Sightlines

VCS students are cultural producers who “make” writing. The award-winning VCS faculty guide them. We illuminate paths of interdisciplinary thinking and inquiry, and then get out of the way so that students can dive into the histories of visual culture and identify intellectual allies whose scholarship will aid their analyses. VCS students demonstrate their progress in seminar papers, oral presentations, short-form articles, and ultimately eight-thousand-word theses. Students deliver formal talks about their theses in the VCS Annual Spring Symposium and reframe their theses for a broad readership to be published in Sightlines as one of the culminating activities of the VCS program.

After such preparation, graduating students take jobs in the cultural sector as arts administrators, critics, curators, editors, educators, journalists, and working artists with research-driven practices. Some VCS alumni continue with graduate study, deciding to pursue the Ph.D. in Visual Studies, Performance Studies, Cultural Studies, Comparative Literature, Art History, Anthropology, and other disciplines at institutions in the US and elsewhere. The diversity of their routes is a solid measure of their training and their passion.

 
 

Kristen Wawruck, MTV as Form: Dara Birnbaum and Corporate Patronage; Katherine Jemima Hamilton, Sonic Imaginaries: Sound and Resonance in Walas Gwa’yam Beau Dick’s Masks and Candice Hopkins’s Curation at documenta 14; Liz Hafey, Booby Traps: Cultural Critique in the Writings of Marcel Duchamp and Karen Finley; Liz Ordway, The Power of Fat Liberation: Rereading Laura Aguilar’s Nude Self Portraits; Aliya Parashar, Transsexuality, Transition, and Yantras: Metaphysics and Myth in Mystic Diagrams

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Madeline Rose Carter, Somewhere Between Distance and Intimacy: Mimesis, Memory, and Haptic Translation in the Work of Vija Celmins; Rebecca Mae Sexton, Entangled Ecologies: An Expansion in the Practice of Family Photography; Rebecca Chacon, Frida Kahlo’s Boots: A Person-First Analysis of Artists with Disabilities; Hannah Waiters, Fire Under Glass: Black Freedom in Edgar Arceneaux’s Orpheum Returns—Fire’s Creation; Karl Daum, False Images, Half-Truths: 9/11 Conspiracy Memes and the Aestheticization of Politics; Sam Soon, Tell Me Who You Are: Imperfections in Waste Not & My Grandmother’s Album; Daniel Thomas, Chemsex: Diaspora, Transition, Monstrosity, and Post-Nature in Rosha Yaghmai’s Miraclegrow

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Amanda Rush, In Mourning and In Rage: Successes and Failures of Second-wave Feminism; Barbara Priolo, I Buoni di Riace: Migration Crisis as a Chance to Resist Mafiapoli; Ava Morton, The Unkempt “Uh”; Alicia McDaniel, Racial Impersonation: Emma Hallberg's Perpetuation of the Blackface Minstrel; Justin R. Nagle, Affective Touch in the Archive of Bulk Male Magazine; Yomna Osman, Orthostates: A Ghost Resisting Erasure, Lucy Ashton, Rogue Pixels: The Tactics of Invisibility in Hito Steyerl's How Not to Be Seen; Becca Imrich, Pricing and Specification: Corcraft* and 91020000

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Kira Dominguez Hultgren, Here, and No Further: Material Rhetoric in Loom with Textile; Hiding in Plain Sight: Holly McHugh, Mimicry of the Leak in the Work of C. Ree

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Zahra Axinn, Queer Pop Music Video: Fantasy Aesthetic in Hayley Kiyoko’s ‘Sleepover’; Maria Esther Fernandez, Engaging the Spirit: The Curative Curatorial Challenge to the Contemporary Art Museum; Carlos Francisco Jackson, Visual Enclosures: One Pylon in Chicano Park; Charmaine Koh, Picture-Perfect: Revisualizing Public Housing in Singapore; tamara suarez porras, (re)Arranging Pictures and (re)Reading Histories

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Jamee Crusan, Embracing Disorientation in Queer Exhaustion: Pulse and Cassills’s 103 Shots; Kristin Landowski, Picturing Dis-Ease: Advertising Breast Cancer in Pink-Ribbon Culture and the Narrative Works of Jo Spence; Lindsay Tunkl, Tragic Optimism: Angst, Affect, and Affirmation in the Works of Dario Robleto and Felix Gonzalez-Torres; Gilda Posada, Low n’ Slow: The Evolution into Xicanx; Angela Berry W(h)etting the Word: Roni Horn Notes the View in Still Water (The River Thames, for Example); Amanda Walters, Constructing Tropical Paradise: The South Florida Narrative that Stuck; Becca Roy O’Gorman, Constructed Encounters: Performance and the Colonial Gaze at Plimoth Plantation; Carolina Magis Weinberg, The Visual Accent as Strategy: Interruption and Differentiated Viewership in Rivane Neuenschwander’s Sunday

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Sienna Freeman, Pulled, Stitched, and Stuffed: Materiality and the Abject in Dorothea Tanning's Soft Sculpture; Elena Gross, Looking | Reading | Feeling Image | Text | Body; Forrest McGarvey, The Allegory of the Screen: Paradox of Representation in Ken Okiishi's gesture/data (feedback); Veronica Jackson, Restructuring Respectability, Gender, and Power: Aida Overton Walker Performs Modernity; Eden Richmond, Glitter, Goop, and Anti-Capitalist Angst: Teen Girl Tumblr Artists Make the Digital Still Life; Tanya Gayer, Archives and Algorithms Compressing Socio-historical Distance; Mailee Hung, The Prosthetic Body: Semiosis and Survival Beyond the Cyborg; Jesus Barraza, Lowriding as Social Form: Anishinaabe Grandfather Teachings as Decolonial Vehicles of Resistance; Ekin Balcioglu, It for Others, Being for Itself; Bryndis Hafthorsdottir, Icelandic Art, Because There Is Such a Thing

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Sightlines 2013

Greer Gainer, Making Text without Organs: Illegible Text and the Production of American Graphic Design; Malia Rose Helfmeyer, Who What When Where Why: Ana Teresa Fernandez's 5Ws and the Discourse of Urban Development in San Francisco's 5M Project; Ekin Kalayci, Fantasy of the Modern West: Deciphering Images of Western Female Bodies in Early Republican-Era Turkish Popular Magazines (1923-1945); Emily A. Kuhlmann, The Artist's Body as a Site of an Other's Otherness; Raquel Nakoneczny, Sculpting Presence; Marisa Pushee, The Hand That Grasps: On Anthropocentrism and Becoming in Visual Representations of Nonhuman Animals; Amanda N. Simons, Performance, Place, and Un-United States Depictions of Queer Marriage in Post-DOMA United States; Henry Witecki, Suddenly Another Me Is Dead The Art of Tyler, The Creator

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Sightlines 2010

Nensi Brailo, Dubrovnik Under Siege: Artists' Interactions with the Old City During the Yugoslav Army Aggression; Crow Cianciola, Billy Budd: Chubby Mature Gay Seeks Handsome Black Sailor; Ace Lehner, Unfixing the Photograph: Rethinking How We Look at Portrait Photography; Elyse Mallouk: The Generous Object: The Relational and the Aesthetic in Contemporary Art; Matthew Rana, Unmarking Equality's Others: Patrick Bernier and Olive Martin's X&Y vs. France

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Sightlines 2007

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Sightlines 2004

Diana Stapleton, Things that Stick: Félicité à deux; Colin Partch, Aberrant Voices: Stuttering, Orality, and the Performance of Self; Omar Mismar, A Poetic Occupation: Artistic Gestures in Zones of Conflict; T.A.E. Hoffman, These Colors Only Exist in Your Dreams: Music Video, Hiphop, and Racial Mythmaking; Irina Contreras, ¡La Bamba Cosmica en las Américas!: The Changing History and Story of Ritchie Valens and La Bamba in the Americas; Danielle Jackson, Ralph Lemon's Cool American Epic; Rachel Endso, Cultural Framing: Moving Between Narratives In Search of My Polyvalent America; Melissa Miller, The Possible @ BAM/PFA: Artistic Production and Museum Programming in the Experience Society; Natalie Catasús, Echoes off the Straits of Florida: The Rafts of the Cuban Balseros

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Sightlines 2012

Simone Bailey, Disappear Here: Performing through Documentation; Levi Barringer, Other Topologies: Transversal Power across the Body-Map; Sita Kuratomi Bhaumik, The Edible Text: Representational Strategies in the Art of Michael Rakowitz; Angela Braren, Curating Himself: The Simson/Tose Dioramas at the California Academy of Sciences; Amanda Cachia, What Can a Body Do? Inscribing and Adjusting Experiences of Disability in Contemporary Art; Casey Carroll, No Looking Back: Putting the Pastoral Out to Pasture; Emily Doman, 30 Americans: Challenging Institutional Framing for the Presentation of Black American Artists; Robert Gomez, A New Visual Regime: Narco Warfare through Social Media; Susan Miller, Carter: A Couple of Random Characters in Search of an Author; Gigi Otalvaro-Hormillosa, Persistence and Embodiment in Argentina's Visual Politics of Remembrance; Janessa Post, Creative Reuse and the Re-Visioning of American Consumer Culture; Jordan Reznick, Imperceptible Politics: The Photograph and the Aesthetic Experience

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Sightlines 2009

Jennifer Banta, The Painting in the Rafters: Refiguring Abstract Expressionist Bernice Bing; Duane Deterville, Defining the Afriscape through Ground Drawings and Street Altars; Camellia George, The Future is Fabulous: Digital Fabrication, Datascaping, and Design Futurism; Liu Congyun, Cultural Identity and Innovation: Contemporary Chinese Art and Cultural Traditions; Molly Mitchell, Orientalism, the Gaze, and Representations of Femininity within American Tribal Style Belly Dance; Rory Padeken, Collecting Chance: Snapshots of Memory in Tacita Dean's FLOH; Lee Pembleton, The Work of Art in the Age of Digital Reproduction; Adrienne Skye Roberts, Homesick: The Search for Belonging in New Orleans' Landscape of Loss; Paola Santoscoy, Being-With-One-Another: Art as Enactment; Zachary Royer Scholz, Alternative to the Alternative: The Changing Face of San Francisco's Independent Art Spaces

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Sightlines 2006

Clea Badion, Wet Work: Artists Appropriating the Tools and Techniques of Science; Andrea Dooley, Implicated Geographies: Public Memorials and the Topographies of Genocide; Rolan Gregg, Secret Bodies: The Murder of Gwen Araujo; Boyd Richard, Uprooted: How Redwood Landscapes Were Supplanted by Images; Emma Tramposch, Making Memories: Templates, Themes and Imagery in Contemporary Scrapbooks

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Sightlines 2003

Dorothy Santos, Marginalized Narratives of the Body in Contemporary New Media Arts; Elizabeth Moran, The Photograph as Evidence: Contingencies and Consequences of Viewing; Erica Gomez, Dancing with Desire: Chicana Lesbians in Contemporary Cinema; Maureen Burdock, Labradoodle or Lion-Snake? Comics as Folkloric Tradition; Michael Rothfeld, A Future Worth Remembering: The Commercial Space Industry, Science Fiction, and the Utopian Break; Dani Neizelt, Collecting Frontier Fantasies: Souvenirs and the National Archive; Calder Yates, Contradictory Compassion: Time and Docility in Early First-Aid Demonstrations; Alex Fine, Screening the Body, Screening the Soul: Aura Photography as Biometrics of the New Age; Vanessa Kauffman, Reading Textile: Vernaculars of Kinship in Discourse and Dress; Anton Stuebner, Embodiment Blues: Resensualizing the AIDS Body in Derek Jarman's Blue; Leora Lutz, Channa Horwitz: Departing Toward Touch; Emily K. Holmes, “What a Racist Camera”: Elucidating the Invisible Norm of Photography

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Sightlines 2011

Abby Chen, On The Edge Of Culture: Two Chinese 1.5 Generation Artists In America; Jacqueline Clay, Black Monochrome: The Negress And Modernity; Adeleine Daysor, Mythic Realities: Rosa And Sub Rosa; Liesa Lietzke, Felt/Seen: Probing The Body/World Divide Through Rebecca Horn's Extensions; Emily Macenko, The Politics Of Representation Images Of Male Homosexuality During The Aids Crisis; Rob Marks, The Sublime And The Beautiful In Richard Serra's The Matter Of Time; Marta Martinez, Baring Identities: Queer Women Of Color In Ned-Burlesque; Leanna Oen, Under The Microscope: Pop Culture Visualizations Of DNA; Danielle Sommer, Inhabiting The Gap: Instants, Intervals, And Cinematic Time In Aby Warburg's Der Bilderatlas Mnemosyne; Matthew Tedford, Tactics Of Engagement In Art Politics, Pluralism, And Program; Kristin Timken, Performing Landscapes: The Politics Of Possibility; Lia Wilson, Marketing Madness: The Economy Of Outsider Art; Carmen Winant, The Artist Is The Athlete: Investigating Practice In Matthew Barney's Drawing Restraint 1-6; Madeleine Zinn, Performing Motherhood

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Victoria Gannon, Day Laborer Landscapes: Seeing Informal Hiring Sites; Analisa Violich Goodin, The Sight ofTrauma: Loss, Memory, and Rachel Whiteread's Reversals; Guinevere Harrison, Neogeography: Mapping Our Place in the World; Maya Kimura, Drawing National Specters: Makoto Aida's DOG and The Giant Member of Fuji versus King Gidoro; Rae Quigley, The Old Farmer's Script: Food Festivals at Play in the Production of Social Order. The Stinking Rose Case Study; Erik Scollon, Craft in the Expanded Field

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Sightlines 2005

Sightlines 2002