Lai Wing Him Vincent. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 2005-2006, design report." / Includes bibliographical references (p. 111) and index. / Chapter /0 --- thesis info & statement / A little detail before the theory starts / Chapter /1 --- art & the city / "Our city is not about expertise, so does architecture. But as a professional. what does that mean if we are to design for the city?" / Chapter /2 --- art & architecture / "So art is related to architecture, but what's the relationship? How should they come together?" / Chapter /2.1 --- expression & representation / Chapter /2.2 --- graphi-tecture / Chapter /2.3 --- archi-graphics / Chapter /2.4 --- "images, imaging & imagery" / Chapter /3 --- art in architecture / Concepts and discussions on art spaces / Chapter /3.1 --- redefining art space / Chapter /3.2 --- concepts / Chapter /4 --- art 2 architecture / book 2 / Chapter /4.1 --- site analysis & inspiration / Chapter /4.2 --- drawings & sketches / Chapter /4.3 --- artistic exploration / Chapter /4.4 --- conceptualization & program / Chapter /4.5 --- design / Chapter /4.6 --- renderings & visualization / Chapter /4.7 --- modes / Chapter /4.8 --- final output

Lam, Ka Man. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 2007-2008, design report." / Includes Chinese characters.

Mak King Huai Kevin. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 2008-2009, design report." / Subtitle on thesis t.p.: Photographic gallery & image archive center, Central, Hong Kong. / Includes bibliographical references (p. [84]-85). / Chapter 0a --- thesis statement --- p.5 / Chapter 0b --- thesis abstract --- p.13 / Chapter 0c --- definitions --- p.14 / Chapter 1 --- Vibrant Surface of Metropolitan City --- p.17 / Chapter 2 --- Stillness : detached from Vibrant Surface --- p.22 / Chapter 3 --- Still Space --- p.32 / Chapter 3.1 --- hidden courtyards : access / space / qualities / Chapter 3.2 --- cases studies / Chapter 4 --- Still Photography --- p.24 / Chapter 4.1 --- city > photographic image / Chapter 4.2 --- cases studies / Chapter 5 --- Design Strategy --- p.45 / Chapter 5.1 --- Site / Chapter 5.2 --- Programme / Chapter 5.3 --- Space / Chapter 6 --- Detailed Design --- p.57 / bibliography --- p.82

The use and firing of clay to make art instead of vessels was a revolutionary concept in Japan when it first was introduced by Hayashi Yasuo in 1948 with Cloud, and expanded upon by Yagi Kazuo in 1954 with Mr. Samsa’s Walk. Although both avant-garde artists were major forces in the advancement of abstract, nonfunctional ceramics, Yagi is usually given sole credit and occupies a prominent place in the literature, while Hayashi’s name can scarcely be found, despite his numerous international awards, large body of work and career spanning seven decades. This thesis seeks to identify the factors that influenced the direction of their careers and the unbalanced reception of their work. It compares their backgrounds, personality traits, avant-garde affiliations, and positions on art and ceramics, in relation to the norms and prerequisites for success in Kyoto’s deeply stratified, convention-bound ceramic community. The pervasive practice of rating and society’s emphasis on affiliation and rank were significant forces in this situation, as were issues that divided Japan’s art world -- the separation and unequal ranking of fine art and traditional craft, or the value of individual expression versus technique and tradition. Ultimately, this study reveals an insular world during a decade (1946–56) of crisis and transition that is rarely studied in the West from the perspective of ceramic art.

This study will comprise a very limited portion of the general field of building inscriptions, the artistic aspect. This will be done by a presentation of the means and make up of inscription, the critical study of many examples, and the formulation of rules for study and design of inscriptions.

This thesis examines a selection of eight photographs in the History Portraits series by American photographer, Cindy Sherman, produced from 1989 to 1990. The photographs are based on Renaissance paintings of biblical and secular women painted by old master artists such as Leonardo da Vinci, Sandro Botticelli, and Raphael. Sherman focused on the female types of Biblical mother and femme fatale, as well as wives and models. These types are defined in their relation to men and are depicted by men. In Sherman’s reinterpretations of their portraits, she retells the stories of these women in ways that reaffirm their independence and power that have been shrouded in a history told and controlled by men. With herself as her model, she altered aspects of the images, using the technique of caricature for humor as well as critique. Sherman subverts the idealization of the Renaissance portraits of women by exaggerating features and eliminating aspects of the original portraits to reassert the women’s individuality.

Those scholars who have overlooked the relevance of Fred Kabotie and the Santa Fe Style he developed have missed an important historical segment of early Native American painting. This dissertation underscores the convergence of diverse intellectual, artistic and cultural backgrounds, especially those of Kabotie and Elizabeth Willis DeHuff, his first art teacher, which led to the formation of the Santa Fe Style in 1918. This style was formative for Dorothy Dunn’s later Studio School at the Santa Fe Indian Boarding School. This first generation of the Santa Fe Style of watercolor painting was empowered by highly educated men and women, who helped to ensure the national recognition Kabotie’s work received. Among Kabotie’s early supporters were Elizabeth Willis and John DeHuff, Mabel Dodge Luhan, Edgar Lee Hewett, Kenneth Chapman, Robert Henri, Maynard Dixon, Marsden Hartley, John Sloan, John Louw Nelson and George Gustav Heye. By uncovering the multiple discourses connecting these individuals with Kabotie and his work, this study develops a basis for analyzing the many perspectives this new style synthesized and advanced. This dissertation positions Kabotie and the Santa Fe Style within these and several larger cultural arenas, including Hopi culture, modern art and Santa Fe intellectuals, thus providing a multistoried dimensionality overlooked in earlier scholarship. Through evaluating these individuals who informed and empowered the creation of the Santa Fe Style, while carefully considering Kabotie’s response to them in his work, this dissertation initiates a clearer understanding of early twentieth-century cultural and artistic interactions, both locally and nationally. The Santa Fe Style provided a new direction for American Indian art prior to World War II; it initiated a fresh dialogue between the Hopi people and the Anglo government, and it afforded a complex and ongoing conversation for not just Fred Kabotie and his art, but also, through him, the Hopi people. Moreover, it had a profound effect on the development of Southwest Native American painting over the next fifty years.

This study constitutes the first critical history of dematerialization. Coined by critics Lucy Lippard and John Chandler in their 1968 essay, “The Dematerialization of Art,” this term was initially used to describe an emergent “ultra-conceptual” art that would render art objects obsolete by emphasizing the thinking process over material form. Lippard and Chandler believed dematerialization would thwart the commodification of art. Despite Lippard admitting in 1973 that art had not dematerialized into unmediated information or experience, the term has since entered art historians’ lexicons as a standard means to characterize Conceptual Art. While art historians have debated the implications of dematerialization and its actuality, they have yet to examine closely Lippard and Chandler’s foundational essay, which has been anthologized in truncated form. If dematerialization was not intrinsic to Conceptual Art, what was it? By closely analyzing “The Dematerialization of Art” and Lippard and Chandler’s other overlooked collaborative essays, this dissertation will shed light on the genealogy of dematerialization by contending they were not describing a trend limited to what is now considered Conceptual Art. By investigating the socio-historical connections of dematerialization, this dissertation will advance a more far-reaching view of the ideology of dematerialization, a cultural misrecognition that the world should be propelled toward immateriality that is located at the intersection of particle physics, environmental sustainability, science-fiction, neoliberal politics, and other discourses. This analysis then focuses on three case studies that examine singular works of art over a twenty-year period: Eva Hesse’s Laocoön (1966), James Turrell’s Skyspace I (1974), and Anish Kapoor’s 1000 Names (1979-85). In doing so, this dissertation will accomplish two objectives. First, it looks at how these works materially respond to the ideology of dematerialization and provide a means for charting how this cultural desire unfolds across space and time. Second, this dissertation contends that contrary to Lippard and Chandler’s prognostication, dematerialization—and immateriality—does not correlate to emancipation from capitalization. Rather, it will be shown that dematerialization, its rhetoric, and its strategies can actually be enlisted into the service of the commoditizing forces Lippard and Chandler hoped it would escape.

This dissertation provides the first in-depth examination of American artist Stuart Davis’s early theoretical writings made between 1918 and 1923. These writings are seminal documents in his artistic development. They lay the foundation for the creation of some of his most important works, inlcuding his groundbreaking Tobacco paintings of 1921 to his renowned Egg Beater series of 1927–1928, which Davis claimed set the direction for all his subsequent artistic output. One of the key ideas in these early writings is Davis’s concept of realism. This study traces the origin of Davis’s realism to his interaction with a network of ideas arising from cubism, symbolism, New York dada, and anarchist philosophy. In doing so, this study considers how Davis’s notion of realism informed both the development of his style and his iconography in his works of the 1920s.

This thesis examines the ways in which Frank Gehry’s architectural contributions to Los Angeles’ social and built environment have shaped the region’s “postmodern geographies” throughout the 20th and 21st century. Through a focused exploration of three of Gehry’s postmodernist structures in Greater Los Angeles—a house, a library, and a concert hall—this thesis analyses how Gehry and his designs reflected and affected the artistic and socio-spatial development of Los Angeles’ “decidedly postmodern landscape.”