Traditional basketmakers from eight southeastern and south central states (North Carolina, South Carolina, Tennessee, Georgia, Florida, Alabama, Mississippi, and Louisiana) were located, interviewed, and photographed along with the baskets they produced. Three major populations were identified within the region: Native American (Chitimacha, Cherokee, Coushatta, Seminole, and Choctaw tribes), Afro-American, and Euro-American. / There was no existing literature that researched the southern traditional basketmakers and their baskets as a total subject. This study is an endeavor to fill that void. Biographical sketches for 174 basketmakers are included. Photographs of 26 of these makers and 198 baskets are included for visual documentation. / The study reviews basketry as an ethnic and family heritage and recognizes the similarities as well as the differences unique to the southern producers. A discussion of the materials, techniques, dyes, and patterns details the characteristics of each population's traditional basketry. / The study theorizes a three-fold relationship of the continuity of traditional basketry to (a) the land, (b) the body, and (c) the community or family. / Source: Dissertation Abstracts International, Volume: 48-02, Section: A, page: 0288. / Thesis (Ph.D.)--The Florida State University, 1987.

The purpose of this study was to examine the possibility that incorporating aesthetic qualities into teaching strategies may enhance the learning experience for students and increase the effectiveness and satisfaction of the teaching experience. An investigation was made of aesthetics, aesthetic education, the learning environment, the self, professional development, inservice education, social change, educational innovation, and adult learning. / An overview of the inquiry follows. The second chapter, which examined aesthetics, stated that aesthetic experiences have the potential to put people in touch with themselves, to heighten their consciousness and reflectiveness, and to contribute to their well-being by giving satisfaction through intense encounters. Aesthetic education, an area of study discussed in chapter three, is designed to alter perception, increase sensitivity, heighten experience, educate vision, and develop appreciation through experiences with artifacts and natural phenomena. / Chapter four revealed that an aesthetic learning environment may serve as a functional teaching tool and a support system for education. Another finding was that self-improvement, which may occur through professional development and inservice education, may promote more effective educators and self-actualized beings. / Social change, educational innovation, and adult learning were investigated in the fifth chapter. The literature indicated that American schools could be improved with changes that are planned, positive, inventive, and meaningful to learners and educators. Chapter six considered an inservice plan to promote basic aesthetic literacy for teachers and the use of aesthetic qualities in school buildings, curricula, and teaching methods. The outcomes of successful inservice programs result in new attitudes and teaching methods. / Based on the review of literature, the following conclusions were made: (1) The aesthetic may nourish individuality and self-renewal which may in turn enhance the teaching/learning experience. (2) Incorporating aesthetic qualities in schools may improve the educational process by providing access to more meaningful life-related experiences. (3) Functional aesthetic literacy should be an essential teacher competency. / Source: Dissertation Abstracts International, Volume: 46-06, Section: A, page: 1487. / Thesis (Ph.D.)--The Florida State University, 1985.

This thesis examines the series of Apocalypse illustrations appearing in a thirteenth-century copy of the Liber Floridus, MS lat. 8865 in the Bibliothèque nationale de France. The Liber Floridus is an illustrated encyclopedia completed in 1120 by Lambert, a canon of the church of Nôtre Dame in Saint-Omer in northern France. The autograph manuscript of the Liber Floridus has survived to the present day (Ghent, University Library MS 92), along with nine copies. Lambert's encyclopedia is a compilation of excerpts from a range of Classical and medieval writers, and a number of the texts in the Liber Floridus are or were accompanied by figural illustrations. The Ghent autograph once contained a series of full-page miniatures depicting scenes from the Apocalypse of Saint John. Though fragments are present in several of the copies, this Apocalypse cycle is now missing from the autograph manuscript. MS lat. 8865 is the only copy to have retained a complete series of Apocalypse illustrations. This thesis argues that its iconography is an accurate reflection of the lost cycle in the autograph manuscript. Because of the survival of the autograph manuscript, the Liber Floridus has generated a substantial amount of scholarly interest. As a result, the series of Apocalypse images, which is no longer present in the autograph, has gone largely unnoticed. By examining the relationship between the Apocalypse cycle and the other textual and figural elements of MS lat. 8865, I demonstrate that the cosmological and eschatological elements of the Liber Floridus are visually and thematically related, and were so in the autograph. In his choice of texts and illustrations, Lambert tries to structure the universe and situate himself in history and time – in relation to past events and to events of the apocalyptic future. In Lambert's original, the use of similar pictorial arrangements in the Apocalypse cycle and in the rest of the Liber Floridus encyclopedia, particularly the didactic cosmological diagrams, strengthens the thematic connection between these schema and the Apocalypse illustrations. The specific selection of texts and the arrangement of the components in MS lat. 8865 reveal a significant concern with the end times and with systematizing knowledge. / A Thesis submitted to the Department of Art History in partial fulfillment of the requirements for the degree of Master of Arts. / Degree Awarded: Spring Semester, 2010. / Date of Defense: April 1, 2010. / Diagrams, Medieval, Antichrist, Liber Floridus, Lambert of Saint-Omer, Apocalypse, Encyclopedia, Manuscript, Cosmology, Eschatology, MS lat. 8865, Ghent MS 92 / Includes bibliographical references. / Paula Gerson, Professor Co-Directing Thesis; Richard Emmerson, Professor Co-Directing Thesis; Lynn Jones, Committee Member; Stephanie Leitch, Committee Member.

This dissertation provides the first comprehensive study of Les Costumes Grotesques, a group of one-hundred black and white single-figure etchings of elegantly-posed characters wearing or composed of items related to a specific occupation, profession, or trade. The Costumes Grotesques was initiated by Parisian printmaker Nicolas I de Larmessin in 1688 and expanded in the years after Nicolas I’s death by his wife, brother, and associate. From the first to the last, these prints are itemized illustrations of seemingly every imaginable consumer object that was crafted, sold, and utilized for the purposes of enhancing early-modern life. In dressing these characters in work-related goods, the creators of the Costumes prints connected their figures—quite literally—to the processes, tools, and products of manufacture. In some, characters are dressed in twelve signs of the zodiac, in masks, in explosives, and in plans of military fortifications, thus expanding the ensemble’s subject matter to include many other types of professions aside from artisanal expertise. In dressing these characters in occupation-related items, the creators of the Costumes prints connected their figures—quite literally—to the processes, tools, and products of manual and intellectual labor. The existing literature on the Costumes Grotesques has clarified issues of attribution, established the individual prints that comprise the ensemble, and has identified possible influences on its conceit. Yet a study of the place the Costumes ensemble occupies, in its broader historical context and the specific visual culture in which it was created, has yet to be explored. Similarly, issues concerning the extent of its publication, circulation, and reproduction by other printmakers require further scrutiny. In this dissertation I argue that the Costumes Grotesques delighted audiences with its detailed, encyclopedic, and imaginative renderings of occupational tools and products, while also entertaining viewers with subtle (and, often, not so subtle) critiques of the monarchy and the pretensions of aristocratic culture. Throughout the ensemble are references to the specific period of Louis XIV’s reign in which they were created: an era marked by the monarch’s war-mongering, which threatened the nation’s economic health, and by the gradual dimming of the splendor of Versailles, which was no longer the site of festivities on the scale they had been at the start of the monarch’s reign. At the same time, I suggest, the Costumes celebrated numerous important achievements, accomplishments, and contributions of the French monarchy. In the chapters of my dissertation, I provide the first substantial definition of the Costumes Grotesques as a monument. I also analyze the production and circulation history of the ensemble, and examine the compositions of all known surviving original and pirated editions of the Costumes that have been preserved in US and European print repositories. By comparing the composition of editions of variants to those comprising the distinct publication phases identified in previous scholarship, I reveal the complexity of the ensemble’s circulation, and determine the place that variants, which were produced soon after the ensemble’s initiation, occupied in its production history. Other chapters focus on the question of sources for the Costumes Grotesques. A number of themes emerge and overlap in these three chapters, such as the increasing permeability of the boundary that had previously separated the court from the public sphere, and the complex public perception of Louis XIV’s reign at the end of the century. / A Dissertation submitted to the Department of Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Spring Semester 2017. / April 19, 2017. / 17th century, France, Larmessin, Louis XIV, printmaking, trades / Includes bibliographical references. / Robert Neuman, Professor Directing Dissertation; Reinier Leushuis, University Representative; Jack Freiberg, Committee Member; Stephanie Leitch, Committee Member.

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No description available.

This research into Indonesian socialist-realism art, examines how art has shaped the political and social environments of the new order government. This text examines contemporary artists’ attitudes toward social commitment and social commentary during the period 1980-1995. Conflicting views of contemporary Indonesian artists were obtained from research undertaken in Indonesia in 1995. In this thesis, the problem is raised that Indonesian socialist-realism art is not only a style of art for contemporary Indonesian artists, but also as a union of artists’ attitudes towards Indonesian society. This argument is used to further understand modern Indonesian art from the ‘inner’ point of view / Master of Arts (Hons)

This exegesis speaks to the body of work constructed over three years between February 2004 and April 2007, assembled and exhibited at the Lismore Regional Gallery in May 2007 under the title A Farewell To Meat: Rendering Ambivalence and Transgression. Written concurrently with the production of the paintings, this writing maps the literature surveyed and documents the studio research undertaken.This research consisted of collecting imagery from a wide range of sites and allowing it to trigger abductive pictorial responses. Erupting from this collecting process, social texts such as TV and radio news, cultural texts such as cinema and literature, and the subtext formed by my own dreams and nightmares were conflated to become a kind of mythology that informs the paintings and artist books in the exhibition. My studio research on one level, became a kind of phenomenological investigation that probed and responded to a media saturated consumer culture, whilst on another level, it seeks to facilitate the injection of an element of cognitive dissonance back into this culture.The resultant creative output utilises the efficacy of the image and the subversive power of metaphor to engage with several interconnected themes. These range from the dialectic of truth and illusion in the painted space, to power relations, marginalisation and the possibility of finding holes in that maze without exits we call ‘capitalism’. An ostensibly atavistic utilisation of figuration and oil paint is intended as a lucid rebuttal of 20th Century/modernist notions of minimalism and the so-called ‘end of painting’. The relationship within the paintings between the medium and the message (the paint and the illusion) seeks to operate like the drapery found in paintings from the Baroque era that antinomically both reveals and conceals the forms beneath it. This scopic contradiction serves as an anamorphosistic mirror which, in my own work, highlights the subterfuge and legerdemain currently operating behind the veil constituted by technology and contemporary mass culture.The goofy, cartoon-like nature of the paintings and the aleatory strategies deployed in their construction, bear witness to the profundity of play in contrast to the burdensome yoke of labour. The artist books articulate more fully the innovative nature of the research and complement the paintings in a way that adds the dynamic of a digital dimension to the more traditional methods of oil painting on canvas.As a crassly instrumental reason insists on tightening its grip on human affairs, everywhere emphasising efficiency over playfulness, and as coercive structures of order continue to reduce my ontic options to an ever-diminishing range of superlatively insipid and uninteresting purchasing ‘choices’, the capacity for play, for ridiculousness, for absurdity, noise and laziness, for me, became symbolically central.

The Empty Space project aims to explore the interior and exterior space of an object through the use of Perspex. The solidity of the concrete or minimalist art object and the space that it physically occupies will be challenged by the use of visually ambiguous material. Physically solid yet visually transparent or reflective, perspex challenges our perception of solidity - what is internal and what is external. It is by nature a subversive and ambiguous material. The visual transparency of the material contradicts the physical presence of the object it creates. It creates a play between presence and absence. It is this spatial contradiction that this project exploits in order to create physical and visual tension. The solid physicality of the objects will directly draw on the tradition of concrete art and the language of minimalism. The visual transparency of the material will however, subvert this language both conceptually and literally. This will make the relationship between internal and external space more complex, challenging the physicality of the art object and questioning the nature of solidity.

Thesis (Ph. D.)--University of Hong Kong, 2005. / Also available in print.