Thesis (Ph. D.)--University of Texas at Austin, 2004. / Supervisor: Richard Shiff. Vita. Includes bibliographical references. Also available from UMI.

Thesis (Ph. D.)--Johns Hopkins University, 1995. / Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 421-441).

Thesis (M.A.)--York University, 2005. Graduate Programme in Art History. / Typescript. Includes bibliographical references (leaves 104-113). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url%5Fver=Z39.88-2004&res%5Fdat=xri:pqdiss &rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR11811

Thesis (Ph. D.)--University of Iowa, 2000. / Supervisor: Adalaide Morris. Title-page, preliminaries, Certificate of approval, and Table of contents issued in paper (x, 6 leaves ; 28 cm.). Includes bibliographical references. Also issued on CD-ROM (35 files, 132 megabytes).

When the artist Mel Bochner described the reductive geometric forms on view in the "Primary Structures" exhibition in 1966, a show that announced the arrival of minimalism on the New York art scene, he claimed: "there is nothing behind these surfaces, no inside, no secret, no hidden motive."1 Yet after a careful examination of minimal art, and the ways in which it challenged a modernist trajectory set into place in the postwar period, I am arguing Bochner couldn't have been more wrong. With minimalism as its primary focus, my thesis considers how the political turmoil of the late 1960s- manifest in widespread social upheaval, the polemics of a contested war, and questions regarding the nature of the modern subject- disrupted the perceived self-referentiality of abstract art, particularly that adhering to a tradition of Greenbergian modernism. That is, when complicated by contemporaneous social relations and artistic debates, the formal language of minimalism, with its simple forms, precise lines, and industrial manufacture, becomes full of potential meaning, leaving the minimal box less hollow than Bochner would have us believe. To get at some of the complexities of the minimal project, both mainstream artists, such as Donald Judd and Robert Morris, and those more marginally related to the movement, like Barnett Newman, Jo Baer, and Eva Hesse, are considered. Setting the work of these artists into tension with one another and with the critical writings of Clement Greenberg and Michael Fried, the unique strategies used to mediate between individual artistic interests and larger social tensions are brought into focus. One primary area in which this was accomplished was in relation to the issue of viewership. Whether rethinking Morris' notion of "experience," Newman's conceptualization of "participation," or Baer's prioritization of "perception," these distinct modes of engagement signal what was at the time a shifting understanding of how politics is formulated in relation to the body of the viewer and how the art object is implicated in this process. Considering how this broke with previous formalist models, what these chapters show in different ways and from varying perspectives is that the authority of modernism was fracturing in the late 1960s, and that minimal art was central to this process. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

"The purpose of the study is to determine if through the experiences of an especially constructed learning unit eighth grade students can be helped to become aware of certain concepts concerning American painting and painters. Further, it was the purpose of this study to: 1. Examine the literature pertaining to the history of American art to ascertain the most pertinent and meaningful body of knowledge appropriate to a unit on American art in an eighth grade. 2. Devise the visual means for presenting this material to students. 3. Study the kinds of creative learning activities in art in the eighth grade that would relate to a study of American art, and select activities appropriate to the purpose of the study for the unit. 4. Integrate the material on American artists and their work with the creative activities in an especially constructed unit. 5. Determine by means of especially constructed tests, student's weekly written records, and evaluated student work whether knowledge was gained through the learning unit"--Introduction. / "August, 1962." / Typescript. / "Submitted to the Graduate School of Florida State University in partial fulfillment of the requirements for the degree of Master of Science." / Advisor: Ivan E. Johnson, Professor Directing Paper. / Includes bibliographical references (leaves 55-56).

Research submitted in partial fulfilment of the requirements for the Degree of Master of Fine Arts at the University of the Witwatersrand, Johannesburg, March 2017 / The creative component of the research project explores, through the medium of sculpture, the notion of the liminal, with a particular focus on themes of the absurd and the unstable as characteristics of liminality. These themes may be useful for investigating and providing a valuable source for critical assessment, so as to allow for the opening of and extending of debates on reading and thinking about art regarded as ‘in-between’ the poles of a binary opposition. Broadly, it seeks to explore the historical trajectory of the 1960s artist Eva Hesse in relation to these themes, and how it resonates with my own sculpture-making and development. The aim of the written research is, therefore, through engaging with a close critical and theoretically informed reading of selected examples of Hesse’s work, to identify themes and approaches which may inform and advance the understanding of my own work produced in the context of this study. Connections will be drawn to the way in which these themes facilitate a favourable space in which the making of art flourishes. As far as viewers are concerned, such work may encourage the viewer to be an active participant in a dimension of human experience potentially not yet encountered, thereby liberating viewers’ fixed and rigid perceptual constructs. Entering into a discussion of the themes of liminality, the absurd and unstable, serves this aim. / XL2018

Joseph Cornell (1903-1972) est un artiste américain très connu dans son pays mais peu étudié en Europe. Le catalogue raisonné de son œuvre n'est toujours pas établi à ce jour. <p><p>Tout au long de sa vie, ses sources d'inspiration sont intimement liées à la femme. Cette thèse souhaite aller plus loin que les études existantes: d'une part en envisageant la femme dans tous ses rôles (danseuse, diva, écrivaine, amie, starlette,) et d'autre part, en étudiant la série qui lui est consacrée. Ce regard minutieux sur les variations au sein d'une série est l'un des points forts et totalement inédits de cette thèse. Il permet d’observer le renouvellement de l’obsession et le goût pour la collection, au sens où Baudrillard l’entend.<p><p>En première partie, l'angle d'approche consiste à observer, les stratégies de l'artiste qui tente de s'approprier la femme par la mise en boîte, en bouteille, en dossier, <p><p>En deuxième partie, nous observerons la manière dont il installe une distance qui permet à la muse de rester inaccessible – au sens romantique voire nervalien du terme. La distance peut-être d'ordre surnaturel: la femme prend alors les traits d'une fée ou d'une sylphide ;temporelle (la muse est imaginée enfant) ;spatiale (la muse prend vie sous forme de constellation). Autre stratégie d'évocation: "le portrait sans visage" où le corps de la muse est totalement absent, seul « un objet symbolique) fait référence à la femme désignée. Il peut s’agir d’une chambre ou d’une lampe de mineur pour évoquer Emily Dickinson ou une poupée pour évoquer La Belle au Bois dormant. Vers la fin des années cinquante, Cornell réalise des « boîtes-mémoriaux » en hommage à des jeunes trop tôt disparues. <p><p>La troisième partie tente d’étudier comment Cornell « transcende » l’idée de mort. <p><p>Enfin, en quatrième partie, nous dresserons un bref inventaire des collages des années soixante ayant comme thème central le nu féminin. Cornell quittant un matériel « nostalgique » afin de « charge d’innocence » des images qu’il considère comme érotiques.<p> <p><p>Cette étude s'appuie, entre autres, sur une vingtaine d'œuvres analysées qui n'ont jamais été publiées, une trentaine d'autres qui n'ont jamais été commentées. Plus d'un tiers des œuvres choisies bénéficient d'une recherche de sources totalement inédites, se voyant ainsi placée sous un nouveau regard interprétatif. Et enfin, les œuvres sont mises en rapport avec les sources littéraires qui les ont nourries (Aurélia de Gérard de Nerval, Le Portrait de Jennie, la poésie d’Emily Dickinson, la biographie de Marilyn Monroe ou les écrits de Mary Eddy Baker, …). <p> / Doctorat en Histoire, art et archéologie / info:eu-repo/semantics/nonPublished

Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2000. / Includes bibliographical references (p. 183-225). / This thesis will analyze the architect William Ralph Emerson's (1833-1917) Boston Art Club building (1881-82) and its station within Boston and New York's art culture. Even though there has been considerable research on the Gilded Age in general and certain art clubs specifically, this club remains a neglected element in art's social history. During the rising development of art culture, a small group of artists founded the Boston Art Club (1854-1950) as a vehicle for production, education and promotion of the arts. To assert their club's presence within patrons' circles, the members commissioned a flagship clubhouse adjacent to Art Square (now known as Copley Square). Emerson, primarily a residential architect and the first Shingle Style architect, won the competition with a unique amalgamation of Queen Anne and Richardson Romanesque styles, an alliance with the nearby Museum of Fine Arts and the Ruskin and the English Pre-Raphaelites. The resultant clubhouse was a declaration of the club's presence amid America's established art culture. Through this building design the Club asserted its status for the thirty years that the arts prevailed on Boston's Art Square. The Art Club's reign, along with the building's prominence, ended when the Museum deemed their building's architectural style out of date, among other reasons. That faithful decision to abandon Art Square and the revival Ruskinian Gothic style would take with it the reverence for the Art Club's building and, eventually, the club itself. Within forty years and through several other struggles the Art Club closed its doors, ending a chapter that began with the need for art in Boston, thrived within the culture of the Gilded Age and sank from the changing trends in architecture. / by Michelle Leah Hoeffler. / S.M.

Thesis (Ph. D.)--Indiana University, 2002. / Includes bibliographical references (p. 152-164).