural texts, it is apparent that women's images are central to gaining an understanding of the social norms and cultural expectations.
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Date Issued
2007
Identifier
CFE0001807, ucf:52848
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0001807