doctoral dissertation in arts

Doctoral Dissertations

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Civilization games can depict imaginative and sophisticated perspectives on the future. Yet some scholars have critiqued civilization games for their replication of dominant, limited ideologies. Game designers often learn about design directly or indirectly from frameworks, such as the Mechanics-Dynamics-Aesthetics (MDA) framework which contains a very idiosyncratic definition of aesthetics. Given that aesthetic thinking can unlock the sociological imagination, the aim of this dissertation was to discover opportunities to expand civilization game design by understanding the aesthetic experience of designers. A qualitative interview study was conducted of 13 game designers who created at least one civilization game based in the future. The interview and analysis had an ontological focus, to better understand how aesthetics fit into the existing puzzle of game design knowledge. The findings showed that designers employ their perspective in game design; this sense of self and perspective is not captured by current ontologies of game design. Furthermore, designers are limited in their ability to explore the boundaries of civilization games by task complexity, emotionality, and reliance on player experience. Resultantly, they may focus intensely on known aspects of game design in order to deliver a product. The dissertation proposes two primary solutions. Firstly, a game design framework that integrates the self into game design and more clearly delineates the game as an artifact. Secondly, cultivate truer senses of vision in game design for those who want to push civilization games and games as a whole, while understanding the practical realities of game design. These implications can be used by educators to reconsider game design program curricula, as well as affirm game designers’ pursuit of their own perspective.

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This qualitative multiple case study tracks the work of six artists with an educational background in oriental painting, traditional Korean painting, for their BFA major. This study reveals a change in their artwork from their original training after graduation to their current manner of artistic expression. This transformation occurs as they develop their artwork in a more contemporary way in the South Korean art world where Western art/global art has become a center. Although oriental painting has been influenced by Western art since Japanese colonial liberation in the 1940s, this situation presents conceptual conflicts between traditional and contemporary approaches to this genre of art. This study examines how six artists find their artistic position between conflicting values through the examination of the trajectory of the changes in their artwork since their graduation from undergraduate school. The participants of this study were six artists (three men and three women) who earned a BFA degree in oriental painting in South Korea. Semi-structured interviews, visual data of artists’ artworks, and written notes were sources of data analysis. The qualitative case study was based on constructivism of philosophical worldviews. The evolution of the participants’ artwork is examined based on theories such as Jack Mezirow’s transformative learning and Robert Kegan’s adult development. This study presents the transformation from two perspectives: sociocultural factors and personal motivations. Each perspective reflects changes in materials and techniques as well as changes in imagery. Furthermore, the enduring values of oriental painting in the transformation are examined, which includes Eastern philosophy and aesthetics and visual elements such as three-distance perspective, blank space, and expression of line. Ultimately, this study argues that there exist various avenues of transformation based on oriental painting, with tradition persisting in novel forms of contemporary art.

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This visual and narrative-based qualitative research examined the specific cultural journeys of eight Korean contemporary artists as well as their meaning-making processes reflected in their art and growth of cultural perception. The data primarily consisted of interview descriptions that surrounded the participants’ lived experiences in South Korea or the United States, namely their cultural and educational influences represented in their artistic identity and artworks. To examine their personal and artistic growth, Kegan’s theory of adult meaning-making and Mezirow’s transformative learning development theory informed the reasoning behind the participants’ transition between their past and present encounters.

The research findings supported a host of literature regarding the influence of cultural changes and challenges in the individual development process of Korean contemporary artists in both South Korea and the United States. A discussion was also presented to highlight how the artist participants who studied abroad developed opportunities for growth through their artwork and navigation of new cultural environments in the United States. This research provides art educators and artists with concepts to best confront cultural and educational issues that emerge in the art classroom and the art world, specifically the impact these interventions can make on cross-cultural learners.

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As I began this research, and even as a younger person, I thought it was the responsibility of my father to teach me what it is to be a man and how to embrace manhood. However, through the tools of self-study and autoethnography as a research method, it has become apparent that the responsibility falls upon me to seek manhood and to develop a lifelong practice of building good character. In the words of Dr. Leon Wright (1975), “To know God, one must know all about man.” This research seeks to bring clarity to my efforts to find out who I am. It details my journey from boy to artist to man. It works to highlight the interplay between three aspects of identity that make up my sense of self: racial identity, social/emotional identity (manhood) and lastly, my professional identity as an artist. This writing works to establish a personal meaning for manhood gained through self-reflection, personal experience, and formal rites of passage participation.

This research initiates as an investigation concerning the members of my family, and my interaction with the men who have had a direct involvement in my life. This is an endeavor to document my path toward gaining/acknowledging purpose while working to acquire the knowledge of myself. I started with confronting my pain, realizing my creativity and artistry, welcoming my personality, to eventually embracing spirituality, all as a quest for knowledge. The knowledge of myself leads to the comprehension of my purpose in life, without which, as David Deida writes, I would be “totally lost, drifting, adapting to events rather than creating events” (2007, p. 37). This document is my inquiry to this acquisition of life purpose. On this quest, I have since modified Dr. Wright’s words to suggest that, “To know God, one must know all about themselves.”

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The study explored the returning experience of six Chinese art education practitioners after they received their graduate degrees in the United States and moved back to China. It was grounded on the assumption that when art education returnees try to translate what they learned into the new system of art education in another country, their efforts will be shaped by the different cultural context, and conflicts will emerge with multiple and interrelated dimensions.

The dissertation employed a qualitative cross-case approach. Six returned art education practitioners were selected and interviewed using a semi-structured interview protocol in 2019. I mainly worked as a non-participant researcher, obtaining information from the conversations with the participants. In addition, I collected blog entries, photos, and online articles related to what and how an interviewee responded to a question.

The findings of the research suggested that returnees move along diverse trajectories of professional development, and their professional ideas all contradict local traditions to some extent. Collectively, they experienced multiple challenges concerning professional, administrative, and interpersonal, as well as some minor challenges in their returning process. In coping with the challenges, they made two-way changes: they changed their own expectations and behaviors, while also changing art education in China in terms of teaching methods, space, and people involved.

This study aimed to provide educational implications for future art education returnees, international art programs, and China as the home country. It also provides implications for the developing art education programs in China. New thoughts sparked by the process of collecting data and writing the dissertation are also presented as suggestions for future studies.  

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The Sustained Investigation is a student-directed body of work completed as a requirement of the AP Studio Art (APSA) course. This work involves three audiences: students themselves, their teachers, and AP readers who evaluate their portfolios. Students must consider not only the personal meaning and relevance of their work, but the extent to which that significance can or should be communicated to these outside viewers. Teachers are faced with a related challenge: to guide students through work that is essentially self-defined. The purpose of this research was to document teacher, student, and reader descriptions of the pursuit of worthwhile ideas as they relate to the perceived goals and purposes of the Sustained Investigation. This research was undertaken as a collective case study involving interviews of APSA teachers and students across four school sites, as well as a selection of readers. Findings indicate that the term idea might describe a range of approaches to organizing a body of work, including themes, concepts, political stances, feelings, and other sources or motivations. Furthermore, this work often reflects multiple concurrent ideas, involving primary and secondary goals for one’s work. The development of ideas was often linked to a nonlinearity of practice; ideas were clarified through the process of making rather than beforehand. Respondents indicated that ideas should be meaningful to the creator, largely relating meaning to personal relevance. Meaning might be pursued by selecting topics of personal significance, developing individual creative processes, or reflecting on this experience as an opportunity to fully embody the role of artist. Meaningful ideas were differentiated from successful ones. Notions of success were defined in terms of the degree of internally and externally imposed challenge involved in this endeavor. Participants agreed that students should be considered the primary audience for their own work. For some students, awareness of readers motivated them to take on challenging work, but this awareness did not influence their choice of central ideas. The findings of this study, particularly the nuance in distinctions between idea, meaningful idea, and successful idea, may be useful in informing pedagogical and creative practice in the AP program and beyond.

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The Book of Arithmetic Problems of Johannes Whisler (1814-1815), a mathematics exercise book in the collection of the American Folk Art Museum in New York City, is the central object of this study. This handwritten and illuminated book, created by a young Pennsylvania German man in the early 19th century, prompts a reevaluation of handwriting and doodling, with implications for the present era. The author documents the biographical and sociocultural circumstances surrounding the creation of Whisler’s cyphering book through primary and secondary historical research and applies Glăveanu’s theory of distributed creativity to describe the book as a creative process that emerged among people and objects, and across time.

As direct indices of immediate actions, handwriting and doodling emerge in moment-to-moment action, even as these actions are embedded in longer periods of developmental and historical change; the author documents Whisler’s handwriting flourishes and doodles and describes the particular qualities of these mark making activities with reference to the sociocultural context in which they appear, Werner’s theories regarding the physiognomic perception of symbols, and Stern’s theory of vitality forms. The dissertation concludes with educational implications of the research, which include considerations of the use of handwriting as a component of art education and the future of handwriting as an affective and cross-modal medium.  

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Abstract: In the years since the advent of the Black Lives Matter movement, American art museums have increased attempts to address the racial inequities that persist in the field. These inequities impact all aspects of museum work, not least of which education. Because museum educators are often seen as the conduit between museum collections and audiences, the work of implementing anti-racist programming often falls to them. However, the museum education field is majority White, and while there is a rich body of literature treating the adverse impacts of Whiteness on classroom teaching practices, very little exists on how Whiteness might manifest in gallery teaching practices specifically for White museum educators.

Utilizing participatory action research, practitioner inquiry, and a White affinity group model, this qualitative study explores aspects of Whiteness that impact the gallery teaching practices of four White museum educators. Our research questions seek to understand better how Whiteness manifests in our teaching specifically in the context of single visit field trips, how those impacts might shift depending on the racial demographics of the groups we are teaching, what questions come for us as a White practitioner-researcher group dedicated to undermining Whiteness in our teaching, and how, if at all, does participation in such a study impact how we think about and implement anti-racist teaching in our practice.

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Using an ecological systems approach, this qualitative study examined how continuously evolving, personal living experiences and the ideologies and attitudes of their material, folk, and school culture come to be (re) presented in the construction of images and meaning in children’s artwork. The research was conducted with three groups of fifth-grade students facilitated by the art teacher at their schools in three different countries: United States, Greece, and Ghana. Data in the form of a set of autobiographical drawings from observation, memory, and imagination with written commentary were created by each participant and supported with responses to questionnaires and correspondences from teachers and parents. The sets of drawings were analyzed in terms of how the drawings reflect the children’s (a) artistic expression as mediated by their interaction with local and media influences and (b) sense of self, agency, or purpose.

The findings strongly suggest that style, details, content, and media use assumed a dominant role within the drawings. Furthermore, these results were reflected differently in the drawings of the cohort from each country. Having considered the set of drawings each child made as a network of enterprise emphasizes the active role the children played in the production of the artwork, involving their choices of theme and content, the media images incorporated, and the means by which a task was adapted to suit their interests. However, the results also show that the specific skills—drawing from observation, memory, and imagination—required by the four drawing tasks had a tempering effect on their creative output, leading to the conclusion that the children’s limited drawing experience constrained their ability to express themselves in pictorial representation with fluency. In view of these findings, lesson suggestions are designed to develop drawing skills across drawing modes in a rhizomatic manner of thinking. Suggestions for future research address exploring the evolution of children’s identity and sense of agency in the world through artistic expression; the role of the environment in which children draw as an embodied and embedded experience in a physical and sociocultural world; and further research into how and why children use images to communicate.

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Contemporary artist residencies are institutions or programs that enable artists to develop their practice beyond the confines of their typical work setting. Increasingly, they are also a means to access significant material, interpersonal, and professional resources, and a medium through which to engage with local communities. In response to these developments, the present interview-based study aims to understand how artists develop within a community context by investigating the work and experiences of eight artists who have participated in community-based residencies across—and sometimes beyond—the United States. By collecting each artist’s narrative and supplementing it with documents, images, and auto-reflections of their artwork, the study investigates the complex network of characteristics that help facilitate the creative process. Furthermore, by canvassing research from fields like social psychology, business management, and arts education, it explores the relations of educational reciprocity that emerge between artists and residency communities. This study suggests that the complex physical and interpersonal dynamics of each residency environment contributed in distinctive ways to the artists’ development. It also notes that each unique residency program provided support for the use of new materials, the exploration of new practices, and the investigation of new content. The residency characteristics that were most conducive to creative growth included (1) difference from one’s typical working environment; (2) access to new (and sometimes unconventional) materials, tools, and facilities; (3) social opportunities such as shared meals and public forums to cultivate relationships with residency cohorts; and (4) ample time (usually 1–2 months) and space (access to both private and public studios) to settle into the residency environment, explore one’s artistic practice (and the practice of other resident artists), and foster relationships among cohorts, staff members, and community visitors. Ultimately, this study argues that artist residencies can contribute to the field of non-formal art education by serving as a relational framework for artists and their residency communities.

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This research investigates how power dynamics function in three cases of participatory art, each created by a different artist. Participatory art (PA) is understood as art whose physical or visual properties are shaped or altered by the viewers’ engagement. The study responds to the fact that discourses on PA often refer to the emancipation of participants. Rooted in concepts from Foucauldian biopolitics, the research also assumes that PA inevitably involves a distribution of power among artists and participants, which often vacillates between cultivation and instrumentalization.

Data for this qualitative, multi-case study were collected through interviews with the three artists and with three viewers of each studied work. The researcher’s memories of her participatory experiences in the studied artworks, captured in a journal, were also considered as data.

Detailed narrative findings illustrate how artists’ and viewers’ positions in relation to particular works are never detached from the art systems that frame them. Yet, these positions are not necessarily static and can shift in significant ways. Therefore, the balance between cultivation and instrumentalization can change from work to work, from participant to participant, and from situation to situation. The study shines a light on the potential of critical reflection, enacted once artists and viewers “step out” of the work, for realizing, questioning, and critiquing the conditions of participatory artworks. The researcher suggests that it is in such reflective spaces that awareness of one’s power within a work, and the emancipation that follows, are more likely to occur.

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The purpose of this study was to illuminate characteristics of the pedagogical learning environment in three contemporary MFA Visual Arts programs in the United States and to investigate effective pedagogical practice for graduate art students in preparation for teaching in higher education. According to the College Art Association (CAA), the MFA is considered the terminal degree in the visual arts, unlike other related fields such as art history and art education, where the doctorate is the highest degree. While MFA students can pursue a professional practice of creating and exhibiting their artwork after graduation, many students also enter the MFA with the aim of becoming college art educators. However, there has been a lack of research that specifically examines the degree to which MFA visual arts students are being prepared for teaching. How are students preparing to become college art faculty, and what professional development programs are provided to graduate art students to help them teach art at the college level? These are questions that were the background context of this dissertation study.

This study took the form of a cross-case analysis that employed qualitative and descriptive case study traditions. Data were collected from multiple sources: primary documents and semi-structured interviews with nine MFA students, six studio art faculty members, and three administrators at three MFA programs. This study presented findings of: (a) the pedagogical preparation offered to graduate students by the selected art schools; (b) the perceptions of graduate art students, studio art faculty, and administrators regarding the quality of current academic career preparation, specifically for teaching, in their MFA programs; (c) the insights of those participants into the most important characteristics of college teaching preparation; and (d) suggestions by the participants for the best practices that lead students to become successful college art educators. Based on the findings through an analysis of the learning and practical experiences of MFA students and the perspectives of faculty and administrators, I hope that the study will extend the field’s understanding of the state of college teaching preparation in higher art education.

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We have become increasingly dependent on our smartphones and use them for entertainment, navigation, to shop, and to connect among other tasks. For many, the camera on the smartphone has replaced a dedicated digital camera, especially for the adolescent. With advances in smartphone technology, it is has become increasingly difficult to determine differences between smartphone camera and digital camera photographs. To date there is little research on the differences between photographs taken by smartphone and digital cameras, particularly among adolescents, who are avid photographers.

This study used a qualitative task-based research method to investigate differences in photographs taken by adolescents using both types of cameras. Twenty-three adolescents ages 15 to 17 attending a regularly scheduled high school photography class participated in the study. The students were invited to capture a typical day in their life, first using their digital camera or smartphone camera and then switching to the other type of camera. Data were collected by way of written reflections, student interviews, and the participants’ photographs. The three data sources were coded, analyzed, and triangulated to provide results for this study.

Results suggest that, for these particular participants, marginal differences exist between the photographs taken with a smartphone camera and a digital camera. Analysis also suggests there were minimal differences across specific categories of focus, color balance, and thoughtfully captured images between the smartphone and the digital camera photographs for this population of students.

The study concludes that teenagers ultimately use whatever capturing device is available to them, suggesting that it is the photographer who controls the quality of a photograph—not the capturing device. Educational implications of the study focus on the use of technology in the art classroom, and suggestions are offered for photographic curricula based on the results of this study. In addition, an examination of different pedagogical styles, such as reciprocal and remote teaching and learning models, finds them particularly appropriate in supporting photography education for adolescents.

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University-based teacher educators’ first three years on the job are often imbued with tension, as they must renegotiate their professional identities and pedagogical philosophies in relation to ambiguous and sometimes conflicting expectations of what they should do and stand for in this role. As role models for aspiring art teachers, art teacher educators have a powerful influence on their pre-service students’ views of teaching, and on their emergent professional dispositions. However, despite the moral and intellectual significance of their work, and the diversity of their identities and work contexts, research on this population is limited and does not reflect current demographics in the field. While existing studies suggest some of the tensions that art teacher educators—both new and veteran—face on the job, research has not yet explored how new faculty members, specifically, experience their earliest years in the role nor how they learn to develop personally authentic art teacher education pedagogy. This qualitative multi-case study responds to these gaps in the literature, and to the understanding that new knowledge-for-practice is often generated within spaces of creative tension such as career transition.

The study participants were eight full-time art education faculty members with less than three years in the role. Individual and cross-case analysis of data collected through semi-structured interviews, qualitative questionnaires, and reflective tasks, revealed that participants’ tensions were predominantly influenced by discrepancies between (1) their established occupational roles/identities and practices, and expectations placed upon them in the art teacher educator role that they had not fully anticipated, and (2) their own, and others’ art-education-related (ideological) values. Most of the participants identified strongly with discipline-specific values (e.g., being grounded in activism and arts-informed social justice). These values functioned as core elements of their professional identities and of their teaching, research, and scholarship. However, in some cases, there were difficulties in translating these values into effective art teacher education pedagogical content knowledge.

The data analysis suggested that through reflecting on tensions, participants gained increased professional self-understanding and keener awareness of the forces that enable or constrain the enactment of their personal pedagogical values. Additionally, the data suggest that greater intentional preparation and support for this role (particularly mentorship that validates their established identities and backgrounds) prior to and during the early years, could greatly benefit art teacher educators’ adjustments into the academy and facilitate their building of pedagogical content knowledge for this role.

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The following dissertation presents a historical narrative and an arts (music, dance, and visual arts) curriculum based on the artwork of the quintessential Caribbean-American artist, Geoffrey Holder. The dissertation is a response to a reported lack of research and teaching materials on Caribbean artists. That is, arts educators at the secondary and postsecondary levels as well as art museum educators reported a lack of, and need for, curriculum and teaching materials grounded in Caribbean content and reflective of Caribbean cultural epistemologies. Through the qualitative research methodology of historiography, an historical analysis of Holder’s artwork was conducted to develop a historical narrative, and through the instructional design approach of ADDIE an arts curriculum on music, dance, and visual arts was developed. The framing of the historical narrative was based in concepts drawn from Third Space theory into conversation with creolization to form the conceptual grounding for my exploration into Caribbean epistemologies. The curriculum development is grounded in concepts of intercultural education and inclusive arts education curriculum design. The results of this dissertation confirm the research gap of teaching resources for arts educators and needed for the supplemental materials provided through this research. 

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Over the last four decades, museum education in the United States has developed into a legitimate and respected profession. However, for those who want to become art museum educators, the path is neither clear nor smooth. Those in the profession often face low pay, limited career growth opportunities, and a lack of job security. Despite these realities, the museum education field continues to attract people. Yet, there is scant literature about novice art museum educators, specifically about how they find their way as they enter the profession.

Utilizing a post-intention phenomenological methodology, this qualitative study explores the phenomenon of wayfinding, defined as how someone orients themselves to the museum education profession and the ways they navigate the opportunities and challenges they encounter. The research questions guiding this study include how wayfinding took shape for five art museum educators with less than two years of work experience, what they went through upon entering the profession, and what helped them navigate their way.

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This qualitative multiple case study examines how learning is elicited in three artist-led socially engaged artworks. Three contemporary artists created their process-based artworks by intentionally employing educational methods and formats to promote a learning experience with an audience group. This type of participatory artmaking is often associated with the educational turn in contemporary art. However, the majority of contemporary art literature has focused on the artist, often overlooking the audience’s experience. Hence, from the position of an art educator, I investigate not only the artists’ intentions and pedagogical frameworks in creating the artworks, but also the learning outcomes from the perspectives of the audience members. 

The three artworks in my study all shared a two-tier structure: first, a private working phase in which the artists collaborated with participating audience members whom I identified as “core group members”; and second, a public presentation phase in which the work was presented to “public audience members”. In order to examine the perceived learning from the three perspectives, I carried out on-site observations, and interviewed the artists, core group members, and public audience members, respectively. 

The findings revealed how artists created their artworks as a process and platform to promote collective knowledge making, particularly using current affairs as themes to instill political consciousness among the core group members. The core group members shared their salient learning experiences in relation to collaboration within their groups and with the artists, and “gaining confidence” in tandem with overcoming the challenges of public engagement. Aspects of self-directed learning, social bonding, and sense of belonging promoted motivation and eventually deeper learning. The public audience members shared their learning experiences in regard to public dialogue and display of the artworks. 

This study supports recognizing the value of pedagogy-based artworks in relation to learning that is intrinsically motivational and meaningful. The artworks in my study serve as arts-based models for learning and teaching social justice issues and civic engagement. In conclusion, artists’ approaches can diversify educators’ pedagogical approaches, and educational outcomes can support artists in creating empowering work with participants. Ultimately, this study advocates for the value of artmaking as a collective, transformative experience.

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Community-based public art education in emergencies is an emerging transdisciplinary field that exists at the crossroads of art education and education in emergencies. The Rohingya refugee camp is the largest refugee camp in the history of the world, on the border of Myanmar in Southern Bangladesh. As a response to the 2017 Rohingya refugee influx crisis, 

the international NGO Artolution started the first locally led collaborative public art education program in the refugee camps by selecting and educating individuals fleeing the Rohingya genocide. 

My research examines the learning that occurred throughout three years of teaching artist education programs with 14 Rohingya refugee and Bangladeshi women and men, through their journey to lead independent art education programs. This research employs a performance-based ethnographic data collection methodology, with qualitative interviews, focus groups, and narratives collected from the teaching artists and participating learners over three phases of data collection that took place from 2018–2019 in collaboration with UNHCR, UNICEF, IFRC, et al. 

The findings of the study suggest that the Rohingya Artolution teaching artist team is a living model for building a durable approach for emergency responses and humanizing a resilient future where history is defined by the voices that establish their own roles and identities in the world. The findings were presented through interweaving personal narratives and testimonials of the displaced and host teaching artists with supporting thinkers and commentary, in order to accurately link the stories of their learning and experiences by tracking the evolving teaching artist education process of cultivating creativity, curiosity, and expression in crisis-affected populations, and what that means for the future of their communities.

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Digital technologies have become fundamental to communication designers in their professional practice. The speed of technology change has been profound, and communication design educators, professionals, and students are challenged with reimagining what constitutes an education responsive to digital transformation. Attempts to address these changes have often been reactive, emphasizing digital skills requirements without always examining what practices best support design students as they prepare to pursue careers in various communication design-focused positions. The question of how educators can best prepare and support communication design students for what awaits them in the workplace is at the center of this study. Through mixed-methods research, including both survey analysis and in-depth semi-structured interviews (N = 202), this dissertation attempts to answer that question by analyzing practices incorporated by communication design educators, professionals, and students.

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This research examines how artists sustain their art practice in real-life situations, despite ongoing struggles, by developing strategies that befit individual circumstances. The research originates from the reality that many young artists give up their careers due to difficulties in finding a balance between art-making, living, and money-making. However, there are exceptional cases in which artists have managed to maintain their active art practice despite facing similarly difficult situations. This research began with questioning what made them different and how they acquired such differences. By setting space, material, and time as the basic elements for art making, I researched four New York-based artists who have not been able to live solely on their art, therefore have had to locate other sources of income through non-art or art-related activities. 

This research employs a qualitative case study approach. Accepting the impossibility of coming up with universal answers to solving the precarity in an artist’s life, I chose to investigate individual cases in an in-depth manner. I collected data through interviews over multiple sessions to elucidate each artist’s perspective on their lives and the nature of an artist’s life. 

This research reveals that three basic elements—space, material, and time—are not fixed, unnegotiable conditions for art making for the participants. Rather, these artists flexibly handle these three elements depending on their given circumstances by integrating the availability of certain elements with their art practice. In so doing, the artists tend to take limitations and constraints not merely as a barrier to overcome but more as a source of creativity to enhance the uniqueness of their art practice. Overall, the artists are familiar with the constant mode of learning for the unclear path of an artist’s career. 

Although the outcome of this research cannot be generalized to encompass every artist’s career, it can be of benefit to many struggling artists who have yet to figure out their own way of sustaining their practice. Also, this research can be helpful for college-level art teachers and school administrators in preparing their educational curricula to meet the practical needs of their students who dream of becoming artists as their life’s work.

Available from ProQuest & Thesis Global. (2328748265). Retrieved from 

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This qualitative case study investigates first-year college-level art education in the United States today. Specifically, 12 art instructors from a broad range of postsecondary institutions (including private art institutes, public research universities, public liberal arts colleges, and community colleges) were interviewed to explore perceptions of first-year students’ art skills, dispositions, and teaching. When supplemented by online institutional data, descriptions emerge of the curricular structures and changing teaching environments of the sampled first-year art programs. 

This study finds that art majors enter college art programs today with different skill sets and dispositions than past students. While digital media offers new options for artmaking, the data suggest it may also influence students’ development of manual, fine-motor, and drawing skills. These art instructors describe first-year students as having shorter attention spans and experiencing greater frustration when learning new skills. Furthermore, the data and literature suggest that more college students today enter with mental health issues (such as anxiety and depression) and learning disabilities. 

Budgetary cutbacks to K-12 arts programming may have diminished students’ abilities to produce quality portfolios for admission to selective art programs, which may have consequences for enrollment. Enrollments reflect shifting student demographics, such as more international students attending private art colleges. Rising college costs have prompted 

other changes, such as more students living at home and commuting to save money, or transferring to four-year programs after attending community college, working jobs while attending college, and pursuing career-oriented art majors. 

First-year art programs are continually adapting to new technical, educational, and cultural challenges through restructured curricula and modified pedagogy targeted to the student demographic served by the institution. In addition to teaching art skills required for subsequent coursework, the participants reported helping first-year students adjust to the college environment in ways that foster personal growth. This study documents changes in first-year art education as a basis for further research. Art educators at all levels benefit from knowledge of how college art instructors and first-year programs are modifying pedagogy and curricula to meet the changing needs of incoming art students.

Available from ProQuest & Thesis Global. (2328377212). Retrieved from

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This research follows the topic of art and the everyday, and focuses on how our experience of the everyday is a significant area of educational inquiry. This study investigates the potential of walking as an interactive method of art education that relates to the way we learn from our everyday environment, and is connected to the field of visual culture art education, and the aesthetics of everyday life. 

By taking participants on an art walk, I can observe how they engage with their everyday environment directly, and examine whether walking can promote visual and aesthetic awareness towards their ordinary surroundings. A total of eight participants will be studied during the walk; participants represent a mixed variation of age and gender, with and without backgrounds in art, and will participate in a walking interview followed by a sit-down interview.

Available from ProQuest & Thesis Global. (2321833106). Retrieved from https://tc.idm.oclc.org/login?url=https://www.proquest.com/dissertations-theses/role-mental-imagery-within-practice-spiritual/docview/2321833106/se-2  

Arguably, the practice of spiritual healing is simple in that it requires only the human body without utilizing a known physical means of intervention. Yet, it is confounding because its mechanisms, such as the belief and ability of the healer, are unable to be measured with a device. Given that, in recent years, spiritual healing has been found to be among the most prevalent practices in the field of Complementary and Alternative Medicine, and that studies measuring its efficacy show variable results, it is important to understand its underlying mechanisms. Researchers have been studying the practice of spiritual healing, finding that, although the spiritual healer is not considered an actual device, metaphorically speaking, evidence suggests that she or he appears to be the most refined “instrument” of measurement. In order to gain an in-depth understanding of the perceptions of spiritual healers, this qualitative case study asks: what is the role of the mental imagery of ten spiritual healers and their three clients over the course of three spiritual healings? To determine this, the study presents the following subquestions: 1) How do spiritual healers construct, experience, and express mental imagery during a spiritual healing treatment? 2) What kind, if any, comparability is there across different constructions, experiences, and expressions of mental imagery during a spiritual healing as described by the spiritual healers and their clients? Among other findings, this study found that the spiritual healers constructed, experienced, and expressed mental imagery in three main ways, including 1) initial perceptions, 2) meaning and interpretations, and 3) perceptions of spiritual healing. These themes existed for all of the spiritual healers across all cases. Within each of these themes, the researcher then generated a list of subthemes that were most prevalent. This study found that the subthemes and statements were overlapping and distinct to each case. Additionally, this was further confirmed by overlaps among the spiritual healers’ perceptions as they related to each of their clients’ accounts, reiterating that the spiritual healers constructed, experienced, and expressed mental imagery that was specific to each of their clients. 

Available from ProQuest & Thesis Global. (2284582186). Retrieved from https://tc.idm.oclc.org/login?url=https://www.proquest.com/dissertations-theses/transformative-learning-sculpture-class-exploring/docview/2284582186/se-2

Transformative Learning seeks to encourage learners to critically reflect on their assumptions and preconceptions, thereby transforming their existing frameworks and perspectives. This qualitative study investigates what Transformative Learning looks like in a diverse group of adult learners at a graduate school of education who attended sculpture classes intentionally designed to enable such change. When Transformative Learning is part of the teacher’s intention, how, if at all, does learning through artmaking in mixed media sculpture classes transform these adults with regard to their understanding of their identities as artists and learners (“Who am I?”), their approaches to artmaking (“How do I make art?”), and their understanding of art (“What is art?”)? Furthermore, the study seeks to understand what aspects of their class experiences contributed to these transformations. 

The study examines the studio creations and artmaking processes of five adults from diverse backgrounds and experiences and analyzes what they reported about their artmaking experiences. 

Data gathered from semi-structured interviews, retrospective surveys, and class artifacts are organized and analyzed based on three stages of the Transformative Learning cycle—Stability, Reflection, and Transformation. The five participants’ three stages are then discussed according to the participants’ perceptions of their identities as artists, their understanding of art, and their approaches to artmaking, based on the research questions. 

The findings of the study suggest that the participants experienced heightened levels of Transformative Learning in individualized ways. Data indicate that specific class activities—a gallery trip, in-class artmaking sessions with material and time constraints, and an artist statement exercise—contributed to participants’ transformations over the course of the semester. Once the semester ended, some participants took further actions based on their changed perspectives of artist identities, understanding of art, and approaches to artmaking, which indicates that dramatic shifts and multiple perspectives can be achieved in an art class designed to teach for Transformative Learning.

Available from ProQuest & Thesis Global. (2275956134). Retrieved from https://tc.idm.oclc.org/login?url=https://www.proquest.com/dissertations-theses/cross-cultural-experiences-perceptions-selected/docview/2275956134/se-2

This narrative-based qualitative research investigated the distinct journeys of eight cross-cultural artists (four artists from South Korea and four artists from China). Utilizing a variety of theoretical frameworks surrounding cross-cultural research, this dissertation examined current discussions on cross-cultural challenges and their implications in the field of art education. Methods of data collection focused primarily on interviews and were examined through the lens of Bandura’s (1997) self-efficacy theory. Evaluating the lived experiences of artists illuminated nuances in cross-cultural environments, specifically, how socio-cultural transitions influenced their artwork and professional lives. 

The findings of this research correlate with previous literature surrounding current challenges in the lives of cross-cultural students. These challenges were discussed in the context of how art educators can best confront issues that emerge in the classroom. The analysis and discussion presented in this thesis seeks to provide insights into the experiences of cross-cultural artists, while highlighting the educational implications for both artists and educators.

Available from ProQuest & Thesis Global. (2247873321). Retrieved from https://tc.idm.oclc.org/login?url=https://www.proquest.com/dissertations-theses/making-do-progress-study-design-arrangement/docview/2247873321/se-2  

This study examined current conditions of existing multi-purpose studio art classrooms, or "dedicated spaces," in a cross-section of America's schools. To date, most of the research completed to assess the state of arts education programs in the last 20 years has been through government-conducted statistical analysis, detailing the number of part- and full-time certified arts teachers and the number of dedicated spaces in which arts programs are housed in each reporting school. 

The NAEA's Design Standards for School Art Facilities served as the guideline for analyzing the physical design features and arrangement of the 18 classrooms included in the study. The work of Nel Noddings, Maxine Greene, and Parker Palmer provided framework for how the physical space influences human flourishing. The research utilized a multi-case study, and pursued two new methodologies: "Goldsworthy as methodology," where Andy Goldsworthy's inquiry-based creative practice in natural settings is transposed into the observation and analysis of art classroom design features; Design Thinking was used to understand the dynamic nuances that tie both physical features and human experience together. The findings suggest that a large number of spatial problems exist in the classrooms included in the study, that the current state of these art rooms are not indicative of spaces that are designed to support visual art learning and human flourishing, and offer insight into how to better facilitate the construction or rearrangement of studio art classrooms so that they are more intuitively suited to creative activity than they currently are.

Available from ProQuest & Thesis Global. ( 2243820997). Retrieved from 

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This research investigated how constructivist approaches are conceptualized and implemented in "gallery tour and studio workshop" programs at three art museums, and the relationship that exists between the gallery and studio learning. To address these questions, I examined how administrators from each museum designed programs and supported educators, how educators facilitated teaching, and how students responded to the gallery and studio learning. 

I employed a basic qualitative multi-case study. This method suited my research—an investigation of three cases (three iterations of a program at each museum)—because I aimed to understand the uniqueness of each case while examining a range of similar and contrasting cases. Data collection methods included observations of program sessions, interviews with museum administrators and museum educators, casual conversations with participating students, photos of students' artworks, and museum documents. 

The cases offer examples of educators' teaching approaches, which reflect—or do not reflect—constructivist tenets, as well as factors that influence the connection—or lack of connection—across gallery and studio learning. Specifically, the findings indicate that a smaller students-educator ratio and knowing students' information in advance helped ensure a conducive learning environment. Another relevant factor was the educators' facilitation of dialogue. Students became more involved in interpreting artworks when educators were most responsive to their ideas, and less involved when educators asked leading or less open-ended questions. Program themes, reflections on the tour prior to the studio session, and motivating questions for studio activities helped ensure connections between gallery and studio. Additionally, exploratory studio activities and small group discussions in the studio helped students make unique choices within their art projects, whereas step-by-step demonstrations led to prescriptive artworks. Further, students' responses reflected the sequencing of the program: ways of discussing artworks traveled from the galleries to the studio, and student artworks referenced visual elements from artworks displayed in the galleries. 

While the findings of this research are not generalizable, they provide insight into methods and approaches that might be adopted by museum administrators, museum educators, and art educators who aim to provide school students meaningful and well-connected museum “gallery tour and studio workshop” educational programs.

Available from ProQuest & Thesis Global. (2195499210). Retrieved from

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An integration of the researcher’s own experience as a creative professional with that of other artists suggested that there are occasions in a creative practice that are experienced as pivotal, moments when something opens up and an apparent change takes place. 

Looking beyond art practice, researchers such as Land et al. (2010), Mezirow (1997), and Cranton (2016) have addressed the concept and importance of transformational learning in adults, leading toward a significant shift in the perception of a subject. 

In order to understand the moments that trigger pivotal experiences for artists, two qualitative studies took place: a pilot study (Alarcón, 2012) and the present study, which includes the narrative accounts of three women painters residing in Tacoma, United States; Paris, France; and Cape Town, South Africa. The research question assumes that artists experience Pivotal Moments in the ongoing development of their work and asks what the narrative accounts of three

artists reveal about: (a) the moments that trigger their experiences of creative change or transformation; (b) the nature of these pivotal moments; and (c) how the moments coalesce within the dynamics of the creative act itself. 

Analysis of the interview data suggests that moments of change are revealed in terms of a set of four Pivots or turning points. In Chapter V, the Pivots are examined as they emerged within the artists as a group, then explored as experienced by each artist individually. The nature of these moments of change is revealed through preparation, location, process, and disruption, and a set of Sub-Pivots housed under each of the main ones. The thematic analysis in Chapter V also revealed the characteristics of these pivotal moments as ritualistic, interconnected, and dynamic. It was also unveiled that they express an inherent dynamic in the ability to turn things around in a creative practice such as painting. Pivotal Moments coalesce within the dynamics of the creative act through the ongoing development of the artist’s work. 

Finally, this study reveals multiple perspectives on content and suggestions on how we can support the richness of Pivotal Moments as related to Art Education. 

Program Director : Dr. Olga Hubard

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Dissertation,   the dissertation.

After the successful completion of the general examination, a topic and adviser for the dissertation should be chosen. Students should discuss potential topics with several faculty members before beginning. The final prospectus should be approved not later than 3 months (within the academic calendar -- September through May) of passing the general examinations in order to be considered to be making satisfactory progress toward the degree. This is the time when the Thesis Reader and Dissertation Proposal form should be completed and submitted to the department office or DGS. Three signatures are now required on the thesis acceptance certificate. Two of the three signatories must be GSAS faculty. The primary adviser must be in the department of History of Art and Architecture; the secondary adviser need not be. In addition to the primary and secondary advisers the student may have one or more other readers. Two readers must be in the department.

Thesis Defense

The Department of History of Art and Architecture requires that all Ph.D. dissertations (of students entering in September 1997 and beyond) be defended. At the defense, the student has the opportunity to present and formally discuss the dissertation with respect to its sources, findings, interpretations, and conclusions, before a Defense Committee knowledgeable in the student's field of research. The Director of the thesis is a member of the Defense committee. A committee is permitted to convene in the absence of the thesis Director only in cases of emergency or other extreme circumstances. The Defense Committee may consist of up to five members, but no fewer than three. The suggested make-up of the members of the committee should be brought to the Director of Graduate Studies for approval. Two members of this committee should be from the Department of History of Art and Architecture. One member can be outside the Department (either from another Harvard department or outside the University). The Defense will be open to department members only (faculty and graduate students), but others may be invited at the discretion of the candidate. Travel for an outside committee member is not possible at this time; exceptions are made rarely.  We encourage the use of Skype or conference calling for those committee members outside of Cambridge and have accommodation for either.  A modest honorarium will be given for the reading of the thesis for one member of the jury outside the University. A minimum of one month prior to scheduling the defense, a final draft of the dissertation should be submitted to two readers (normally the primary and secondary advisors). Once the two readers have informed the director of graduate studies that the dissertation is “approved for defense,” the candidate may schedule the date, room, and time for the defense in consultation with the department and the appointed committee. This date should be no less than six weeks after the time the director of graduate studies has been informed that the dissertation was approved for defense. It should be noted that preliminary approval of the thesis for defense does not guarantee that the thesis will be passed. The defense normally lasts two hours. The candidate is asked to begin by summarizing the pertinent background and findings. The summary should be kept within 20 minutes. The Chair of the Defense Committee cannot be the main thesis advisor. The Chair is responsible for allotting time, normally allowing each member of the committee 20 to 30 minutes in which to make remarks on the thesis and elicit responses from the candidate. When each committee member has finished the questioning, the committee will convene in camera for the decision. The possible decisions are: Approved; Approved with Minor Changes; Approved Subject to Major Revision (within six months); Rejected. The majority vote determines the outcome. --Approved with minor changes: The dissertation is deemed acceptable subject to minor revisions. The dissertation is corrected by the candidate, taking into account the comments made by the committee. The revisions will be supervised by the primary adviser. Upon completion of the required revision, the candidate is recommended for the degree. --Approved subject to major revision within six months: The dissertation is deemed acceptable subject to major revisions. All revisions must be completed within six months from the date of the dissertation defense. Upon completion of the required revisions, the defense is considered to be successful. The revisions will be supervised by the primary adviser. --Rejected: The dissertation is deemed unacceptable and the candidate is not recommended for the degree. A candidate may be re-examined only once upon recommendation of two readers. Rejection is expected to be very exceptional. A written assessment of the thesis defense will be given to the candidate and filed in the Department by the Chair of the Defense Committee. Candidates should keep in mind the Graduate School of Arts and Sciences deadlines for submission of the thesis and degree application when scheduling the defense.

Submitting the Dissertation

Students ordinarily devote three years to research and writing the dissertation, and complete it prior to seeking full-time employment. The dissertation will be judged according to the highest standards of scholarship, and should be an original contribution to knowledge and understanding of art. The final manuscript must conform to University requirements described in the Supplement The Form of the Doctoral Thesis distributed by the Graduate School of Arts and Sciences.

Graduate students should negotiate with their readers the timing of submission of drafts prior to final revisions. However, the complete manuscript of the dissertation must be submitted to the thesis readers not later than August 1 for a November degree, November 1 for a March degree, and April 1 for a May degree (this in order to provide both the committee with time to read and the candidate to revise, if necessary). The thesis readers may have other expectations regarding dates for submission which should be discussed and handled on an individual basis. The student is still responsible for distribution of the thesis to the committee for reading. In cases where a thesis defense is scheduled, the thesis must be submitted to the primary adviser at least one month prior to the defense. The thesis defense must be scheduled at least two weeks prior to the university deadline for thesis submission.

A written assessment by dissertation readers must be included with the final approval of each thesis including suggestions, as appropriate, on how the dissertation might be adapted for later publication.

The Dissertation is submitted online.   The Dissertation Acceptance Certificate (original) must be on Harvard watermark paper and is submitted directly to the registrar’s office once it is signed.

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Requirements, deadlines, and other information on preparing and submitting a dissertation.

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PhD candidates must successfully complete and submit a dissertation to qualify for degree conferral. It is perhaps the most important and far-reaching undertaking in the entire doctoral program, having an impact that extends well beyond graduate studies. 

Requirements and Deadlines 

Each graduate program maintains specific requirements for the content and evaluation of the dissertation. Be sure to review your program’s departmental requirements prior to beginning the process. You should also review Harvard Griffin GSAS’s dissertation policies for important information about formatting, submission, and publishing and distribution options, including embargoes.  

Degrees are awarded in November, March, and May. Dissertation submission deadlines are noted in the Degree Calendar section of Policies . 

Help with the Dissertation 

Library research .

It’s never too early to start planning for your dissertation. The Harvard Library can help! The Library maintains a guide for graduate students engaged in scholarly writing titled the Writing Oasis . They also offer access to Overleaf , which is an online LaTeX and Rich Text collaborative writing and publishing tool that makes the process of academic writing, editing, and publishing quicker and easier. Overleaf has a section on Writing Your Dissertation that you may find useful.  

Writing 

Students can find support with planning and preparing to write the dissertation from their academic advisors and programs. The Fellowships & Writing Center also offers workshops on various aspects of dissertation writing, holds brainstorming office hours during which students may discuss their dissertations, and provides written feedback on dissertation chapters.  

Dissertation Completion Fellowships 

Harvard Griffin GSAS provides a dissertation completion fellowship (DCF) for one academic year to eligible PhD students in the humanities and social sciences who anticipate completing their dissertations within the year. Find out more in Policies .

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1942-present

DISSERTATIONS IN PROGRESS

As of July 2023

Bartunkova, Barbora , “Sites of Resistance: Antifascism and the Czechoslovak Avant-garde” (C. Armstrong)

Betik, Blair Katherine , “Alternate Experiences: Evaluating Lived Religious Life in the Roman Provinces in the 1st Through 4th Centuries CE” (M. Gaifman)

Boyd, Nicole , “Science, Craft, Art, Theater: Four ‘Perspectives’ on the Painted Architecture of Angelo Michele Colonna and Agostino Mitelli” (N. Suthor). 

Brown, Justin , “Afro-Surinamese Calabash Art in the Era of Slavery and Emancipation” (C. Fromont)

Burke, Harry , “The Islands Between: Art, Animism, and Anticolonial Worldmaking in Archipelagic Southeast Asia” (P. Lee)

Chakravorty, Swagato , “Displaced Cinema: Moving Images and the Politics of Location in Contemporary Art” (C. Buckley, F. Casetti)

Chau, Tung , “Strange New Worlds: Interfaces in the Work of Cao Fei” (P. Lee)

Cox, Emily , “Perverse Modernism, 1884-1990” (C. Armstrong, T. Barringer)

Coyle, Alexander , “Frame and Format between Byzantium and Central Italy, 1200-1300” (R. Nelson)

Datta, Yagnaseni , “Materialising Illusions: Visual Translation in the Mughal Jug Basisht, c. 1602.” (K. Rizvi)

de Luca, Theo , “Nicolas Poussin’s Chronotopes” (N. Suthor)

Dechant, D. Lyle . ” ‘daz wir ein ander vinden fro’: Readers and Performers of the Codex Manesse” (J. Jung)

Del Bonis-O’Donnell, Asia, “Trees and the Visualization of kosmos in Archaic and Classical Athenian Art” (M. Gaifman)

Demby, Nicole, “The Diplomatic Image: Framing Art and Internationalism, 1945-1960” (K. Mercer)

Donnelly, Michelle , “Spatialized Impressions: American Printmaking Outside the Workshop, 1935–1975” (J. Raab)

Epifano, Angie , “Building the Samorian State: Material Culture, Architecture, and Cities across West Africa” (C. Fromont)

Fialho, Alex , “Apertures onto AIDS: African American Photography and the Art History of the Storage Unit” (P. Lee, T Nyong’o)

Foo, Adela , “Crafting the Aq Qoyuniu Court (1475-1490) (E. Cooke, Jr.)

Franciosi, Caterina , “Latent Light: Energy and Nineteenth-Century British Art” (T. Barringer)

Frier, Sara , “Unbearable Witness: The Disfigured Body in the Northern European Brief (1500-1620)” (N. Suthor)

Gambert-Jouan, Anabelle , “Sculpture in Place: Medieval Wood Depositions and Their Environments” (J. Jung)

Gass, Izabel, “Painted Thanatologies: Théodore Géricault Against the Aesthetics of Life” (C. Armstrong)

Gaudet, Manon , “Property and the Contested Ground of North American Visual Culture, 1900-1945” (E. Cooke, Jr.)  

Haffner, Michaela , “Nature Cure: ”White Wellness” and the Visual Culture of Natural Health, 1870-1930” (J. Raab)

Hepburn, Victoria , “William Bell Scott’s Progress” (T. Barringer)

Herrmann, Mitchell, “The Art of the Living: Biological Life and Aesthetic Experience in the 21st Century” (P. Lee)

Higgins, Lily , “Reading into Things: Articulate Objects in Colonial North America, 1650-1783” (E. Cooke, Jr.)

Hodson, Josie , “Something in Common: Black Art under Austerity in New York City, 1975-1990” (Yale University, P. Lee)

Hong, Kevin , “Plasticity, Fungibility, Toxicity: Photography’s Ecological Entanglements in the Mid-Twentieth-Century United States” (C. Armstrong, J Raab)

Kang, Mia , “Art, Race, Representation: The Rise of Multiculturalism in the Visual Arts” (K. Mercer)

Keto, Elizabeth , “Remaking the World: United States Art in the Reconstruction Era, 1861-1900.” (J. Raab)

Kim, Adela , “Beyond Institutional Critique: Tearing Up in the Work of Andrea Fraser” (P. Lee)

Koposova, Ekaterina , “Triumph and Terror in the Arts of the Franco-Dutch War” (M. Bass)

Lee, Key Jo , “Melancholic Materiality: History and the Unhealable Wound in African American Photographic Portraits, 1850-1877” (K. Mercer)

Levy Haskell, Gavriella , “The Imaginative Painter”: Visual Narrative and the Interactive Painting in Britain, 1851-1914” (T. Barringer, E. Cooke Jr)

Marquardt, Savannah, “Becoming a Body: Lucanian Painted Vases and Grave Assemblages in Southern Italy” (M. Gaifman)

Miraval, Nathalie , “The Art of Magic: Afro-Catholic Visual Culture in the Early Modern Spanish Empire” (C. Fromont)

Mizbani, Sharon , Water and Memory: Fountains, Heritage, and Infrastructure in Istanbul and Tehran (1839-1950) (K. Rizvi)

Molarsky-Beck, Marina, “Seeing the Unseen: Queer Artistic Subjectivity in Interwar Photography” (C. Armstrong)

Nagy, Renata , “Bookish Art: Natural Historical Learning Across Media in Seventeenth-century Northern Europe” (Bass, M)

Olson, Christine , “Owen Jones and the Epistemologies of Nineteenth-Century Design” (T. Barringer)

Petrilli-Jones, Sara , “Drafting the Canon: Legal Histories of Art in Florence and Rome, 1600-1800” (N. Suthor)

Phillips, Kate , “American Ephemera” (J. Raab)

Potuckova, Kristina , “The Arts of Women’s Monastic Liturgy, Holy Roman Empire, 1000-1200” (J. Jung)

Quack, Gregor , “The Social Fabric: Franz Erhard Walther’s Art in Postwar Germany” (P. Lee)

Rahimi-Golkhandan, Shabnam , “The Photograph’s Shabih-Kashi (Verisimilitude) – The Liminal Visualities of Late Qajar Art (1853-1911)” (K. Rizvi)

Rapoport, Sarah , “James Jacques Joseph Tissot in the Interstices of Modernity” (T. Barringer, C. Armstrong)

Riordan, Lindsay , “Beuys, Terror, Value: 1967-1979” (S. Zeidler)

Robbins, Isabella , “Relationality and Being: Indigeneity, Space and Transit in Global Contemporary Art” (P. Lee, N. Blackhawk)

Sen, Pooja , “The World Builders ” (J. Peters)

Sellati, Lillian , “When is Herakles Not Himself? Mediating Cultural Plurality in Greater Central Asia, 330 BCE – 365 CE” (M. Gaifman)

Tang, Jenny , “Genealogies of Confinement: Carceral Logics of Visuality in Atlantic Modernism 1930 – 1945” (K. Mercer)

Thomas, Alexandra , “Afrekete’s Touch: Black Queer Feminist Errantry and Global African Art”  (P. Lee)

Valladares, Carlos , “Jacques Demy” (P. Lee)

Verrot, Trevor , “Sculpted Lamentation Groups in the Late Medieval Veneto” (J. Jung)

Von-Ow, Pierre , Visual Tactics: Histories of Perspective in Britain and its Empire, 1670-1768.”  (T. Barringer)

Wang, Xueli , “Performing Disappearance: Maggie Cheung and the Off-Screen” (Q. Ngan)

Webley, John , “Ink, Paint, and Blood: India and the Great Game in Russian Culture” (T. Barringer, M. Brunson)

Werwie, Katherine , “Visions Across the Gates: Materiality, Symbolism, and Communication in the Historiated Wooden Doors of Medieval European Churches” (J. Jung)

Wisowaty, Stephanie , “Painted Processional Crosses in Central Italy, 1250-1400: Movement, Mediation and Multisensory Effects” (J. Jung)

Young, Colin , “Desert Places: The Visual Culture of the Prairies and the Pampas across the Nineteenth Century” (J. Raab)

Zhou, Joyce Yusi, “Objects by Her Hand: Art and Material Culture of Women in Early Modern Batavia (1619-1799) (M. Bass, E. Cooke, Jr.)

PhD Program

The UCLA Department of Art History offers a two-stage graduate program toward the PhD. Students are not admitted for a terminal master’s (MA) degree. The MA is awarded in partial fulfillment of the requirements for the PhD and is granted with the successful completion of the first stage of the program, typically at the end of the second year, 6th quarter, in residence. Normative time to degree for the PhD is seven years from the term of admission. For students entering with a MA in hand, the normative time to degree is five years from the term of admission.

All students are required to complete the M.A. requirements in the department. The Graduate Review Committee may waive the M.A. requirements, at the time of admission, for students matriculating with a M.A. degree in Art History or adjacent discipline from another institution. Following Academic Senate policy on duplication of degrees, a student who enters the program with a M.A. degree in Art History from another institution is not eligible to receive a second M.A. degree in Art History from UCLA.

Please see here for the official UCLA Art History Graduate Program Requirements published on the Graduate Division website.

• The student is assigned a faculty mentor upon admission to the program. The mentor is responsible for the student’s course of study and must be consulted at least once each quarter. A change of faculty supervision and/or change in field(s) must be approved by the Graduate Review Committee.
• The Director of Graduate Studies (DGS) offers intellectual guidance, approves any exceptions to the program requirements, and adjudicates disputes between a student and his/her faculty mentor. The DGS further serves as Chair of the Graduate Review Committee, which governs the admissions process.
• The Student Affairs Officer (SAO) assists students with all the administrative aspects of moving through the program.
• Each spring quarter, the entire faculty reviews the status of each graduate student to ensure appropriate time-to-degree progress.

Toward the MA

Requirements for the MA

• Satisfaction of the first language requirement.
• Successful completion of AH 200 with a grade of “B+” or better.
• Nine graduate and upper division courses (36 units) completed while in the program. At least six of those courses (24 units) must be at the graduate level, including four graduate seminars. AH 200 may be counted towards the required six courses.
• Successful completion of a qualifying paper (approximately 30 pages) according to the standards and procedures outlined below.

* Typically the above requirements are completed within the first two years of study (6 quarters).

Distribution of Coursework

The nine required courses must include at least two courses from Group A and two courses from Group B noted below.

Qualifying Paper for the MA

• The qualifying paper is a revised and expanded version of a paper written for a class from the first year of coursework. It should be approximately 30 pages in length (excluding footnotes, images, and bibliography) and should demonstrate the student’s ability 1) to formulate a thesis, 2) to present an extended argument, and 3) to conduct original research. Quality of the writing will also be evaluated.
• By the end of the fall quarter of the second year, student selects a class paper from the first year in consultation with his or her advisor to revise and expand as the qualifying paper.
• In the following winter quarter, student enrolls for 4 units of 598 (RSRCH-MASTER THESIS) to work on the paper under the supervision of advisor.
• Director of Graduate Studies (DGS) will contact each student during the winter quarter (usually early February) to appoint a committee of three faculty readers for the qualifying paper, one of which is the student’s advisor. At least one of the faculty readers will have had no classroom contact with the student. All students may suggest potential readers; however, the DGS will balance the student’s request against equity of faculty workload.
• On the first day of instruction of the spring quarter, students submits three copies of the qualifying paper to the Student Affairs Officer (SAO) along with a list of the three readers assigned to review the paper.
• The qualifying papers will be distributed to the three assigned faculty readers and each reader will complete an evaluation form and submit it to the SAO within three weeks of receipt of the paper.
• By the fourth week of the spring quarter, the SAO will make available the papers with reader’s comments to the student and these papers will be added to the student’s permanent file.
• The Graduate Review Committee, taking into consideration the faculty reader evaluations, will determine whether the student will be awarded the MA and permitted to proceed into the PhDprogram. In some cases, the Committee may recommend that the student receive the MA degree but discontinue further graduate study. It is also possible (although very rare) that the student’s work may not be judged adequate to receive the MA.

Completion of the MA

• Prior to the third week of the spring quarter in the second year, the student should complete the “Petition for Advancement to Candidacy for the Master’s Degree” (provided by and returned to the SAO).
• Once the Department has accepted the qualifying paper, the student must file it with Graduate Division by the Monday of the tenth week of the spring quarter, formatted as a thesis.
• Graduate Division guidelines for formatting MA theses are available  here . Workshops on thesis formatting are offered at the beginning of each fall and winter quarters. See the Grad Division website for more information.
• Following the Department’s annual spring review of graduate students, the student must submit a completed form for transfer from the MA to the PhD program (provided by and returned to the SAO).

Toward the PhD

Upon the completion of the MA or starting with a MA from another institution, the student begins the PhD program having chosen a major field of study within art history, often known at the time of application. By the end of the second quarter of residence at the PhD stage, the student also selects a minor field, which may be outside the department (e.g. Architecture, History, Anthropology, Comparative Literature, Archaeology, etc.). The major and minor advisors are responsible for the student’s course of study and completion of requirements within the selected field. Graduate Review Committee must approve any change of advisor(s) or the major and minor fields.

Requirements for the PhD

• Satisfaction of language requirements (minimum 2, including 1 from MA stage; more may be required depending on field of study)
• Completion of 8 graduate and upper division courses (32 units)
• Written comprehensive exams in major and minor fields
• Dissertation prospectus and oral qualifying exam
• Doctoral dissertation
• A total of 8 graduate and upper division courses are required, of which at least 4 must be art history courses at the graduate level.
• Of the nine courses (36 units) required for the MA, students may use a maximum of two of these (8 units) to count towards Ph.D. coursework. Students may also apply courses taken in excess of MA requirements towards fulfilling Ph.D. course requirements. (This does not apply to students who received their MA from other institutions/departments.)
• 5 courses in one field are required to claim it as the major field; 3 courses in one field are required to claim it as the minor field. The minor can also be from outside the department (e.g. Architecture, History, Anthropology, Comparative Literature, Archaeology, etc.).
• Students entering the PhD stage deficient in Art History 200 (Art Historical Theories and Methodologies) or its equivalent must add this to the total requirements. In some cases, Art History 201 (Topics in Historiography of Art History) may be required by faculty/advisor recommendation. Any additional coursework required by the Graduate Review Committee at time of admission must be completed during the first two quarters of residence and may not count toward the minimum course requirements for either the MA or PhD degree.

Written Comprehensive Examinations

• Upon completion of coursework and fulfillment of language requirements, the student takes the PhD written comprehensive examinations in the major and minor fields of study, designed and evaluated by the student’s major and minor advisors respectively.
• The purpose of the examinations is to test the student’s breadth and depth of knowledge in his/her fields of study. If a student fails to pass the examination or part thereof, the failed portion may be repeated once no later than the subsequent quarter of residence. No further repetition will be allowed. The written comprehensive examinations may be taken during any two-week period of the Fall, Winter, and Spring quarters. Typically, students take these exams during the winter quarter of the second year in residence, 5th quarter, in the PhD program.
• The Department offers two formats for the major and minor written exams, the details of which must be worked out in advance between the student and the examiner. Format A: Take-home. 2-3 essay questions to be completed in 1 week (for the minor exam, 1-2 questions to be completed in 3 days). Format B: Sit-down. 2-3 essay questions to be completed in 6 hours (for the minor exam, 1-2 questions to be completed in 3 hours). Many faculty incorporate designing of a syllabus as an exam question and the formats above do not preclude this possibility. Such an assignment would count as one question/essay.
• The specific format and dates for the major and minor exams must be submitted to the Student Affairs Officer at least three weeks in advance using the appropriate departmental form.

Doctoral Committee

• Upon passing the written comprehensive examinations in major and minor fields of study, the student selects a dissertation topic and nominates the members of his/her Doctoral Committee in consultation with his/her advisor.
• This committee minimally consists of the major advisor, now serving as committee chair, two additional members of the art history faculty (normally, but not necessarily, including the student’s minor advisor), and one member from another UCLA department. For details on the acceptable status of these members and for minimum university standards of the doctoral committee,  please see page 14-17 in the Standards and Procedures for Graduate Study manual .
• The student and committee chair must agree on all committee members. Any changes in committee constitution after formal nomination must be reported to and approved by the Graduate Division; replacing the committee chair can only occur by consent or if the faculty member leaves UCLA.
• Please note that the Graduate Division generally approves Committee nominations within 2-3 weeks, and the oral qualifying exam may not be taken before official approval has been received.

Dissertation Prospectus and Oral Qualifying Examination

• The dissertation topic should be identified in discussions with the advisor. These discussions usually evolve organically through the course of study and are highly individualized. Typically, the oral examination is scheduled during the quarter following the successful completion of the written examinations.
• Once the Doctoral Committee has been officially approved by Graduate Division, and after having conducted considerable exploratory research and preparation for his/her dissertation, the student submits to each member of the Doctoral Committee a dissertation prospectus. The prospectus should not be distributed to the full committee without the approval of the student’s committee chair.
• The dissertation prospectus should not exceed 20 pages and include a statement of purpose regarding the art historical topic/problem being addressed (what is at stake in the study), tentative chapter outlines, working bibliography, research plan, methodological strategies, and preliminary schedule for completion.
• Students should submit the prospectus to committee members 2-3 weeks before the oral examination date to allow sufficient time for the prospectus to be reviewed. If any member of the Doctoral Committee finds the prospectus inadequate, he or she must notify the committee chair at least one week prior to the oral examination date. In some cases, the prospectus must be revised and/or the examination date postponed.
• The student is responsible for scheduling the oral exam, consulting with committee members well in advance regarding the date and time of availability of each faculty member. The SAO helps the student reserve an appropriate space for the exam.
• The purpose of the oral examination is to assess the validity and feasibility of the proposed dissertation topic and its methodologies, as well as the soundness of the student’s projected approach to completing the project.
• At the end of the examination, each committee member reports the examination as “passed” or “not passed.” A student may not pass and may not be advanced to candidacy if more than one member votes “not passed” regardless of the size of the committee, or if the major advisor so votes. Upon majority vote of the committee, the oral qualifying examination may be repeated once. Students upon passing the oral examination are formally advanced to candidacy by the Graduate Division.
• At the time of the exam, the Doctoral Committee decides, by unanimous agreement, whether or not to waive the final oral examination (not normally required) and selects, again by unanimous agreement, a minimum of three members, two from the art history faculty and one from an outside department, who will read, approve, and certify the final draft of the dissertation. For details regarding the acceptable status of these certifying members, consult the publication, Standards and Procedures for Graduate Study at UCLA.
• Upon passing the oral examination, the student is officially Advanced to Candidacy (ATC).

Dissertation and Final Oral Examination (if required)

• After advancing to candidacy, the student works on the dissertation in consultation with his/her advisor, committee chair, as well as Doctoral Committee certifying members according to the rules laid out in the above named publication. Upon completion of the dissertation or individual chapters thereof, and with  approval  of the committee chair, the student circulates a copy of the dissertation  in Week 1 of the quarter  for comments and suggestions from the certifying members of the Doctoral Committee.  Each  reader is allowed  four  weeks in which to read it and make corrections and comments, and the student is allowed  three  weeks in which to respond and revise the dissertation. It is incumbent upon the student to communicate in a timely manner with all certifying members of the Doctoral Committee to ensure adequate time for review. Committee members must be consulted as each reader may require more time.  PLEASE REVIEW the timeline for dissertation completion  which clearly outlines the schedule for submission during the student’s final quarter.
• After incorporating into the final draft of the dissertation the recommended changes, the student will circulate the dissertation again among the certifying members of the Doctoral Committee. This draft should be circulated sufficiently in advance of the deadline for filing the dissertation so that each reader is allowed at least two weeks in which to reread it (see quarterly Schedule of Classes for filing deadlines).
• Each certifying member of the committee then decides whether or not to approve the dissertation. In cases where less than the entire committee acts as certifying members, approval of the dissertation must be unanimous. If the entire committee acts as certifying members, the dissertation is considered approved with one negative decision so long as that negative decision is not that of the committee chair. After final approval by the Dean of the Graduate Division, the student files the required number of copies of the dissertation with the Manuscript Advisor of the Office of University Archives. Deadlines for filing the dissertation fall approximately two weeks before the date the degree is to be awarded.
• Note: A final oral examination is not normally required for Art History, but in some cases it may be requested by the Doctoral Committee (determined at the oral qualifying exam), and is held prior to filing the dissertation. All members of the committee must attend and vote. A student may pass with one negative vote so long as that vote is not that of the committee chair. In case of failure, the Doctoral Committee decides, by unanimous agreement, whether or not the candidate may be re-examined.
• Upon filing the dissertation, the student receives the Ph.D.

Language Requirements

The completion of the PhD requires reading knowledge of a minimum of two foreign languages relevant to the student’s field of study (more than two may be required in some cases and must be determined in consultation with the faculty advisor). Applicants are expected to already possess reading proficiency in at least one of the two languages for which they will be responsible. New students shall sit for at least one language exam upon arrival at UCLA.

Students at the MA stage are expected to satisfy their first foreign language requirement by the end of the 3rd quarter in residence. It is highly recommended that they complete the second language requirement by the end of the 6th quarter in residence.

Students at the PhD stage are expected to satisfy their second foreign language requirement by the end of the 1st quarter and any additional languages by the end of the 3rd quarter in residence (or in consultation with the major advisor).

Fulfilling the Language Requirement

Option 1: Pass the Departmental Foreign Language Exam.

The language exam consists of translation of a text of 300-700 words chosen by the examiner to be translated into English in three hours (use of a non-electronic dictionary is allowed). Specific qualities of the language and expected level of proficiency in the field will impact the choice and length of the selected text. The Department expects accurate rendition in English rather than a strict translation, word for word, and values the quality of the translation over the completion of the exam.

Language exams are scheduled four times a year, approximately three weeks prior to finals week during the regular academic quarters. Entering students must sit for the first language exam in the first week of the fall quarter. Exam results will be sent out by email within three weeks of the exam date. If feedback on the exam is desired after the results have been announced, students are welcome to contact the examiner. If a student fails the exam and wants to appeal, he or she should contact the Chair of the Language Committee or Director of Graduate Studies.

Option 2: Complete UCLA courses  French 6, German 6, Italian 6, Spanish 25, or other relevant language classes with a minimum grade of “B”.

The following is a general guideline for language requirements in relation to specific fields of study. The final selection and number of languages is to be determined in consultation with the primary advisor.

African Indigenous African languages, Arabic, French, German, Portuguese Ancient/Mediterranean/Near East Akkadian, Sumerian, Egyptian, Greek, Latin Chinese/Korean/Japanese Two East Asian languages, for pre-modern studies additionally literary Chinese or Japanese Byzantine/Western Medieval French, German, Greek, Latin, Italian, Slavic Languages, Turkish, Spanish Indigenous Americas One European language, one indigenous language (e.g., Quechua, Nahuatl, Maya), one other language (depending on topic) Islamic Arabic, Turkish/Ottoman, Persian, French, German Latin America Spanish (mandatory), French, German, Portuguese Modern & Contemporary Europe & America French, German, Spanish, Italian, Russian Renaissance/Baroque/Early Modern Italian, French, Spanish, German, Latin, Dutch, Slavic Languages, Latin and/or Greek (depending on topic) South Asia Sanskrit, Hindi/Urdu, Persian Southeast Asia Thai, Vietnamese, Indonesian

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Art Education Doctoral Dissertations

Arts education is characterized by multi-disciplinary ways of understanding research and, to the same degree, by the nature of the research field itself. Each research field is characterized by specific culturally, socially, and historically influenced ideas, structures, patterns, and goals. Researchers in the College of Visual Arts and Design's art education program investigate, break barriers, develop new theories of art teaching and learning and prepare themselves to be researchers and professors of art education at colleges and universities.

Christina Donaldson, Ph.D.

Dissertation: disorienting resilience: exploring resilience with women graduate students in design-related programs.

Donaldson is a designer, design strategist, and educator. Drawn to the interplay between design education, psychology, and sociology, her current work examines curriculum, mental health, and community. She is a visiting assistant professor of Interdisciplinary Art and Design Studies at CVAD.

Research areas and interests: Critical Phenomenology, Feminism, Latinx Feminism, Flashpoint Methodology, Trauma, Resilience, Human-Centered Design, Liberatory Design Thinking

Scott Peck, Ph.D.

Dissertation: posthuman art conservation curriculum.

Scott Peck is an art historian, art educator and art conservator. With over 25 years of experience, he has curated over 100 museum exhibitions and worked with over 50 different museums. Dr. Peck is currently the Executive Director of the Museum of Biblical Art and the National Center for Jewish Art.  

Moneerah Alayar, Ph.D.

Metal, pedagogy, woman, kuwait: an autoethnographic feminist approach to questioning systems of education, beatriz asfora galuban, ph.d., dissertation: anxiously yours, (fe)mail: a narrative exploration of anxiety, empathy and hope in art museum education.

Galuban is currently an assistant professor of art at Texas A&M University-Commerce, Texas,, and the Connections Program Educator at the Meadows Museum of Art, Dallas. She is passionate about art museums and their potential for cultivating empathy, community and connection among people.

Research interests: Art museum education, empathy and storytelling in museums, accessibility, autoethnography.

Marie-Claire Valdez, Ph.D.

Dissertation: post-intentional phenomenological approaches to understand the lived experiences of students learning with a game in higher education artappreciation..

Bio: Dr. Valdez is a community-based art educator and freelance graphic designer currently working in San Antonio Texas. Her research focuses on using technology in new ways to enhance student learning in the arts via gaming. She has been a speaker and published articles for The Texas Art Education Association, TAEA, and the International Society for Education Through Art, InSEA.

Kate Wurtzel, Ph.D.

Dissertation: apprenticeship to signs in art education.

Wurtzel is an assistant professor of Art Education at Appalachian State University, Boone, N.C. Her research focuses on staying in spaces of disruption and uncertainty in learning, teaching, and art-making. Through extended and repeated material explorations that rely on affect and emergence over pre-determination and outcome-based practices, Wurtzel investigates the relationship between art-making, philosophy, and teaching.

Noura Shuqair, Ph.D., 2020

Islamic patterns as an allegory for an f-1 student’s experience in the context of global capitalism: the aesthetics of cognitive mapping as an approach to arts-based research.

Lama Harkan, Ph.D.

Creative networks: toward mapping creativity in a design classroom.

2019 — This study developed new mapping techniques and methodologies for understanding creativity regarding connectivity and interaction between human and non-human actors in a design classroom. The researcher applied qualitative data collection methods, combining observations of classroom activities and focus group interviews to map a creativity network. The findings indicate that creativity is a complex weather-like system or, what I call “creative climate,” composed of many sub-networks and diffused networks.

Four interactions emerged from the study:

(1) The creative climate is composed of the circulation of bodies and objects forming networks and sub-networks, (2) Centers and corners/edges are a measure of connectivity and interaction in classroom space design, (3) Roundness is a measure of classroom style and the space of connectivity usage and (4) Plugs-in creativity is a measure of technology consolidation.

This study attempted to fill the gap in the literature on creativity and classroom design by explaining the role of non-human actors in shaping the creative climate in the classroom, especially the role of the classroom space itself as an actor. The implication of this study in art education opens a new opportunity for research in designing innovative classrooms. Also, it will allow future investigation of the phenomenon of creativity as a climate system based on the interaction between human and non-human actors.

Merfat Mohammed Bassi, Ph.D.

A somatic mindfulness project exploring the effects of meditation on art appreciation in the gallery setting.

This dissertation describes the effects of a somatic mindfulness project on how participants interact with and respond to works of art in a gallery setting. The study begins with a critique of Descartes’ philosophy, Cartesianism, which emphasizes the role of the mind over that of the body and senses and argues that this thought continues to affect education even today. By contrast, phenomenology and mindfulness practices attempt to overcome Descartes’ legacy by focusing on the importance of the body in lived experience. In particular, this study uses a phenomenological framework to conduct mindfulness on the relationship between the body and the perception of art. To do so, I utilized several phenomenological techniques for gathering data, including observations, videos, and interviews. I also created a unique method to analyze the data using a phenomenological verbal-written description and visual through photographic paintings description. These techniques worked together to express the moment of reversibility between the meditative body and the artworks in the gallery setting. In sum, the findings of this study show that meditation changes the perceptual experience of different people in different ways. Another finding is that different forms of meditation may work better for some people than others. This study's findings suggest that art teachers need to be familiar with multiple forms of meditation if they are interested in using meditation. Also, they need to consider the role of the environment and that of the artworks in creating a holistic meditative mood.

David Herman Jr., Ph.D., 2019

Perceiving indeterminacy: a theoretical framework of the perceptual rite of passage for preadolescents.

It is the fundamental insight of phenomenology that meaning is, first and foremost, not something on which we intellectually reflect. It is not a product of the mind reworking raw, perceptual experiences. Rather, meaning and our connection to the world are perceptual phenomena. Thus, understanding how children find meaning demands a turn toward perceptual experiences — how children see and feel. In this theoretical dissertation, I explore questions of perceptual experiences through a phenomenological framework called the Perceptual Rite of Passage ,  PRoP, which labors to help us understand the ontology of perception for preadolescents and how meaning emerges through everyday encounters.

Sarah Travis, Ph.D.

Portraits of young artists: artworlds, in/equity, and dis/identification in post-katrina new orleans.

Using portraiture methodology and social practice theory, this study examined the identity work of young people engaged in a teen arts internship program at a contemporary arts center in post-Katrina New Orleans. This research asked four interrelated questions.

Through the lens of a teen arts internship at a contemporary arts center in post-Katrina New Orleans,

1) How do contextually figured worlds influence artist's identity work? 2) How does artist's identity work manifest through personal narratives? 3) How does artist identity work manifest in activities? 4) What are the consequences of artist identity work?

The study's findings highlight how sociocultural factors influence dis/identification with the visual arts in young people and provoke considerations of in/equity in the arts.

Kevin Jenkins, Ph.D.

Dis/appearance, in/visibility and the transitioning body on social media: a post-qualitative & multimodal inquiry.

2018 — In this theoretical and creative sensory-rich multimodal dissertation, encompassing video, audio, photography, a graphic novel, interactive timeline, and other creative visual/textual provocations, I focus on transgender subjectivity and gender transition (re)presentations on social media.

The study's theoretical framework relies on Judith Butler’s notions of performativity and precarity and Julia Serano’s considerations on oppositional and cissexism. From the literature review, I analyze transgender histories and theories and contested research areas in qualitative and post-qualitative approaches to inquiry.

Influenced by the study's theories, inquiries, speculations, and experiences, I aim to move beyond conventional qualitative research that has become normalized and regimented and beyond book-form dissertations in favor of digital dissertations that use nontraditional multimodal formats.

I use personal learning network sites such as YouTube, Facebook, Tumblr, and the dissertation website as research constellations. These assemblages comprise theoretical and creative proximal bodies of knowledge with high levels of connectivity and contingency, a phenomenon I argue is needed to rethink how transgender knowledge and ontologies are learned, transferred, and (re)created via social media. This study also suggests that the analytical constructs of dis/appearance, in/visibility and trans/digressions shed light on how gender precarity performs transitioning bodies in the physical and digital world.

I draw tentative conclusions regarding future inspirations and movements for art and art education with/in post-qualitative inquiry and transgender theory, particularly a shift into multimodal, trans-affirmative and inclusive experiences and pedagogies.

Emily Hood, Ph.D.

Creative matter: exploring the co-creative nature of things.

This dissertation is about new materialism related to art education. It is a speculative inquiry that seeks to illuminate the interconnectivity of things by considering how things participate in generative practices of perceiving and making. To do so, the dissertation pioneers an arts-based methodology allowing broad considerations about who and what can be considered an agent in art-making. In this inquiry, the researcher is an artist-participant with other more-than-human and human participants to construct an (im)material autohistoria-teoría, a revisionist interdisciplinary artwork inspired by the work of Anzaldúa. The term w/e is developed and discussed as a new language for expanding upon Braidotti’s posthumanist subjectivity. New theories called thing(k)ing (including found poetry) and (im)materiality are discussed as movements toward better understanding the contributions of the more-than-human in art-making practices.

Lucy Bartholomee, Ph.D.

How does it feel to be creative a phenomenological investigation of the creative experience in kinetic places.

“How does it feel to be creative?” Such a question, when approached from a phenomenological perspective, reveals new understandings about the embodied experience of creativity and how it feels as it is being lived. This investigation begins with a provocative contrast of two environments where creativity is thought to manifest: school art classrooms, where creativity is often legislated from an authority figure, and New Orleans Second Line parades, where creativity is organically and kinetically expressed. A thorough review of the literature on creativity focuses on education, arts education, creative economies, psychology, and critical theorists, collectively revealing a cognitive bias and striking lack of consideration for community, freedom, and the lived experience of being creative. Further discussions in the literature also consider sites of creativity and the impact that place, such as a school classroom, can have upon creativity. The phenomenological perspectives of Merleau-Ponty, Heidegger, Bachelard, and Trigg support a methodological lens that focuses on embodied knowledge, perceptions of placeness on creativity, and the interdependent frictions between freedom, authenticity, movement and belonging. The research method includes investigations in New Orleans in archives, examining visual material culture, participation in cultural practice, and formal and informal interviews. Further, the phenomena of walking and wandering become a methodology for embodied data collection that clarifies the emerging rich experiences and descriptions of how it feels to be creative, especially how it feels to be creative in a creative place. Intense frictions are revealed, such as the tension between perceptions of personal freedom and the high demand for authenticity in New Orleans traditions. Yet, these tensions fuel the inspiration for the abundance of creativity found in New Orleans culture.

Liz Langdon, Ph.D.

Place-based and intergenerational learning.

This qualitative inquiry explored how art educators might broaden their views of place through critical encounters with art, local visual culture, and working with older artists. I combined place-based education and intergenerational learning as the focus of an art education curriculum writing initiative with in-service art educators within a museum setting to produce PBIG art education. This study engaged art educators in cooperative action research using a multi-modal approach, including identifying and interviewing local artists to construct new understandings about local places and art to share with students and the community. I used critical reflection in our cooperative action research by troubling paradoxes in local visual culture, which formed views of place, including Indigenous cultures. Using Deleuze's Logic of Sense theories of sense and event enabled concept development by embracing the paradoxes of this research as sense producing. LOS theory of duration complements IG learning by clarifying the contributions of place and time to memory and experience. Duration suggests that place locates the virtual past, which is actualized through memories — one of the shared experiences of IG learning. Rethinking IG relationships as a sharing of experience and memory while positioning place as a commonality dismantles ageist notions by offering alternatives to binary thinking about old and young. By triangulating participant data based on the extended epistemology of cooperative action research and Deleuze's pure event, I assess the credibility of participant learning. Critical reflection in cooperative action research combined with LOS theory is significant because the reflective aspect of action research aligns with Deleuze's pure event. Vital curricula and teacher praxes resulted when participants integrated localized experiences of place through older artists' memories and art.

Jeremy Blair, Ph.D.

Animated autoethnographies: using stop motion animation as a catalyst for self-acceptance in the art classroom.

As a doctoral student, I was asked to teach a course based on emerging technologies in art education. In the course Issues and Applications of Technology in Art Education, I developed a method of inquiry called animated autoethnography for pre-service art educators while teaching this course. Through this dissertation, I describe, analyze, interrogate, value, contextualize, reflect on, and artistically react to the autoethnographic animated processes of five pre-service art educators enrolled in the course. I interviewed the five participants before and after creating their animated autoethnographies. I incorporated actor-network theory within the theoretical analysis to study how the insights of my students’ autoethnographies related to my own animations and life narratives. The study also examines animated autoethnography as a method that may develop or enhance future teaching practices and encourage empathic connections through researching the self. These selected students created animations that accessed significant life moments, personal struggles, and triumphs and exhibited unique representations of self. Pre-service art educators can use self-research to develop narrative-based short animations and socioemotional learning to encourage the development of empathy in the classroom. I show various student examples, compare them to my animations, and present a new model of inquiry that encourages self-development by finding a place in chaos, loving the unknown, embracing uncertainty, and turning shame into a celebration of life.

Student Participant Animations

Dorothy Rios video Chris Najera video Chelsea O’Daniell video Grace Nguyen video

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Home > FACULTIES > Visual Arts > VISUALARTS-ETD

Visual Arts Theses and Dissertations

This collection contains theses and dissertations from the Department of Visual Arts, collected from the Scholarship@Western Electronic Thesis and Dissertation Repository

Theses/Dissertations from 2023 2023

sweeping the forest floor of frequencies , Maria A. Kouznetsova

Achy Awfulness , Rylee J. Rumble

Nonstop Digital Flickerings; , Sam Wagter

Theses/Dissertations from 2022 2022

Credulous Escapism , Brianne C. Casey

At Dusk , Michelle Paterok

Theses/Dissertations from 2021 2021

Marvelous Monsters , Thomas Bourque

On Ground , Matthew Brown

Pharmakon: From Body to Being , Jérôme Y. C. Conquy

The Other Neighbour of El Otro Lado , Anahi Gonzalez Teran

Neoliberalism, Institutionalism, and Art , Declan Hoy

Strings of Sound and Sense: Towards a Feminine Sonic , Ellen N. Moffat

Cyber Souls and Second Selves , Yas Nikpour Khoshgrudi

The No No-Exit Closet: An Alternative to No-Exit Pathways , Faith I. Patrick

Fleet: Nuances of Time and Ephemera , Rebecca Sutherland

Theses/Dissertations from 2020 2020

The Hell of a Boiling Red , George Kubresli

still, unfolding , Ramolen Mencero Laruan

Theses/Dissertations from 2019 2019

Spanning , Mary Katherine Carder-Thompson

The Medieval Genesis of a Mythology of Painting , Colin Dorward

Philosophical Archeology in Theoretical and Artistic Practice , Ido Govrin

Bone Meal , Johnathan Onyschuk

Inventory , Lydia Elvira Santia

Collaborative Listening and Cultural Difference in Contemporary Art , Santiago Ulises Unda Lara

Absence and Proximity , Zhizi Wang

Theses/Dissertations from 2018 2018

Then Again, Maybe I Won't , Claire Bartleman

and where is the body? , Tyler Durbano

Next to a River: Mobility, Mapping, and Hand Embroidery , Sharmistha Kar

Interfaces of Nearness: Documentary Photography and the Representation of Technology , Mark Kasumovic

Buffer , Graham Macaulay

The English Landscapes in the Seventeenth Century , Helen Parkinson

SuperNova: Performing Race, Hybridity and Expanding the Geographical Imagination , Raheleh Saneie

Slower Than Time Itself , Matthew S. Trueman

Skim , Joy Wong

Theses/Dissertations from 2017 2017

Gardening at Arm's Length , Paul Chartrand

Lesser Than Greater Than Equal To: The Art Design Paradox , Charles Lee Franklin Harris

Skin Portraiture: Embodied Representations in Contemporary Art , Heidi Kellett

Midheaven , Samantha R. Noseworthy

Drum Voice , Quinn J. Smallboy

Theses/Dissertations from 2016 2016

Beyond the Look of Representation: Defamiliarization, Décor, and the Latin Feel , Juanita Lee Garcia

Emphatic Tension , Mina Moosavipour

Symbiotic: The Human Body and Constructs of Nature , Simone Sciascetti

Thin Skin , Jason Stovall

On Coming and Going , Quintin Teszeri

Theses/Dissertations from 2015 2015

Crowdsourcing , Sherry A. Czekus

From Dust to Dust , Lynette M. de Montreuil

Hand-Eye , Michael S. Pszczonak

Abstraction And Libidinal Nationalism In The Works Of John Boyle And Diana Thorneycroft , Matthew Purvis

Tangled Hair: Uncertain Fluid Identity , Niloufar Salimi

Liminal Space: Representations Of Modern Urbanity , Matthew Tarini

Theses/Dissertations from 2014 2014

Creative Interventions and Urban Revitalization , Nicole C. Borland

What Lies Behind: Speculations on the Real and the Willful , Barbara Hobot

Turning to see otherwise , Jennifer L. Martin

Come Together: An Exploration of Contemporary Participatory Art Practices , Karly A. McIntosh

A Photographic Ontology: Being Haunted Within The Blue Hour And Expanding Field , Colin E. Miner

Matters of Airing , Tegan Moore

Liquidation , Amanda A. Oppedisano

Just As It Should Be: Painting and the Discipline of Everyday Life , Jared R. Peters

Clyfford Still in the 1930s: The Formative Years of a Leading Abstract Expressionist , Emma Richan

From 'Means to Ends': Labour As Art Practice , Gabriella Solti

Across Boundaries , Diana A. Yoo

Theses/Dissertations from 2013 2013

Following the Turn: Mapping as Material Art Practice , Kyla Christine Brown

Queer(ing) Politics and Practices: Contemporary Art in Homonationalist Times , Cierra A. Webster

Some Theoretical Models for a Critical Art Practice , Giles Whitaker

Lines of Necessity , Thea A. Yabut

Theses/Dissertations from 2012 2012

Out of Order: Thinking Through Robin Collyer, Discontent and Affirmation (1973-1985) , Kevin A. Rodgers

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Art History, Ph.D.

Ph.D. in Art History (+Dual Ph.D.)

TODO FIXME : DRAFT : WORK IN PROGRESS

Become a professional in the field advance your career with an advanced degree..

Advanced study of visual arts spanning periods, cultures, and geographies. The Art History Ph.D. program can deepen your expertise and advance your Art History career.

Program Application Deadline

The deadline for applications for AY 2024–25 is January 15, 2024.

To be assured full consideration, please review all details on program and admission requirements, and ensure that you apply by this deadline.

Earn a Ph.D. in Art History at Penn State

Our Ph.D. students and alumni have earned Fulbright and Getty Fellowships, the Rome prize, tenure-track positions, and curatorial fellowships and jobs. For more than fifty years, our graduates have been writing books, organizing exhibitions, teaching college and pre-collegiate students, and ensuring the preservation and understanding of our cultural heritage. Join us!

The Ph.D. in Art History program will prepare you to broadly influence art and culture through careers as scholars and educators, as museum curators, as public advocates of cultural heritage, and as arts administrators, to name just a few of the professions that recent program alumni have entered. Breadth of knowledge is as essential for museum professionals as it is for academic researchers. For this reason, advanced study of the visual arts and material culture from diverse periods and geographies is required of all graduate students, with Ph.D. candidates attaining deep expertise in at least one field of art historical research. The department’s faculty includes specialists in African, Asian, and European art and the arts of the Americas.

Graduate faculty members and advisors are leading scholars in their fields. Our interdisciplinary program challenges you to think critically and creatively in order to make a meaningful contribution to the field. The Ph.D. in Art History program also offers dual-title Ph.D. options in Asian Studies or Visual Studies.

Nancy Locke

• Associate Professor of Art History
• Director of Graduate Studies in Art History

[email protected]

814-865-4877

Is the Ph.D. in Art History right for you?

A Ph.D. makes possible the highest level of career success in art history. Our program has a track record of excellent outcomes in diverse career paths, with particular success in placing students in academic and museum careers.

We help you ask and answer the big questions in your area of study. Our graduate students have opportunities to teach, research, and work on digital humanities projects with our Visual Resource Centre. The Palmer Museum of Art also provides internships to prepare you for curatorial work.

Engage with a dynamic cohort of fellow students and a supportive community of scholars.

Degree Options

Dual-title degree options add a significant interdisciplinary breadth to your Ph.D. scholarship. These two dual-title programs develop context through which you can learn to synthesize knowledge within and across disciplinary boundaries in both scholarship and teaching.

Dual Ph.D. and Asian Studies

The primary objective of the dual-title degree program in Asian Studies is to engage critically and substantively with the teaching, research, and scholarship of Asia, a diverse area with a population of some 4.5 billion. The program integrates knowledge and methodology across disciplines of Asian Studies and Art History.

Graduate students are trained in such a way that you will be equipped to represent, understand, analyze, and appraise the crucial and current scholarly issues in Asian Studies in the context of your art discipline focus.

The program aims to produce doctoral graduates with a competitive advantage for employment that relates to Asia in academia, museum, curatorial, and other professional fields.

Graduate Bulletin Links

• Asian Studies Bulletin page
• Graduate Studies information related to the dual-title Ph.D in Art History + Asian Studies .

Dual Ph.D. and Visual Studies

Humanistic study. Technological dynamics. Analyze images, physical and virtual environments, and visual sign systems; histories of visual modes of communication, apprehension, and aesthetic pleasure; and conceptions of the nature of visuality itself. Challenge boundaries. Challenge yourself.

The dual-title Ph.D. in Visual Studies fosters an interdisciplinary approach to humanistic study, which, spurred by technological dynamics that increasingly integrate text and image, engages analysis of specific images, physical and virtual environments, and visual sign systems; histories of visual modes of communication, apprehension, and aesthetic pleasure; and conceptions of the nature of visuality itself. Students in this program analyze and assess visual media that, integrated with texts, are integral to humanistic scholarship and pedagogy today.

Dual-title degree programs increase the intellectual rigor and breadth of graduate work and provide a context in which students learn to synthesize knowledge within and across disciplinary boundaries in both scholarship and teaching. Drawing from knowledge and practices produced across the humanistic disciplines while responding to ongoing challenges to conventional disciplinary boundaries, this degree highlights existing strengths of graduate training in the humanities at Penn State, structures the continuing development of these programs, and credentials our graduates’ training and work with visual forms, environments, and media.

• Visual Studies Bulletin page
• Graduate Studies information related to the dual-title Ph.D in Art History + Asian Studies

Professional Development

Our department is regularly invited to select graduate students to participate in major graduate student symposia, including the Middle Atlantic Symposium in the History of Art at the National Gallery of Art in Washington, D.C., and the Graduate Symposium on the History of Art at the Philadelphia Museum of Art. Penn State art history graduate students often present papers at scholarly conferences/symposia across the United States and abroad (for which the department provides partial financial support).

Financial Support

• George Dewey and Mary J. Krumrine Endowment This endowment helps support publication projects of art history faculty and graduate students.
• Graduate Assistantships There are about nineteen graduate assistantships filled by graduate students in the Department of Art History each year.
• University Fellowships and Awards Qualified incoming graduate students may also be nominated by the department for University Fellowships, Bunton-Waller Graduate Awards, Graham Fellowships, and other awards. The department also has funds to help support graduate students in their research and travel related to their theses. The department awards dissertation fellowships and travel/research grants totaling over $60,000 to graduate students each academic year.

Summer Opportunities

• Summer Abroad program in Todi, Italy The Department of Art History is a co-sponsor of Penn State’s Summer Abroad program in Todi, Italy, in which graduate students may choose to participate.
• Annie Gooding Sykes Internship This internship is a twelve-week internship offered during the summer. Interns work with museum staff on a variety of curatorial projects, with a particular focus on American works on paper. Students who have completed the ARTH 409 “Museum Studies” course are preferred. One internship with a stipend is offered each summer.
• Silver Trout Curatorial Graduate Internship Program This internship program is a twelve-week internship offered during the summer. Interns work with the museum staff on curatorial projects and initiatives. Graduate students in art history or art education are eligible for the Silver Trout Curatorial Graduate Internship Program. Students who have completed the ARTH 409 “Museum Studies” course are preferred. Two internships with a stipend are offered each summer.

Ph.D. Students

Students currently enrolled in the Ph.D. in Art History programs.

Arunima Addy Degree: PhD in Architecture Research Focus: South Asian architectural and urban history Dissertation title: Diaspora of Indian Temple Architecture Academic Adviser: Madhuri Desai [email protected]

Arunima Addy is currently a PhD candidate in Art History with dual title in Asian Studies. She has been a practicing architect in India, before joining the graduate program at Penn State. Arunima has her research interests in the relationship between the politics of religion and the construction of national identity, specifically with the rising sentiments of Hindu nationalism in India. She looks at visual representations in the built environment to understand how through architectural establishments religion is being used as a political tool to frame an image of the nation. For her dissertation, she is investigating the relationship between the politics of religion and nation-building particularly with respect to changing dynamics of Indian temple architecture in the neoliberal perspective where religion is becoming a global commodity.

Han Chen Degree: PhD in Art History and Asian Studies Research Focus: Modern and Contemporary Chinese and East Asian Art, history of collecting and exhibiting Dissertation title: TBD Academic Adviser: Chang Tan [email protected] | CV

Han Chen is a PhD student specializing in the history of collecting and exhibiting Chinese and East Asian art in the Euro-American context from the late nineteenth-century to the present day. She received her B.A. in 2016 and M.A. in 2019 from China Academy of Art. In 2021, she received her second M.A. from Penn State where she wrote her thesis entitled, “Selling China: A neglected encounter between Huo Mingzhi and France in the early twentieth century.” She has worked for the Palmer Museum of Art at Penn State and the Freer and Sackler Gallery of Art as a curatorial intern. Her current interest lies in employing machine learning to realize the image inpainting of photographs of Chinese antiques.

Melanie Clark

Olivia Crawford Degree: PhD in Art History Research Focus: Nineteenth-century European Art and Architecture, Post-colonial Studies, Jewish Studies, Middle Eastern and North African Studies. Dissertation title: TBD Academic Adviser: Nancy Locke [email protected]

Olivia Crawford received her B.A. in Art History and French and Francophone Studies from the University of Tennessee, Knoxville in 2016 and her M.A. in Art History from Penn State University in 2018. She is currently a Ph.D. student in the Department of Art History at Penn State.

Her current research examines representations of colonial and metropolitan Jewish communities in French Orientalist art and architecture. Her dissertation prospectus is forthcoming.

Crawford lives and works in Knoxville, TN.

Noah Dasinger Degree: PhD in Art History Research Focus: Fifteenth-century Italian sculpture Dissertation title: TBD Academic Adviser: Daniel M. Zolli [email protected] | LinkedIn

Noah Dasinger is a first-year Ph.D. student studying Italian Renaissance art and architectural history with a focus on fifteenth-century sculpture. Noah is an Alabama native, and in 2020, he graduated summa cum laude from the University of Alabama, Tuscaloosa, with a Bachelor of Arts. He then obtained a Master of Arts degree from the University of Georgia, Athens. Upon graduation, he received high honors for his thesis, “Symbolic Epigraphy and the New Rome: Humanist Capital Letters on the Tomb of Leonardo Bruni.”

Noah also has extensive training in archival research and early modern Italian paleography both in the United States and abroad. He was a curatorial intern at the Georgia Museum of Art and a research intern at the Medici Archive Project. His current research examines the development, display, and materials used for fifteenth-century Italian tomb sculpture. Noah’s research also investigates early modern workshop practices, materials, processes, and their relationship to commemorative sculpture.

Arielle Fields

Katherine Flanagan

Laura Freitas Almeida

Emily Hagen Degree: PhD in Art History Research Focus: Seventeenth-century Italian architecture Dissertation title: Pietro da Cortona’s Santi Luca e Martina: Rediscovered Relics and the Spectacle of Reform in Seventeenth-Century Rome Academic Adviser: Robin Thomas [email protected] | CV

Emily Hagen is a Ph.D. candidate in art history studying early-modern Italian architecture with an interest in digital humanities. Her research focuses on churches devoted to martyrs’ relics in seventeenth-century Italy and investigates how architecture amplified the fiction of rediscovery in the context of early-modern Catholic reform.

Katherine Koltiska Banerjee

Kyle Marini Degree: PhD in Art History Research Focus: Pre-Contact and Early Modern Latin America, Andean Textiles Dissertation title: TBD Academic Adviser: Amara Solari [email protected] | Instagram | LinkedIn

Kyle is a PhD student in pre-contact and early modern Latin American art history. He specializes in the techniques of production, ritual use, and iconography of Inca textiles. He primarily researches ceremonial objects that have been destroyed to recover a more representative view of Inca visual culture before Spanish occupation of the Andes. This approach is in effort to decolonize modern understandings of the Inca developed from the study of objects that survived arduous extirpation campaigns throughout the Viceroyalty of Peru. By emphasizing objects erased from the archive, he reconstructs a history through the most integral Inca artifacts that ceased to exist precisely because of their visual power. Kyle is also a practicing artist, and he uses remaking as a methodology to envision these lost works and the technical processes used by their creators.

Keri Mongelluzzo Degree: PhD in Art History Research Focus: History of Photography; Modern Art Dissertation title: Bauhaus/Dream House: The Uncharted Surrealism of New Vision Photography Academic Adviser: Nancy Locke [email protected] | CV | LinkedIn | Academia.edu

Keri Mongelluzzo is a Ph.D. candidate specializing in the history of photography and modern art in Europe. Her dissertation, “Bauhaus/Dream House: The Uncharted Surrealism of New Vision Photography,” examines how French Surrealist sensibilities gained traction with transient artists associated with the Bauhaus, an innovative school of design in interwar Germany. Tracking key Bauhaus figures as they moved throughout Europe and across the Atlantic, “Bauhaus/Dream House” exposes their messy motivations for evoking surrealist themes amidst surges of nationalism and the rise of fascism. To date, Keri’s dissertation research has been supported by the Department of Art History and the Max Kade German-American Research Institute.

Keri’s broader research and curatorial interests in the histories and theories of photography span the medium’s history. She has written steadily on prominent photographers of the twentieth century, like Man Ray and Eugène Atget, presenting papers at the inaugural conference of the International Society for the Study of Surrealism at the Bucknell Humanities Center and the 24th Annual Graduate Student Symposium on the History of Art at the Barnes Foundation. In addition to curating a number of exhibitions of photography at the Palmer Museum of Art, including Myth Meets Modernism: The Manuel Álvarez Bravo Portfolio (2019) and Framing the City (2018), Keri piloted the museum’s first-ever virtual exhibition, Photography = Abstraction , using Google Slides at the onset of the pandemic and presented her work on this and her collaboration on subsequent virtual exhibitions and tours at the College Art Association Annual Conference in February 2021.

Amy Orner Degree: PhD in Art History Research Focus: Eighteenth-Century British Architecture and Urbanism Dissertation title: TBD Academic Adviser: Robin Thomas [email protected]

Amy is a PhD student specializing in eighteenth-century British architecture and urbanism, with a focus on Empire and its effects on architecture. Her research questions consider the social and political influences on architecture, as well as the influence of Empire on Scottish town planning. She received her B.A. in Museum Studies/Art History from Juniata College in 2017, before working as a School Programs Educator for The Phillips Collection in Washington, DC. Amy received her M.A. in Art History from Penn State University in 2022 with her thesis titled, “The Palette, the Patron, and the Hand of the Artist: Artemisia Gentileschi in London.” During her time at Penn State, Amy has worked with the Palmer Museum of Art, the Matson Museum of Anthropology, and as a research fellow in the Center for Virtual/Material Studies.

Alicia Skeath Degree: PhD in Art History Research Focus: Dissertation title: TBD Academic Adviser: Adam Thomas

Kenta Tokushige Degree: PhD in Art History Research Focus: Sixteenth-century Italian Military Architecture Dissertation title: Being a Military Architect: Building Fortifications in Cosimo I de’ Medici’s Realm Academic Adviser: Robin Thomas [email protected]

Kenta Tokushige is a Ph.D. candidate in Art History at The Pennsylvania State University. His dissertation entitled, Being a ‘Military Architect’: Building Fortifications in Cosimo I de’ Medici’s Realm, studies the geopolitical role of fortification building under Cosimo I de’ Medici in the Grand Duchy of Tuscany in the latter half of the Cinquecento by looking at the design process of a fortification as a collaborative project by people of various social status and the way it was represented in multiple forms of art upon its completion. His research traces the correspondence between the patrons, local governors, and architects regarding the decision-making process and examines the intentions of each individual. Additionally, he is exploring the representation and the circulation of information after the completion of the fortification in relation to the espionage of military information.

His research has been supported by the Samuel H. Kress Foundation and the Susan W. and Thomas A. Schwartz Endowed Fellowship for Dissertation Research.

He completed his B.Arch. and M.A. in Architecture at Waseda University and Master of Architectural History at University of Virginia.

Holli Turner Degree: PhD in Art History Research Focus: Art of Early Modern Southern Europe and Colonial Latin America, the materials and materiality of art, technical art history, theories and practices of conservation, race, and representation in art, decolonial practices in art history Dissertation title: TBD Academic Adviser: Daniel Zolli [email protected]

Holli M. Turner is a doctoral student specializing in early modern art, with a focus on the art of Italy, Spain, and the Americas. Her dissertation will examine the colonial implications of color – broadly understood – in the Venetian artist Titian’s paintings for the Spanish monarchy. This project knits together several core concerns of her work: the materials and materiality of art; the representation of race and ethnicity in art; and the interpretive importance of invisible labor, and laborers, to art’s history. In Summer 2021, Holli is serving as the Andrew W. Mellon Foundation Research Fellow in Penn State’s Art History department, where she is developing a digital humanities project that tracks Titian’s pigments and their origins.

Holli is a Virginia native that was trained in art history and graphic design before embarking on doctoral study. Her research interests also stem from her own artistry. In her spare time, she paints, illustrates, and creates works through traditional and digital media.

Guides and Resources

• Art History Graduate Handbook

Alumni Success

95 percent of those who earned their Ph.D. since the year 2000 are employed in art history or a related field.

• Of these, 71 percent are teaching at the college level.
• The other 29 percent hold such positions as museum curator or lead historian at a historic center.
• Of those teaching at the college level, 67 percent hold tenure-track or tenured positions.

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Graduate programs, phd in politics and international affairs.

The doctoral degree in politics and international affairs is an interdisciplinary program designed to prepare students to teach at the university and college levels and to conduct high-level research in the academic and nonacademic sectors. It combines a broad focus on international relations, comparative politics, American politics, and political theory with a critical understanding of institutions, rights, citizenship/identity, governance, global policy, and justice. Students work closely with faculty to frame their dissertation research and to advance their knowledge of their chosen fields of specialization. The program’s interdisciplinary approach to a variety of global issues provides a rich and open-ended opportunity to research current and past problems, movements, and transformations in politics.

We welcome your interest in our doctoral program. The department's deadline for fall admission is January 5. The School of Interdisciplinary Global Studies only admits for the fall semester. Students must apply online through the Office of Graduate Admissions. For a listing of the admission requirements, students should consult the Graduate Catalog . 

*Effective starting with the 2023-2024 admissions cycle, GRE test scores are no longer required for applications to our doctoral program in Politics and International Affairs*

*International students should review the Office of Admissions International Students website for additional information and requirements.

*International students are also encouraged to contact the Office of International Services for information on visas, international travel, etc. 

PLEASE NOTE: International students whose native language is not English and who want to be considered for a teaching assistantship must show proficiency in spoken English even if their TOEFL has been waived for admission to a graduate program. More information on the TOEFL requirement can be found under Admission Requirements in the graduate catalog.

Program Requirements

For the Doctoral Degree in Politics and International Affairs degree requirements, students should consult the Graduate Catalog. Students should adhere to the requirements within the Graduate Catalog under which they were admitted.

• Degree Requirements Beginning 2023-2024 Catalog

*Students can elect another catalog following the one they were admitted under. More information on this policy, and other policies, can be found in the Graduate Catalog.

*Students must request approval from the graduate director for any course not pre-approved and listed under the degree in the Graduate Catalog.

Additional information on program requirements:

Student can also select POS 6933/6747 Advanced Topics in Quantitative Political Analysis or another graduate course approved by the graduate director for the methods requirement. The Capstone Seminar will be conducted with doctorial students in Sociology and History and focus on dissertation proposal. 

Research Fields

The Doctorate in Politics and International Affairs specializes in the following four fields of research:

International Relations In the School of Interdisciplinary Global Studies, the International Relations (IR) faculty focuses on four areas of study: international relations theory, global political economy, international security, and human rights. We stress the importance of cutting-edge scholarship in our teaching of the graduate seminars as well as bridging the many emergent gaps in theory and practice in the various subfields that comprise International Relations, including American foreign policy, international ethics, global governance, and international law and organizations. One of our central aims is to advance innovative applications of the central theoretical perspectives (and their variant strands) in International Relations, namely, realism, liberalism, critical theory, constructivism, Marxism, international political theory, and gender. These applications involve in-depth theoretical and empirical analysis of key global issues, such as Asian security, moral accountability, the enforcement of human rights, immigration, and political and economic inequality. The International Relations faculty have published numerous books and peer-reviewed articles on these issue areas. These include monographs on the political tensions on the Korean Peninsula or North Korea’s nuclear arms buildup, the political cosmopolitan character and shifting dynamics of the International Criminal Court (ICC), hegemony and inequality in the global political economy, and China’s rapidly increasing support of intervention in African states. Together our published research emphasizes the production of critical theoretic knowledge, or the advanced methodological analysis of the contradictions and tensions informing the substantive debates in International Relations. This not only requires the particular mastery of concepts, methods, and claims but also an open-ended and historical understanding of the changing social forces shaping the behavior of states and the relations among global and local actors. It is this scholarly approach that we adopt to train our graduate students specializing in international relations, particularly as they advance their dissertation research and empirical knowledge of the global and regional contexts of problems and issues. One of the outcomes we strive for, then, is to encourage our doctoral students to develop rigorous theoretical and contextual analysis from which they can devise solutions and prescriptions to global issues.

Comparative Politics Comparative Politics in the School of Interdisciplinary Global Studies is committed to theory-driven, empirical research from an interdisciplinary perspective that is situated in a political, historical, cultural, and economic context.  The Comparative Politics faculty employ a variety of methodological approaches from both the social sciences and humanities, which utilize qualitative and quantitative research methods to study the patterns of similarities and differences. In particular, we conduct comparative and case study research to inquire into these patterns and to develop our theoretical propositions. One of our aims is to produce knowledge about the changing social, political, and legal conditions affecting the lives, development, cultural practices, and customs of underrepresented peoples. In meeting this aim, our research focuses on several themes of comparative politics, including social movements, democracy/democratization, citizenship, decolonization, genocide, hegemony, race and identity, development, legal systems and customary law, social justice, and indigenismo or the political ideology focusing on the changing relations of state and local peoples. Much of our published research draws creatively on social, critical, and political theory to advance knowledge of the laws, changing social relations, and attitudes in several countries, which includes Brazil, Ecuador, the Democratic Republic of Congo, Rwanda, Uganda, South Sudan, Ethiopia, and Iran. Our research strengths lie in the areas of race and citizenship, social movements theory, human security and law (or legal custom) in Eastern Africa, indigenous rights in various Latin American countries, and security relations in the Middle East. With these thematic foci, we encourage graduate students to create and develop their own research by selecting a region of the world as their emphasis and adopting theoretically informed research and comparative methods that allow them to analyze the changing social and political conditions in the countries of this region.

American Politics The study of American Politics in the doctorate program in politics and international affairs provides a comprehensive overview as well as an in-depth analysis of American politics. Our faculty focus on various aspects of American politics, including theoretical foundations, federalism, institutions (Congress, the executive branch, the bureaucracy, the judiciary), political behavior (political parties, the media, interest groups, social movements, and elections), and public policy (foreign and domestic), and employ a range of methodological approaches such as historical development, legal doctrine, institutional rules, and quantitative analyses of the behavior of political actors and the mass public, to advance the student's research skills.  Our core class, Seminar in American Politics, for instance, surveys the key foundations, institutions, and behavior in American politics, introducing students to both qualitative and quantitative methodological approaches for analyzing and testing the changing trends and outcomes in American politics. Special topics courses provide opportunities to gain in-depth knowledge on new research on a range of themes, including political development, the social bases of politics, and the global impact of American politics. The faculty in American politics have made important contributions in the areas of race and ethnicity, the judiciary, the presidency, Florida government, civil liberties, health care, environmental justice, economic inequality, and animal rights. Our strengths lie in economic inequality, animal rights, the Presidency, Judicial Behavior, Race and Ethnicity, and State and Local Government. In these specific areas, we have published several cutting-edge books and articles in leading peer-reviewed journals, which examine the emergence and implementation of nonhuman animals' regime of rights, the changing directions of the U.S. Federal Reserve Bank and its impact on world politics, and alternative strategies for natural disasters in the United States. Our scholarship is thus distinctive for the ways in which it addresses American government and politics in a global context. This is how we seek to train our doctoral students on the rapidly changing, nuanced linkages between local, state, federal and global institutional politics.  

Political Theory Political Theory introduces students to the core normative issues in the study of political science. These normative issues provide the bedrock assumptions on which much of the study of political science depends. For example, while nearly everyone agrees that democracy is the best form of government, why do we place such faith in it? In addition, the long tradition of political thought offers multiple versions of democracy, each with its own strengths and limitations. How are we to identify the best version for our needs? Similarly, while we might extol non-violence in politics, is it always the best path for political movements? How are we to justify its alternatives? Clarifying our moral commitments, sharpening our conceptual tools, and outlining pathways for transforming theoretical knowledge into action requires philosophical, historical, and conceptual capabilities. The political theory faculty at the School of Interdisciplinary Global Studies trains students to develop these capabilities. To that end, political theory classes not only familiarize students with many of the canonical texts that were read by generations of prominent political thinkers (from Aristotle to Martin Luther King Jr), they also teach students to read these texts critically and with an eye towards contemporary political developments. As such, training in political theory is a critical supplement to graduate work at School of Interdisciplinary Global Studies. The faculty’s expertise in feminist theory, postcolonial theory, the role of emotions in politics, environmental political thought, and Indian political thought complements the terminal degrees offered in American Politics, Comparative Politics, and International Relations.

Financial Assistance 

Most of our successful applicants qualify for funding offered by the department or the Office of Graduate Studies. Funded doctoral students will receive a graduate assistantship that includes:

• a stipend for the academic year (9 months)
• a tuition waiver (not including school fees)
• the option of health insurance mostly paid by the department (the student only pays a small amount towards insurance).

All applicants for the doctoral degree are considered for a graduate assistantship - they do not need to complete a separate form.

The graduate assistantship is guaranteed for four years but is based on maintaining satisfactory annual academic progress. It requires each student to work 20 hours per week, in which case the student would be first assisting professors of the department with their teaching and class preparations and later, after having passed the doctoral comprehensive exams and completed teacher training seminars, teach a class at the University of South Florida. 

Please visit the graduate assistantships page for further information. The department also provides funding for conference travel or the presentation of research at conferences upon approval.

Information on eligibility for graduate assistantships can be found on the Graduate Assistantships Resource Center website. 

We also strive to fund our students in the fifth year, though this funding is not guaranteed. Depending on additional funds that become available, students may have the opportunity to extend their graduate assistantship to one, possibly two academic semesters. Students in the fifth year are also encouraged to seek external funding. For more information on this, please consult our Graduate Resources Page .

Outstanding candidates may also be nominated by the school’s director and/or graduate committee for prestigious and highly competitive university fellowships, including the Presidential Doctoral Fellowship , the Dorothy Auzenne Fellowship , and the University Graduate Fellowship. There is also the opportunity for minority students to be awarded a McKnight Fellowship, which provides annual tuition up to $5,000 for each of three academic years, plus an annual stipend of $12,000. The program also offers travel grants and other forms of financial support. For additional information on this fellowship opportunity, please visit the McKnight Fellowship's informational page.

• Politics and International Affairs Doctoral Handbook 2022 - 2023
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Spring 2024 Course Offerings

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For further information or questions about the PhD in Politics and International Affairs, please fill out this form . 

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Slingshot: 2024 MFA in Visual Art Thesis Exhibition

Slingshot: 2024 MFA in Visual Art Thesis Exhibition features thesis projects by the Master of Fine Arts in Visual Art candidates in the 2024 graduating class of the Graduate School of Art in Washington University’s Sam Fox School of Design & Visual Arts.

The exhibition title holds a variety of associations for the candidates, including references to childhood and play, gravity, movement, tension, and release. The artists explore such themes as the body, identity, the built environment, and technology through a range of aesthetic practices and mediums that include collage, drawing, painting, sculpture, and photography.

The 2024 MFA in Visual Art candidates are Emily Elhoffer, Jordan Geiger, Joni P. Gordon, Mad Green, Sophia Hatzikos, Micah Mickles, Sarah Moon, Samantha Neu, and Lynne Smith.

The exhibition is organized by Leslie Markle, curator for public art at the Mildred Lane Kemper Art Museum.

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Cade Marcotte will defend his PhD thesis in August

Friday, April 26, 2024

Cade Marcotte will defend his PhD thesis in August, and has already accepted a plum academic job at   New Saint Andrews College in Moscow, ID, where he will be teaching, among other things, the history of physics.

Congratulations Cade and cheers to your upcoming PhD defense! 

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Anthropology

Brittany anderson is awarded the clas dissertation writing fellowship.

The CLAS Dissertation Writing Fellowship is awarded annually to 10 graduate students, providing time and funding for the completion of a PhD dissertation.

• Brittany Anderson , Department of Anthropology, “Attunements of Care: The Role of Housekeeping and Laundry Staff in Midwest Continuing Care Retirement Communities”  Anderson’s dissertation explores the roles of housekeeping and laundry staff in continuing care retirement communities play in the complexity of providing care for residents. 

NOTICE: The University of Iowa Center for Advancement is an operational name for the State University of Iowa Foundation, an independent, Iowa nonprofit corporation organized as a 501(c)(3) tax-exempt, publicly supported charitable entity working to advance the University of Iowa. Please review its full disclosure statement.

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Brandeis combines the resources of a world-class research university with the personal attention of a liberal arts setting. The Graduate School of Arts and Sciences offers 17 doctoral programs and more than 40 master's and postbaccalaureate programs.

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Graduate School of Arts and Sciences

Gsas honors outstanding student instructors with 2024 teaching awards.

May 1, 2024

Abigail Arnold | Graduate School of Arts and Sciences

For 2024, Brandeis University’s Graduate School of Arts and Sciences honored students across programs with the annual Graduate Student Teaching Awards . These awards go to graduate student instructors or teaching assistants who have made great contributions in their programs.

 The awardees are:

Kayla Cerri, Chemistry

Sarah Dennis, Mathematics

Calvin Fluit, English

Sarah Halford, Sociology

Alex MacNeil, Biochemistry and Biophysics

Savita Maharaj, English

Gowthaman Ranganathan, Anthropology

Emma Sundeen, Sociology

Mercedes Villalonga, Psychology

Michael Wang, Chemistry

Jin Wu, Life Sciences

Wen Zhang, Chinese Language and Culture

 Students shared their excitement about winning the awards, as well as shout-outs to those they’ve worked with. Calvin Fluit, the co-recipient of the award for English, said, “It truly means a lot to me to receive this award. I feel like my efforts to foster my student's intellectual and academic growth have been seen and affirmed.” Fluit shared one of his favorite experiences in Fantasy Worlds, the course for which he served as a course assistant: “I adapted a solitaire journaling roleplaying game to be played collectively in class. It included a jenga tower that students had to pull blocks from, and as the game progressed, students got more and more hesitant to volunteer to pull from the tower next. I am so proud of all of the students that were daring enough to try, especially the one that pulled the final block which toppled the tower. It was really rewarding to guide students through that sort of intense roleplay experience…I couldn't be happier with the response it got from students.”

Wen Zhang, who received the award for the Chinese Language and Culture program, said, “Receiving a teaching award means a lot to me; it serves as both encouragement and affirmation of my efforts. I aim for excellence in my teaching work…This has been a rewarding experience for me, and I've learned a lot from both faculty and students, further sparking my passion for teaching.”

Jin Wu of Neuroscience thanked the BIOLAB teaching staff for their support throughout the semester. “As someone who had no prior knowledge of the content of the course and learned the material one to two days prior to teaching it to students every week, I was absolutely surprised to receive this award. I am so grateful to Dr. Deani Cooper, who spent countless hours with me one-on-one patiently answering all my questions on a weekly basis to bring me up to speed. Dr. Piasta's lectures were incredibly clear, and he supported me tremendously throughout the semester. Julia Barrone, as well as my undergrad TA Athena Lam, were also absolutely amazing. I would not have made it without the support of these individuals.”

We extend our warmest congratulations and thanks to this year’s award winners, who will be honored at the 2024 GSAS Commencement reception on May 14.