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Relevant bibliographies by topics / Painting MFA

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Academic literature on the topic 'Painting MFA'

Author: Grafiati

Published: 4 June 2021

Last updated: 13 February 2022

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Journal articles on the topic "Painting MFA"

1

Sawyer, R. Keith. "How Artists Create: An Empirical Study of MFA Painting Students." Journal of Creative Behavior 52, no. 2 (2016): 127–41. http://dx.doi.org/10.1002/jocb.136.

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Crawford-Volk, Mary. "Sargent's Daughters: The Biography of a Painting. By Erica E. Hirschler. (Boston: MFA Publications, 2009. Pp. x, 262. $29.95.)." New England Quarterly 83, no. 2 (2010): 341–44. http://dx.doi.org/10.1162/tneq.2010.83.2.341.

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Hentea, Marius. "Putting Modernism Together: Literature, Music, and Painting, 1872–1927 by Daniel Albright." MFS Modern Fiction Studies 63, no. 3 (2017): 582–85. http://dx.doi.org/10.1353/mfs.2017.0041.

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Liu, Haixia, and Xue-Cheng Tai. "Curvature-based authentication of van Gogh paintings." Methods and Applications of Analysis 26, no. 3 (2019): 269–80. http://dx.doi.org/10.4310/maa.2019.v26.n3.a4.

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Xu, Qiang, Jordan Hristov, Liying Cao, and Xinggui Que. "Time to flashover of a vinyl based lining material: Cone calorimeter experiments." Thermal Science 15, no. 3 (2011): 785–92. http://dx.doi.org/10.2298/tsci100621003x.

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Fire behaviour of a vinyl based lining material with and without anti-corrosion painting has been evaluated through 35 and 50kW/m2 cone calorimeter tests. The minimum heat flux requited for surface ignition was estimated. The data were compared by those provided by a revised Kokkala-Thomas?s classification index prediction model, the ?stman-Tsantaridis empirical linear regression model and the Hansen-Hovde multiple discriminant function analysis (MDA). All results collected allowed to predict the material flashover time and to classify the lining material. The results illustrate some differences in the classification of the material due to different approaches of the models used.

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Hearn, Nathan, William Bugg, Anthony Chan, et al. "Manual and semi-automated delineation of locally advanced rectal cancer subvolumes with diffusion-weighted MRI." British Journal of Radiology 93, no. 1114 (2020): 20200543. http://dx.doi.org/10.1259/bjr.20200543.

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Objectives To evaluate interobserver agreement for T2 weighted (T2W) and diffusion-weighted MRI (DW-MRI) contours of locally advanced rectal cancer (LARC); and to evaluate manual and semi-automated delineations of restricted diffusion tumour subvolumes. Methods 20 cases of LARC were reviewed by 2 radiation oncologists and 2 radiologists. Contours of gross tumour volume (GTV) on T2W, DW-MRI and co-registered T2W/DW-MRI were independently delineated and compared using Dice Similarity Coefficient (DSC), mean distance to agreement (MDA) and other metrics of interobserver agreement. Restricted diffusion subvolumes within GTVs were manually delineated and compared to semi-automatically generated contours corresponding to intratumoral apparent diffusion coefficient (ADC) centile values. Results Observers were able to delineate subvolumes of restricted diffusion with moderate agreement (DSC 0.666, MDA 1.92 mm). Semi-automated segmentation based on the 40th centile intratumoral ADC value demonstrated moderate average agreement with consensus delineations (DSC 0.581, MDA 2.44 mm), with errors noted in image registration and luminal variation between acquisitions. A small validation set of four cases with optimised planning MRI demonstrated improvement (DSC 0.669, MDA 1.91 mm). Conclusion Contours based on co-registered T2W and DW-MRI could be used for delineation of biologically relevant tumour subvolumes. Semi-automated delineation based on patient-specific intratumoral ADC thresholds may standardise subvolume delineation if registration between acquisitions is sufficiently accurate. Advances in knowledge This is the first study to evaluate the feasibility of semi-automated diffusion-based subvolume delineation in LARC. This approach could be applied to dose escalation or ‘dose painting’ protocols to improve delineation reproducibility.

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Wittenberg, Hermann. "Reflections on Literary Studies in South Africa." Matatu 50, no. 1 (2018): 208–27. http://dx.doi.org/10.1163/18757421-05001006.

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AbstractZakes Mda is not only one of South Africa’s most significant post-apartheid novelists, but has worked in diverse media such as theatre, film, opera, painting and music. His prolific creativity in forms other than the novel needs to be taken into account when evaluating his writings. This article proposes an intermedial analysis of Black Diamond (2009), a novel which has largely been given unfavourable critical attention, and suggests that it needs to be considered as a mixed medial text that is shaped by a cinematic mode of narration. The novel is also re-interpreted in the light of a postcolonially inflected “surface reading,” which makes the pervasive visuality of Mda’s prose visible. Finally, it is argued that texts such as Black Diamond raise questions about the interpretive methodologies and reading practices in English literary studies, pointing to future challenges and opportunities in the discipline.

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Balarin, M. G., E. Brink, and H. F. Glen. "Itinerary and specimen list of M.A. Pocock’s botanical collecting expedition in Zambia and Angola in 1925." Bothalia 29, no. 1 (1999): 169–201. http://dx.doi.org/10.4102/abc.v29i1.587.

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Mary Agard Pocock, bom in Rondebosch in 1886, and best known as an algologist, was also a ‘trailblazer' in the biological exploration o f Angola. She, and the ethnologist Dorothea Bleek, undertook a scientific expedition which started at Livingstone, Zambia, and ended at Lobito Bay, Angola, during the dry season, from April to October 1925.During the journey Mary Pocock collected ± 1 000 specimens in the Zambesian region o f endemism (II). as delineated by White (1983) o f which 12 were considered to be species novae. Many o f the specimens were painted by Mary. Some original paintings are housed in the Selmar Schonland Herbarium, Grahamstown (GRA). She also kept detailed diaries o f her route past villages and through the different vegetation types. Collecting locations, with specimen numbers relating to her collection in the Zambesian region, are indicated. An alphabetical list o f all the species collected by Mary Pocock during this exploration has been compiled

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Ferebee, Steve. "Virginia Woolf: Dramatic Novelist, and: "To The Lighthouse" and Beyond: Transformations in the Narratives of Virginia Woolf, and: Virginia Woolf: The Frames of Art and Life, and: The Sisters' Arts: The Writing and Painting of Virginia Woolf and Vanessa Bell, and: The Essays of Virginia Woolf, Volume II (review)." MFS Modern Fiction Studies 35, no. 4 (1989): 802–6. http://dx.doi.org/10.1353/mfs.0.1423.

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Quoquab, Farzana, Nomahaza Mahadi, Taram Satiraksa Wan Abdullah, and Jihad Mohammad. "Stardust Petroleum Sendirian Berhad: how to inculcate the pro-active safety culture?" Emerald Emerging Markets Case Studies 8, no. 4 (2018): 1–20. http://dx.doi.org/10.1108/eemcs-11-2017-0249.

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Learning outcomes The learning objectives of using this case are as follows: to understand the concepts of organizational structure, organizational culture and organizational change; to expose students to the problems that may encounter organization when it intends to bring changes in culture; to stimulate students’ understanding of the necessity to build positive organizational culture; to advance students’ knowledge about oil and gas industry; to develop students’ understanding of using Levin’s model of cultural change; and to illustrate the challenges that an organization might face while changing its existing culture. Case overview/synopsis This case teaches about the importance of boosting positive organization culture to accept organizational change. Stardust was established in 2013 as Petronas Carigali Sdn Bhd’s subsidiary. The company was established to manage small and marginal field in Malaysia which was under the oil and gas field that had smaller reservoir and lasted for four to five years. On 2014, Stardust was given an opportunity to take over one of the fields to manage. However, during the process of handing over the facility and field from the parent to the new company, the tanker caught fire in one of its pump in the pump room. The fire resulted substantial damage to the pump room; two out of four pumps were totally damaged. It delayed the oil production for more than a month. Total estimated damage due to the fire incurred RM19m losses. Direct cost included replacing two new 400 kW pumps, repairing the damaged pump room with new manifolds and painting, and cost of shutdown production for 40 days. Investigation was initiated to identify the causes of the fire which revealed that human error, mostly peoples’ negligence was one of the major reasons along with location, equipment and procedure. The Health, Safety and Environment department of the company was given the task to create ‘Living Safety’ culture among the crew. Being the head of this department, Tarmizi found it very challenging to inculcate the culture ‘Action Today, Perfect Day Tomorrow’ and was thinking how to instill this culture with zero failure by the end of the calendar year which is December 2016. The time was running fast as the parent company emphasized to handle the situation urgently and to ensure that the similar incident will not happen in the future. If it re-occurs, it will jeopardize the trustworthiness of Stardust with the other parties involved and also the parent company might not allow the company to operate other facilities, which will put the company at stake to remain competitive in the oil and gas business. Complexity academic level This case is suitable to use in advanced undergraduate level, MBA and MSc to teach organizational behavior and organizational theory courses. Supplementary materials Teaching Notes are available for educators only. Please contact your library to gain login details or email support@emeraldinsight.com to request teaching notes. Subject code CSS 7: Management Science.

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Dissertations / Theses on the topic "Painting MFA"

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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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Strickler, Jason A. "Drift." Claremont Graduate University, 2010. http://ccdl.libraries.claremont.edu/u?/stc,78.

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Storck, Aaron. "Waveform Analogy, Experimentation, and Optimism." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3388.

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This paper offers a contextualization of my art practice, within particular trends in contemporary art and its discourse. It traces an expressed interest in networked objects, and the indeterminacy of meaning in art; from researched examples and texts, through specific expressions of these ideas in my thesis art exhibition. The paper then outlines key areas of practical interest to the experimental viability of my art practice. The paper goes on to explore the relationships between indeterminacy, experimentation, and creativity in the arts; within the context of an original thought experiment that draws an analogy between topics in physics and the human mind. Non-rational art ideas are lauded for their uniquely explorative potential within this conjectural model. Optimism, and a will to think experimentally, are offered as the abiding principles of my art practice; as well as being universal tools that all human beings can depend upon.

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Lim, Kheng Saik. "Searching for the Sublime." BYU ScholarsArchive, 2016. https://scholarsarchive.byu.edu/etd/6108.

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The influential philosophers Edmund Burke and Emmanuel Kant understand the sublime as events and objects that cause an emotional reaction so magnificent that the intellect fails to comprehend it. It is thus deeply felt and experienced but remains undefined and non-understood. Searching for the Sublime is a suite of paintings that seek to respond to these definitions of the sublime. Together they address and evoke themes of mystery, fear, power, and the unknowable through the medium of painting.

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Rusenova, Ina Boryana D. "Between Familiarity and Estrangement:Making Paintings From Constructed Dioramas." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1460672646.

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Tajpour, Azadeh. "The observer effect." Claremont Graduate University, 2010. http://ccdl.libraries.claremont.edu/u?/stc,77.

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My work explores the gray area and the shifting border between "us" and "other." It investigates the helplessness and the submissiveness on both sides of this spectrum and one's passivity that makes the "pain of others" inevitable. Moreover, it examines the individual and collective experiences of guilt and complicity in relation to world events. I am interested in the selective and repressed memories of individuals and nations, the reluctance to look and the ability to forget.

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Jesko, Alex. "Pyramid scheme." Thesis, University of Iowa, 2019. https://ir.uiowa.edu/etd/6773.

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I was watching the tele the other night and a commercial came on exclaiming that scientists have found a way to translate waveforms into text to help the deaf. I realized at that moment; I am as much a scientist as I am an artist. In this regard, composition is deemed a scientific recipe. Ingredients such as conveying the rhythm of linguistic discoveries to further guide fragmented responses of memories. Analyzing frequencies emerging upon application of colors adjacent as well as finding the visual balance that coheres with a particular tempo as relating to sound and vibration to exploit the untold conversations between traditional means and contemporary constructions. There’s a sync button for everything we do, finding that button is the test. I do not confine myself as a scientist, tomorrow I may think I’m a surgeon. But only after I’ve exhausted every theory for my actions, after I’ve become synchronized within the realm of my creations, will I then be able to determine why I’ve governed myself to evolve with what it is that I am becoming.

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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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Joseph, Caberbe. "DEEP WITHIN." Master's thesis, University of Central Florida, 2009. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2794.

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As a contemporary photographer, I focus most on light and color to bring out the uniqueness of my images. Photography is about lighting and I manipulate lights to raise questions in my viewers. Manipulating light is my way of being curious about how it may change mood physically and emotionally. Inspired by classical paintings, I have developed a body of photographs that can be admired by anyone. Although the main focus of my work is light and color, this body of work is also intended to empower those with little confidence in themselves and those who have been rejected, abused, or mistrusted.<br>M.F.A.<br>Department of Art<br>Arts and Humanities<br>Studio Art and the Computer MFA

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Palencar, Christian L. "Puppet Master." Kent State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=kent1524495452335687.

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Books on the topic "Painting MFA"

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Zevitas, Steven T. New American paintings: Juried exhibitions-in-print. MFA annual. Open Studios Press, 2016.

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Painting roses with Deanne Fortnam, MDA. North Light Books, 1998.

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Meidän kuvamme: Maa ja kansa. Suomalaisen Kirjallisuuden Seura, 2008.

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Kuvitettu maa: Suomen kansallisten maisemakuvastojen rakentuminen. Suomalaisen Kirjallisuuden Seura, 2005.

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Stephanidēs, Manos S. Mia historia tēs zōgraphikēs: Apo to Vyzantio stēn Anagennēsē kai apo tous impresionistes ston Pikaso. Ekdoseis Kastaniōtē, 1994.

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Pilapil, Elena Esguerra. Mga katha ng diwa: A collection of Tagalog poems, paintings and photography. The House of Isidoro Press, 2010.

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mnga' ris rtswa mda' rdzong khongs wa chen phug pa'i ldebs ris sgyu rtsal. Bod ljongs mi dmangs dpe skrun khang, 2011.

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Karagian, Andreas. Andreas Karagian: Mia zoē : Gkaleri Lia Rumma, Martios-Aprilios 2002. Ekdoseis En Typois, 2002.

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Lazzati, Margherita. Margherita Lazzati: La mia storia con Samuel Beckett a Portobello. Ready-made, 2010.

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Proizvedenii︠a︡ M.A. Vrubeli︠a︡ iz sobranii︠a︡ muzei︠a︡ dekorativno-prikladnogo i promyshlennogo iskusstva MGKhPA im. S.G. Stroganova. Gosudarstvennyĭ istoricheskiĭ muzeĭ, 2013.

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Conference papers on the topic "Painting MFA"

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Kudoh, Shunsuke, Koichi Ogawara, Miti Ruchanurucks, and Katsushi Ikeuchi. "Painting Robot with Multi-Fingered Hands and Stereo Vision." In 2006 IEEE International Conference on Multisensor Fusion and Integration for Intelligent Systems. IEEE, 2006. http://dx.doi.org/10.1109/mfi.2006.265591.

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Kamoshida, Minoru, Hajime Enomoto, and Isao Miyamura. "Window-based elaboration language for picture processing and painting." In Visual Communications, '91, Boston, MA, edited by Kou-Hu Tzou and Toshio Koga. SPIE, 1991. http://dx.doi.org/10.1117/12.50405.

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