Thesis (M.F.A.)--Rochester Institute of Technology, 1995. / Typescript. Includes bibliographical references (leaves 11-12).

Thesis (M.F.A.)--Rochester Institute of Technology, 1990. / Typescript.

Thesis (M.F.A.)--Rochester Institute of Technology, 1990. / Typescript. Includes bibliographical references (leaf 25).

Thesis (M.F.A.)--Kent State University, 2008. / Title from PDF t.p. (viewed July 9, 2009). Advisor: Gianna Commito. Keywords: painting, assemblage. Includes bibliographical references (p. 15).

The thesis consisted of a series of paintings in which the canvases were individually painted in a predetermined way, then arranged and assembled more spontaneously in a final wall construction. Narrow limitations, such as working with only horizontal and vertical compositions and contrasting colors were specified. By working within a method or procedure, and by remaining strict to these guidelines, the ideas inherent in the paintings emerged and were then promoted. The dominant ideas that developed out of the process of making the paintings were the use of both "found" shapes -found in leftover lengths of support material-and "found" means of dividing the canvas, found in statistical information culled from current events in the newspaper. Also, the idea of unifying the painting with contrasting shapes, colors, surfaces, and values arose out of the process. The actual results of the painting process became clearer during the "spontaneous assembling of the paintings." The final wall constructions were made by arranging the individual canvases in different configurations and then mounting them on the wall. After the paintings went to the wall, possibilities for alteration and how they interacted with the wall could be seen.

No description available.

This project examines the relationship between form and the resultant space that it encloses, through a process of assembly. The process consists of assembling materials in Phase 1, and assembling parts cut-out from a homogenous ceramic form in Phase 2. Embedded in the act of assembly is the designer's ability to construct the object in multiple formal configurations. Manipulating the form (solid) results in mutation of the space (void) held within and in-between the solid, and vice-versa. Four formal concepts guide the process of assembly in this study: interplay of solid and void, manipulation of the material skin, dynamic visual motion, and light as a building materialThe research in this paper consists of literature survey, precedent studies on two ceramic artists, and analysis of art exhibits.The significance of this project lies in its ability to blur the boundaries between academic disciplines of metalsmithing and ceramics, art and architecture. Design resulting from the overlap between disciplines has vast potential and can lead to dynamic possibilities. / Department of Art

Thesis (M.A.)--University of Montana, 2008. / Title from title screen. Description based on contents viewed Aug. 13, 2008. Includes bibliographical references (p. 38-39).

Thesis (M.F.A.)--Rochester Institute of Technology, 1994. / Typescript. Includes bibliographical references (leaf 24).

"A thesis submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Master of Fine Art." Title from PDF of title page (Georgia Southern University, viewed on February 10, 2010). Marc Moulton, committee chair; Bruce Little, Julie McGuire, Gary Dartt, committee members. Electronic version approved: December 2009. Includes bibliographical references (p. 119-121).