• Refine Query
  • Source
  • Publication year
  • to
  • Language
  • 176
  • 2
  • 2
  • 2
  • 1
  • Tagged with
  • 544
  • 544
  • 186
  • 130
  • 94
  • 89
  • 76
  • 75
  • 67
  • 62
  • 53
  • 45
  • 43
  • 42
  • 42
  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
51

Parking

Lurth, Aaron Andrew 01 May 2012 (has links)
When photographed at night these spaces float between necessity and abandonment; reminding us that all we have built could very easily be taken away leaving us with these quiet relics of a time that use to be, but no longer is. In a not-so-distant future these ramps stand as monumental representations of what is to come, soon to exist as monuments to the past. These will be the relics we leave behind, totems of an automotive culture.
52

Some visual issues of painting : an exploration of the painting process

Branham, Barbara Leedy 01 January 1989 (has links)
A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in Art: Painting.
53

Images from the Horse Heavens

Thornock, David 01 January 1983 (has links)
This thesis is for a Master of Fine Arts in Painting.
54

Stone sculpture

Bogdan, Laura P. 01 January 1981 (has links)
A terminal project report submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in Sculpture.
55

Transparent landscape

Harris, Elizabeth 01 January 1985 (has links)
This thesis is for a Master of Fine Arts in Painting and features the work of Elizabeth Harris.
56

And there were green tiles on the ceiling

Richardson, Jean Catherine 18 July 2007 (has links) (PDF)
In this document I shall explain my art process, and reflecting on my work, will explore the themes and emotions that evolved. I shall accompany the images of my MFA exhibition with personal poetic vignettes. These vignettes are memories and thoughts that surfaced both while making the art and while viewing the final exhibition. While the primary experience is looking at and being with my art, I hope these anecdotes and stories give some insight into my motivations and actions as an artist. In these stories I shall use my own voice; I am Scottish and will tend to use local vernacular.
57

Fabricating Womanhood

Fox, Emily 26 April 2010 (has links) (PDF)
The exhibit, Fabricating Womanhood, was an attempt to explore the construction of gender and identity. While the artwork addressed well researched and documented feminist themes the artwork also stemmed from personal experiences and my coming-of-age process. The resulting installation included video, prints, painting, ceramics and found objects arranged in a set-like house construction of life-size proportions.
58

Portraits

Bontorno, Nicholas J. 14 June 2012 (has links) (PDF)
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
59

Integrated artworks : theory and practice in relation to printmaking and computers, and the influence of 'non-Euclidean geometry' and the 'fourth dimension' on developments in twentieth-century pictoral space

Barfield, Naren Anthony January 1999 (has links)
No description available.
60

Phenomenology and landscape experience : a critical appraisal for contemporary art practice

Unwin, Bren Carolyn January 2008 (has links)
This thesis examines some of the ways in which phenomenology might be applied to the representation of landscape experience within contemporary art practice. In particular, the thesis examines how embodied landscape experience, informed by an understanding of phenomenology, might be articulated by contemporary art practice that uses the media of film and digital video. The thesis also questions ways in which time might contribute to an understanding of such a representation of the landscape. Based on a critical analysis of landscape experience and its representation in art practice, the thesis identifies critical omissions both within the aligned disciplines of cultural anthropology and art history, particularly in instances where art has been employed ineptly as a tool for critical enquiry. Through a conceptual analysis of phenomenology, cultural archaeology, cultural anthropology, theories of technology, art history, critical film theory and art practice, this project makes a critical examination of new ways in which art can articulate phenomenological notions of landscape experience, both in the forms of a written exegesis and in examples of my own practice. To these ends, the writing of Christopher Tilley and Tim Ingold is examined in order to draw upon some of the ways in which cultural archaeology and cultural anthropology use Maurice Merleau-Ponty’s phenomenology and James Gibson’s ecological theory of visual perception to understand an embodied engagement with the landscape. Following an expanded phenomenological examination of landscape the thesis identifies ways in which cultural anthropology has used painting. This examination is followed by an analysis of the work of Mike Michael and Don Ihde in order to determine the role played by technology within the mediation of experience and its representation in art. The writing of Joyce Brodsky is examined to analyse the relationship between embodied experience and art practice and, using Sobchack’s analysis, the thesis describes ways in which Merleau-Ponty’s idea of reversibility can explain moving imagery as the perception and expression of experience. As part of the method of analysis, a case study is conducted into how phenomenological ideas that have been identified in association with landscape experience might be understood within Tacita Dean’s work Disappearance at Sea. An analysis of phenomenological notions of landscape experience within my own art practice has led to the generation of a body of practice that includes film and digital video media. Key examples of my art practice have been selected that can articulate this thesis. Specifically, a 16mm film, Line, and a digital video, Length II provide evidence of contemporary art practice articulating an experience of the landscape from a phenomenological viewpoint. Within the production of moving imagery, there is a sequence of human actions and technological interventions that can be considered in phenomenological terms. Through a reflection of my own embodied experience - extended by vehicles, cameras and their associated technology - Line and Length II pay specific attention to how the placement of a camera and its associated technology mediates the mobile character of an experience of the landscape. Central to this enquiry has been the contention that through a rigorous application of phenomenology, a new mode of making moving imagery emerges, specifically one that gives particular emphasis to the placement of the camera and its associated technology in order to reveal the dynamic relationship between a perceiver and their environment in the twenty-first century.

Page generated in 0.0284 seconds