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Laube, Mary NaRee. "Practical joy." Thesis, University of Iowa, 2012. https://ir.uiowa.edu/etd/2925.
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I will be presenting my work in two parts. The first section is dedicated to recent paintings that comprise my M.F.A. thesis exhibition: Practical Joy. The second section will investigate Practical Joy as an installation. I will raise questions regarding the relationship between my paintings and the exhibition space in order to situate my work into a contemporary discourse.
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Boothroyd, Brooks Hero. "Practical developments in English easel-painting conservation c.1824-1968 from written sources." Thesis, Courtauld Institute of Art (University of London), 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.300536.
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Howey, Barbara. "Self/painting practice/social practice." Thesis, Anglia Ruskin University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.341656.
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Branham, Barbara Leedy. "Some visual issues of painting : an exploration of the painting process." PDXScholar, 1989. https://pdxscholar.library.pdx.edu/open_access_etds/3856.
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Clancy, Majella. "Painting, gender and space : an examination of contemporary women's painting practice." Thesis, Ulster University, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.695399.
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This thesis explores aspects of contemporary women's painting practice. It investigates cultural, geographical, social and pictorial space across representations of class, gender and race. It begins with an examination of modernist histories through the language of paint. Modernist codes of sexual and cultural difference are interrogated and disrupted allowing for alternative readings of gender, culture, race and painting practices. I examine concepts of space and time found in modernist and postmodemist theory. I propose strategies in paint that collapse boundaries and categorisations, creating a space in-between canonical meaning and definitions allowing for oscillating feminine positions and perspectives. This research focuses on two women painters as case studies - the African-American painter Ellen Gallagher and the Pakistani-born, American-based painter Shahzia Sikander. Selected works from their practice are analysed alongside my own painting practice where links are established and variances highlighted, thus reflecting a contemporary understanding of women's painting in a global context. Significantly my thesis proposes feminist strategies in painting whereby cross-cultural exchange and multiple visual strategies are employed to signify new terms and conditions for contemporary women's painting. I examine hybridity and its relationship to feminine painted space where the complexities of cultural identity are interrogated. I conclude by analysing the position of contemporary women's painting within the framework of the global exhibition. This research uses a feminist methodology and works across art practice, art theory and art history. It creates a space from which contemporary women's painting can be understood as a materially and theoretically expanded practice.
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Paxson, Patricia P. "Reflections on, and refractions in, painting practices." Thesis, Goldsmiths College (University of London), 2004. http://research.gold.ac.uk/176/.
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My aim in the written thesis is to scrutinize a particular stage in the process of image making by means of ideas generated by psychoanalytic theory, in particular Lacan’s concept of the gaze. I propose a three stage model of image making: 1) planning, 2) absorption or ‘un-thought’, and 3) judging; they are seen together as a spiral process. My primary interest is the second stage, both in my studio practice and in the written thesis. In the studio this can be seen in the conjunction between passages emphasizing energy, for instance passages emphasizing a ‘re-invigoration’ of the figure by means of an investigation into mark making and cartoon elements, and passages emphasizing form and colour. In the written work, by using Lacan’s concept of the gaze as template, then employing ideas such as ‘figure’ and ‘dissimulation’ within the libidinal economy (Lyotard), syncretistic scanning and the ability of the primary processes to learn and develop (Ehrenzweig), and the matrixial gaze (Lichtenberg-Ettinger), I aim to illuminate the ‘un-thought’ stage of image making by means of a consideration of libidinal as well as semiotic processes. By including aspects of schizoanalysis (Deleuze and Guattari), I ‘re-contextualize’ Lacan’s concepts of ‘lack’ and the empty signifier and retain his other ideas relating to his (late) concept of the gaze. Schizoanalysis, in providing an extended concept of the unconscious, aids in re-considering Lacan’s concept of the gaze within the context of the process of image making. Working from this basis I propose a grouping of (existing) ideas that I term the libidinal gaze, brought together for the purpose of reflecting on the un-thought stage in the process of image making. In doing so, I consider both concepts of perception as influenced by the processes and energy of the unconscious, and concepts of the unconscious as reflected through post-Freudian and post-Lacanian psychoanalytic thought.
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Wentworth, Nigel. "The phenomenology of the practice of painting." Thesis, Birkbeck (University of London), 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.309296.
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Weng, Cheng-Chu. "Shaping shadows : a practice of expansion painting." Thesis, University of Southampton, 2018. https://eprints.soton.ac.uk/423572/.
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Shaping Shadows: A Practice of Expansion Painting is a practice-based doctoral thesis. It centres upon a sustained art practice, offering a body of new work as a means to extend an understanding of painting in the expanded field. The practice in question is defined as a ‘sense’ of painting space, which operates through painterly compositional methods but developed through site-specific considerations of architectural spaces, bodies, and differing levels of consciousness when interacting in such spaces. The artworks range in scale from small punctuations in a room to large installations that fill and resonate with a defined space. The works are typically constructed out of unobtrusive materials, notably Japanese tissue papers, fabric, MDF board and wood, but crucially they are also ‘made’ of the immaterial elements of light, air and shadows. In differing ways, the works are experienced and completed by both artist and viewers, so establishing a set of conditions in which one’s individual thoughts and space-body dynamics are in play. Rather than simply presenting the work as further examples of painting in the expanded field (i.e. as a discursive, conceptual re-categorisation of painting), the thesis explores through its art practice a form of ‘expansion painting’, by which it is meant the artist’s sense of painting deliberates upon an expanded awareness of spaces, the in/visible materialities of light, shadow, air, and memories that accumulate from inner, private imagery and external shapes, patterns and forms. As a key element, medium and metaphor, shadow is at the heart of my practice research. It is both a component of practice and a metaphor of ambivalence (being both of and outside of an object, and suggestive of both distinctive and indistinct forms). Shadow becomes an ideal term and site of practice to build and examine subtle as well as alternative systems or structures, often ones that echo or ‘shadow’ existing dynamics of space, so that a ‘relief’ of images emerge, and/or are activated (as experienced physically in the space, and in the mind while engaging in the work). As such, the resulting artworks seek to provide an awareness of ‘being’ through what is referred to as ‘structures of ambiguity’. The thesis is brought together through both its practice and a written component. The latter offers an Introduction, setting out the main themes and concepts as well as ‘Notes on Practice’, which presents a ‘catalogue’ of the artworks produced. These opening components are followed by two main chapters. Chapter 1, ‘Painting in the Expanded Field’, establishes the historical and theoretical debates of painting in the expanded field and draws upon more recent literatures specific to the expansion of painting. It then considers the artist’s own work in relation to a series of examples of historical and contemporary practice (including remarks on the influence of minimalist art, as well as three specific case studies of contemporary artists whose works explore similar themes and material practice). Crucially, through ‘practicing’ a sense of painting space – defined as expansion painting – a phenomenological reading is undercurrent, which in turn enables a critical consideration of ‘structures of ambiguity’, which is the focus of Chapter 2, ‘Structures of Ambiguity: Grid, Frame, Screen and Stage’. This chapter offers an explicit account and contextualising of the mediums, materials and effects of the works. It leads to another way of seeing, as a deconstruction of space and in-between spaces. The thesis document concludes with ‘Finish: a Practice of Expansion Painting’, which draws together the key themes of the research through further contextualization of art history and theory. Expansion painting is not simply derived from historical, theoretical and philosophical debate, but must emerge through making and viewing the artwork as an open-ended experience. The artworks ‘finish’ at different moments of our being; they also respond to intellectual debates about the status of painting after the modern; and they are made of a very particular im/material ‘finish’ that is the signature of the practice. The underlying problematic of this thesis is the consideration of where objects and experiences begin and end, where boundary lines do or do not run. The ‘shaping’ of shadows is an attention to existing, spatial structures and their confluence with virtual structures of thought and experience. Thus, the medium of painting itself is pushed and pulled in this research, both expanding upon theoretical debates of the ‘expanded field’, as well as advancing its own practical inquiry. Indeed, ‘painting’ is presented as an exemplar of thinking and making.
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Thompson, Terry Foster. "An exploration of some aspects of mystery." PDXScholar, 1990. https://pdxscholar.library.pdx.edu/open_access_etds/4119.
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This thesis project consists of twenty-four paintings, drawings and lithographs dealing with three sub-themes of the larger subject of mystery: the mystery of existence; the mystery of religion; the mystery of the unknown. These themes are explored through manipulations of light, color, compositional arrangement and painting and drawing techniques.
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Forster, June. "Seeking equivalence : exploring dualities in landscape painting practice." Thesis, Aberystwyth University, 2014. http://hdl.handle.net/2160/50bf1c35-ff6e-4c3b-91b3-b2521ddc712f.
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Dualities evident in aspects of the visual world provide a framework for exploring how equivalence of landscape experience might be portrayed through the medium of paint. Research into micro/macro, past/present and here/there is driven by the text/image duality. This duality encompasses ekphrasis and gives rise to discussion on the process of making a visual but non-illustrative response to a poem. The writings of Gilles Deleuze (1925 – 1995) on Francis Bacon (1909 – 1992) are instrumental in investigating the function of paint to transmit feeling and act as a catalyst for the painting process itself. Each duality comprises two opposing or paired concepts or themes and in attempting to find accordance between each pair a tension is created that leads to a flow of ideas. This is exemplified by the micro/macro duality that invites comparison of small structures observed in rock fragments to large scale landscape formations and generates an imaginative response. Through juxtaposition of dualities new links between seemingly disparate subject matter are formed: geology and poetry, for instance, are brought together in a project that combines a particular rock type found in Cumbria with poems by Wordsworth (1770 – 1850). This provides a basis for autobiographical reflection on the here/there and past/present. Such juxtaposition acts to enrich the substance and scope of project material, forming a matrix of possibilities for further research. This process can be seen as a precursor towards a rhizomic approach, one where connections can be made between similar and dissimilar subjects with no barriers or hierarchical boundaries.
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Greated, Marianne. "Painting in a sonic environment." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/9480.
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The thesis explores how painting is affected by its sonic environment. The research stems from an artistic response to noise in the environment and how this can be explored through artistic practice. The boundaries of art have and continue to be challenged as visual art has embraced an increasing range of approaches. This research explores the visual experience of viewing a painting alongside the all-encompassing time based nature of a sonic experience and readdresses the way painting operates within its own sound environment. It asks how these different elements can affect the reading of one another and in particular focuses on installations in extreme acoustic spaces, such as anechoic and reverberation chambers. It investigates how introducing sound to the painting arena can affect the reading and also transform the parameters of the painting. The research is practice-based and takes the form of a series of exhibitions, latterly in the form of site-specific installations, which have been evaluated, interpreted and responded to. This has led to a fundamental investigation, both practical and theoretical, into the way that sound and vision work together and how they relate within the context of art. Through the research the format of the painting developed in tandem with the temporal and audio considerations, resulting in all-encompassing installations bringing together panoramic paintings and 3D soundscapes.
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Zimmerman, Joann. "The city as practice : urban topography, pictorial construction and liminality in Venetian Renaissance painting, 1495-1595 /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.
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Hanley, Stephen James. "The optical concerns of Jan van Eyck's painting practice." Thesis, University of York, 2007. http://etheses.whiterose.ac.uk/11052/.
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Jan van Eyck's paintings tend to be described in terms, often, derived from the field of optics, relating to sensations or effects of light, such as 'luminescent' or 'mirror-like'. This thesis aims to define, first, how the distinctively 'optical' characteristics of his practice operate in visual and technical terms, and second, what this suggests about van Eyck's concerns as an artist. The primary intention of the thesis is to define precisely and comprehensively how the optical concerns of van Eyck's paintings relate to his interest in the visual properties of images produced, enhanced, or distorted by optical devices such as mirrors and lenses. It argues that the distinctive 'optical naturalism' of his paintings is not strictly an issue of technique or style, but a matter of how these two interdependent aspects of painting were informed by his unique sensitivity to the visual properties of light, which itself, I suggest, derived from his experience with optical devices. More broadly, the thesis outlines the various ways in which the style, technique and iconography of van Eyck's paintings are founded upon his fascination with manipulating the expectations and restrictions ofvisual experience.
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Preece, Georgia. "Women, painting and critical practice in Britain 1984-1992." Thesis, University of East Anglia, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368175.
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Nicolaisen, Lelani. "Immersed in paint : Understanding painting installations through art practice." Mini-Dissertation, University of Pretoria, 2017. http://hdl.handle.net/2263/65593.
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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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Coats, Mary Frances. "Cataloguing space." Thesis, University of Iowa, 2013. https://ir.uiowa.edu/etd/2462.
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Over the course of my time here at Iowa, my work has taken a turn I never anticipated. I will reflect on the reasons for my transition from looking out the window to looking in. Although the work has shifted drastically, my motivations to create have remained the same. I owe the limited understanding I have of these motivations to the reading I engage in alongside my creating. If I had to identify the most seminal books of my time in graduate school, I would single out A Place of My Own, by Michael Pollan and Invisible Cities, by Italo Calvino. I will discuss how these and other texts have influenced my work, while accounting for the shifts I have made over the past three years.
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Kac, Juliet. "The painting of music - the music of painting : the relationships between music and painting, with special reference to Kupka and my personal practice." Thesis, University of Brighton, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.399047.
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This thesis seeks to examine, through a combination of practical and theoretical research, some of the chief implications or consequences of the point of view asserted by Walter Pater, in his 1877 essay on the School of Giorgione that All art aspires to the condition of music'. Both the practical and theoretical aspects are based on the postulate that it is indeed fruitful to consider to what extent, or if, relationships can be posited between the practices of painting and music. The personal work consists of a painted frieze with music by J. S. Bach as the generative subject matter. The written part initially establishes a broad but selective historical overview of key issues concerning the relationship of the visual language of painting to that of music. Subsequently, related sketches and studies by Frantisek Kupka, which resulted in the first purely abstract painting to be recorded as being exhibited in Paris in 1912, are analysed and arranged in order to clarify the thinking and stylistic development behind his creative process. These are placed within their historical context and are seen to reflect the general artistic concerns and technological developments that affected practising artists of the day. Examination of further congruent examples of paintings by Duncan Grant and Paul Klee serves as an appropriate link to an investigation of my own practical work. Key aspects of my intentions and achievements, and arguments for and against the validity of the overarching idea of the thesis, i. e. that it is possible to posit the sort of relationship between the language of music and painting that can withstand thorough analysis, form the basis of the concluding critical analysis and annotations. The thesis will be produced in conjunction with an exhibition of the practical work, and providing copyright matters are not infringed, a tape provided for purposes of examination.
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Jian, Dan. "Painting as a Reflective and Generative Process." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1460927194.
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Fitzpatrick, Charlien Dee. "Things seen and remembered." PDXScholar, 1989. https://pdxscholar.library.pdx.edu/open_access_etds/3866.
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This thesis project consists of twenty oil paintings and watercolors. It is a series of visual problems based on work from direct observation as opposed to work from imagination. The concern is to show how the works from observed nature affect the imaginary pieces and how the imaginary works lend unexpected elements to the observed works. With a particular interest in color, visual energy, and painterly form, the project shows how these two avenues of exploration start out separately and eventually blend.
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Evans, Michael. "Contemporary abstract painting and spiritual experience : an investigation through practice." Thesis, London Metropolitan University, 2013. http://nectar.northampton.ac.uk/5048/.
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This investigation reaches beyond one single discipline or mode of discourse, exploring current possibilities for contemporary abstract painting and spiritual experience. Types of experience associated with previous 'spiritual' abstract painting are explored in view of the need for new languages for abstraction and spirituality in both word and image. This is developed alongside. the recognition of the importance of engagement with the contemporary world for abstract painting (in this case via technology). The investigation is given a theoretical critical context through reference to and analysis of writers such as Donald Kuspit, Peter Fuller, James Elkins and Jeremy Gilbert-Rolfe and three leading painters Gerhard Richter, Jan McKeever and David Reed along with a record and analysis of my own painting and digital images. Abstract painting and spiritual experience are subjected to critique and reinterpretation within this investigation and a contemporary concept of the spiritual emerges through an opening of thought found within postmodernism and a renewed critical interest in negative theology. .' Negative theology is seen as having similarities to a broader apophatic outlook found both in contemporary thought and art. This leads to a contemporary model of abstract painting and spiritual experience using a language of doubt through terms such as the unknowable, unrepresentable or unintelligible. The initial process based paintings of this investigation explored problems surrounding authorship and of authorial suspension via process, however a counter and more positive aspect of process emerged from an alternative alchemical or hypostatic view of process painting as a deep. engagement with matter. The limitations of process painting are considered, for example, basic repetitiveness, lack of surface and form, lack of imaginative engagement and most importantly the lack of risk on an emotional or psychological level. Previous modernist models of spiritual abstraction are seen to be made problematic by contemporary critical theory resulting in the need for a new, contemporary language for spiritually motivated abstract painting. Through the use of image deconvolution software (normally used within the sciences) relatively formless process paintings gave rise to new digitally generated form. Subsequent paintings were a response to the potential of these digital forms arid reintroduced both brushstrokes and form within an abstract, illusionistic space. This investigation explores a language of the unknown and unfamiliar within a broader context of doubt as positive strategy. Process and technology along with a critical reintroduction of authorial subjectivity and imaginative response gave rise to strange and unpredictable paintings which exist within a contemporary discourse of the apophatic, a mode in which, I argue, a contemporary form of spirituality may also be encountered.
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Lester, Shannon Walter. "Gender Euphoria : an embodied practice of painting & drag performance." Thesis, University of British Columbia, 2013. http://hdl.handle.net/2429/45240.
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This document is a support paper for my MFA thesis exhibition that highlights certain aspects of my artistic practice as a drag performance artist and painter contextualizing my work within academic theories of socially constructed gender roles. I have been an active participant in drag performance for many years. In this document I discuss how my performance practice has enriched and influenced my creative practice-based research as paintings. Specifically, in relationship to my recent body of work culminating in my final MFA thesis exhibition, Gender Euphoria. The title Gender Euphoria, represents a subversion of cultural codes, and the work itself is the culmination of my two-year residency at UBC Okanagan exploring misogyny, drag, the monstrous feminine and painting.
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Qian, Zifan. "Enhanced realism in the development of my painting." PDXScholar, 1989. https://pdxscholar.library.pdx.edu/open_access_etds/3919.
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It is a basic truth that the artist must have independent experience and personality in order to create art from life. Combining a traditional realistic style with some elements of abstract composition fits my personality. My paintings represent a pursuit of this idea that is the enhanced realism in the development of my painting.
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Poet, Sallie Clinton. "Peregrinations." BYU ScholarsArchive, 2010. https://scholarsarchive.byu.edu/etd/2315.
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This project report explains my MFA show of landscapes presented at the Woodbury Museum in Orem, Utah. Referencing source material from my 2008 trip to the Middle East, Bible narratives and contemporary scholars, I created mixed media paintings around the themes of traveling and migrations (peregrinations) and some significant stopping places in Syria, Jordan and Israel. More importantly, this report also speaks to my personal peregrinations as an artist and relates my painting methods to my subject matter.
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O'Malley, Dana Jean. "Glacial warm." Thesis, University of Iowa, 2016. https://ir.uiowa.edu/etd/3154.
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Glacial Warm investigates romantic, human relationships and our collective commitment to the environment we inhabit. A couple travels and settles into polar and tropical landscapes, gathering, taking shelter, and finding sustenance together. They build their climate, adapting to continuous change. Through glaciers melting, volcanoes hissing, whales breaching, and nude bodies touching and holding, I develop a painted mythology.
Partnership is embodied through separate entities working together. Everyday tasks become intimate gestures. The tenderness of these gestures is rooted in their separation as individuals. Paint application is direct. What melts, drips. What freezes is preserved in cloudy impasto. A kiss is an oily smudge.
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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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Chapman, Sarah Lesley. "Puncturing the silence : painting over the found photograph." Thesis, University of Plymouth, 2014. http://hdl.handle.net/10026.1/3088.
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Set up as a visual investigation, the research explores how the addition of paint and graphite materials onto the surface of found and discarded photographs, creates a visual and conceptual disjuncture by punctuating and altering the temporal frame of the photograph. The research is positioned in relation to Susan Sontag’s description in On Photography (1977) as to how the photograph can at once “transfix” and “anesthetize” the subject matter, which through the passage of time serves to create an “aesthetic distance,” and Roland Barthes’ observation in Camera Lucida (1980) that the photograph is “platitudinous.” The tendency to project nostalgic sentiment onto the found vernacular photograph is explored, drawing on Susan Stewart’s notion of the authentic object in On Longing (1984), which, it is argued, when expressed in the form of the found photographic object, becomes an emblem of loss, further exaggerating the sense of distance and impenetrability. Working specifically with the found photograph prompts a questioning of previous critical commentaries concerning painting over photographs, as in Gerhard Richter’s ‘Overpaintings,’ where Joannes Meinhardt (2009) suggests that the addition of paint intensifies the essential “speechlessness” of the photograph. This research extends these discourses and contributes a counter critical position, supported and articulated through an original body of work. It proposes that the applied paint on the surface of the found photograph punctures the essential “speechlessness” and unknowability magnified within this subset of photography. The very physical materiality and difference offered by the paint medium ruptures the perception of distance and mediates the tendency towards nostalgic interpretations, bringing a level of stability and certainty in the face of the uncertain, fluctuating meaning and temporal plane of the found photograph.
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Modisett, Beatrice. "Perspectives." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4235.
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My paintings are linked to a thirst for exploring new landscapes and perspectives, my interest in the extremes and subtleties of geological phenomenon and a desire to create, chase after, and teeter on a brink. Here I will discuss these topics and work to unpack my interest in avoiding comfort, my relationship to control and the creation and function of my paintings. To extract myself from my tactile and visual world of process and paint and enter the world of written language presents very different challenges than the ones fostered in the studio. The goal in both is to reveal the overlaps and complexities of the issues I am researching and to embrace any contradictions not as ambiguity, but as migrating, nutritious sediment; ever changing particles that can be examined again and again as their intersection with a historical and contemporary discourse evolves.
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Heydenreich, Gunnar. "Painting materials, techniques and workshop practice of Lucas Cranach the Elder." Thesis, Courtauld Institute of Art (University of London), 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.273948.
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Phelps, Sharon. "Agnes Martin : painting as making and its relation to contemporary practice." Thesis, University of the Arts London, 2017. http://ualresearchonline.arts.ac.uk/12401/.
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Can nuances of surface – by drawing the viewer close – offer contemplative experience, and enable art-making methods to be better understood? I investigate Agnes Martin’s methods, which are available to those looking carefully at her paintings, focusing on the late 1950s and early 60s. Her constructions of materials found near her New York studio have received little critical attention in existing writing, despite their pivotal role in the development of her grid paintings. I re-enacted some of her methods, and adopted some of the elements that I observed in her artworks from this period, in order to better understand the relationship between found objects in these works and the marks and lines within later paintings and drawings. I focused on the particular quality of attention Martin devoted to marks, materials and surfaces, both in her work and in her working environment; this involved analysing and attempting to follow her ‘contemplative’ approach (see Chapter 2). A practical analysis extended the understanding of Martin’s methods and the effects of local North American influences, and resulted in a new body of layered and two-sided artworks, described throughout this thesis. This investigation of her meditative methods and how the field of painting can include objects and sculpture relates for the first-time Martin’s attitude toward making with some artists who are working today (see Chapters 7 and 8). It also adds to existing scholarship on Martin by comparing her surfaces’ demand for closeness (see Chapter 9) with the participatory practices of Lygia Clark and Gego in South America (see Chapter 10). Mondrian’s influence is thereby traced in separate but parallel lines of abstraction. This thesis’ main contribution is a new workshop methodology (see Chapter 12) as a guide for those who wish to research an artist and their methods. The methodology offers a discursive structure within which to investigate art practice through new practice. The presentation of new artworks in participatory workshops in an exhibition setting invites discussion about art-making methods, emphasising the role of practice in the artistic research process. New artworks were offered to be hand-held by the viewer, and this invitation to attend closely was accompanied by art-making and dialogue around practice. The responses I gathered from participants indicate that this type of active engagement can disseminate tacit knowledge and offer experience of a contemplative approach.
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Aksoy, Turan M. "The concepts and practices of urban mural painting since 1970 : artists' perspectives." Thesis, Birmingham City University, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.264344.
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Mural art has become a familiar feature of urban-public places. This is reflected within a broader debate on 'public' and 'community arts' by the number of books and articles published, conferences held, attention within art institutions, agencies for funding. and public reactions. The modern mural movement, especially in terms of 'community'. has had strong socio-cultural and political bonds, particularly since the end of the 1960s. However, although 'public', 'community' and 'environmental' art has received much attention, specific literature on the urban mural is limited. The research involved the coaecnon and selection of primary and secondary sources. analyses and interpretation of the questionnaires and interviews, personal experience, observation and collaboration in practical work, and site visits in order to identify the social, cultural, architectural and collaborative characteristics of murals and explain them within an urban context. Therefore the research is historical, analytical, experimental and theoretical. The urban phenomenon has started to be understood within its socio-cultural as well as its architectural framework, indeed the changing locations of mural art has focused attention more on the former. The findings of the literature review, analyses of the questionnaire, and the experiences of personal practical work, suggest that the dominant am of the modern urban murals is to democratise art, and humanise urban spaces. Within an increasing number of other types of 'public' art works, mLl'als seem less important at present, yet the study suggests that an increasing number of murals have been made in recent years. Due to their accessibility murals are an important visual pan of the urban landscape and reveal more developed ideas of locally related content mutually agreed styles and the effect of artistic and public collaboration. In conclusion the dissertation argues for a clearer understanding of the different roles and expectations of public and community art within the modern urban mural and an improved awareness of the complexities of negotiation and collaboration. It uses a range of readings; historical, social, cultural and artistic values to construct a multiple typology where parallel sources and influences are revealed. The current variability in the quality of art in public spaces might benefit from specific courses which introduce the idea of collaborative working alternative collective aesthetic values and a new role for an integrated artist. The study shows that local characteristics and community identity are paramount in arts integration within the urban context. and that connection with (urban) sociology and (local) cultural studies might help to develop a more critical language and understanding of art in urban places.
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Bontorno, Nicholas J. "Portraits." BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3267.
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This paper is a documentation of and supplement to my thesis project, which is on display in the Harold B. Lee Library Auditorium Gallery from April 2 - May 25, 2012. The seven paintings on display are included in this report are found on the following pages:
Leann (18”x 24”) …………………………………………………………..9
Claire (28”x 36”) …………………………………………………………..10
Janell on a Couch (48”x 60”) ……………………………………………..11
My Dad in Winter (84”x 96”) ……………………………………………..13
Mel in Springtime (84”x 96”) ……………………………………………..14
Man on a Horse (48”x 60”) ………………………………………………..15
Danny Holding a Cat by the Ocean (28”x 36”) ……………………….…..15
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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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Heber, Ashley Dawn. "Resting cake face." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1623.
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My most recent series of paintings places specific focus on the societal struggles young women face with an emphasis on the need to constantly be viewed as attractive. I am interested in cultural taboos of women's sexuality, and body image anxiety. Layered imagery of anonymous groups of young women paired with grotesque representations of food mimic the internet bombardment so inescapable for young women today. Painted stereotypes of beauty further show the imbalance of male / female gender roles and holographic glitter as well as day glow color push the drama further. In spending time with my drawings and paintings the viewer will, ideally, begin to question the cultural expectations for women, and contemplate possibilities for change.
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Harris, Elizabeth. "Transparent landscape." PDXScholar, 1985. https://pdxscholar.library.pdx.edu/open_access_etds/3407.
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Robertson, Gillian. "The figure remains : archaeological experience and the development of a painting practice." Thesis, University of Southampton, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.496037.
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Goodyear, Alison. "Privileged, unique and temporary : interpreting aesthetic experiences of the painter-painting relationship through an address to and from practice." Thesis, University of the Arts London, 2017. http://ualresearchonline.arts.ac.uk/12456/.
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This practice led research examines the art historical hypotheses of Denis Diderot and Michael Fried on the role of aesthetic absorption in painting practice. It engages with these hypotheses through collaboration with six contemporary abstract painters in an address to and from painting practice. The collaboration was conducted in order to examine aesthetic absorption from the perspective of studio practice in order to develop greater understanding of its relevance to contemporary abstract painting. This was achieved by completing six objectives. First, a lexicon of the terms surrounding aesthetic absorption was developed along with a brief account of the history of engagement with the concept of aesthetic absorption. This was followed by individually interviewing each collaborator, then gathering them together for two round table discussions. All dialogue produced was transcribed, and along with the research material was made available to the collaborators through a wiki site. This material was then reflected upon through painting practice and thesis writing, to be presented finally as a written thesis and viva presentation. By opening up this in-depth dialogue on the practicalities behind Diderot and Fried’s art historical theories, this research has highlighted the concerns and hesitancies of a specific group of artists in their engagement with absorption. It bridges the gap between theory and practice by examining how painters have negotiated aesthetic absorption and the associated positions of painter-beholder and painting-beholder. This research has redefined those positions and relationships by mapping and analyzing the experiences described in the dialogues. As such, the contribution to knowledge of this research lies in its finding a new understanding of how painters can negotiate those positions. This is relevant to painting practice for two important reasons. First, it allows us, in a more structured way, to better understand the differences in the register of experience from banal or pathological types of absorption to aesthetic absorption in painting practice. Secondly, this understanding provides a framework to enable more coherent and focused programmatic modes of address from the studio in negotiating painter-beholder and painting-beholder relationships, thus providing greater conviction from the position of practice.
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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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Hill, Whitney LeeAnn. "FROM PRACTICE TO PERFORMANCE: THE IMPORTANCE OF BALLET IN DEGAS’S DANCER PAINTING PROCESS." UKnowledge, 2018. https://uknowledge.uky.edu/art_etds/16.
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The context in which any artist creates an artwork is integral to understanding its significance, and one crucial aspect of context is how a work was created. When first looking at how Edgar Degas created his dancer paintings, his process seems simple- he watched the dancers and then painted what he saw. However, that is only a surface examination of a much more complicated system of observation, practice, repetition, mastery, and reproduction. This thesis investigates how Degas bridged the gap between observation and understanding of balletic technique; how deep his knowledge of balletic technique was; and if Degas did have a deep understanding of balletic technique, what process he utilized to gain that knowledge. It reconstructs the process Degas utilized to learn and then reproduce the repertoire of the Paris Opéra ballet by pairing visual analysis of specific works with my own knowledge of ballet technique as a dancer of twenty years. Ultimately, this study reveals that Degas learned how to dance classical ballet by mimicking the process ballerinas used to learn how to dance: first watching, then doing, and finally performing.
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Tu, Maxine. "Underneath the Film: Reconstructing Reality Behind Taiwanese Family Portrait Through Contemporary Painting." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/948.
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This paper establishes the pivotal role and irreplaceable value of painting in the technology-driven, image-saturated contemporary culture today. Particularly in my work, painting old childhood photographs creates a contemplative platform where I can deconstruct and reconstruct relics of my formative past as means of better understanding my multicultural upbringing. Inspired by both Chinese Communist propaganda posters and the ’85 New Wave Contemporary Chinese Art Movement, my senior project confronts the façade of perfection staged in Chinese family portraits through convoluted layers of imagery and Chinese text that build up the painting. The amalgamation of bold outlines, expressive brushstrokes, and disciplined grids, challenges the stifling values of discipline, order, and homogeneity in traditional Chinese culture.
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Poe, Rachel. "Architectural insomnia." Thesis, University of Iowa, 2017. https://ir.uiowa.edu/etd/5603.
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My artistic practice addresses issues of how memory shapes our identity and how to use memory in order to better understand our perspective. Through the construction of liminal space I reflect upon the subconscious and conscious mind. These images address issues of identity and how longing and nostalgia affect the human psyche. Through photographs of sculptures, paintings and light installations I address the architectural spaces in the world around me as catalysts.
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Trueblood, Jeffrey Allen. "Polar night." Thesis, University of Iowa, 2013. https://ir.uiowa.edu/etd/2649.
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For my thesis I plan on exploring the concepts and reasons that I make my art. I will talk about how I explore the night as my subject and the emotional response I hope to evoke with my work, and my influences and inspirations while exploring this topic. I will talk about how I try to show how in the modern world we try to take that darkness and drive it back with artificial lights intending to duplicate the world of daylight, but instead we create stages of normalcy in between the depths of the night allowing the individual imaginations of the viewer to dream into the darkness bringing their own experiences and emotions to the images and making an interactive viewing experience. By trying to recreate the mental state where our minds revert to the most primal instincts of fight or flight in the face of the unknown, despite our knowledge of what exists in the daylight, I try to reach a more primal work of art that goes beyond my early influences of the western Romantic art and show how these instincts still deeply affect us in our modern world.
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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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Nesbit, G. H. H. "Current practice in the field of architectural and autonomous stained glass in Europe and the United States of America." Thesis, Rhodes University, 1987. http://hdl.handle.net/10962/d1012955.
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This prodrome sought to define through research, the material. composition, historic foundations, significance and technical development of glass as a window-glazing material for ecclesiastical, and later secular purposes, and examining thus its determining role in the development of architecture. The history and techniques of stained glass, an art-form linked more than any other to the mythology and dogma of the Roman Catholic Church, were traced; its history is thus one with that of the church, rising to its greatest glory during the twelfth and thirteenth centuries, and declining from the late fifteenth to the seventeenth centuries. The iconography of the church was examined, and the development of window and tracery types discussed through reference to pertinent examples on both sides of the English Channel. Subjects, stylistic and technical factors, sources of reference, ecclesiastical influences, were all within the context of social and political history . viewed. Intro., p. 1-2.
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Pruett, Richard Brandon. "Cannibalism: A Failure to Be Satisfied." Digital Commons @ East Tennessee State University, 2009. https://dc.etsu.edu/etd/1813.
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This thesis supports the Master of Fine Arts exhibition at the Tipton Gallery, East Tennessee State University, from March 23rd through April 3rd, 2009. To comment on the title of my thesis, it describes an invented process created to re-contextualize failed paintings into works that critically comment on the discipline of painting itself. The paper describes and analyzes the conceptual moves created by a refusal to be satisfied with predictable outcomes in my work. At the end of this tumultuous quest to explore what painting is to me, the most rewarding works were a product of a reconfigured failure.
This paper also briefly discusses a period in the history of painting that is particularly relevant to my work, influential artists that I have continually returned in admiration, and collage techniques and materials used to create my work. An explanation of my current body of work is given at the end.
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Li, Yuping. "Landscape painting as a critical cross-cultural art practice : exploring how the theories and methodologies in ancient Chinese painting can be fused into contemporary landscape art practice to expand existing artistic formats." Thesis, Lancaster University, 2016. http://eprints.lancs.ac.uk/83083/.
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This thesis is part of a practice-based Ph.D. study that investigates the genre of landscape painting through a cross-cultural perspective and method of practice. It attempts to link and step across the fields of ancient Chinese and contemporary Western art, with a focus on how to critically understand and use Chinese aesthetic traditions to make a contribution to contemporary landscape painting practice. This study argues that ancient Chinese art theory can provide unique insights and ways of thought, as a different interpretive strategy from the Western art tradition; and the traditional Chinese pictorial methodology is able to integrate into contemporary landscape painting practice and, as a result, expand existing artistic formats. This study aims to provide a cross-cultural perspective on thinking and the methods of analysis, broadening the cultural boundary of landscape painting and enriching the current understanding in the field. The theoretical section aims to provide the direction and systematic inquiry to develop a critical awareness and the appropriate methodology of studio practice. Studio practice, in the study, seeks the possibilities to create new forms of contemporary landscape painting as well as the new methods of making it, which include diverse aesthetic traditions and cultural understandings.
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Lynn, Meredith Laura. "One-liners." Thesis, University of Iowa, 2011. https://ir.uiowa.edu/etd/1014.
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Castro, Gessner Ana Gabriela. "The technology of learning painting practices of early Mesopotamian communities of the 6th millennium, B.C. /." Diss., Online access via UMI:, 2008.
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McMorran, Susan Mary. "Interactive painting : an investigation of interactive art and its introduction into a traditional art practice." Thesis, Northumbria University, 2007. http://nrl.northumbria.ac.uk/3125/.
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This practice-based study investigates the application of an individual studio practice, grounded in Painting, to notions of interactive art, and seeks to establish how the interactivity might impact upon the meaning and the affective power of the work. It investigates the current state of interactive art, its ancestry, development and contextualisation, leading up to its presumed current location within New Media. The thesis examines a range of both theoretical and practical artistic research outputs. It investigates interaction models and taxonomies from New Media, and a range of other interactive disciplines, in order to inform the development of successful paradigms for interactivity as a parameter of an emotionally engaging and communicative art. A number of problems are identified in conflicting conceptual models; an emphasis on the technical and behavioural over the visual, and on human- human over viewer-work interaction; an emphasis on the open meaning and the dispersed author undermining notions of intrinsic meaning; and a foregrounding of play, of pleasure, rather than a deep emotional engagement. The practice, supported by comparisons with related practices, peer discussion and viewer feedback, develops a language of small gestures, textures, layers, sounds and behaviours. It develops away from New Media towards an exploration of the specific nature of the computer as painting medium, and identifies specific models which are useful in informing the development of screen-based painting as interactive. It identifies the model of Interactive Painting as a way of conceptualising the work, which is informed by several key models. Firstly, it identifies Elemental Interactivity; intrinsic, related to both the form and the content, an integrated element, in which the work and its behaviour are one. This is supported by models of Intuitive Interaction and Real-World Models, supporting viewer perception of real-world activities, and informed by characteristics of Simplicity (of interaction and process), and by a small scale and intimate kinaesthetic or Gestural Interactivity. The study identifies a successful model in Open-Ended Exploratory Interaction within a Navigable Space, which is informed by the concept of Wholeness, of the interactive artwork as a holistic or integrated object, which behaves. It identifies Interpretive Interaction as a means of building layers into the work and including a model of Making Cognitive Interaction Concrete. This Interpretive Interaction is contrasted by elements of goal-driven or creative interactivity, providing a shifting dynamic and dramaturgy. It identifies this dramaturgy, the use of humour, pace, mood and elements of and surprise as means of producing the important shift between Immersion and Reflection. Finally, the study examines the visual qualities of the medium. Through comparisons between this medium and Painting, it identifies a specificity for a genre of Interactive Painting, as expressive, immersive, rich, imaginative - a dynamic, controllable and Human re-interpretation of old and new media.
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Robinson, Deborah. "The materiality of text and body in painting and darkroom processes : an investigation through practice." Thesis, University of Plymouth, 2003. http://hdl.handle.net/10026.1/567.
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This research study employs practice-based strategies through which material processes might be opened to new meaning in relation to the feminine. The purpose of the written research component is to track the material processes constituting a significant part of the research findings. Beginning with historical research into artistic and critical responses to Helen Frankenthaler's painting, Mountains and Sea, I argue that unacknowledged male desire distorted and consequently marginalised reception of her work. I then work with the painting processes innovated by Frankenthaler and relate these to a range of feminist ideas relating to the corporeal, especially those with origins in Irigaray's writings of the 1980s. The research involves three discrete bodies of work. The first, Inscriptions, explores the relation between visual processes and textual ideas. The second, Screen / Paintings, Is a re-enactment of formalist decisions that attempts to recover the body In the work. The third, Photoworks, is an attempt to 'jam' vision whilst redirecting process through the unconscious and touch. Each body of work gave rise to a practice text. In these texts, ideas that informed or were triggered by making are unearthed. Material processes are understood as a reiteration of themes (or issues) in relation to the feminine. These include: the relation between text and the visual, corporeality In making, the interplay between conscious and unconscious processes, and control / uncontrol. These ideas are reformulated in each body of made work. My approach maps out a method of working that is non-predictive and deliberately situated on the margins of control.