Twentieth Century
Dissertations Completed by Subject, 2018

Show in progress dissertations

Açikgöz, Ümit, “Global Locality, National Modernity: Negotiating Urban Transformation in Early Republican Istanbul (1923-1949)” (Rice University, S. Hamadeh; F. López-Durán)

Alexander, Aleesa Pitchamarn, “Unaccountable Modernisms: The Black Arts of Post-Civil Rights Alabama” (University of California, Santa Barbara, J. Sorkin)

Bago, Ivana, “Inheriting the Yugoslav Century: Art, History, and Generation” (Duke University, K. Stiles)

Barber, Karen, “Writing with Light: Cameraless Photography and Its Narrative in the 1920s” (Graduate Center, CUNY, R. Washton-Long)

Bell, Gloria, “The Eloquence of Things: Indigeneity and the 1925 Pontifical Missionary Exposition” (The University of British Columbia, C. Thrush)

Binnie, Mari Rodriguez “The São Paulo Neo-Avant-Garde: Art, Collaboration, and Print Media, 1970–1985” (The University of Texas, G. Flaherty)

Borgen, Maibritt, “Some of My Basic Assumptions: Öyvind Fahlström 1952-1976” (Yale University, C. Buckley, D. Joselit)

Buhe, Elizabeth, “Sam Francis: Functional Abstraction” (Institute of Fine Arts/NYU, T. Crow)

Burleigh, Paula, “The Labyrinth and the Cave: Archaic Forms in Utopian Projects in Europe, 1952-1972” (Graduate Center, CUNY, M. Hadler)

Campbell, Thomas, “Picturing the System: Counter-Institutional Practices in British Art of the 1970s” (Columbia University, B. Joseph)

Carmack, Kara, “Marginal Centers: Parties on, off, and through Manhattan Public Access Television, 1972–1983” (University of Texas at Austin, A. Reynolds)

Damman, Catherine, “Unreliable Narrators: Staging Performance in the 1970s” (Columbia University, B. Joseph)

Dickey Corey, Laura, “Mary Cassett (1844-1926) American Tastemaker: Portrait of the Artist as Advisor” (Institute of Fine Arts/NYU, J. Brown/L. Nochlin)

Dosch, Mya, “Creating 1968: Art, Architecture, and the Afterlives of the Mexican Student Movement” (Graduate Center, CUNY, A. Indych-López)

Evans, Ariel, “‘I am for an art’: the struggle of the San Diego group and the Women’s Caucus to reinvent photography in the Society for Photographic Education, 1962-1982” (The University of Texas, C. Smith)

Firunts, Mashinka,”Learning to Refuse: Pedagogy, Protest, and Lecture – Performance, 1964-1975” (University of Pennsylvania, K. Silverman)

Gollnick, Elizabeth, “ Diffusion: Women Light Artists in Postwar California” (Columbia University, B. Joseph)

Grayson, Saisha, “Cellist, Catalyst, Collaborator: The Work of Charlotte Moorman” (Graduate Center, CUNY, C. Bishop)

Hanson, Lauren, “Creating a Scene: Art and Experimentation in Düsseldorf circa 1958” (The University of Texas at Austin, A. Reynolds)

Hawley, Elizabeth S., “Modern Arts and Pueblo Traditions in Santa Fe, 1909-1931” (Graduate Center, CUNY, K. Manthorne)

Holaday, Jill M. “Die Gruppe Zero: Working Through Wartime Trauma” (University of Iowa, C. Adcock)

Horne, Sarah M. “‘It’s Styled by Helen Dryden’: The Fine Art of Good Taste” (University of Missouri, K. Schwain)

Ketcham, Christopher, “Minimal Art and Body Politics in New York City, 1961-1975” (MIT, C. Jones)

Klein, Lidia, “Political Postmodernisms: Architecture in Chile and Poland, 1970-1990” (Duke University, A. Wharton)

Korobkin, R. Tess, “Sculptural Bodies of the Great Depression” (Yale University, J. Raab)

Kumar, Aparna, “Partition and the Historiography of Art in South Asia” (UCLA, S. Mathur)

Lazevnick, Ashley, “Precisionism in the Long 1920s” (Princeton, R. DeLue)

Lee, Anton, “Narrative Forms and Visual Sequences: The New Photography in American Practice and French Discourse, 1968-1989” (The University of British Columbia, C. Soussloff)

Macfarlane, Ellen, “Seeing Plus: Group f.64 Photography and the Political” (Princeton, A. McCauley)

Mak, Kathy, “The New Look of Mountains and Rivers: Landscape and the Imagining of Socialist China during The Seventeen Years Period (1949-1966)” (UCLA, H. Lee)

Mandarino, Grant, “Seeing Class: Graphic Satire and the Cultivation of Radicalism in the Weimar Republic” (University of Michigan, M. Biro)

McClenathan, Erin, “Handheld Cinema: The Ephemeral Avant-garde ca.1917–1944” (Georgia, N. Andrew)

Miller, Sequoia, “Expanding Ceramics: Experimental Clay Practices in the United States, 1963-1973” (Yale University, E. Cooke, Jr.)

Musteata, Natalie, “The ‘I’ of the Artist-Curator” (Graduate Center, CUNY, C. Bishop)

Nouril, Ksenia, “Afterlives of Communism: The Historical Turn in Contemporary Art from Eastern Europe” (Rutgers University, J. Sharp)

Ohadi-hamadani, Maraym, “The Commonwealth of Abstraction: Black Artists in London, 1948-72” (The University of Texas at Austin, E.Chambers)

O'Reilly, Colleen, “Visual Pedagogy in Cold War America: Berenice Abbott, Will Burtin, and the International Visual Literacy Association” (University of Pittsburgh, J. Ellenbogen)

O'Steen, Danielle, “Plastic Fantastic: American Sculpture in the Age of Synthetics” (University of Maryland, J. Shannon)

Parent, Vanessa, “History, Myth and the Worker Body: Vienna Actionism within the Longue Durée of 1848” (The University of British Columbia, J. Mansoor)

Park, Eunyoung, “Situating Contemporary Korean Art in the Age of Globalization” (University of Kansas, D. Cateforis)

Pistell, Gillian, “Ray Johnson: Collage as Networked 'Correspondence'” (Graduate Center, CUNY, M. Hadler)

Poon, Jessica, “’Harmonious Disagreement’: Painters Eleven, Abstraction, and the Construction of Canadian Modernism in the 1950s” (The University of British Columbia, J. O’Brian)

Read, Heather, “Canonizing Modernism: An Avant-Garde Legacy in France's Sacred Art Movement, 1939-1958” (Washington University in St. Louis, J. Klein)

Rivas Pérez, Jorge, “Modern Design for Living in Venezuela: Miguel Arroyo and his Circle, 1948-1963” (Bard Graduate Center, P. Kirkham)

Robyn Mericle, “Before the Endless Miles of Wind and Sand and Empty Far Off Sky: Deserts in Hollywood's Silent Era,” (University of Illinois at Chicago, H. Higgins)

Rochester, Katherine, “Lotte Reiniger and the Animated Ornament in Experimental Film, 1919-1937” (Bryn Mawr College, Christiane Hertel and Karen Redrobe)

Roesch, Nathanael, “The Athletic Turn in Contemporary Art” (Bryn Mawr College, Lisa Saltzman)

Searcy, Elizabeth, “By Any Means Necessary: The Art of Carrie Mae Weems, 1978-1991” (UCLA, S. Nelson)

Shultz, Oliver “Paul Thek: Untimely Bodies, 1963-1988” (Stanford University, P. Lee)

Sichel, Jennifer, “Criticism without Authority: Gene Swenson, Jill Johnston, Gregory Battcock” (University of Chicago, D. English and M. Jackson)

Silverman, Emma R., “The Watts Towers from Eyesore to Icon: Race and the Spaces of Outsider Art” (University of California, Berkeley, J. Bryan-Wilson)

Simon, Sydney Skelton, “Harry Bertoia and Postwar American Design Culture” (Stanford University, P. Lee)

Solano Roa, Juanita, “Theater of the Self. Photography, Race, and Progress: Fotografia Rodriguez and Benjamin de la Calle, Medellin (Colombia), 1891-1938” (Institute of Fine Arts/NYU, E. Sullivan)

Teti, Matthew, “From Minimalism to Performance Art: Chris Burden, 1967-1971” (Columbia University, B. Joseph)

Vetter, Michael, “Robert Irwin’s New Materialism” (University of Maryland, College Park, J. Shannon)

Wiesenberger, Robert, “Print and Screen, Muriel Cooper at MIT” (Columbia University, B. Bergdoll)

Wolff, Lesley, “¡Guerra al metate!: The Visuality of Foodways in Postrevolutionary Mexico City (1920 - 1960)” (Florida State University, M. Carrasco)

Worsnick, Matthew, “Ambivalent Lines: Urban and Architectural Appropriations in Contested Italo-Yugoslav Territories, 1918-1954” (Institute of Fine Arts/NYU, J-L. Cohen)

Wurzelbacher, Karli, “Reverse Painting on Glass: Seeing through the Surface of American Modernism” (University of Delaware, W. Bellion and J. Hill)

Young, Gillian, “Telepresence: Joan Jonas and the Emergence of Performance and Video Art in the 1970s” (Columbia University, B. Joseph)