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Robins, Amanda School of Arts UNSW. "Slow art : meditative process in painting and drawing." Awarded by:University of New South Wales. School of Arts, 2006. http://handle.unsw.edu.au/1959.4/31214.
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This exegesis is an exploration of meditative process in painting and drawing and accompanies an exhibition of paintings and large drawings called What Lies Beneath. The text contains several passages, called "meditations," which accompany the themes approached in the chapters and give insight into the thoughts and practices of the artist. The methodology involves the examination of the evidence of the work produced by selected artists, looking at the words of artists in notebooks, diaries and interviews and surveying a small number of local contemporary artists. The text opens up the possibilities of drapery and garments and of still life as paths to meditative practice in painting and drawing. The qualities that characterize meditative process/practice, derived from my observations, are categorized. Some of the strengths of these processes are revealed through the examination of the work of artists, both contemporary and historical. The work of Vermeer, Sanchez Cotan, Francisco Zurbaran and contemporary artists Anne Judell, Simon Cooper, Jude Rae, Alison Watt and Eva Hesse highlight different aspects of the meditative process in painting and drawing. The art works in the exhibition are documented and bring out the meditative processes that have contributed to their creation, including the use and meaning of the subject (drapery and the garment as a form of still life).
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Cleveland, Chad L. "The music of art /." Online version of thesis, 2009. http://hdl.handle.net/1850/11203.
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Slobtseva, Yelena. "DRAWING IN THE MARGINS." Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1162849860.
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Shininger, Soni. "Portraiture : the self as art." Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/864932.
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The purpose of this project was to find out what it is about the self that deserves to be depicted in a work of art; what other artists have done in selfportraiture that may help me in my efforts; and what my own contribution to the history of self-portraiture could be. Self-portraiture is significant in its ability to serve as a personal platform to define the artist's life and relationships with society as well as other individuals. Many times selfportraiture becomes a visual self-search to recognize our own characteristics and traits that make us complete individuals. I investigated the history of self-portraiture as well as the life and work of six artists. I concentrated on the symbolism and psychological undercurrents present in many selfportraits. With my research in mind, four images were created based on preliminary sketches of myself and another close friend. The final images are watercolor, oilbar and sgraffito on paper. Two images are grid pieces and the other two are single companion pieces. The finished pieces were framed andexhibited at the Ball State University Museum of Art. The final images fulfilled all the goals at which I had aimed. They are visually exciting, successfully composed and well constructed. During their execution I was able to elevate the quality of my work, bringing it to a greater maturity level. This group of portraits also worked as a tool to put my life and relationships into a new perspective.Department of Art
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Kimzey, Danielle Huey. "I'm proud of you." Thesis, University of Iowa, 2011. https://ir.uiowa.edu/etd/1001.
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Fernandez, Fernando. "Los enigmas de mi mente, erosion." Amherst, Mass. : University of Massachusetts Amherst, 2009. http://scholarworks.umass.edu/theses/280/.
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Larkin, Pamela Marie. "A universal and personal art through tradition and invention /." Online version of thesis, 1990. http://hdl.handle.net/1850/10883.
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Whearty, Lauren Ann. "Making Space: Language, Painting, Poem." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1307394266.
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Hodgkinson, Virginia, and virginia hodgkinson@deakin edu au. "Conventions of pictorialism (iconic imagery, perceived space and the picture plane) deconstructed and reconstructed as alternative models of perception, embodied in paintings and drawings." Deakin University, 1993. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20071127.083604.
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This thesis is concerned with conventions of pictorialism, viz. the surface of an artwork or the plane of denotation (in my case paper, canvas or wood); and iconic imagery and the depiction of perceptual space that is connotated by marks, colours and forms upon that surface. Most importantly this thesis is concerned with the relationship between these elements and the deconstruction of them. That the reconstruction of the deconstructed language can create expressive iconic structures that perhaps contain conflicting information and elements, but are simultaneously single and self-contained perceptual models of seeing the world, and the things in it, in another way; is a major focus. The thesis is embodied in the paintings and drawings which are documented in the exegesis that follows.
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Siebers, Ellen Mary. "Telescope or microscope." Thesis, University of Iowa, 2012. https://ir.uiowa.edu/etd/2987.
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Blake, Kate M. "Drawing All the Way: The Confluence of Performance, Cultural Authority, and Colonial Encounters in the Painting of Rover Thomas." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1371721339.
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Howell, Audrey. "The Biomorphic Grotesque in Modernist and Contemporary Painting." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/327.
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This paper looks at the concepts of the biomorphic and grotesque in art from the start of the 20th century to the present with a focus on painting and drawing. Included in the discussion of the grotesque throughout history are the works of Dadaist Otto Dix, painter Georg Baselitz, and feminist artists Judy Chicago, Hannah Wilke, and Ana Mendieta. Each used grotesque imagery to comment or react to a larger sociopolitical issue. Biomorphic artworks from the 20th century are mentioned as well, with specific examples of work by Lee Krasner, Willem DeKooning, and Hans Bellmer. These artists together start to illustrate the ways biomorphic and grotesque imagery can be used to explore physical gesture, inspire a visceral reaction in the viewer, and make societal critique. These themes are currently being explored by contemporary artists Jenny Saville, Wangechi Mutu, Inka Essenhigh, Cecliy Brown, Elizabeth Murray, and Maria Lassnig, each of whom is discussed in detail. Their work explores the boundary space between the body and hybridity, impurity, or abstraction, each in their own way. Following this discussion the author’s own paintings and drawings are mentioned, including dialogue detailing the thought process behind each one. Photographs of these works are included.
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Piwonka, Greg. "Drawings with River." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5440.
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These paintings are a record of my recent past, a past with a new son, major life shifts, big decisions and risks. These paintings are a record of my distant past, of my relationship with my father and siblings. These paintings are a record of my present, my relationship to art, current, past, good and bad. These paintings are both joyful and cathartic, simple and confusing. They are about my life, and my attempt to not repeat the mistakes of the past, but to try create joys for the future.
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Burton, Calvin. "Painting as Becoming: Reflections Between Content and Form." VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd_retro/48.
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Painting As Becoming: Reflections Between Content and FormThis thesis is the culmination of my two years at graduate school. It lays out some of my ideas about painting as a particular approach to art making. The development of my work has not always followed a linear path some ideas take longer to emerge, some vices longer to recognize. The text is separated into four main sections: Form, Development, Color, and Landscape. The main issue that I explore is the relationship between abstraction and representation. Tending to be over-logical, I have avoided explicit content' in my work, because I am afraid that it will pin it down. Painting abstractly initially allowed me to exercise the other side of my brain, to avoid meaning'. But abstraction is also a language that can be assimilated and therefore does not really offer an enduring solution to the problem of content.My paintings are usually structured in a logical way: composition, color harmony and dissonance, perspective, light, and space - but my process also leaves room to explore the illogical and the absurd. I began to appropriate representational imagery into the work to weave in additional information a textual layer to frame and foil the objectivity of oil paint. This juxtaposition puts paint in the role of becoming at the same time that it puts the image in the role of disintegrating. Importantly these roles are interchangeable. The imagery itself is derived from places that have been significant to me by effecting the formation of my scattered sense of identity: my birthplace in Virginia, my upbringing in Lake Tahoe, my studies in New Hampshire and Rhode Island, and my subsequent move out of the country to Mexico, where I lived until returning to Virginia to pursue an MFA. The transitions between abstraction and representation resonate with the intersection of the personal and the collective.Ultimately, the comings and goings of interpretation that characterize my work occur through the lens of beauty. I cannot define beauty, but I maintain the belief that it can be found in painting, and that its primary function is to remind us to see.
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Christensen, William. "Dweller." CSUSB ScholarWorks, 2014. https://scholarworks.lib.csusb.edu/etd/250.
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William Christensen DWELLER What does it mean to become someone else? What does that mean for the identity of the person before they became this character? These questions have become a focal point for my work. I have been employing the self-portrait as a means of transforming myself into a different character. For this body of work I have written a short story, which is the basis for my artwork. This story is about the main character's grasp on reality slipping away from him and his shift from sanity to insanity. The different papers and styles come together as one amalgam of a scene in the process of transforming before the viewers' eyes. These drawings contain two different sets of drawings within each piece of artwork. The drawing, with ink on the white stonehenge .Paper, is a scene taken from the story and the graphite drawing on the brown stonehenge paper is a self-portrait. The graphite drawings on the brown paper consists of a series of pictures taken of me turning my head and changing my facial expressions in order to .imitate my perception of a person who is losing their mind. I then proceed to crumble up the drawings, and glue them on top of one another. From the inked drawing that lies on top, I begin to tear away the paper in order to let the under drawing show through. With the crinkled and the roughness of the papers it accomplishes the venture of showing the frailty and fickleness of the character. The blending of the two papers into each other gives the work a dreamlike sense that is hopefully open to interpretation from the viewer. One could come to the conclusion that this is a non-threatening dream, or a nightmare.
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Wolfe, Julia J. "Meet me in the sewers at dawn." Thesis, University of Iowa, 2018. https://ir.uiowa.edu/etd/6522.
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I make installations, objects, paintings, drawings, prints, and arrangements of found words (which some have classified as poetry). I take note of ideas, imagery, and phrases from places that are commonly seen and heard but often go unnoticed. The work combines humor and innocence with an awareness of our culture of mass-production and consumption, resulting in an approachable, whimsical criticism.
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Krallitsch, Theresa. "The weight of the wait." Thesis, University of Iowa, 2017. https://ir.uiowa.edu/etd/5540.
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Wallis, Karen. "Painting & drawing the nude : a search for a realism for the body through phenomenology & fine art practice." Thesis, University of the West of England, Bristol, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.252566.
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Gattringer, Christa. "17th-Century Antwerp artists' studio practice : Rubens and his circle : an interdisciplinary approach in technical art history." Thesis, University of Glasgow, 2014. http://theses.gla.ac.uk/5135/.
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Early 17th-century Antwerp, despite political and religious troubles, was a thriving European art centre and home of such renowned artists as Peter Paul Rubens and other painters of his circle, like Jan Brueghel I, Frans Snyders, Anthony van Dyck and Hendrick van Balen. This interdisciplinary thesis in Technical Art History, after a general introduction to this specific art scene, looks at how specific aspects of their studio practice, such as collaborations within and outside their studios or the many copies and versions of their paintings, found manifestation in their works but also in their theoretical concepts. For this an in-depth study and examination of c.20 paintings from mainly Scottish collections (National Galleries of Scotland Edinburgh, Glasgow Museums, Hunterian Art Gallery of the University of Glasgow, Talbot Rice Gallery of the University of Edinburgh, Hopetoun House South Queensferry) was conducted, using detailed photography, multispectral imaging, tracings, dendrochronology, polarised light microscopy and SEM- EDX-analysis of paint samples in cross-sections. The technical examination and analysis, informed by art historical research, significantly aided the answering of questions regarding these paintings’ materials and techniques, as well as they helped to authenticate sometimes contested authorship and date. Four main chapters discuss Frans Snyders’ studio practice focussing on reappearing motifs, Rubens’ tronies, Jan Brueghel’s minute staffage figures in collaborative works, as well as Rubens’ and Brueghel’s painting Nature Adorned by the Graces. An own chapter critically discusses the test results of the application of Stable Lead Isotope Analysis on paint samples, which were carried out at the Scottish Universities Environmental Research Centre (SUERC).
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Zhang, Yimeng. "Chinese drawing, architectural poetics : traditional painting as a semantic representation of modern architectural design." Doctoral thesis, Universitat Politècnica de Catalunya, 2019. http://hdl.handle.net/10803/667320.
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This thesis is partly an attempt to explore the potential of pre-modern Chinese painting, on its distinctive formats and schemes to achieve spatial depth and time duration, as a way to interpret and design architecture. By a survey on changing modes of Chinese traditional landscape and cityscape paintings in different scales, the poetic language of painting will be gradually explored. Beyond pictorial techniques, language is concerned with an ideological level of understanding and experience. Thus, it signposts a wider significance of architectural representation – as a verbal medium to express narrative and critic semantics besides visual effects.
In this thesis, we will also see how traditional painting remains a base in the ideating process of several contemporary Chinese architects, so to avoid a mere uncritical imitation of international models. A subtle fusion of contemporaneity with cultural identity afforded by the presence of taken concepts from traditional painting, allows this architecture to increase its meaning and dimension.
Lastly, understanding such processes of ideation can possibly provide us assistance in the intuitive formulation of ways to enrich Western architecture. Particularly, establishing poetic connections to our cultural traditions can be a useful strategy to prevent Western architecture's frequent falls into empty excesses of utilitarianism, iconicism or simple banality.Esta tesis en parte intenta explorar la capacidad de la pintura china pre-moderna en sus peculiares formatos y esquemas para lograr expresar la profundidad del espacio y la duración del tiempo, como una manera de interpretar y diseñar arquitectura contemporánea. Mediante un estudio de la pintura tradicional de temática paisajística y urbana, y a diferentes escalas, se analizará el lenguaje poético de la pintura china. Más allá de las técnicas pictóricas, este lenguaje se sitúa en un nivel ideológico de comprensión y experiencia; expresa, por tanto, una gama de significados más amplia que la mera representación arquitectónica, actúa como lo haría un medio verbal para expresar una semántica de tipo crítico y narrativo, además de los consiguientes efectos visuales. En esta tesis, también veremos cómo la pintura tradicional sigue siendo la base del proceso de creación de ideas de varios arquitectos chinos contemporáneos para evitar así una mera imitación acrítica de modelos internacionales. Una fusión sutil de la contemporaneidad con la identidad cultural proporcionada por la presencia de conceptos de la pintura tradicional permite a esta arquitectura ganar nuevas capas de significado y dimensión. Por último, comprender tales procesos de ideación puede brindarnos ayuda en la formulación intuitiva de formas de enriquecer la arquitectura occidental. En particular, establecer conexiones poéticas con nuestras tradiciones culturales puede ser una estrategia útil para prevenir las frecuentes caídas de la arquitectura occidental en los excesos vacíos del utilitarismo, el iconicismo o la simple banalidad.
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McClure, Melissa Ann. "Moving pictures." PDXScholar, 1992. https://pdxscholar.library.pdx.edu/open_access_etds/4420.
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My thesis work includes 10 large drawings that explore the narrative qualities of line movement. I use line in these drawings as a recording device to document both the physical activity of the process and the personal experience that the lines represent. Through this work I attempt to develop a language of visual imagery that is autobiographical in nature. A system of personal symbols and recurring forms make up the structure of this visual vocabulary. Line movement and rhythm provides a sense of the dialog.
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Phillips, Catherine Victoria. "Art and politics in the Austrian Netherlands : Count Charles Cobenzl (1712-70) and his collection of drawings." Thesis, University of Glasgow, 2013. http://theses.gla.ac.uk/4049/.
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The Cabinet of Count Charles Cobenzl lies at the heart of the Hermitage Museum, forming the core of the collection of Old Master Drawings. Yet despite perpetual references to him as ‘grand collectionneur’, no study of Cobenzl’s collecting has ever been undertaken. Nor, in the absence of prosopographical studies of art production or collecting in the Austrian Netherlands in the middle of the eighteenth century, or indeed of other individual collectors, has it been possible to set him in a ‘collecting context’. Bringing together the works of art themselves and Cobenzl’s abundant correspondence, this thesis assesses what he owned, how and why he acquired it, the political and intellectual framework for his collecting and how he perceived the objects in his possession. Looking at Cobenzl’s roles as public figure and private collector, it shows how the latter fits into the context of the former, his collecting rooted firmly in his ambition to revive the economy and the arts of the Austrian Netherlands, in his own ambiguous status and his conflicts with the Governor, Charles de Lorraine. The battle for both real and perceived superiority was played out in many different parts of Cobenzl’s professional and private life, and he used display – the adornment of his home and his person and his collecting – as part of a play for social prestige. Cobenzl used objects as a discrete assertion of both intellectual and aesthetic superiority. This thesis proposes that Cobenzl’s transformation into a collector of drawings was an example of his perspicacious identification of emerging trends that could be turned to advantage, economic or prestigious, public or personal. He was drawn by the status of drawings, perceived as accessible only to those of greater refinement and understanding, as something elite, less accessible than the collecting of paintings. The direct and specific stimulus for his emergence as a collector of drawings lay in the provenance of two large groups of works he was offered, which permitted him to assert a very specific link to the past. It suggests that Cobenzl adopted not only the drawings, but also their histories, to negotiate social position and identity, within the context of his pragmatic utilitarianism. This egocentric study also provides the foundation for a preliminary attempt to create a context for Cobenzl’s collecting of drawings, within his circle, in the Austrian Netherlands overall, and, through analysis of his collecting practices, in the wider European context.
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Grew, Rachael. "The evolution of the alchemical androgyne in symbolist and surrealist art." Thesis, University of Glasgow, 2010. http://theses.gla.ac.uk/1858/.
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The relationship between Symbolism and Surrealism is well known yet scarcely documented in detail. This thesis aims to address this oversight by exploring the connections between these two movements, specifically through investigating their shared motif of the androgyne. The androgyne embodies the professed aim of each of these groups: the transcendence of the physical in favour of the ephemeral for the Symbolists, and the unification of opposites for the Surrealists. Equally, both movements have an interest in the occult, and the androgyne is a key image within the occult tradition symbolising spiritual unity, dovetailing with the Symbolists’ and the Surrealists’ goals. The androgyne will be analysed firstly within the context of alchemy, surveying the way in which it is portrayed in primary sources, and how this has changed in Symbolist and Surrealist art. It will also be analysed in the contexts of psychoanalysis and gender identity, observing how male and female artists portray the androgyne differently and why. The aim of this thesis is therefore two-fold: firstly, a comparative study of the iconography employed by these connected movements, to original alchemical sources, and also between the male and female artists of these movements. Secondly, it aims to create a more secure basis for the notion of alchemical influence on Symbolism and Surrealism.
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Lehrmann, Erika R. "MOTIVE through Automotive Compassionately Criticizing the Desires of Car Culture." ScholarWorks@UNO, 2017. https://scholarworks.uno.edu/td/2419.
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My artwork represents my admiration and criticisms of car culture I have gathered throughout my personal experiences beginning at a very early age. The work exists in the form of drawings, paintings, prints, collage and sculpture. This work is created through the elements of personal narrative, desires, obsessions, and questions surrounding car culture and its influences. My intention to refurbish the icons of this culture has involved creating work that is both obsessive and critical for personal exploration and understanding of past memories.
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Levacy, Megan Renee. "Eulogy." Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/etd/1265.
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The artist discusses the search for identity which underlies her Master of Fine Arts exhibition, Eulogy, hosted by the Carroll Reece Museum on the campus of East Tennessee Sate University, Johnson City, Tennessee, from March 8 to May 6, 2011. This exhibit contains works which explore the artist's relationship with the natural world, ornithology, philosophy, psychology, poetry, and related personal influences.
The artist's thesis work consists of paintings, drawings, and photographs. The artist references her own investigation of poetry, philosophy, psychology, and personal history which have shaped a private sense of awareness. Also reviewed are the influences of artists such as Alexander Marshall, William Morris, Charles Burchfield, Rosamond Purcell, and Kiki Smith; the poetry of Rainer Maria Rilke and writings of Loren Eiseley; the ideas of philosophers G. W. F. Hegel and Slavoj Žižek, and art historian James Elkins.
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Barros, Ynaia de Paula Souza. "A paisagem : da descrição à sensação." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284401.
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Orientador: Lygia ElufDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-21T00:29:47Z (GMT). No. of bitstreams: 1 Barros_YnaiadePaulaSouza_M.pdf: 185059668 bytes, checksum: 2bf2e2acb0ba9b70ca31b9f096f32d4c (MD5) Previous issue date: 2005
Resumo: O trabalho que apresento como dissertação de mestrado, buscou compreender a maneira como construo a representação da paisagem por meio do desenho e da pintura. Ao longo dos últimos quatro anos foram realizadas séries de desenhos e anotações (apresento aqui uma mostra) que reflete o meu embate cotidiano com a paisagem, com a sua representação e com as nossas referencias de construção desta, as pinturas que nos antecederam, as imagens literárias que nos remetem a ela
Abstract: Not informed
Mestrado
Artes
Mestre em Artes
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Johnson, Alyssa Marie. "Views From The House." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429835120.
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Davies, Eranah Laura Ann. "SKELETON WOMAN: EMBRACING THE UNKNOWNALLOWS FOR SURPRISES." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1429968887.
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Bradshaw, Anne. "State of Being." VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/1233.
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My work speaks to the processes of adaptation and assimilation, phenomena that explain the way in which we transform life experience and incorporate the effects of such experience into the daily workings of our psyche. To this extent my work is a self-analysis, an autobiographical reckoning, a non-verbal representation of collective experiences rendered in forms upon which images are spontaneously drawn or painted with fiber. The process of making art as a means of accessing creative instincts is a manifestation of the way in which I experience life. Adapting and assimilating to our human condition is an art, a form of survival that allows for self-expression as a technique of understanding, a way of translating beauty into collective consciousness, a means of transforming atrocity too enormous for words, an offer of conversation that transcends human reason, a sharing of imagination that embraces the past, the present and the future. As the world grows increasingly complex, our very existence is threatened by terrorist attacks, natural disasters, and socioeconomic confusion. A culture driven by consumerism responds to global competition for technology that races against the speed of light. Human misunderstanding is relegated to war, courts of law and bi-partisan politics. Adapting and assimilating life circumstances and experiences with a sensitivity to the interplay of intensely colorful fiber in my hands affects an optimistic and energetic reinterpretation of life's complexity. In a time of uncertainty, art is a reason for hope.
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Kennedy, James Thomas. "Not Directly Evident." Digital Archive @ GSU, 2008. http://digitalarchive.gsu.edu/art_design_theses/26.
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This thesis paper gives the reader the opportunity to glimpse the dramatic artistic changes that took place in my work. It will provide insights into my development as an artist and my experiences in graduate school. I will share how the process of making art became my main interest and how art changed me spiritually, mentally, physically, and personally.
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Coates, Jason McKrindey. "Times New Roman." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd/1192.
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It is difficult to say that anything will be proven in this thesis of mine. I think of it more as an account of some things that happened in my artwork over the course of graduate school and my earlier development as an artist. Some influences are listed, but certainly not all of them. Likewise, the work that is mentioned in this paper represents a sampling rather than an in-depth survey. I don't have any tables or charts.
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Colvin, Maddison Carole. "The End of All Learning." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3425.
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Science and religion are systems that work to organize experience into a manageable understanding of the world. Both of these systems gather information - one through mental/spiritual experience and the other through empirical/physical evidence - and then reorder it within a structured framework. They both work under the premise that truth is both existent and attainable within the context of their system. This separation is viewed as necessary in the knowledge/experience-gathering process, but when that knowledge is accumulated, neither science nor religion has the ability to access or communicate truth in its entirety. Plainly speaking, truth is vast and knowledge is limited. I am especially interested in the limitations of knowledge. These limitations (and their occasional transcendence) are what I seek to explore with my work. W. B. Yeats once said, "Man can embody truth, but he cannot know it." I believe that art has the ability to meld the physical and the spiritual into an unquantifiable object. It melts duality. This makes it an ideal medium in which to explore the relationship between religious (spiritual) and scientific (empirical) learning, while using their methods to make objects embodying knowledge. In my work I visually explore the limits of knowledge and make attempts at understanding through the processes of information-gathering and transformation through ritual.
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Fries, Katherine. "Ariadne's thread - memory, interconnection and the poetic in contemporary art." Connect to full text, 2008. http://hdl.handle.net/2123/5709.
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Thesis (M.V.A.)--University of Sydney, 2009.Title from title screen (viewed November 26, 2009) Submitted in fulfilment of the requirements for the degree of Master of Visual Arts to the Sydney College of the Arts, University of Sydney. Degree awarded 2009; thesis submitted 2008. Includes bibliographical references.
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Justis, Hannah T. 4239670221. "Meditative Art: A Diversion from Stress and Anxiety." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/honors/397.
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I wished to present a body of work that visually represented my own meditative process of managing stress and anxiety. Towards the end of studying for my undergraduate, I began preparing for my Final Exhibition Show, and with these preparations, my life, as well as my work, changed drastically. Within the past two years, my drawings began to take on a meditative therapeutic process. It was this development that then helped manage my growing stress levels and well as the symptoms that stemmed from high levels of anxiety and bloomed from losing control in my day to day life. It was then conceived, through this carefully crafted systematic means of creation, the notion that my mind could relax and take time to resolve the matters that plagued it, while at the same time, construct something artistically productive. While drawing, I achieved a juxtaposition of varying means of visually representing the idea of control and order within my work as well as within my mind and body. It was this, the creation of these drawings, that hence became my meditative escape in managing my stress and anxieties as well as my obsessive compulsive tendencies, where; without structure, had the potential to turn self-hindering and painful.
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Mayers, Jonathan. "Transmutational Harmony." ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/td/1328.
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The work that I have produced during my graduate studies at the University of New Orleans addresses the impact that humans have on the environment in our contemporary world. A primary focus, but not exclusive, includes industrial materials or objects, their overwhelming presence that informs the juxtaposition of economic progress, and the reality of environmental disruption. Humor and metaphor are central themes of my work and reference my personal observations and experiences of living in the midst of these environments. Sources from Contemporary underground art have been filtered through my exposure to studio practice and art history, mainly the autonomous processes of Surrealism, resulting in a variety of influences that inform my work. I present imaginary images of architectural, biological, and mechanical transformations with the hopes of nudging the viewers' expectations and to create a better understanding of my opinion pertaining to the world and reality we all live in.
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Raynolds, Nicholas. "the emotional plague." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/etd/3773.
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The artist discusses his Master of Fine Arts thesis exhibition “the emotional plague” held at the Reese Museum in Johnson City, Tennessee from March 2nd through March 27th, 2020 in which he examines a number of literary and invented narrative subjects influenced by science fiction, Surrealism and the current political climate in an attempt to reconcile the social and the personal through the creative act.
Largely improvisational in their conception, the paintings and drawings in this exhibition reflect ideas derived from writers, thinkers and artists including Wilhelm Reich, J.G. Ballard, W.S. Burroughs and Goya, all distilled through the uncertain territory of Raynolds’ personal, internal landscape. He utilizes an amalgam of characters, tropes, and stories as metaphorical expressions of social psychosis and decay.
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Haskins, Charles E. "A Matter of Taste." Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/etd/1272.
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This thesis paper supports the Master of Fine Arts exhibition at the Slocumb Galleries, East Tennessee State University, from March 14th through March 18th, 2011. The exhibit is composed of nine oil paintings depicting an invented story about two characters who create a soup for a cooking competition. The show A Matter of Taste chronicles an allegory concerning the evaluation of creative works. Through Gaudie and Baudie's "odd" recipe this work illustrates the ways in artists and art audiences interact and determine artistic value. The work is inspired by techniques in distortion and narrative painting. The following expands on the ideas, influences, techniques, and concepts that helped to create the exhibit.
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Mellor, Larissa Marie. "Absence, an even Greater Presence." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1244045472.
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Wolf, Erin Irene. "A Thesis is Not a Diary and Other Myths." Oberlin College Honors Theses / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1565810728861941.
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Renfro, Garry D. "Present Access." Digital Commons @ East Tennessee State University, 2007. https://dc.etsu.edu/etd/2112.
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The artist discusses his Master of Fine Arts exhibition, Present Access, hosted by The Carroll Reece Museum on the campus of East Tennessee State University, Johnson City, Tennessee, from April 2 through April 25, 2007. This exhibit contains works that span his four-year tenure in the graduate program and represent several iterations of the artist's exploration of the landscape as metaphor and discovery.
Subjects discussed explicate the development of thought and process leading to the pieces presented in this exhibition. Topics explored include the importance of form, material, media, research, personal history, experience, and memory. Also considered are the influences of contemporary artists such as Tula Telfair, April Gornick, Toba Khedoori, Ying Kit Chan, and Rackstraw Downes; the poetry of T. S. Eliot; the ideas of Theoretical Physics and philosopher Paul Crowther.
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Weiser, Laura Elizabeth. "Memory and the Current Moment." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1250618478.
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Harper, Hannah M. Ms. "Submersion." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/honors/199.
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The artist discusses the influence, concept, and process behind creating a cohesive body of work and accompanying show, Submersion, for the completion of her Bachelor of Arts degree and undergraduate research for the Fine and Performing Art Scholars branch of East Tennessee State University's Honors College. The show is to be held May 1st through May 7th of 2014 with its reception on May 3rd in the Submarine Gallery located on ETSU campus. The artist explored themes of the unknown, subconscious, and memory, using water as a reoccurring symbol. The works include five large portraits and two small to medium underwater landscapes in oil paint completed between Fall of 2012 and Spring of 2014. Three large-scale charcoal drawings completed in the Spring of 2013 relate to this body of work as part of a further exploration of the concepts of interest, but will not be included in the Submarine Gallery show and were instead presented as part of the B.A. Senior show in the Fall of 2013. Influences on the artist's work come from artists Jeremy Miranda, Alyssa Monks, Bill Viola, Susanna Majuri, Andreas Franke, and the work and techniques of the Old Masters
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Boushie, Jessica. "Becoming." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1594759510231751.
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Thokala, Kalyan Chakravarthy. "Haptic Enabled Multidimensional Canvas." University of Akron / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=akron1312424725.
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Bump, Rickey P. "Meta-forms." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etd/3056.
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The artist discusses his Master of Fine Arts exhibition, Meta-forms, held at the Tipton Gallery in downtown Johnson City. Exhibition dates are from March 14 through March 25, 2016. The artworks on display are a series of drawings made from carving wood panels and sheet metal and are accompanied with a large scaled site-specific installation. The exhibition culminates from research of historic and contemporary figures for non-objective art. The author gives insight to the artistic process while creating his exhibition, as well as their personal connection with the artwork.
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Inman, Brooke Ann. "SAY YES TO WHO YOU ARE." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1014.
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Cameron, Erin Marie. "The Body in Print." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1343775047.
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Lewis, Sage M. "The Material Image." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1405708145.
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Pardim, Sonia Leni Chamon. "Imagens de um Rio : um olhar sobre a iconografia do Rio Tiete." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284780.
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Orientador: Paulo Mugayar KuhlDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Levantamento e análise da iconografia do rio Tietê, observando-se a diversidade de significações deste rio no decorrer de sua história e as representações plásticas correspondente. Analisou-se brevemente a cartografia das primeiras monções; as obras dos artistas viajantes ¿ em especial os que comprovadamente retrataram o rio Tietê, como Thomas Ender, Willian John Burchell, Aimé-Adrien Taunay e Hercule Florence e o olhar dos pintores locais ¿ Miguelzinho Dutra e Almeida Júnior. Tendo-se como foco a questão da construção do imaginário sobre o Tietê a partir de sua iconografia, enfatizou-se a análise das pinturas referentes às monções que pertencem ao acervo do Museu Paulista. Estas pinturas, produzidas no princípio do século XX, participaram de um projeto de construção da história, tendo São Paulo como referência hegemônica e cujo mentor foi Affonso D¿Escragnolle Taunay. As referidas pinturas utilizaram como modelo visual as ilustrações produzidas durante a Expedição Langsdorff e publicadas no livro ¿Viagem Fluvial do Tietê ao Amazonas¿ ¿ relato de Hercule Florence. Apesar da visualidade similar, as duas iconografias apresentam significações diferenciadas: as de Florence são crônicas visuais de uma expedição científica determinada (a de Langsdorff) e as obras do Museu Paulista são encomendas para um museu histórico que generalizam todas as monções. Para a compreensão desta dicotomia, analisou-se os contextos onde ambas foram produzidas
Abstract: Survey and analysis of the iconography of the Tietê river, observing the diversity of meanings of this river during its history and the corresponding plastic representations. The cartography of the first ¿monções¿ (expeditions over the Tietê river in the XVIII-th and XIX-th centuries) was briefly analyzed through the works of the traveling artists - in special those that had effectively portrayed the Tietê river, as Thomas Ender, William John Burchell, Aimé-Adrien Taunay and Hercule Florence, and of the local painters - Miguelzinho Dutra and Almeida Júnior. With focus on the question of the construction of Tietê imaginary from its iconography, it was emphasized the analysis of paintings portraying the ¿monções¿ that belong to the São Paulo Museum. Produced in the beginning of the XX-th century, these paintings had participated of a history construction project, having São Paulo as hegemonic reference and Affonso D'Escragnolle Taunay as mentor. The visual model of these paintings was the illustrations made during the Langsdorff Expedition and published in the book ¿Viagem Fluvial do Tietê ao Amazonas¿, by Hercule Florence. Despite the similar viewing, the two iconographies present different meanings: Florence¿s are visual chronics of a specific scientific expedition (Langsdorff¿s) and São Paulo Museum¿s are orders for a historical museum that generalize all the ¿monções¿. To understand this dichotomy, the contexts where both had been produced were analyzed.
Mestrado
Mestre em Artes
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Rousseau, Leslie Corder. "From the Edge." VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/918.
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Paintings and drawings are the physical representations of my dialogue with the world around me. Art is how I connect to what is too large, or too vague, or too personally meaningful to express in any other way. Space and its transformation by light and color have always been central to this dialogue. I am particularly intrigued by spatial ambiguity. Space exists for us only in how it relates to us and so, space changes. One viewpoint or state of mind might make space seem freeing, while another makes the same space feel confining. Barriers are sometimes delineated, sometimes obscured. At other times, they are broken. This has a political implication which appears in my work as fissures, fences, compression, and collapse.The space of my inner self, the space outside, and the space between the two are relationships that drive what I paint and draw. My art is the place where I acknowledge the cracks in the ice and where I try to keep from falling through when the ground opens up. Shifting planes are where I try to keep my balance while peeking through the cracks and over the edge.