ingest cdrApp 2018-06-13T21:23:24.362Z 51cd2fe2-3fd7-401f-a923-a97bc3db68a2 modifyDatastreamByValue RELS-EXT fedoraAdmin 2018-06-13T22:56:37.559Z Setting exclusive relation addDatastream MD_TECHNICAL fedoraAdmin 2018-06-13T22:56:48.936Z Adding technical metadata derived by FITS addDatastream MD_FULL_TEXT fedoraAdmin 2018-06-13T22:57:12.832Z Adding full text metadata extracted by Apache Tika modifyDatastreamByValue RELS-EXT fedoraAdmin 2018-06-13T22:57:35.213Z Setting exclusive relation modifyDatastreamByValue MD_DESCRIPTIVE cdrApp 2018-07-10T21:08:38.690Z modifyDatastreamByValue MD_DESCRIPTIVE cdrApp 2018-08-14T21:20:10.311Z modifyDatastreamByValue MD_DESCRIPTIVE cdrApp 2018-08-16T16:57:16.726Z modifyDatastreamByValue MD_DESCRIPTIVE cdrApp 2018-09-25T20:18:41.944Z modifyDatastreamByValue MD_DESCRIPTIVE cdrApp 2018-09-26T17:20:05.772Z modifyDatastreamByValue MD_DESCRIPTIVE cdrApp 2018-10-10T17:53:11.109Z modifyDatastreamByValue MD_DESCRIPTIVE cdrApp 2018-10-11T18:18:40.603Z modifyDatastreamByValue MD_DESCRIPTIVE cdrApp 2019-02-28T01:29:39.233Z modifyDatastreamByValue MD_DESCRIPTIVE cdrApp 2019-03-19T20:46:44.443Z Kimberly Bobier Author Art History Program College of Arts and Sciences Representing and Refracting the Civil Rights Movement in Late Twentieth-Century Art This dissertation investigates late twentieth-century United States-based artists’ appropriations of civil rights movement imagery. I propose that these artists’ recasting of the movement’s imagery posits it as a revealing point of entry for analyzing 1980s and 1990s identity politics and questions of appropriation in contemporary art and beyond. My inquiry focuses on Lorraine O’Grady, Glenn Ligon, Alfredo Jaar, and Kerry James Marshall whose artwork challenged the ways that late twentieth-century dominant culture’s portrayal of the movement obscured mid-twentieth-century civil rights activists’ efforts to overturn foundational American structures, which maintain racist oppression. By critically reconfiguring well-known representations of the movement, the artists of my study participated in concurrent art discourses about appropriation that treated it as a procedure for exposing how an intensifying media culture had unmoored representations from reality, depleting them of authoritative meaning. Yet, O’Grady, Ligon, Jaar, and Marshall’s appropriations evoke not the emptiness of the civil rights movement’s conventional visual repertoire, but rather its resilient and outsized role in shaping Americans’ perceptions of social relations and (economic, gender, racial, and sexual) inequality. These four artists’ critiques of discriminatory structures of representation through the prism of the civil rights movement’s legacy and the identity politics therein affords us insight for negotiating systemic racism and related axes of social subjugation today as well as art and visual culture’s complicity in them. Spring 2018 2018 Art history African American studies American studies Alfredo Jaar, appropriation, civil rights movement, Glenn Ligon, Kerry James Marshall, Lorraine O'Grady eng Doctor of Philosophy Dissertation University of North Carolina at Chapel Hill Graduate School Degree granting institution Art (Art History) John Bowles Thesis advisor Rosalyn Deutsche Thesis advisor Cary Levine Thesis advisor Carol Magee Thesis advisor Lyneise Williams Thesis advisor text Kimberly Bobier Author Art History Program College of Arts and Sciences Representing and Refracting the Civil Rights Movement in Late Twentieth-Century Art This dissertation investigates late twentieth-century United States-based artists’ appropriations of civil rights movement imagery. I propose that these artists’ recasting of the movement’s imagery posits it as a revealing point of entry for analyzing 1980s and 1990s identity politics and questions of appropriation in contemporary art and beyond. My inquiry focuses on Lorraine O’Grady, Glenn Ligon, Alfredo Jaar, and Kerry James Marshall whose artwork challenged the ways that late twentieth-century dominant culture’s portrayal of the movement obscured mid-twentieth-century civil rights activists’ efforts to overturn foundational American structures, which maintain racist oppression. By critically reconfiguring well-known representations of the movement, the artists of my study participated in concurrent art discourses about appropriation that treated it as a procedure for exposing how an intensifying media culture had unmoored representations from reality, depleting them of authoritative meaning. Yet, O’Grady, Ligon, Jaar, and Marshall’s appropriations evoke not the emptiness of the civil rights movement’s conventional visual repertoire, but rather its resilient and outsized role in shaping Americans’ perceptions of social relations and (economic, gender, racial, and sexual) inequality. These four artists’ critiques of discriminatory structures of representation through the prism of the civil rights movement’s legacy and the identity politics therein affords us insight for negotiating systemic racism and related axes of social subjugation today as well as art and visual culture’s complicity in them. Spring 2018 2018 Art history African American studies American studies Alfredo Jaar, appropriation, civil rights movement, Glenn Ligon, Kerry James Marshall, Lorraine O'Grady eng Doctor of Philosophy Dissertation University of North Carolina at Chapel Hill Graduate School Degree granting institution Art (Art History) John Bowles Thesis advisor Rosalyn Deutsche Thesis advisor Cary Levine Thesis advisor Carol Magee Thesis advisor Lyneise Williams Thesis advisor text Kimberly Bobier Author Art History Program College of Arts and Sciences Representing and Refracting the Civil Rights Movement in Late Twentieth-Century Art This dissertation investigates late twentieth-century United States-based artists’ appropriations of civil rights movement imagery. I propose that these artists’ recasting of the movement’s imagery posits it as a revealing point of entry for analyzing 1980s and 1990s identity politics and questions of appropriation in contemporary art and beyond. My inquiry focuses on Lorraine O’Grady, Glenn Ligon, Alfredo Jaar, and Kerry James Marshall whose artwork challenged the ways that late twentieth-century dominant culture’s portrayal of the movement obscured mid-twentieth-century civil rights activists’ efforts to overturn foundational American structures, which maintain racist oppression. By critically reconfiguring well-known representations of the movement, the artists of my study participated in concurrent art discourses about appropriation that treated it as a procedure for exposing how an intensifying media culture had unmoored representations from reality, depleting them of authoritative meaning. Yet, O’Grady, Ligon, Jaar, and Marshall’s appropriations evoke not the emptiness of the civil rights movement’s conventional visual repertoire, but rather its resilient and outsized role in shaping Americans’ perceptions of social relations and (economic, gender, racial, and sexual) inequality. These four artists’ critiques of discriminatory structures of representation through the prism of the civil rights movement’s legacy and the identity politics therein affords us insight for negotiating systemic racism and related axes of social subjugation today as well as art and visual culture’s complicity in them. Spring 2018 2018 Art history African American studies American studies Alfredo Jaar, appropriation, civil rights movement, Glenn Ligon, Kerry James Marshall, Lorraine O'Grady eng Doctor of Philosophy Dissertation Art (Art History) John Bowles Thesis advisor Rosalyn Deutsche Thesis advisor Cary Levine Thesis advisor Carol Magee Thesis advisor Lyneise Williams Thesis advisor text University of North Carolina at Chapel Hill Degree granting institution Kimberly Bobier Author Art History Program College of Arts and Sciences Representing and Refracting the Civil Rights Movement in Late Twentieth-Century Art This dissertation investigates late twentieth-century United States-based artists’ appropriations of civil rights movement imagery. I propose that these artists’ recasting of the movement’s imagery posits it as a revealing point of entry for analyzing 1980s and 1990s identity politics and questions of appropriation in contemporary art and beyond. My inquiry focuses on Lorraine O’Grady, Glenn Ligon, Alfredo Jaar, and Kerry James Marshall whose artwork challenged the ways that late twentieth-century dominant culture’s portrayal of the movement obscured mid-twentieth-century civil rights activists’ efforts to overturn foundational American structures, which maintain racist oppression. By critically reconfiguring well-known representations of the movement, the artists of my study participated in concurrent art discourses about appropriation that treated it as a procedure for exposing how an intensifying media culture had unmoored representations from reality, depleting them of authoritative meaning. Yet, O’Grady, Ligon, Jaar, and Marshall’s appropriations evoke not the emptiness of the civil rights movement’s conventional visual repertoire, but rather its resilient and outsized role in shaping Americans’ perceptions of social relations and (economic, gender, racial, and sexual) inequality. These four artists’ critiques of discriminatory structures of representation through the prism of the civil rights movement’s legacy and the identity politics therein affords us insight for negotiating systemic racism and related axes of social subjugation today as well as art and visual culture’s complicity in them. Spring 2018 2018 Art history African American studies American studies Alfredo Jaar, appropriation, civil rights movement, Glenn Ligon, Kerry James Marshall, Lorraine O'Grady eng Doctor of Philosophy Dissertation University of North Carolina at Chapel Hill Graduate School Degree granting institution Art (Art History) John Bowles Thesis advisor Rosalyn Deutsche Thesis advisor Cary Levine Thesis advisor Carol Magee Thesis advisor Lyneise Williams Thesis advisor text Kimberly Bobier Creator Art History Program College of Arts and Sciences Representing and Refracting the Civil Rights Movement in Late Twentieth-Century Art This dissertation investigates late twentieth-century United States-based artists’ appropriations of civil rights movement imagery. I propose that these artists’ recasting of the movement’s imagery posits it as a revealing point of entry for analyzing 1980s and 1990s identity politics and questions of appropriation in contemporary art and beyond. My inquiry focuses on Lorraine O’Grady, Glenn Ligon, Alfredo Jaar, and Kerry James Marshall whose artwork challenged the ways that late twentieth-century dominant culture’s portrayal of the movement obscured mid-twentieth-century civil rights activists’ efforts to overturn foundational American structures, which maintain racist oppression. By critically reconfiguring well-known representations of the movement, the artists of my study participated in concurrent art discourses about appropriation that treated it as a procedure for exposing how an intensifying media culture had unmoored representations from reality, depleting them of authoritative meaning. Yet, O’Grady, Ligon, Jaar, and Marshall’s appropriations evoke not the emptiness of the civil rights movement’s conventional visual repertoire, but rather its resilient and outsized role in shaping Americans’ perceptions of social relations and (economic, gender, racial, and sexual) inequality. These four artists’ critiques of discriminatory structures of representation through the prism of the civil rights movement’s legacy and the identity politics therein affords us insight for negotiating systemic racism and related axes of social subjugation today as well as art and visual culture’s complicity in them. Art history African American studies American studies Alfredo Jaar; appropriation; civil rights movement; Glenn Ligon; Kerry James Marshall; Lorraine O'Grady eng Doctor of Philosophy Dissertation University of North Carolina at Chapel Hill Graduate School Degree granting institution Art (Art History) John Bowles Thesis advisor Rosalyn Deutsche Thesis advisor Cary Levine Thesis advisor Carol Magee Thesis advisor Lyneise Williams Thesis advisor text 2018 2018-05 Kimberly Bobier Creator Art History Program College of Arts and Sciences Representing and Refracting the Civil Rights Movement in Late Twentieth-Century Art This dissertation investigates late twentieth-century United States-based artists’ appropriations of civil rights movement imagery. I propose that these artists’ recasting of the movement’s imagery posits it as a revealing point of entry for analyzing 1980s and 1990s identity politics and questions of appropriation in contemporary art and beyond. My inquiry focuses on Lorraine O’Grady, Glenn Ligon, Alfredo Jaar, and Kerry James Marshall whose artwork challenged the ways that late twentieth-century dominant culture’s portrayal of the movement obscured mid-twentieth-century civil rights activists’ efforts to overturn foundational American structures, which maintain racist oppression. By critically reconfiguring well-known representations of the movement, the artists of my study participated in concurrent art discourses about appropriation that treated it as a procedure for exposing how an intensifying media culture had unmoored representations from reality, depleting them of authoritative meaning. Yet, O’Grady, Ligon, Jaar, and Marshall’s appropriations evoke not the emptiness of the civil rights movement’s conventional visual repertoire, but rather its resilient and outsized role in shaping Americans’ perceptions of social relations and (economic, gender, racial, and sexual) inequality. These four artists’ critiques of discriminatory structures of representation through the prism of the civil rights movement’s legacy and the identity politics therein affords us insight for negotiating systemic racism and related axes of social subjugation today as well as art and visual culture’s complicity in them. Art history African American studies American studies Alfredo Jaar; appropriation; civil rights movement; Glenn Ligon; Kerry James Marshall; Lorraine O'Grady eng Doctor of Philosophy Dissertation University of North Carolina at Chapel Hill Graduate School Degree granting institution Art (Art History) John Bowles Thesis advisor Rosalyn Deutsche Thesis advisor Cary Levine Thesis advisor Carol Magee Thesis advisor Lyneise Williams Thesis advisor text 2018 2018-05 Kimberly Bobier Author Art History Program College of Arts and Sciences Representing and Refracting the Civil Rights Movement in Late Twentieth-Century Art This dissertation investigates late twentieth-century United States-based artists’ appropriations of civil rights movement imagery. I propose that these artists’ recasting of the movement’s imagery posits it as a revealing point of entry for analyzing 1980s and 1990s identity politics and questions of appropriation in contemporary art and beyond. My inquiry focuses on Lorraine O’Grady, Glenn Ligon, Alfredo Jaar, and Kerry James Marshall whose artwork challenged the ways that late twentieth-century dominant culture’s portrayal of the movement obscured mid-twentieth-century civil rights activists’ efforts to overturn foundational American structures, which maintain racist oppression. By critically reconfiguring well-known representations of the movement, the artists of my study participated in concurrent art discourses about appropriation that treated it as a procedure for exposing how an intensifying media culture had unmoored representations from reality, depleting them of authoritative meaning. Yet, O’Grady, Ligon, Jaar, and Marshall’s appropriations evoke not the emptiness of the civil rights movement’s conventional visual repertoire, but rather its resilient and outsized role in shaping Americans’ perceptions of social relations and (economic, gender, racial, and sexual) inequality. These four artists’ critiques of discriminatory structures of representation through the prism of the civil rights movement’s legacy and the identity politics therein affords us insight for negotiating systemic racism and related axes of social subjugation today as well as art and visual culture’s complicity in them. Spring 2018 2018 Art history African American studies American studies Alfredo Jaar, appropriation, civil rights movement, Glenn Ligon, Kerry James Marshall, Lorraine O'Grady eng Doctor of Philosophy Dissertation Art (Art History) John Bowles Thesis advisor Rosalyn Deutsche Thesis advisor Cary Levine Thesis advisor Carol Magee Thesis advisor Lyneise Williams Thesis advisor text University of North Carolina at Chapel Hill Degree granting institution Kimberly Bobier Author Art History Program College of Arts and Sciences Representing and Refracting the Civil Rights Movement in Late Twentieth-Century Art This dissertation investigates late twentieth-century United States-based artists’ appropriations of civil rights movement imagery. I propose that these artists’ recasting of the movement’s imagery posits it as a revealing point of entry for analyzing 1980s and 1990s identity politics and questions of appropriation in contemporary art and beyond. My inquiry focuses on Lorraine O’Grady, Glenn Ligon, Alfredo Jaar, and Kerry James Marshall whose artwork challenged the ways that late twentieth-century dominant culture’s portrayal of the movement obscured mid-twentieth-century civil rights activists’ efforts to overturn foundational American structures, which maintain racist oppression. By critically reconfiguring well-known representations of the movement, the artists of my study participated in concurrent art discourses about appropriation that treated it as a procedure for exposing how an intensifying media culture had unmoored representations from reality, depleting them of authoritative meaning. Yet, O’Grady, Ligon, Jaar, and Marshall’s appropriations evoke not the emptiness of the civil rights movement’s conventional visual repertoire, but rather its resilient and outsized role in shaping Americans’ perceptions of social relations and (economic, gender, racial, and sexual) inequality. These four artists’ critiques of discriminatory structures of representation through the prism of the civil rights movement’s legacy and the identity politics therein affords us insight for negotiating systemic racism and related axes of social subjugation today as well as art and visual culture’s complicity in them. Spring 2018 2018 Art history African American studies American studies Alfredo Jaar, appropriation, civil rights movement, Glenn Ligon, Kerry James Marshall, Lorraine O'Grady eng Doctor of Philosophy Dissertation University of North Carolina at Chapel Hill Graduate School Degree granting institution Art (Art History) John Bowles Thesis advisor Rosalyn Deutsche Thesis advisor Cary Levine Thesis advisor Carol Magee Thesis advisor Lyneise Williams Thesis advisor text Kimberly Bobier Creator Art History Program College of Arts and Sciences This dissertation investigates late twentieth-century United States-based artists’ appropriations of civil rights movement imagery. I propose that these artists’ recasting of the movement’s imagery posits it as a revealing point of entry for analyzing 1980s and 1990s identity politics and questions of appropriation in contemporary art and beyond. My inquiry focuses on Lorraine O’Grady, Glenn Ligon, Alfredo Jaar, and Kerry James Marshall whose artwork challenged the ways that late twentieth-century dominant culture’s portrayal of the movement obscured mid-twentieth-century civil rights activists’ efforts to overturn foundational American structures, which maintain racist oppression. By critically reconfiguring well-known representations of the movement, the artists of my study participated in concurrent art discourses about appropriation that treated it as a procedure for exposing how an intensifying media culture had unmoored representations from reality, depleting them of authoritative meaning. Yet, O’Grady, Ligon, Jaar, and Marshall’s appropriations evoke not the emptiness of the civil rights movement’s conventional visual repertoire, but rather its resilient and outsized role in shaping Americans’ perceptions of social relations and (economic, gender, racial, and sexual) inequality. These four artists’ critiques of discriminatory structures of representation through the prism of the civil rights movement’s legacy and the identity politics therein affords us insight for negotiating systemic racism and related axes of social subjugation today as well as art and visual culture’s complicity in them. 2018-05 2018 Art history African American studies American studies Alfredo Jaar; appropriation; civil rights movement; Glenn Ligon; Kerry James Marshall; Lorraine O'Grady eng Doctor of Philosophy Dissertation University of North Carolina at Chapel Hill Graduate School Degree granting institution Art (Art History) John Bowles Thesis advisor Rosalyn Deutsche Thesis advisor Cary Levine Thesis advisor Carol Magee Thesis advisor Lyneise Williams Thesis advisor text Kimberly Bobier Creator Art History Program College of Arts and Sciences This dissertation investigates late twentieth-century United States-based artists’ appropriations of civil rights movement imagery. I propose that these artists’ recasting of the movement’s imagery posits it as a revealing point of entry for analyzing 1980s and 1990s identity politics and questions of appropriation in contemporary art and beyond. My inquiry focuses on Lorraine O’Grady, Glenn Ligon, Alfredo Jaar, and Kerry James Marshall whose artwork challenged the ways that late twentieth-century dominant culture’s portrayal of the movement obscured mid-twentieth-century civil rights activists’ efforts to overturn foundational American structures, which maintain racist oppression. By critically reconfiguring well-known representations of the movement, the artists of my study participated in concurrent art discourses about appropriation that treated it as a procedure for exposing how an intensifying media culture had unmoored representations from reality, depleting them of authoritative meaning. Yet, O’Grady, Ligon, Jaar, and Marshall’s appropriations evoke not the emptiness of the civil rights movement’s conventional visual repertoire, but rather its resilient and outsized role in shaping Americans’ perceptions of social relations and (economic, gender, racial, and sexual) inequality. These four artists’ critiques of discriminatory structures of representation through the prism of the civil rights movement’s legacy and the identity politics therein affords us insight for negotiating systemic racism and related axes of social subjugation today as well as art and visual culture’s complicity in them. 2018-05 2018 Art history African American studies American studies Alfredo Jaar; appropriation; civil rights movement; Glenn Ligon; Kerry James Marshall; Lorraine O'Grady eng Doctor of Philosophy Dissertation University of North Carolina at Chapel Hill Graduate School Degree granting institution John Bowles Thesis advisor Rosalyn Deutsche Thesis advisor Cary Levine Thesis advisor Carol Magee Thesis advisor Lyneise Williams Thesis advisor text Bobier_unc_0153D_17768.pdf uuid:3dd1c065-96d9-4ef6-bd51-32477899ad63 2020-06-13T00:00:00 2018-04-12T16:21:26Z proquest application/pdf 139579471