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Thesis (M.S.)--Rochester Institute of Technology, 1981. / Typescript. Includes bibliographical references (leaves 199-202).

Thesis (M.A.)--Zheng zhi da xue. / Reproduced from typescript. Includes bibliographical references (p. 149-154).

Originally presented as the author's Thesis (M.S.--University of Wisconsin-Madison, 1976). / Includes bibliographical references.

Thesis (M. Eng.)--Carleton University, 1983. / Also available in electronic format on the Internet.

Thesis (MScIng)--University of Stellenbosch, 2005. / Bibliography. Also available via the Internet.

The purpose of this study was to investigate art collectors’ specific method of developing and making critical judgments in the context of their understanding of art. Phenomenological research methods were employed to obtain data through interviews with collectors of Contemporary African American art, Latin American art, and Minimalist and Conceptual art. Based on the findings, collectors’ approaches to critical judgment can be categorized into three areas. First, critical skills are both intuitive and developed over time, through a holistic and aesthetic process set in the art world. Collectors’ edification requires commitment, and intense looking enabling them to see how works of art communicate. Second, key events that marked collectors’ methodological approaches were connections with artists and art, notable purchases, and exhibitions of their collection. These events resulted from an integration of the collectors’ identification with the art work, manifested over time in various forms. Finally, those objects that best reflected collectors’ specific development of critical judgment and understanding of art were noted either by specific artists in their collection or the collection as a whole, functioning as vital aspects of the collectors’ life and at the same time contributing to culture and society in its capacity to cause conversations. There is an opportunity to apply the information from collectors’ processes as an educational model for teaching and learning about appreciation and criticism in art education by thinking about art collections more broadly, as another way to look at life and the art in life.

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