Page 1 |
Save page Remove page | Previous | 1 of 55 | Next |
|
small (250x250 max)
medium (500x500 max)
large ( > 500x500)
Full Resolution
All (PDF)
|
This page
All
Subset |
i
DEAD GIRLS, MONSTERS, AND ASSHOLES:
MARGINALITY IN THE PRACTICES OF ASCO AND MARNIE WEBER IN
LOS ANGELES
by
Ilana Daphne Milch
________________________________________________________________
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
August 2012
Copyright 2012 Ilana Daphne Milch
Object Description
| Title | Dead girls, monsters, and assholes: marginality in the practices of Asco and Marnie Weber in Los Angeles |
| Author | Milch, Ilana Daphne |
| Author email | ilanamilch@gmail.com;ilanamilch@gmail.com |
| Degree | Master of Public Art Studies |
| Document type | Thesis |
| Degree program | Public Art Studies |
| School | School of Fine Arts |
| Date defended/completed | 2012-08-30 |
| Date submitted | 2012-07-30 |
| Date approved | 2012-07-31 |
| Restricted until | 2012-07-31 |
| Date published | 2012-07-31 |
| Advisor (committee chair) | Higa, Karin |
| Advisor (committee member) |
Bray, Anne Gonzalez, Rita |
| Abstract | This thesis focuses on two Los Angeles artworks—Asshole Mural (1975) by Asco and Eternity Forever (2010) by Marnie Weber—that encourage a revaluation of the traditional conception of marginality as a negative quality or location. Asco and Weber both play with the genre boundaries of cinema by weaving expansive narratives that go beyond the physical plane of the screen into performance, sculptural production, music, and formal constructions that serve as both props and historical evidence of their works. In Asshole Mural, Asco creates a work that pushes against the stereotyping of Chicano artists as mural makers. Weber’s Eternity Forever (the final act of her Spirit Girls Cycle) challenges viewers to reconcile an anachronistic narrative about a fictional ghost band from the 1970s with contemporary art strategies of installation, multimedia, and gender performance. Both Asshole Mural and Eternity Forever refuse the typical understanding of marginality as undesirable in the context of contemporary art, and instead revel in marginality as a generative and flexible site for avant-garde artistic practice. |
| Keyword | Los Angeles; Marnie Weber; Asco; Gronk; Patssi Valdez; Willie Herron III; Harry Gamboa Jr; Asshole mural; Eternity forever; Eternal heart; The spirit girls; marginality; performance; murals; sculpture; fiction; No movies; cinema. |
| 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 |
| Rights | Milch, Ilana Daphne |
| Access conditions | 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@usc.edu |
| Archival file | uscthesesreloadpub_Volume4/etd-MilchIlana-1075.pdf |
Description
| Title | Page 1 |
| Full text | i DEAD GIRLS, MONSTERS, AND ASSHOLES: MARGINALITY IN THE PRACTICES OF ASCO AND MARNIE WEBER IN LOS ANGELES by Ilana Daphne Milch ________________________________________________________________ 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 August 2012 Copyright 2012 Ilana Daphne Milch |
Comments
Post a Comment for Page 1
