{"id":{"repo_id":"umkc","oai_identifier":"oai:mospace.umsystem.edu:10355/46660"},"canonical_url":"https://search.dev.ndltd.org/etd/umkc/oai:mospace.umsystem.edu:10355/46660","repository":{"repo_id":"umkc","name":"University of Missouri - Kansas City","base_url":"https://mospace.umsystem.edu/oai/request"},"display":{"title":"Dialogue at the Threshold: The Artist Between Museum and Community","abstract":"Artists Suzanne Lacy and Ann Hamilton use forms of language to produce experiences that challenge the individual’s perception. While differing in methods and outcomes, Lacy and Hamilton construct environments that allow individuals to participate in communicative exchanges. Hamilton creates multi-sensorial installations that rely on acts of communication through reading, speaking, and listening. As a socially engaged artist, Lacy facilitates dialogue between individuals through large-scale performances that confront social issues in public space. This thesis argues that twentyfirst century art museums, specifically The Brooklyn Museum and the Pulitzer Foundation for the Arts in St. Louis, capitalize on the methods of artists such as Lacy and Hamilton, respectively, to create authentic communicative exchanges with neighboring communities. The Brooklyn Museum and The Pulitzer Foundation for the Arts have recognized the forms of language present within Lacy and Hamilton’s works as opportunities to generate social experiences that can extend the art institution’s authority beyond the usual museum visitor to a larger, diverse population in order to remain socially relevant in the twenty-first century. I argue that Hamilton’s stylus (2011), commissioned by the Pulitzer, and Lacy’s Between the Door and the Street (2013), produced in partnership with Creative Time and the Brooklyn Museum, were intended to provide opportunities for community outreach, on the part of the museums, to ultimately strengthen the relationships between the institutions and marginalized groups through the means of communicative acts. Through the activation of touch and voice, Hamilton directed the participation of the viewer to form a relationship between the viewer’s body and the space of the installation. I argue that forms of language were used not to produce a discursive space, but instead draw attention to the instability of language. Distinct from Hamilton, Lacy facilitated a public dialogical intervention around gender issues that challenged participants while creating an intimate, discursive platform regardless of the large scale of the project. Despite institutional intentions, I contend that these practices resulted in highly intimate relationships for the individual rather than develop merely public ties between the museum and marginalized communities.","abstract_html":"Artists Suzanne Lacy and Ann Hamilton use forms of language to produce experiences that challenge the individual’s perception. While differing in methods and outcomes, Lacy and Hamilton construct environments that allow individuals to participate in communicative exchanges. Hamilton creates multi-sensorial installations that rely on acts of communication through reading, speaking, and listening. As a socially engaged artist, Lacy facilitates dialogue between individuals through large-scale performances that confront social issues in public space. This thesis argues that twentyfirst century art museums, specifically The Brooklyn Museum and the Pulitzer Foundation for the Arts in St. Louis, capitalize on the methods of artists such as Lacy and Hamilton, respectively, to create authentic communicative exchanges with neighboring communities. The Brooklyn Museum and The Pulitzer Foundation for the Arts have recognized the forms of language present within Lacy and Hamilton’s works as opportunities to generate social experiences that can extend the art institution’s authority beyond the usual museum visitor to a larger, diverse population in order to remain socially relevant in the twenty-first century. I argue that Hamilton’s stylus (2011), commissioned by the Pulitzer, and Lacy’s Between the Door and the Street (2013), produced in partnership with Creative Time and the Brooklyn Museum, were intended to provide opportunities for community outreach, on the part of the museums, to ultimately strengthen the relationships between the institutions and marginalized groups through the means of communicative acts. Through the activation of touch and voice, Hamilton directed the participation of the viewer to form a relationship between the viewer’s body and the space of the installation. I argue that forms of language were used not to produce a discursive space, but instead draw attention to the instability of language. Distinct from Hamilton, Lacy facilitated a public dialogical intervention around gender issues that challenged participants while creating an intimate, discursive platform regardless of the large scale of the project. Despite institutional intentions, I contend that these practices resulted in highly intimate relationships for the individual rather than develop merely public ties between the museum and marginalized communities.","abstract_has_math":false,"creators":["Williams, Renae Ashley"],"institution":"University of Missouri--Kansas City","degree_name":"MA (Master of Arts)","degree_level":"Masters","degree_discipline":"Art and Art History (UMKC)","degree_department":null,"school":null,"contributors":[],"advisors":["Albu, Cristina"],"committee_chairs":[],"committee_members":[],"year":2015,"date_issued":"2015","date_published":"2015","updated_at":"2026-07-24T05:16:32Z","subjects":[],"languages":["eng","English"],"rights":["Open Access (fully available)"],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"http://hdl.handle.net/10355/46660","outbound_label":"Handle","outbound_source":"dc:identifier.uri"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor.advisor","label":"Advisor","values":["Albu, Cristina"]},{"key":"dc:creator","label":"Author","values":["Williams, Renae Ashley"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.accessioned","label":"Dc Date Accessioned","values":["2015-08-24T13:49:34Z"]},{"key":"dc:date.available","label":"Dc Date Available","values":["2015-08-24T13:49:34Z"]},{"key":"dc:date.issued","label":"Date","values":["2015"]},{"key":"dc:type","label":"Dc Type","values":["Thesis"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Art and Art History (UMKC)"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Masters"]},{"key":"thesis:degree_name","label":"Degree Name","values":["MA (Master of Arts)"]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["University of Missouri--Kansas City"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["English"]},{"key":"dc:language.iso","label":"Language (ISO)","values":["eng"]},{"key":"dc:rights","label":"Dc Rights","values":["Open Access (fully available)"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier.uri","label":"Identifier URI","values":["http://hdl.handle.net/10355/46660"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["Title from PDF of title page, viewed on August 28, 2015","Thesis advisor: Cristina Albu","Vita","Includes bibliographic references (pages 135-142)","Thesis (M.A.)--Department of Art and Art History. 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The Brooklyn Museum and The Pulitzer Foundation for the Arts have recognized the forms of language present within Lacy and Hamilton’s works as opportunities to generate social experiences that can extend the art institution’s authority beyond the usual museum visitor to a larger, diverse population in order to remain socially relevant in the twenty-first century. I argue that Hamilton’s stylus (2011), commissioned by the Pulitzer, and Lacy’s Between the Door and the Street (2013), produced in partnership with Creative Time and the Brooklyn Museum, were intended to provide opportunities for community outreach, on the part of the museums, to ultimately strengthen the relationships between the institutions and marginalized groups through the means of communicative acts. Through the activation of touch and voice, Hamilton directed the participation of the viewer to form a relationship between the viewer’s body and the space of the installation. I argue that forms of language were used not to produce a discursive space, but instead draw attention to the instability of language. Distinct from Hamilton, Lacy facilitated a public dialogical intervention around gender issues that challenged participants while creating an intimate, discursive platform regardless of the large scale of the project. Despite institutional intentions, I contend that these practices resulted in highly intimate relationships for the individual rather than develop merely public ties between the museum and marginalized communities."]},{"key":"dc:format.medium","label":"Dc Format Medium","values":["text"]},{"key":"dc:title","label":"Title","values":["Dialogue at the Threshold: The Artist Between Museum and Community"]}]}],"canonical_facts":{"dc:contributor.advisor":["Albu, Cristina"],"dc:creator":["Williams, Renae Ashley"],"dc:date.accessioned":["2015-08-24T13:49:34Z"],"dc:date.available":["2015-08-24T13:49:34Z"],"dc:date.issued":["2015"],"dc:description":["Title from PDF of title page, viewed on August 28, 2015","Thesis advisor: Cristina Albu","Vita","Includes bibliographic references (pages 135-142)","Thesis (M.A.)--Department of Art and Art History. 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The Brooklyn Museum and The Pulitzer Foundation for the Arts have recognized the forms of language present within Lacy and Hamilton’s works as opportunities to generate social experiences that can extend the art institution’s authority beyond the usual museum visitor to a larger, diverse population in order to remain socially relevant in the twenty-first century. I argue that Hamilton’s stylus (2011), commissioned by the Pulitzer, and Lacy’s Between the Door and the Street (2013), produced in partnership with Creative Time and the Brooklyn Museum, were intended to provide opportunities for community outreach, on the part of the museums, to ultimately strengthen the relationships between the institutions and marginalized groups through the means of communicative acts. Through the activation of touch and voice, Hamilton directed the participation of the viewer to form a relationship between the viewer’s body and the space of the installation. I argue that forms of language were used not to produce a discursive space, but instead draw attention to the instability of language. Distinct from Hamilton, Lacy facilitated a public dialogical intervention around gender issues that challenged participants while creating an intimate, discursive platform regardless of the large scale of the project. Despite institutional intentions, I contend that these practices resulted in highly intimate relationships for the individual rather than develop merely public ties between the museum and marginalized communities."],"dc:format.medium":["text"],"dc:identifier.uri":["http://hdl.handle.net/10355/46660"],"dc:language":["English"],"dc:language.iso":["eng"],"dc:rights":["Open Access (fully available)"],"dc:title":["Dialogue at the Threshold: The Artist Between Museum and Community"],"dc:type":["Thesis"],"thesis:degree_discipline":["Art and Art History (UMKC)"],"thesis:degree_level":["Masters"],"thesis:degree_name":["MA (Master of Arts)"],"thesis:institution_name":["University of Missouri--Kansas City"]},"updated_at":"2026-07-24T05:16:32Z"}