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Dissertations / Theses on the topic 'Art - Fine Arts'

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Published: 4 June 2021
Last updated: 29 July 2024

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1

Leung, Yin-ling Carol. "Academy of fine arts." Hong Kong : University of Hong Kong, 1994. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25944873.

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2

Leung, Yin-ling Carol, and 梁燕玲. "Academy of fine arts." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31982062.

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3

Degges, Douglas Ross. "Master of fine arts thesis." Thesis, University of Iowa, 2012. https://ir.uiowa.edu/etd/2854.

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In the course of studying painting for the past three years at the University of Iowa, I have found collaborating with other artists to be a great way for me to try on different hats. Two of these collaborations in particular, The Old Man Study Group with Hamlett Dobbins (Memphis, TN) and The Coracle Drawing Club with David Dunlap (Iowa City, IA), have given me the license and opportunity to pretend to be someone else. These collaborative projects have asked me to consider, and at times adopt, even if only for a moment, the interests and concerns of another maker. A few months into these two projects, I noticed that the work I was making on my own, in the isolation of my own studio, was suddenly open to the world's innovations, and not just my own.
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4

Monnier, Antoinette. "The interrelationship of graphic design and fine art /." Online version of thesis, 1995. http://hdl.handle.net/1850/11969.

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5

Findlay, Judith. "Fine art as performance : a definition of the discipline (a study of the fine art world in the art school)." Thesis, University of Strathclyde, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.366768.

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6

Wood, Andrew John. "gala." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492695903406475.

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7

Amano, Fumi. "Re-exploring my identity as a Japanese woman." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4846.

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This document contains reflections on my motivations and the personal decisions made in the realization of selected works leading up to and including my thesis exhibition "Voice". The following text shares the many and varied connections between my life and art-making. My issues in my personal relationships with others has spilled out from my heart and turned into these works. I'm continuously expressing the unsuccessful attempts we make at developing true bonds that bridge the gaps between people.
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8

Michael, Michael John. "Ex Nihilo : emptiness and art." Master's thesis, University of Cape Town, 2006. http://hdl.handle.net/11427/8198.

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Includes bibliographical references (leaves 93-102).<br>The purpose of this document is the elaboration of a system of thought that sees art as an empty structure, in a way that is analogous to the conceptual mechanics of Buddhism. What is meant exactly by the term Buddhism will I hope, become clearer as the reader moves through it. Likewise, it is hoped that a perspective on art that sees it as sharing certain conceptual tendencies with Buddhism will emerge. What must be borne in mind for the meantime is the following; firstly, that the concept of emptiness in Buddhism is not nihilism, and this holds true for the system that I describe; it is my position that much art is empty (in a way) and necessarily so. Secondly, that both systems (though not exclusively), are ways of relating, rather than bodies of text or specific images. Wittgenstein's view of philosophy is analogous to this last point in that he insisted on seeing philosophy as a method rather than a science (Perloff 1996: 46). This tendency of mode over product, or way of relating over the thing made, is a critical underlying component of what follows in this document and in my practical production.
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9

Lech-Piwowarczyk, Ewa. "Language and the definition of art: Analytic and continental discussion of the nature of art." Thesis, University of Ottawa (Canada), 1993. http://hdl.handle.net/10393/6684.

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Art has a definite place in our culture and it plays a significant role there. Yet all the continuing efforts in analytic aesthetics to define art have failed, leading to an impasse. So, we still do not know how to define art. In order to overcome the impasse I argue that a change of philosophical perspective is necessary and I suggest a confrontation between Continental and analytic perspectives on defining art. In Part One I deal with analytic aesthetics. I single out Danto's theory of art as the paradigmatic analytic theory of art. I call attention to the fact that Danto defines art by means of language, a theory of art which is a discourse on the language of art. I show the impact of Danto's theory on the rest of analytic aesthetics. First, I present Dickie's theory of art of and show how he draws from Danto but departs from him later on. Then, I present Tilghman's critique of Danto, and I stress the point that in Tilghman's view the problem with Danto's theory is linguistic in nature. I identify Danto's understanding of language as the source of the problems recent analytic aesthetics has with the definition of art. In this way I locate the current impasse in analytic aesthetics and I claim that the underlying analytic understanding of language is too narrow in order to define art. I show the evolution of Danto's views and I discuss his attempt to enlarge his understanding of language with history. In Part Two I try to suggest a way out of the impasse. I shift the perspective and turn to phenomenology and Ingarden's theory of art. I call attention to the role of language in his philosophy and present his approach as quasi-analytical. Specifically, I interpret Ingarden as the continuator of Twardowski and not of Husserl in his understanding of language. I point to the fact that Ingarden's non-phenomenological view of language is a view that allows of seeing language not only as a container of ideas but also their shaper. I show that Ingarden attributes to language an attentional mode of being, and that he treats it as a means of communication. He exposes its cultural nature and enlarges its understanding with the notion of society. I claim that such a broader understanding of language may help analytic aesthetics overcome the present impasse. In Conclusion, I argue that supplementing the notion of language with the notion of history, as Danto does, or society, as Ingarden does, provides a fuller understanding of language, and consequently of art. Hence, it makes possible the overcoming of the impasse in analytic aesthetics. At the same time, however, I show that the very project of defining art has to be relativized in terms of understanding and responding to the significance of art.
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10

Watrous, Shawn. "Undersound: An Investigation of Painting as a form of Expression." Kent State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=kent1366359903.

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11

Singleton, Joe. "Ascension: A Fine and Performing Art Scholar Thesis." Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/honors/17.

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12

Lang, Martin. "Militant art." Thesis, University of Kent, 2015. https://kar.kent.ac.uk/50237/.

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This thesis is an analysis of ‘militant art’ – a type of art activism that is prepared to break the law, use violence against people (including the artists themselves), property, or incite others to do the same, in order to realise a cause. This thesis considers militant art as a continuation of the expanded field of relational aesthetics fused with a renewed interest in 20th century avant-garde art practices and the organisational structure, politics and tactics of the Global Justice Movement – which I conceptualise as a direct response to a lingering post-political spectacular malaise. Although there has been a surge of recent writing about Socially Engaged Participatory Art practices and, to a lesser extent, art activism, the more militant forms are still under-researched. The thesis is divided into two parts: the first is an art historical, theoretical and political analysis; the second uses qualitative research methods to verify and interrogate claims made in the first. A series of ten interviews with contemporary artists (and collectives) and an ethnographical study provide new data on militant art, which are analysed fully in a dedicated chapter. The findings give us insight into the militant artists’ psychology, motivations and tactics providing a description, analysis and definition of hitherto overlooked contemporary practices.
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Hanes, Jay Michael. "Collaborative activist art : A Case Study /." The Ohio State University, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487859313348013.

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14

Bright, Matthew Jerome. "Disparate Realities." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1366385044.

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15

Petrosky, Natalie E. "Little Moving Windows." Kent State University Honors College / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1344224872.

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16

Pruitt, Sharon Ivette. "Perspectives in the study of Nigerian Kuntu art : a traditionalist style in contemporary African visual expression /." The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487260859495397.

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17

Whitacre, Brandon M. "Visual Conversations, in Tangible Poems." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338397773.

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18

Garvin, Christopher Paul. "In Search of a More Accessible Art." The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu1394721054.

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19

Cavener, Kim R. "Federal Education Laws and the Fine Arts." Thesis, Lindenwood University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3605243.

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<p> Due to federal laws requiring standardized testing of only a select few of the core subjects, many students have been divested of fine arts instruction (Chen, 2008; Garcia, 2010; Jacobsen &amp; Rothstein, 2009; Maxwell, 2008; Suzuki, 2009). Moreover, school officials have reduced funding allocated to non-tested content areas as one means of balancing district budgets in a poor economy (Chen, 2008; Garcia, 2010). This mixed method study examined music educators' and curriculum directors' perceptions of how federal education laws have affected public school fine arts. Analysis of data from interviews of six music educators and six curriculum directors were conducted concurrently with the distribution of a Likert online survey. The interview and survey methodologies provided descriptive data of educators' perceptions regarding the consideration of fine arts as a core subject in policy and practice, the role of public school fine arts in the education of the whole child, the overall value of the fine arts in light of brain research, and the controversy surrounding the standardized assessment of the fine arts. The findings of the study revealed that even though all curriculum directors and music educators agreed the fine arts should be included in a child's holistic education, music educators possessed stronger beliefs regarding the fine arts being considered a core subject, Curriculum directors indicated their districts valued the fine arts as a public relations tool and as a means to boost achievement in other subjects, while music educators in the same district spoke of feeling devalued, indicating a disconnect in communication between administrators and staff. Finally, though many educators oppose the standardized testing of the fine arts, the assessments would provide valuable data.</p>
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20

Glah, Catherine. "Coping-The Art of Depression." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1263.

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This thesis combines personal experiences of depression with experimentation of media, and consists of four projects including a set of five postcards, a graduation robe, and a tapestry collection. The final project, and central focus, is a series of 100 digital images that was created to distract the artist from harmful mental breakdowns. The series is aptly named Coping and has become a study on expressions of the mind. The exploration of the subconscious through art has roots in psychology and influences from several art movements. Psychologist Sigmund Freud recognized the power of the unconscious mind, and his psycho-analytical discoveries influenced artists in both the Surrealist Automatic and Abstract Expression movements (Turner, pgs. 373-374). Artists such as Andre Masson, Joan Miro, and Jackson Pollock experimented with subconscious thoughts, images and techniques. Additionally, contemporary artists such as Yayoi Kusama reference psychological states of being in their work by using specific denotative elements such as pattern, shape and color. Even though Coping was not initially created with conscious intention, the work proves that art can be both an insight into the subconscious and a powerful coping mechanism.
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21

Nichols, Athena Irene. "Examining the Role of Active Student Engagement in High School Arts Courses." ScholarWorks, 2015. https://scholarworks.waldenu.edu/dissertations/187.

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A primary challenge to educators is the design and implementation of effective student engagement processes. High school students cannot be successful if they are frequently absent from school, as active engagement opportunities reinforce knowledge and help to keep students enthused in their learning. To address the challenges of frequent school absences, this study examined a gap in the literature--namely, the relationship between active engagement and arts courses as a motivator for students to remain in high school. For this study, active engagement was defined as a process in which the student's interests, efforts, and knowledge culminated in an application of the learning content. Using Csikszentmihalyi's (1990) flow theory, a mixed-methods study was conducted to examine students' experiences with active engagement in arts courses. Data were collected from a survey (50 = x) and phenomenological interviews (8 = x). Quantitative analyses of these data included a paired-sample t test to determine whether there was a significant difference between the average values of students' perceived learning capabilities and expectations for learning in relation to arts courses versus non-arts courses. Content analyses created categories and identified themes that found students felt more engaged, self-confident, and motivated about their learning during arts educational experiences. Contributions to positive social change included increased awareness about how students make meaning of active engagement in arts courses. Such information can help school districts understand more about the importance of providing students with artistic and creative educational experiences.
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22

Tingley, Edward. "Game of knowledge: The modern interpretation of art." Thesis, University of Ottawa (Canada), 1995. http://hdl.handle.net/10393/9820.

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Summation. A specifically modern approach to the interpretation of art is distinguished, rooted in the insight that cognitivity in interpretation must be oriented by sensitivity to the subject-object paradigm. It is shown that specific modern theory of interpretation has become established in twentieth-century theory and practice. That theory is demonstrated to be a set of interpretative rules. The hidden dependence of those rules on specific conceptions of the nature of a work of art (qua hermeneutic entity) is revealed. Three such conceptions of the work of art that are basic to modern art history are articulated and critically examined by careful attention to actual works. Interpretation is shown to exceed the strictures of each model, with the specific consequence that the meaning of the work of art in modern times is systematically narrowed. Motives for that narrowing are discussed. (Abstract shortened by UMI.)
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23

Castronovo, Anthony Joseph. "Lift: Public Art and the Activation of Space." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1418835875.

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24

Jones, David Edwal. "All the king's horses (a 3-dimenslonal fine art piece)." Honors in the Major Thesis, University of Central Florida, 1999. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/65.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.<br>Bachelors<br>Arts and Sciences<br>Art
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25

Cope, Hazel Mary. "Exploring Interrelationships between Fine Art and Nursing." Thesis, Griffith University, 2016. http://hdl.handle.net/10072/367362.

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The nursing profession can be characterised as a unique blend of attributes and philosophies that encompass scientific knowledge and artistic process. The interpersonal experience of caring in nursing is associated with a positivist sense of expression, acute observation, and compassion. It shares with artistic experience an intense motivation and analysis that involve the creative engagement of the senses. This research is informed by my forty-six years of working as a practicing registered nurse, and it takes an interdisciplinary approach between fine arts and nursing science to explore the elusive qualities of the human caring experience. My studio exploration, which uses everyday objects from the medical arena, highlights the values of empathy and sensitivity that are fundamental to the nurse–patient relationship. This is achieved through the formal strategies of repetition and placing everyday medical items in unfamiliar contexts, subsequently transforming them to evoke a provocative visual experience. These everyday items become a conduit for viewers to experience a new sensation. Functional objects are elevated to the poetic, enabling meanings to emerge that circumvent utilitarian and common associations. This research also highlights the impact of advancing technology and increased time pressures on the contemporary context of nursing, and the effect this has in decreasing interpersonal relations between nurse and patient. Furthermore, this project seeks to support interdisciplinary collaboration between visual arts and nursing science as a means to gain a better understanding of both disciplines. In doing so, I make no grandiose claims for either art or nursing as sole purveyors of feeling and emotion, but rather seek to examine the connections and correspondences between these two areas of practice that both seem to function from an underlying assumption that human beings have an unspoken desire to engage with each other.<br>Thesis (Professional Doctorate)<br>Doctor of Visual Arts (DVA)<br>Queensland College of Art<br>Arts, Education and Law<br>Full Text
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Johansson, Alva. "Bodydressed : BA IN FINE ARTS; FASHION DESIGN." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-640.

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Bodydressed: Investigate alternative forms of wearing garments in relation to the body trough questioning garments fixed position and bodily relationship, using the own body and a bodystocking as a tool for draping.
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Kaufmann, Shayla. "Marginalized students accessing museum art education programs." Thesis, Boston University, 2014. https://hdl.handle.net/2144/21185.

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Thesis (M.A.) PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.<br>For many years as an art educator, this researcher, has observed, the positive impact an art education program can have on a variety of different student populations. All students deserve access to a meaningful art education. It has been shown that developing brain health and looking at art is beneficial for the human mind. Scientists in collaboration with artists have recently shown, through Computed Axial Tomography (CAT scans) something that we already knew (or suspected), from our own experiences; making and looking at art is positive for human cognition. According to Professor Semir Zeki, Chair of the Neurasthenics Department at University College London: (1999, p.187). Inner Vision: An exploration of art and the brain: "What we found is when you look at art – whether it is a landscape, a still life, an abstract or a portrait – there is strong activity in that part of the brain related to pleasure. We put people in a scanner and showed them a series of paintings every ten seconds. We then measured the change in blood flow in one part of the brain. The reaction was immediate. What we found was the increase in blood flow was in proportion to how much the painting was liked. The blood flow increased for a beautiful painting just as it increases when you look at somebody you love. It tells us art induces a feel-good sensation direct to the brain." This thesis will not be examining the positive impact art has on the brain; it is referred to in order to acknowledge the fact many artists and art appreciators already know: Looking at art is a valuable thing, and art education is important for developing minds. This thesis will examine the bridge between art museum programs and marginalized student populations. These are the students who have Individualized Education Programs (IEP’s), or those for whom English is a second language and who may live in low-income urban communities. It will also examine what museum-based art education programs can provide to this population of youth. In the Wall Street Journal, as cited by (Winner, Goldstein, and Vincent-Lancrin, 2013, p.18) the former chairman of the National Endowment for the Arts, Rocco Landesman offers pointed remarks when arts education comes up: "Some students don’t fit the No Child Left Behind regime and other subjects don’t inspire them. Talented but offbeat, they sulk through algebra, act up in the cafeteria, and drop out of school. The arts 'catch' them and pull them back, turning a sinking ego on the margins into a creative citizen with 'a place in society.'" Museums often provide a place for students to go and engage with art in a meaningful way that captures their imagination and engages them in learning. The emphasis of this research falls on the unusual student, the difficult learner, the student who has a learning style difference and who may never have encountered an original work of art. The purpose of this study is to report the ways in which students responded to art in a museum setting. Why art museums enjoy a reciprocal benefit from serving these students will also be examined. Art educators know that art is important for the development of creativity in students, and students’ benefit from engagement in studio art activities. Yet, most crucially, art programs are often marginalized in low-income urban communities. According to the Center on Budget and Policy Priorities, more than 95 percent of schoolaged children are attending schools that have cut art education since the recession. In low-income communities, many students have few studio art classes along their journeys through pre/K-12 public education. Those denied an art education often find themselves without the benefit of an education that includes studies about the value of culture, leaving those affected by poverty with little impetus to reach for higher educational goals. Art education programs at two museums are examined to show how their programs reach out to students from underserved communities. In particular, this study looks at the Cape Ann Museum in Gloucester and Peabody Essex Museum in Salem, both in, Massachusetts, to evaluate how to engage marginalized, urban students and retain these youth as enthusiastic lifetime museumgoers.<br>2031-01-01
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Milburn, Jason K. "Compressed Spaces." Kent State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=kent1511268861196472.

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29

Lieberman, Christina Michele. "A handbook for developing an exhibition guide for a student union art gallery." Thesis, The University of Arizona, 2002. http://hdl.handle.net/10150/278798.

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This thesis is a narrative of the development and design of an exhibition guide entitled Exhibition Guide for the Student Artist. The guide was created for use with student artists who will exhibit at the Union Galleries. The contents of the Exhibition Guide were based on an analysis of data collected from questionnaires administered to university students and curators of community galleries. The data were compared for common themes and threads. A series of questions about exhibiting emerged which formed the basis for the guide. The purpose of the guide is to help art students, new to the exhibition process, and to encourage their professional development. The Exhibition Guide for the Student Artist will be publicized by the Arizona Student Unions in January 2003.
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Schowengerdt, Angela Nichole. ""Out of the Art Closet and Into the Middle School"." The University of Montana, 2007. http://etd.lib.umt.edu/theses/available/etd-07192007-130411/.

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In this project my primary goal was to expose the public to the artistic self that I was so sure of in high school, but had lost in the years following. I was so sure of myself and art while in the confines of middle school and high school. Once I got into college I found myself lacking that confidence, due to the fact that I was surrounded by many great artists and I felt as though I was not so great anymore. I lost sense of who I am as an artist, and put that talent on a back burner in my life. Since I began the creative pulse, I began regaining a sense of who I am, and realized that I had lost something I truly love. In my field project the first year in the creative pulse, I worked at creating a mural for my unborn child. After realizing that I could do that, I gained some lost confidence and decided to do the stage design, lighting, and artwork for a school play and as my final creative project. I would be working with a colleague and friend in this endeavor, which made it seem a little more doable. After tackling the personal task of doing art again, I felt that the next step in reclaiming myself as an artist was to go big. By going big I mean involving everything I am surrounded by on a daily basis: colleagues, students, family, public, radio, news, and newspaper. I felt that by doing this, my artistic self would have no choice but to be shown; it could no longer hide.
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Grau, Janet. "long since familiar: sculpture, performance, video, art, body, and life." The Ohio State University, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=osu1391609110.

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Braverman, Janice Regina. "Art and Technology Unite: The Quiepalpatorium, and Interactive Kinetic Installation." The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu1394715300.

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Cabrera, Raul. "Narrative Art and the Portrayal of Faith and Social Injustice." Thesis, The University of Texas Rio Grande Valley, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10268904.

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<p> The artwork I strive to create infuses what interests me and is important to me all the while taking issues I feel are important to address and incorporating them as well. In the case of the exhibit <i>Spiritual Awakening,</i> the passion of creating narrative imagery in the form of a graphic novel as well as the yearning to express my faith was the vehicle to bring to light many social injustices in the form of criminal activity from murder to corruption. Though these themes have been seen in different aspects in a variety of mediums, rarely have they been conveyed all together in one package. As these three things are formed and displayed in <i>Spiritual Awakening,</i> it is meant to produce a healthy dialogue to not only see the nature of some people who lean towards criminal activity, but to also seek to become better themselves.</p><p>
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Cloud, Joshua D. "Making with Caution." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306780837.

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35

Kreamer, Lisa Marie. "Undergraduate art students: Influences affecting the career decision to major in art." Thesis, The University of Arizona, 1997. http://hdl.handle.net/10150/278611.

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This thesis surveys 171 undergraduate art students at the University of Arizona to evaluate the effect their high school art teachers had on their career decision to enter a college art program. The parental influence is addressed. Student responses are viewed by gender, classification and major. Findings indicate the teachers influence less than 50% of their students and that parents have a greater influence in the decision process. There are definite gender differences, males talked with their parents more than females but females expressed more support from parents once in an art program. Students in commercially viable studio programs, graphic design and photography, report greater parental support.
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Brighton, Christopher Reding. "Research in fine art : an epistemological and empirical study." Thesis, University of Surrey, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.305776.

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Westergren, Ulla-Britta. "TRANSLATING OUR CONSTANT MIGRATING IDENTITIES : Jewellery to carry, fill and let go of." Thesis, Konstfack, Ädellab/Metallformgivning, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-4697.

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Sandy, Heather. "Beauty and the Synthetic." Thesis, Southern Illinois University at Edwardsville, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1591407.

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Giaquinto, Kevin. "Digital Chaos| Exploring Relationships Between Technological Advancement and Visual Experience." Thesis, Rochester Institute of Technology, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1561428.

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<p> More so than any other time in history, humans are being exposed to an enormity of digital images every day. The internet, combined with accompanying technological advancements in cellular communication has created an exceptionally chaotic visual experience within the daily lives of millions of people. Through the use of digital photomontage, my artwork attempts to quantify and evaluate the impact that thousands of digital images may have on the emotional and psychological state of human beings. Concurrently, I am in interested exploring the mental repercussions of visual overload, specifically, how chaotic digital experiences may impact the quality of the human condition as a whole. I use the internet to recontextualize found images through a variety of digital manipulation methods to create a system of aesthetic and conceptual relationships. Each collage is comprised equally from images I have produced myself, and appropriated images found on the internet to indicate the increasingly ambiguous boundary between our physical and virtual realities. I often use images that imply a war-like opposition between our natural and technological environments. I believe such images are indicative of the conflicts that take place on a psychological plane of consciousness within our minds every day as we strive to cope with our new digital reality brought forth by rapid technological advancement.</p>
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Urquidi, Nicole Lauren. "Cindy Sherman| Portraits in question." Thesis, California State University, Long Beach, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1527024.

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<p> Since her <i>Untitled Film Stills</i> of the 1980s, Cindy Sherman has assumed the roles of artist and model to present a continuum of complex female personas that are embedded within our cultural unconscious. Though we are often reminded that her photographs are not self-portraits, Sherman continues to employ many stylistic conventions of portrait photography. I use this as a means to re-contextualize Sherman's practice within a critical study of portrait photography that will open up new possibilities in reading her work. Using the photographic index, Charles Sanders Peirce's classification of signs, Charcot's nineteenth century photographs of hysterics, and Jacques Lacan's four discourses, I locate Sherman's practice within a complex history of photographic portraiture from the nineteenth century to today's digital landscape to ask where portraiture has been and where it is headed. </p>
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Phipps, Kristen Renee. "'Till the Cows Come Home." The Ohio State University, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu1618747544530061.

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Dietz, Matthew Shoemaker. "It did well for what I wanted it to do." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1276789430.

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Ajmal, Saulat. "Fragmented Places." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4271.

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My work is about an inner struggle, which stems from the shifting nature of my own identity being constantly displaced and re-imagined. My paintings and performances are propositions for a utopic world. They offer a place for identity to rest and are defined through ritualistic movements, which are inescapably mine. While I work in several mediums including paintings, performance, installation and sculpture, this thesis paper is an exploration of the work I have produced specifically over the last six months
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Mazzone, Marian 1963. "Van Gogh and the Dutch tradition: Mapping the countryside of Arles." Thesis, The University of Arizona, 1990. http://hdl.handle.net/10150/291528.

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In July of 1888 Vincent van Gogh produced a series of drawings of the plain the Crau. Two drawings from this series are particularly shaped by the circumstances surrounding van Gogh at that time, and what he wanted to communicate about the French countryside. Wanting to produce drawings that would sell, van Gogh turned to methods of composition and style based on Dutch seventeenth-century panoramic landscapes, which were themselves shaped by the practices of map making. Van Gogh produced representations of the French countryside that reveal his nostalgic attitude and the biases of his class. What van Gogh saw in France was the old Holland of the seventeenth-century landscape artists, not France of the late nineteenth century. The drawings re-connect the artist to his Dutch visual heritage. They also reveal van Gogh's nostalgic view of the rural landscape, and his particularly Dutch attitude toward changes in this landscape caused by nineteenth-century modernization. (Abstract shortened with permission of author.)
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Hansen, Julie Vinsonhaler 1961. "The philosophers of laughter: Velazquez' portraits of jesters at the court of Philip IV." Thesis, The University of Arizona, 1990. http://hdl.handle.net/10150/291615.

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Previous art historical scholarship has approached the portraits of court jesters painted for the Buen Retiro Palace by Diego Velazquez between the late 1620s and 1630s as fascinating character studies that provided the artist with the opportunity to display psychological nuances and to experiment with painterly techniques that were precluded in his formal portraits of the royal family and members of the court. In addition, they have been discussed as an interesting intermingling of Northern and Southern Italian traditions of jester and dwarf imagery. This thesis will show that Velazquez was also deliberately including sophisticated references to prevailing philosophical ideas concerning inverted realities, and that these paintings, as well as their placement, provide information about the function of the jester as an instrument of opposition and comparison for the monarch at the court of Philip IV.
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Sarut, Paula. "Thou Art That." Digital Commons @ East Tennessee State University, 2009. https://dc.etsu.edu/etd/1811.

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The artist discusses her Master of Fine Arts thesis exhibition, Thou Art That, held in Slocumb Galleries, East Tennessee State University, from November 3-7, 2008. The exhibit consists of self-portraits in oil on stretched canvas painted between May and October 2008. Ideas explored include the creative power of limitation, metaphor, divinity, relationship, human development, life experience, and the bond between mother and child. Influences discussed include the written works and ideas of Joseph Campbell and Joseph Chilton Pearce, as well as the ideas of artist Judy Chicago, art critic Suzi Gablik, and the artwork of Gerhard Richter. Included is a complete catalogue of the paintings from Thou Art That.
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Herr, Kerry Ellen. "Integrating the fine arts into a niddle school classroom." CSUSB ScholarWorks, 2000. https://scholarworks.lib.csusb.edu/etd-project/1705.

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Cheung, Wing-him Edward. "HKU extension : Music & Fine Arts complex /." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25948647.

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Tolley, Rebecca. "Review of Art Full Text." Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/etsu-works/5640.

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Hoffman, Daniel Forrest. "An Exploration of Absence." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1250223181.

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