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Graphic Design by definition, is conceptual, its birth and production process depends on the conceptualization of problems and solutions. This report will explore what role does conceptual art, and conceptual strategies, play in the applied arts or visual communications. Just as in conceptual art, in graphic design “…the aesthetics of the design is less important than the “product” it signifies; its meaning is more important than its appearance.” Strong examples of conceptual strategies will be described through the work of graphic designers Paul Rand, Allan Fleming, and Robert Brownjohn, who experiment with “defamiliarizing the ordinary” and advertising campaigns that have used a conceptual approach. / text

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Thesis (Ph. D.)--University of Toronto, 2007. / Source: Dissertation Abstracts International, Volume: 68-06, Section: A, page: 2358. Includes bibliographical references (leaves 251-257).

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The core themes in Thai art have traditionally been didactic Buddhist ethical works and popular folkloric beliefs. Both are permeated with a cosmology and worldview that is supernatural but which is pervaded with ethical implications for people’s daily lives. Buddhist art aims to encourage selfless acts for the good of others, including other individuals, society, the country and the natural world. Such abstract themes have been rendered accessible to ordinary people by means of fantastical creatures and supernatural myths that insinuate moral values and demonstrate a coherent Theravada worldview that is uniquely Thai. This thesis explores the popular manifestations of such phenomena at the intersection of traditional folk beliefs and practices, popular entertainment, Thai official/ royal high culture and confessional Buddhist ethical instruction by analysing the art forms associated with temple fairgrounds at major festivals. Based on a review of related literature and analysis of Thai artists, it concludes that the renaissance of traditional Thai culture is reciprocal with authentic grassroots activities such as temple fairs fostered and supported by traditional patronage and cultural resources from the royal court culture and Buddhist ethics. Based on this analysis, my own work offers a modern rendering in the spirit of traditional forms utilising modern multimedia methods to create an immersive and interactive artistic experience.

This thesis seeks to re-establish the significance of choir stalls in Venice and northern Italy and seeks to place stalls in their artistic, liturgical and spatial context. Although now situated in remote locations in the church, stalls were once highly prized items of furniture and considered to be praiseworthy artistic structures in their own right. As the location for religious ritual, the elevated status of the choir area was reflected in the detailed and sophisticated design of its wooden furniture. Through an analysis of visual and documentary material, stalls will be brought to the fore to consider broader questions. What can documents reveal about Renaissance workshop practices and the relationship between craftsmen and patrons? How did the form of stalls reflect their use in religious ritual and the organisation of sacred space? How did choir furniture develop as an independent medium within the artistic context of the Renaissance church interior? Four main topics will be considered in the first four chapters: the visual history of stalls; the contracting procedure; the use of stalls in liturgical practices; and changes to choir placement. Chapter One reconstructs the stylistic history of north-Italian choir stalls from the fourteenth to early sixteenth centuries and contains an excursus on the development and meaning of intarsia iconography. Chapter Two focuses on choir contracts, which confirm that choir furniture was a considerable investment and a potential source of rivalry between church communities Chapter Three moves the focus away from stalls as material objects to their role in liturgical practices. An excursus on the established use of misericords in Carthusian liturgy will demonstrate the close interaction between form and function in stall design, and places Italian stalls in the context of their European counterparts. The placement of choirs in the church interior will be examined in Chapter Four using case studies of choir placement in different secular and religious houses, in particular the Franciscan Observants, Franciscan Conventuals and the Dominicans. Although changes in choir placement are often associated with liturgical reforms implemented by the Council of Trent, church renovations in fact occurred well before this period. Two Venetian case studies demonstrate the value of examining individual choir precincts in their original stylistic and spatial context. Chapter Five focuses on stalls in the Benedictine nuns’ church of San Zaccaria in Venice, completed by the Cozzi workshop in 1464. The choir precinct in the Frari in Venice is amongst the best-preserved choir precincts in Italy and is discussed in detail in Chapter Six; the circumstances of its construction are closely related to new choir furniture in the Santo in Padua. Specific terminology is explained and collated in the Glossary and an Appendix contains transcriptions and translations of significant documents.