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Information to Users INFORMATION TO USERS This mamiscrÿt has been reproduced hrom the microfîhn master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from aiqr type of conqtuter printer. The quality of this reproduction is détendent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and inqjroper alignment can adversety affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note wiD indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, begiiming at the upper left-hand comer and continuing from left to right in equal sections with small overly. Each original is also photogrsq>hed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscr^ have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photogr^hic prints are available for aity photographs or illustrations appearing in this copy for an additional charge. Contact UMI directty to order. UMI A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313.'761-4700 800/521-0600 Order Number 9517014 Collaborative activist art: A case study Hanes, Jay Michael, Ph.D. The Ohio State University, 1994 Copyright ©1995 by Hanes, Jay Michael. AH ri^ ts reserved. UMI 300 N. Zeeb Rd. Ann Arbor, MI 48106 COLLABORATIVE ACTIVIST ART: A CASE STUDY DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Jay Michael Hanes, B.F.A., M.S. ***** The Ohio State University 1994 Dissertation Committee: Approved by D.H. Krug M.J. Parsons P.L. Stuhr Department of Art Education DEDICATION ro Michael Hawk Weisman and all of the children of present and future societies. I want to be with people who submerge in the task, who go into the field to harvest and work in a row and pass the bags along, who stand in the line and haul in their places, who are not parlor generals and field deserters but move in a common rhythm when the food must come in or the fire be put out. from the poem To he o f use. Marge Piercy ACKNOWLEDGEMENTS I extend sincere appreciation to Dr. Patricia Stuhr for her guidance and suggestions throughout this research. Thanks go to the other members of my advisoiy committee, Drs. Donald Krug and Michael Parsons, for their insights and comments. Gratitude is also expressed to Drs. Marilyn Johnston, Lindsay Jones, and John Moe for their assistance and patience during the general examination process. The influence and encouragement from Drs. Maijorie Schiller and Tom Anderson is highly regarded. Furthermore, 1 am grateful to the members of ACME who shared their time and narratives, especially Leni Anderson, Jim Beoddy, Meg Galipault, Scott Galloway, David Greene, John Groeber, Faye Herskovitz, Mike Kehlmeier, Lori M^Cargish, Tamela J. Murphy, Lori Peacock, Paul Volker, Joanne Zeigler, Goblinhood, and the Martian Provisional Government. To my family, I offer sincere thanks for your acceptance and understanding. To Eleanor Weisman, my partner, proofreader, and co-parent of our child, I offer deepest appreciation for the love, support, and input you have provided throughout the entire process. In the spirit of my dissertation topic, all drafts of this project were printed on 100% recycled paper with 50% post-consumer fiber as an ecological statement. Additionally, the typeface and leading were chosen to further conserve on paper. lU VITA Decembers, 1957 ............................ Bom—Columbus, Ohio 1980 ................................................ B.F.A., Illustration and Advertisir . Design, The Columbus College of Art and Design, Columbus, Ohio 1980-1988 ........................................ Commercial Artist, Pensacola, Florida 1988-1991 ........................................ Art Educator, Gulf Breeze High School, Pensacola, Florida 1991 ................................................ M.S., Art Education, Florida State University 1991 -Present .................................... Graduate Tcaching Associate, Department of Art Education, The Ohio State University PUBLICATIONS Hanes, J.M. & Schiller, M. (1994). Collaborating with cooperating teachers in preservice art education. Studies in Art Education, 4(35), 218-227. Hanes, J.M. (1992). From Mayan to post-modern: A collaboration in clay. School Arts, 93(3), 18-20. Hanes, J.M. (1991 ). Acceptance o f multicultural art content in a secondary art program. Unpublished master's thesis project, Florida State University, Tallahassee, FL. FIELDS OF STUDY Major Field: Art Education IV TABLE OF CONTENTS ACKNOWLEDGEMENTS................................................................................................. in VITA................ iv LIST OF nOURES ........................................................................................................... vii CHAPTER PAGE I. RECOGNIZING COLLABORATIVE ACTIVIST ART...................................I The Research Context ............................................................................... 1 Three Contemporary Examples ........................................................8 II. FORMING AN UNDERSTANDING OF COLLABORATIVE ACTIVIST ART FROM RELATED LITERATURE...................................... 15 A General Description of Collaborative Activist A rt ..............................15 Understanding Art, Activism, and Collaboration .................................. 19 Understanding Collaborative Activist Art: A Synthesis .................. 36 III. THE EXAMINATION OF A LOCAL CASE EXAMPLE........................39 Research Theory and Method ........................................................ 39 Research Process .............................................................................. 44 IV. INTERPRETIVE DESCRIPTION OF THE ACME ART COMPANY 48 Columbus, Ohio and the Short North Gallery District .....................48 ACME and its Membership .................................................................... 53 The Identity and Activity of ACME ........................................................62 V. CONCLUDING ANALYSIS OF ACME AND COLLABORATIVE ACTIVIST A RT...............................................................................................70 An Assessment of ACME as Collaborative Activist Art ........................71 The Significance of the Study ................................................................ 79 Suggestions for Future Research ................................................... 80 APPENDICES A. Historical Listing of Artist Collaboration .......................................................... 83 B. ACME Documents ............................................................................................. 89 C. Interview Materials ............................................................................................97 D. Goblinhood’s Letter to George Bush ..................................................... 138 LIST OF REFERENCES................................................................................................. 140 VI LIST OF FIGURES nOURES PAGE 1. A Profile of Alternative Arts in Action. Paul Volker’s description of ACME presented in the form of a flyer for public information. This document was received July 16, 19% .............................................................90 2. Friday Night Meetings.. .A General Outline. Paul Volker’s description of a c m e ’s planning meetings presented in the form of a flyer for public information. This document was received July 16, 1993..............................93 3. ACME Poster A. I discovered this poster on July 6,1993 in Hopkins Hall at The Ohio State University. It encourages interested artists to participate in the early stages of an artistic movement .................................... 95 4. ACME Poster B. I discovered this poster on July 6, 1993 in Hopkins Hall at The Ohio State University. It calls for artists to participate in a cultural coup d’etat meeting in an alternative arts space ..................................95 5. ACME Poster C. I discovered this poster on July 6, 1993 in Hopkins Hall at The Ohio State University. It invites artists to participate in change ...............................................................................................................96 6. ACME Poster D. I discovered this poster on July 6, 1993 in Hopkins Hall at The Ohio State University. It calls serious artists to participate actively in collaboration ....................................................................................96 7. Letter to the Board of Trustees. I presented this letter on August 19, 1993 to the ACME Board of Trustees formerly stating my research intentions ....................................................................................................... 98 8. Questioning Strategy. This outline presents my approach for asking questions for interviews. It corresponds with the transcripts ........................99 9. Goblinhood’s Letter to George Bush. I procured a copy of this letter on June 16, 1994 in a postresearch interview with Jim Bec^dy. The original letter was mailed to President George Bush,
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