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FRAGMENTED MEMORY:
WILLIAM OLANDER AND THE EXHIBITION AS CRITICISM
by
Gladys-Katherina Hernando
________________________________________________________________
A Thesis Presented to the
FACULTY OF THE USC ROSKI SCHOOL OF FINE ARTS
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
MASTER OF PUBLIC ART STUDIES
May 2012
Copyright 2012 Gladys-Katherina Hernando
Object Description
| Title | Fragmented memory: William Olander and the exhibition as criticism |
| Author | Hernando, Gladys-Katherina |
| Author email | grhernan@usc.edu;gladyskatherina@gmail.com |
| Degree | Master of Public Art Studies |
| Document type | Thesis |
| Degree program | Public Art Studies |
| School | School of Fine Arts |
| Date defended/completed | 2012-03-22 |
| Date submitted | 2012-04-27 |
| Date approved | 2012-04-27 |
| Restricted until | 2012-04-27 |
| Date published | 2012-04-27 |
| Advisor (committee chair) | Anastas, Rhea |
| Advisor (committee member) |
Tain, John Sutton, Gloria |
| Abstract | This thesis examines the curatorial practice of William Olander (1950–1989), a prolific curator, writer, and scholar, over a short but full period of ten years before Olander’s death from AIDS in 1989. Olander’s work as a contemporary curator in the visual arts addressed the issues of his day as a form of criticism and even activism. Specifically, his work directly addressed and acted within a vital field of debate about the fraught aesthetics and politics of representation within the cultural discourses of postmodernism and the discourses of the politics of gender and sexual identification and of gay and queer identity after the Stonewall rebellion of 1969. This thesis explores the exhibitions The Art of Memory/The Loss of History (1985), Homo Video: Where We Are Now (1986), and Let The Record Show (1987) as a series of responses to now established ideas and issues in the field of contemporary art history and theory. This thesis seeks to reinstate Olander as a fearless participant in the complex political reality of the eighties and as a voice that can inform curatorial practice today. |
| Keyword | William Olander; The new museum in the 1980s; postmodern art; The art of memory/The loss of history; AIDS activism; gender politics; Let the record show...; Homovideo: Where we are now; curatorial studies; exhibition histories |
| Language | English |
| Part of collection | University of Southern California dissertations and theses |
| Publisher (of the original version) | University of Southern California |
| Place of publication (of the original version) | Los Angeles, California |
| Publisher (of the digital version) | University of Southern California. Libraries |
| Provenance | Electronically uploaded by the author |
| Type | texts |
| Legacy record ID | usctheses-m |
| Contributing entity | University of Southern California |
| Rights | Hernando, Gladys-Katherina |
| Physical access | The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the author, as the original true and official version of the work, but does not grant the reader permission to use the work if the desired use is covered by copyright. It is the author, as rights holder, who must provide use permission if such use is covered by copyright. The original signature page accompanying the original submission of the work to the USC Libraries is retained by the USC Libraries and a copy of it may be obtained by authorized requesters contacting the repository e-mail address given. |
| Repository name | University of Southern California Digital Library |
| Repository address | USC Digital Library, University of Southern California, University Park Campus MC 7002, 106 University Village, Los Angeles, California 90089-7002, USA |
| Repository email | cisadmin@lib.usc.edu |
| Archival file | uscthesesreloadpub_Volume4/etd-HernandoGl-674.pdf |
Description
| Title | Page 1 |
| Contributing entity | University of Southern California |
| Repository email | cisadmin@lib.usc.edu |
| Full text | FRAGMENTED MEMORY: WILLIAM OLANDER AND THE EXHIBITION AS CRITICISM by Gladys-Katherina Hernando ________________________________________________________________ A Thesis Presented to the FACULTY OF THE USC ROSKI SCHOOL OF FINE ARTS UNIVERSITY OF SOUTHERN CALIFORNIA In Partial Fulfillment of the Requirements for the Degree MASTER OF PUBLIC ART STUDIES May 2012 Copyright 2012 Gladys-Katherina Hernando |
