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Dissertations / Theses on the topic 'Painting MFA'
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1
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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Knight, Michael K. "Bit by bit." Claremont Graduate University, 2010. http://ccdl.libraries.claremont.edu/u?/stc,82.
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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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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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Jones, Danielle. "Perceptions of Cuteness and Beauty." Master's thesis, University of Central Florida, 2009. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4160.
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Upbringing and psychological make-up inspire individual norms for beauty and cuteness. The mannerist approach in my work is a product of the figural liberties found in cartooning, illustration and art history. By altering facial and bodily features, I relate the proportions of an infant to cuteness and innocence. However, I tailor the photographs to empower the subjects all the while mirroring trends in contemporary pop culture. I'm interested in themes of everyday life, vitality and emotion placed in obscure, imaginary or exaggerated venues. I fictionalize subjects of my reality to compel viewers to identify with and fancy emotions, circumstances, moods and relationships. The intent is to amplify, yet be truer to their existence and idiosyncrasies through figural adaptations.<br>M.F.A.<br>Department of Art<br>Arts and Humanities<br>Studio Art and the Computer MFA
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Axelsson, Daniel. "Design and Development of a Spray Booth." Thesis, Linköping University, Department of Management and Engineering, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-11829.
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<p>As a part of a more extensive project of developing a new finishing line at the Bolivian door manufacturer Tecno Carpinteria San Pedro this thesis presents the development process for a special designed spray booth. The thesis covers every phase from a product idea to a final concept design.</p><p>Working with finishing of furniture and other wooden products can effect the workers health in a negative way and damage the environment. The final result of the manufactured door is also depending on the how well the ventilation system in the working area is. Because of these reasons it is important to use safety equipment and a good ventilation system in the working area. As a part of this new finishing line San Pedro is in need of a special designed spray booth to control the spread of paint particles and other hazard substances that is a result of the finishing process.</p><p>Together with the consultant firm CADEFOR a spray booth is designed and a proposal design is presented in this thesis. The result is a design built up with a dry filter solution together with an extractor that creates a cross draft airflow towards the rear part of the spray booth. The result of the project together with some recommendations of increasing the capacity in the finishing line are also presented.</p>
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Cafcules, Stephanie. "Concrete Painting." Master's thesis, 2014. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/6066.
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This thesis explores the evolution of my artwork with synthetic materials through influences of the Minimalist and Process Artists of the 1960's and 1970's, inspiration from natural forms, and my exploration of concrete painting. Each work reveals discoveries of different processes and materials, accelerating the creation of new works. It is my hope this thesis will inform viewers about the process and concepts that my work embodies.<br>M.F.A.<br>Masters<br>Visual Arts and Design<br>Arts and Humanities<br>Emerging Media; Studio Art and the Computer Track