Contemporary Art Dissertations 2010

The list of dissertations in contemporary art completed in 2010 is online at caa.reviews, including five from UCLA, four from SUNY Stony Brook, three from Yale, and two each from Duke, Cornell, Stanford and UC San Diego:

  • Anderson, Virginia, “‘A State of Anxious Uncertainty’: The Critical Reception of Jasper Johns” (Boston, C. Jones, G. Williams)
  • Biederman, Legier, “The Aesthetics of Globalization and the Politics of Difference: From Identity Exhibitions to Transnational Artworlds?” (UCLA, D. Preziosi)
  • Chang, Alison, “Negotiating Modernity: Edvard Munch’s Late Figural Work, 1900–1925” (Pennsylvania, C. Poggi)
  • Chon, Doris, “Narrating Shadows: W. G. Sebald’s Photographic Historiography” (UCLA, M. Kwon, G. Baker)
  • Cohen, Kris, “Never Alone, Except for Now: Mediated Collectivity in Networks” (Chicago, D. English)
  • Diack, Heather, “The Benefit of the Doubt: Regarding the Photographic Conditions of Conceptual Art, 1966–1973” (Toronto, L. Kaplan)
  • Gonzalez Rice, Karen, “Enduring Belief: Performance, Trauma, Religion” (Duke, K. Stiles)
  • Kato, Yukiko, “Color, Hygiene, and Body Politics: French Neo-Impressionist Theories of Vision and Volition, 1870–1905” (Duke, M. Antliff)
  • Lang, Colin, “Room 19, 1966–1969” (Yale, D. Joselit, C. Mehring)
  • Lokhandwala, Arshiya, “Global Cartographies: Investigating Art in the Age of Biennales and Large-Scale Exhibitions (1990–2006)” (Cornell, S. Hassan)
  • Lookofsky, Sarah, “No Such Thing as Society: Art and the Crisis of the European Welfare State” (UC San Diego, L. Stern)
  • Macchiavello, Carla, “Marking the Territory: Performance, Video, and Conceptual Graphics in Chilean Art, 1975–1985” (SUNY Stony Brook, D. Kuspit)
  • MacQueen, Kathleen, “Tactical Response: Art in an Age of Terror” (SUNY Stony Brook, J. Monteyne)
  • Martin, Courtney J., “Cyclones in the Metropole: British Artists, 1968–1989” (Yale, T. Barringer, K. Jones)
  • Modigliani, Leah, “The Limits of the Defeatured Landscape: Dialectics of a Counter Tradition in Vancouver Art” (SUNY Stony Brook, D. Kuspit)
  • Navas, Eduardo, “Remix: A Critical Analysis of Allegory, Intertextuality, and Sampling in Art, Music, and Media” (UC San Diego, L. Manovich)
  • Nisbet, James, “Land Is Not the Setting: The Lightning Field and Environments, 1960–1980” (Stanford, P. Lee)
  • Rath, Amanda, “Contextualizing Contemporary Art: Propositions of Critical Artistic Practice in Seni Rupa Kontemporer in Indonesia” (Cornell, K. McGowan)
  • Scott, Emily, “Wasteland: American Landscapes in/and 1960s Art” (UCLA, M. Kwon)
  • Snider, Stefanie, “Envisioning Bodily Difference: Refiguring Fat and Lesbian Subjects in Contemporary Art and Visual Culture, 1968–2009” (USC, R. Meyer)
  • Sorkin, Jennifer, “Live Form: Gender and the Performance of Craft, 1940–1970” (Yale, D. Joselit, E. Cooke, Jr.)
  • Summers, Robert, “An Aesthetics of Experience: The Art and/as Life of Vaginal Davis” (UCLA, D. Preziosi)
  • Tradowsky, Christopher, “After Sherrie Levine: Appropriation and the Semiotics of Seriality” (UCLA, M. Kwon)
  • Van Scoy, Susan, “Exteriors, Interiors, and Positionality: The Photography of Tina Barney” (SUNY Stony Brook, J. Monteyne)
  • Webb, Emily Taub, “On Site-Specificity: A Genealogy” (Emory, J. Meyer)
  • Wong, Winnie, “After the Copy: Originality, Creativity, and the Skilling of Contemporary Art in China’s Dafen Village” (MIT, C. Jones)
  • Woods, Nicole, “Performing Chance: Alison Knowles, Fluxus, and the Enigmatic Work of Art, 1962–75” (UC Irvine, C. Whiting)
  • Yoon, Soyoung, “Debord, Détournement, and the Desire of History: The Films of Guy Debord” (Stanford, P. Levi)