• Refine Query
  • Source
  • Publication year
  • to
  • Language
  • 7711
  • 3830
  • 2065
  • 999
  • 890
  • 737
  • 541
  • 471
  • 257
  • 117
  • 108
  • 102
  • 102
  • 63
  • 49
  • Tagged with
  • 22347
  • 3488
  • 3120
  • 2759
  • 2094
  • 1476
  • 1426
  • 1229
  • 1188
  • 1046
  • 1042
  • 1022
  • 955
  • 927
  • 920
  • 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.

The Art of Charles H. Reinike: Lagniappes of Louisiana's Landscapes and People

Barnett, Lauren J. 15 May 2013 (has links)
For Louisiana artist Charles Henry Reinike II, environment acted as a stimulating force and stirred his artistic emotion. Although he began his career in New Orleans during the shock of the Great Depression, Reinike managed to thrive and was a leader in the arts community from the early 1930s until his death in 1983. Although most widely regarded for his watercolors rendered in the plein-air tradition, Reinike worked in an impressively varied range of mediums and excelled in many of them. As a poetic artist, Reinike held great passion for Louisiana, and his lyrical paintings read like odes to the beauty of the state. Reinike did not merely paint direct, physical images of the moss-draped trees or bayou vistas that occupied his mind, though. Instead, he tried to grasp their essence, working back from pure abstraction towards half-dreamed images of the places he loved. Reinike was a colorist, and his palette ranged from vibrant to muted tones depending upon his mood. Reinike gave strength to the stunning qualities of his surroundings, attempting to capture the spirit of Louisianas landscapes and people. His works are private and personal statements, while being universally understood. Reinikes contribution to the Southern art scene lies in the deeply personal statements about lifestyles in Louisiana that still hang on hundreds of walls of individual homes throughout the country. Beyond his skills at watercolor painting, Charles H. Reinike worked in a variety of other artistic media, throughout which he maintained his distinctive style throughout his career. Over the course of his lifetime, Reinike successfully revealed cultural truths about a momentous time in American history, transcended artistic racial barriers towards African Americans at a time when their depiction in art was minimal, and encapsulated the deep contrasts between the traditional Southern landscape and the modern one that emerged during his career.

Suspensory Filaments

Pineda, Santiago 11 June 2013 (has links)
The interrelationships between vision, desire, and language are the elements that drive my artistic practice. What is seeing? How is seeing related to desire? These questions are at the base of my interests. I recognize optics as a subset of perception, yet I strive to reform them into interchangeable components. My interest in optics is based on doubt. Im not interested in optics correctness, clinical orientation, or current sophistication, but rather in undermining its limitations. Our culture still struggles to absorb the notion of the sentient being, one example is our acuity of vision being standardized to 20/20. Within my research, the perceptual engagement between the work and the viewer is an initial tool to stress the importance of the act of seeing as a language rooted and dynamic human capability. The present work forms a non-linear, non- descriptive assimilation and response to these issues and how they can provide the possibility of a meaningful aesthetic experience for the contemporary viewer. The exhibit includes installations and paintings in diverse media, which were manipulated considering the implication of conceptual juxtapositions as well as the effect they created as sensual surfaces.

Without Words: An Exhibition of Functional Objects

Callahan, Paul William 12 June 2013 (has links)
At the core of my artwork lie two essential goals, to make objects that convey my understanding of beauty, and while doing this, to preserve the objects functional qualities. The materials that I select to build with, primarily wood and porcelain, are renown for their durability and longevity, resulting in objects that become a permanent fixture in the life of the user. Through utility, the things that I create infiltrate the lives of those around me and provide an entry point for a conversation between myself and the user via the object. Newly developed technological methods are an integral component of my process for 3-Dimensional visualization and fabrication. The act of making objects has become a means of self-understanding. Looking back at the collection of objects that I have produced provides me with a record of my journey as a maker and affords me vision of the road to come.

Now and Then

Arthur, Scottt 13 June 2013 (has links)
I am interested in painting that begins in observation and manifests itself as a meeting ground of the subject and myself. My paintings explore color and spatial relationships as well as a surface that is manipulated over time. I often paint from nature on site as well as from small sketches and drawings that are later brought back to the studio and painted on a larger scale.


Massuch, Roberta Ann 19 June 2013 (has links)
The installation stillNoticing contains ceramic still lifes and drawings that illustrate and bring permanence to ephemeral and fleeting moments. The work is an attempt to share my experience of being captivated by the phenomenon of light affecting the perception of objects and spaces. These moments are often found in familiar spaces, with familiar objects. Each work addresses a particular type of looking: one in which the act of noticing an object transforming from one moment to the next becomes a silent, almost meditative experience.

The Collaged Practice: (un)familiar

Wirta, Raina Beth 19 June 2013 (has links)
My thesis exhibition is an installation of works including sculpture, video, paintings, a hand made book, sound, and drawings that emanated from a series of two-dimensional collages: self-contained forms that evoke the surreal, (un)familiar, and/or grotesque. Infused with a sort of mysterious being-hood and intended to inspire curiosity (at the least), they are unfamiliar in relation to a particular biological thing, but (mostly) recognizable in the autonomous bits and pieces. I seek to question where our physicality ends and the next form of biological life begins, and our responses to that physicality. With childlike inquisitiveness and wonder, and a healthy dose of humor, what emerges is the imaginings of these strange groupings and the desire to perhaps arouse that sense of wonder and inquisition within the viewer. These works were installed in a 5,000 square foot warehouse loft to create an embodiment of the ideas described in this paper. My intention is to create a reflexive experience for the viewer with gaps, or pauses for thought and contemplation, throughout the space. I see this body of work, as most bodies of work, as a practice, and defining that practice will continue to happen through the course of my artistic career. By working in the warehouse space, I was able to reveal layers and correlations between content and process. For me, it is an (un)familiar practice because of the intuitive, layered, and complex habits. This document serves as a reflection on this collaged installation that became a practice in and of itself. For my purposes, I have defined the collaged practice as layered exercises with various processes and materials coming from the same series of cut-paper collages. A large part of the vision for my thesis work is comprised of the human element, the interaction of persons within the transformed warehouse space, with the individual parts of the installation, and the collaborations therein.

A Calvinist View of Visual Art in Seventeenth-Century Holland: The Iconography of Esther in Post-Reformation Dutch Painting

Peaster, Sarah Grafton 27 June 2013 (has links)
The Book of Esther, found in the Old Testament, has been represented in a variety of ways throughout history. In a sweeping tale of love, honor, and sacrifice, the Jewish maiden queen, Esther, is a heroine to the oppressed. Dutch Protestants in the Golden Age felt a kinship to this subject, particularly after the Protestant Reformation and the new religious freedom gained in Holland during the sixteenth century, which continued in the seventeenth century. These men and women saw many parallels between Esthers experience and their own, both as the covenant people of God and as the remnant preserved by Gods care. By looking at the history of the Protestant Reformation, the religious climate of Holland, and a number of representations of the Book of Esther, this paper aims to explore the connection between Dutch Protestantism and the Old Testament Jews, the importance of the Book of Esther for Dutch Protestants in the seventeenth century, and the way in which artists represented Esther in Post-Reformation Holland.

Alexandre Iacovleff: "Exotic Academicism" in Europe and America, (1914-1938)

Blanken, Kara 27 June 2013 (has links)
Art historians often refer to the interwar period of the early twentieth century as la retour à lordre. The twenty-one years from 1918 to 1939 represent a return to sober academicism, order, and classicism in art following the destruction and uncertainty caused by the First World War. This mentality of artistic stability, combined with the Western fascination for exotic cultures of Africa and Asia, formed the hallmarks of the Art Déco style. Alexandre Iacovleff was a Russian artist who embodied the international artistic spirit of Art Déco from 1914 until his death in 1938. His paintings and drawings, rendered in a style that can be described as exotic academicism, were a reflection of a marriage between the contrasting principles of classicism and Orientalism. Most known for his African and Chinese portraits, Iacovleff rendered the unfamiliar, exotic Other in a Western academic style. These portraits were completed throughout the duration of his position as official artist of the African and trans-Asiatic Citroën expeditions. They reflected the Western obsession with all things exotic, and stand as testaments of the eclecticism of Art Déco. What makes Iacovleff an ideal representative of Art Déco painting is his international status. As a Russian traveling artist who lived in China, Africa, Paris, Capri, and the United States, he retained an academic yet diverse stylistic vocabulary that granted relevance to his work on an international level. His relevance, in turn, legitimized the versatility of the Art Déco style during the 1920s and 1930s.

Built to Play

Gard, Forrest Sincoff 08 July 2014 (has links)
Built to Play is an interactive art exhibition featuring four participatory installations. Each installation transforms non-playful objects and activities into handmade porcelain replicas used for exciting gallery made games. Focusing on the carry over from childs play to adult play the exhibition emphasizes the importance of play in our adult lives. As gallery visitors risk breaking handmade ceramic objects for a moment of fun and a chance to win art as a prize, their interaction completes the exhibition.

Identifying Ways of Effective Communication Focused on Public Campaign Design

Park, Ki Ho 01 December 2014 (has links)
The purpose of this study was to identify the most effective way of communication in cause-related campaign design. The fundraising campaign selected for this study focused on childrens leukemia, Draw a Message of Hope. The five types of public campaign design were developed utilizing different elements and techniques of visual communication: (1) image plus text, (2) infographics, (3) motion graphics, (4) typography, and (5) description only. Each type of public campaign design was assessed in terms of (1) the extent to which audiences understand about the campaign and (2) the extent to which the materials encouraged the audience to participate in the campaign. A range of the audiences underlying thoughts about each type of public campaign design was also investigated. Data was collected from undergraduates (n = 60). Descriptive statistics, a paired T-test, and content analysis were used to analyze the data. The result showed that the motion graphics type design was most understandable for the participants, followed by the image plus text, infographics, typography, and description only type design. Similarly, the motion graphics means of design stimulated participants willingness to participate in the campaign to the greatest degree, followed by the image plus text, infographics, typography, and description only type design. The result of a paired T-test revealed that participants responses to each type of design were statistically and significantly different except the relationship between the image plus text and infographics type design. Thus, it was found that each type of component used in a public campaign design is significantly different in terms of its effectiveness. However, there was no significant difference on the effectiveness of the image plus text and infographics type design. For managerial implications, the result of this study provides graphic designers and organizations an important idea that they should consider utilizing motion graphics that offer sufficient information about the campaign and attract audiences interest. This result also gives an idea that description only-type design should be avoided because audiences would not pay attention to this boring type of campaign design.

Page generated in 0.0606 seconds