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  • 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.
41

Life, Death, and Awakening: As Seen in Reflections of Nature

Parks, Diane 01 January 2018 (has links)
My objective, in undertaking this three year MFA degree has been to create and produce metaphorical paintings which communicate my deepest feelings about my personal experiences of life, death, and nature using various types of landscapes as subject matter. My goal has been to explore many processes of painting, using a range of color palettes to suggest and inspire emotional responses from viewers that are similar to my own. Ultimately my intention has been to share feelings of empathy between myself and a viewer through the art I've produced. This thesis body of work chronicles my three year journey.
42

Momentum, Moment, Epiphany: The Psychological Intersection of Motion Picture, the Still Frame, and Three-Dimensional Form

Gerstein, Mark 01 January 2018 (has links)
My journey from Hollywood Film production to a Fine Arts practice has been shaped by theory from Philosophy of Mind, Cognitive Psychology, Film, and Art, leading me to a new visual vocabulary at the intersection of motion picture, the still image, and three-dimensional form. I create large mixed media collages by projecting video onto photographs and sculptural forms, breaking the boundaries of the conventional film frame and exceeding the dynamic range of typical visual experience. My work explores emotional connections and fissures within family, and hidden meanings of haunting memories and familiar places. I am searching for an elusive type of perceptual experience characterized by an instantaneous shift in perspective—an "aha" moment of epiphany when suddenly I have the overpowering feeling that I am both seeing and aware that I am seeing.
43

House vs. Home: Defining Place Through Identity

Gleason, Ryan 01 January 2018 (has links)
A house is a place of safety. A home is a place of belonging. Though different a house always desires to become a home, but it can only be so through a connection to self. It is a home that is an extension of one's identity. Through the mirror, which is the home, and through an understanding of schema theory a person's being can be understood through one's ideas, place, self, family, rituals, memories, and feelings. Each of these factors act as a layer of brick building a strong foundation or a crackling fireplace adorned with family portraits making the rooms feel cozy for the image of the home as well as self. Exploring the melancholic drawings, paintings, sculptures, and installations the relationship of self and place become more evident thus separating what is a house from a home. It becomes clear that the definition of home does not come from its physical boundaries but from the thoughts and interactions that reside within its walls. A joyous person creates a joyous home and a melancholic home creates an artist that is inclined to create melancholic art in search of what they don't have. It is along this emotional journey the artist can truly understand what this sense of belonging means. Through his art the worn wallpaper and the cracked plaster of this darker world hold in the emotions of the artist showcasing the authenticity of self and opening a door for others in a similar search.
44

Seeing Living Things: Observations of Figures From the Outside In

Deblois, Forrest 01 January 2018 (has links)
This writing accompanies the outcomes of my studio practice over the last three years, focusing on two bodies of work of paintings and drawings. In it I describe and analyze multiple influences tied to the progression and change in my studio practice. I began the process of my work with images and subjects from my home state of Florida, frequently juxtaposing the wildlife and humans, now I see this pattern as a byproduct of a studio practice functioning as a introspective reflection of what I experience, the things that I understand and the things that I don't. I deconstruct elements of figures and landscape, removing most information but what is necessary to retain symbolic context, and allow physical windows into the past formal states of the work, exposing the audience to different periods of time and hinting at information now hidden under the finished image.
45

The Suburban Nightmare: A Study of Atmosphere, Mood and Emotion

Sobrack, Ericka 01 May 2019 (has links)
In this thesis body of work, I focus on the implied human presence through the lack of actual human figures. I believe there is more to say in a landscape with the absence of the figure, allowing the dialogue to be read and interpreted by a larger audience. I am particularly satisfied with White Knuckles, shown in figure 3, because I collide reason with imagination, thus contradicting the context and interpretation of the subject matter. In White Knuckles, I deal with formal elements such as composition, atmosphere, lightness and darkness as well as nuances of color. I have also considered the emotive impact the painting could reflect to the viewer, specifically feelings of tension and unease. The placement of the viewer outside the picture plane was carefully considered to suggest the audience is a participant in the suggested narrative. I often strive to create an ambiguous moment, reflecting feelings of uncertainty and apprehension. Like White Knuckles, my body of work employs unexpected narratives to reveal some of the uncomfortable truths of our human experience. I am interested in exploring the relationship between the mundane and the abnormal in the paintings, a feeling that could be described as a "suburban nightmare."
46

Designosaurs: Technological Evolution and De-Extinction Through an Advancing Medium

Vanzyl, Sean 01 May 2019 (has links)
This thesis is an examination of my imperative need to understand dinosaurs and their role in science and art, acting as prehistoric symbols for science and imagination. Like our understanding of dinosaurs, my body of work is evolving simultaneously with the technology of our time. Through the synthesis of artistic language with science and technology, I create dynamic experiences allowing a viewer to witness an extinct living being in its entirety, an otherwise lost experience. By utilizing digital modeling, animation techniques, and interactive video games, my work speaks to the power and diversity of digital media's role in visualizing artifacts in our society and culture.
47

Expanding and Shedding the Self: Processing Selfdom Through Painting

Lucey, Theresa 01 May 2019 (has links)
The absurd perpetual struggle, although entirely without hope of resolution, is the key to life's meaning, or perhaps, meaninglessness. The artist must work to live and live to work and find their place in an absurd world. Find joy in the questioning act of art making, make no attempt to escape the meaninglessness through pacifism, and face the chaos with awareness. I employ self-portraiture as a means to dig deeply into my experience and response to living. Self-portraiture morphs along with my experiences and keeps a record of my thought patterns. My body of work is the harvest of my seeds of reflection. Tying together past influences, existential questioning, and a Sisyphean philosophy to a life of art making, I unravel the inner outcomes of my studio practice. It is in retrospect, through distance, that these connections are fully realized.
48

Exploration of Life and Decay in Technological Civilization

Wieser, Mauro 01 May 2019 (has links)
Reflecting upon humanity's obligatory use of technology and its place in our collective evolution has become my endeavor. These reflections happen in a studio and through a process that influences the fine art objects produced. In turn the objects both celebrate and warn us of the dynamic and immanent enhanced human. I balance the use of modern machining processes with dark humor to comment and raise questions about the coexistence of man and machine in an increasingly absurd environment.
49

The Women's Wood Engraving Revival and its Global Impact (1912-1960): Gwen Raverat, Clare Leighton, and Joan Hassall

Moreshead, Abigail 15 August 2023 (has links) (PDF)
Using a feminist media historical lens, this dissertation examines three women artist-illustrators who participated in the early twentieth century wood engraving revival in the United Kingdom: Gwen Raverat (1885-1957), Clare Leighton (1898-1989), and Joan Hassall (1906-1988). Little scholarship exists on the wood engraving revival from a feminist media or book history perspective. To fill this gap, I examine the biographies of these women and the books and magazines they illustrated in their historical context, with attention to how their gender impacted their experience. This dissertation finds that women's participation in the wood engraving revival is significant because it afforded opportunities for women to become professional artists through a medium that had previously been controlled by men. They influenced print culture domestically and globally by illustrating political and literary magazines to broaden their visual appeal and by illustrating a variety of fiction that reflected how commercial publishing was being impacted by the "Book Beautiful" movement. This research further reveals how social networks and institutions played a complex role in the careers of women artist-illustrators in this period, and, as a result, in the development of the book in the twentieth century.
50

The Everyday Press : an artists' books imprint

Desjardin, Arnaud January 2011 (has links)
In short, I would argue that our notion of the artist's book came about not through a singular definitive change in the practical mode with which an artist might choose to express himself, as for instance in the familiar Marxist model of greater distribution and economy of the art object through mass-production, but rather in a fundamental and decisive change in the consciousness of both author and reader as a concrete corollary of many different factors. Thus the difficulty of defining precisely what sort of classification one should impose or how to exclude, include or segregate into category the many different tribes of book that might satisfy a particular brief is essentially brushed aside. The familiar skirmishes between the modernist protagonists of mass-production and the paladins of craft over content are immaterial; it is the reader who, just as much (if not more) than the artist/author, establishes the conditions with which the book will become meaningful. "Tropes" by Paul Claydon In PutAbout: a Critical Anthology of Independent Publishing (Maria Fusco and Ian Hunt eds. ) London: Bookworks, 2004. p124. The Everyday Press began its life as a proposal for a Fine Art Practice-based Doctoral Research at the University of Kingston. This research practically questions how publishing artists' books can be considered an art practice in and of itself, it articulates a series of problematic associated with the position of the artist as publisher and the effective conditions of reception of the said books within the field of Artists Books. The Everyday Press is a publisher of artists' books. This means that the practical, actual, critical and historical commitments of The Everyday Press to artists' books are its project. How this is arguably achieved is documented in part by this thesis and made evident by the publications themselves. The present thesis contains all the publications of The Everyday Press to date as well as four contextual volumes that approach the work of The Everyday Press from different perspectives. Through a process of mise en abyme each volume includes one another in a condensed, reflected form. In this four volumes thesis I will specify my use of mise en abyme as a self-reflexive structure and a working model for the research. Together the thesis forms an expose of The Everyday Press as a work in itself. The contextual volumes are organised as follows: Volume One proposes an outline of the field and defines an area of knowledge and professional experience of the publisher. This is done in order to first expose on the one hand the conventional relationship of the press to the field and on the other its attempt at expanding the category through practical publishing. This first volume sets The Everyday Press in a critical and historical moment informed by precedents. Volume Two endeavours to describe the publications, their context of production and content. It constitutes a catalogue of the publications to date and problematises the intentions of the publisher against the actual publications and their possible reception as artists' books. The writing here should at times be understood as a parody of some authoritative interpretive modes related to artists books, particularly those seeking affiliation and original contributions. Those intentions are as laden with problematic a priori conceptions, unshakable because they are always already present to the interpretive paradigm that bypasses the reader and his ability to make his mind up for himself. Volume Three marks the traces of the passage of a few artists' books through time and space and produces an account of the field through revealing anecdotes and encounters. This account of the field is also where some of the networks of dissemination of the books are exposed as productive sites and encounters rather than as neutral vehicles for distribution. The books are released through distributive networks, bookshops, museums and the Internet. The research documents and interrogates how such networks may have been formed in the past and how the channels of distribution constitute an essential part of the Field of Artists Books. Volume Four is a bibliography of books and catalogues on artists' books. The bibliography takes stock of a wide variety of publications on artists' books to draw attention to the kind of documentary trace of distribution, circulation and reception they represent That overlooked history of the practice of exhibiting, publishing, disseminating and collecting artist's books during the last forty years is primarily focused on bibliographic data where the main criteria is bibliographical information rather than critical writing or texts on artists' books. My research gathered and compiled these documents in order to provide an aspect of the field often ignored. In its final form it aims to be a source book of exhibition catalogues, collection catalogues, monographs, dealership catalogues and other lists published to inform, promote, describe, show, distribute and circulate artists' books. A series of exhibition of that material and the works of The Everyday Press further the work of public dissemination of the present research. Although this is not stated repeatedly in the thesis, the material presence of The Everyday Press publications should be assumed throughout. The reader can take for granted that books were exchanged, gifted and pushed on anyone remotely interested in the subject of artists' books I came in contact with in the course of the research. My long-standing experience as an art book dealer provided the background knowledge and direct connections to doing the work of production, distribution and research necessary for the PhD. That background no doubt played a role in wanting to produce new books with other artists, possibly wanting to make the kind of books I didn't see because they didn't exist. While all the people contacted for the purpose of this enquiry were aware of my being an artist undertaking a work of research related to artists' books also consisting in a publisher, they welcomed my questions and the books I came with as a genuine publishing project. Explaining what I was doing was not always easy and The Everyday Press publications were also a calling card for me to contact artists, publishers, dealers, editors etc. Paradoxically it is the work of research itself (for example interviewing a publisher or an librarian, or looking for reference books in a dealer's basement) that represents a practical insertion of The Everyday Press into the field (where publishers compare notes, the librarian gladly accepts a new free book and dealers sometimes share some knowledge). As we will see in the thesis, the category of artists' books is full of those contradictions and paradoxes: to begin with artists' books are viewed and received as Art but released as books.

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