No description available.

Thesis (Ed. D.)--Illinois State University, 1980. / Title from title page screen, viewed March 10, 2005. Dissertation Committee: Max R. Rennels (chair), Barry Moore, Richard A. Salome, Leon Manelis, Macon Williams. Includes bibliographical references (leaves 23-24) and abstract. Also available in print.

Submitted in partial fulfillment of the requirements of the degree of Master of Technology: Fine Art, Durban University of Technology, Durban, South Africa, 2015. / This dissertation sets out to investigate the interpretation of the garden in the work of Marianne North (1840-1926), Claude Monet (1840-1926) and Ian Hamilton Finlay (1925-2006) and my art practice. The garden has historically been a site for man’s interaction with nature and has been the subject of interpretation by Fine Art and Botanic artists throughout history. Marianne North’s (1830-1890) interpretation of the garden is positioned somewhere between Victorian flower painter and Botanic artist. An intrepid traveller, she could be considered as a topographical artist in that she documented the gardens and the flora and fauna of the countries she visited. The focus is on her visit to South Africa in 1883. Claude Monet (1840-1926), in his late Impressionist interpretation of the garden, focused on the seasonal play of light on his Japanese inspired garden at Giverny. Artist and poet Ian Hamilton Finlay (1925-2006) in his interpretation of his garden Little Sparta, acknowledges the transience of the garden and its constant metamorphosis. His three dimensional poetry in the form of inscribed rocks and sculptures reflects his interpretation of the garden as a location of contestation. In an exhibition titled Hortus Conclusis I explore the fragility of the garden through the use of porcelain as a metaphor for the transience of life. / M

This thesis is a practical project which involves moving images and paintings together as a medium that explores phenomena of contemporary China relating to personal identity, independence and its relationship with the traditional importance on collective groups, group centredness and interdependence. The project’s approach draws on sociological research on Western thought, values and beliefs naturally occurring in China since the “Open Door” policy as raw data to focus on the transition and transformation of contemporary Chinese individuality, and translates these data to form the concepts underpinning the metaphoric method of my artwork. Bubbles are the main visual symbols that metaphorically imply the incessantly transformable Chinese individuality and social cultural identity. My aim has been to portray this phenomenon through artistic practices on screens. By reflecting and engaging with moving images and paintings, underpinned by theoretical research and methods including data collecting, self-reflecting on data, practical manifestation and self-inquiry, I have attempted to unfold the phenomenon of contemporary Chinese individuality through my art practice. The thesis is composed as a creative work of moving images accompanied by an exegesis component. The moving image represents a nominal 80%, and the exegesis 20% of the final submission.

This thesis is a practical project which involves moving images and paintings together as a medium that explores phenomena of contemporary China relating to personal identity, independence and its relationship with the traditional importance on collective groups, group centredness and interdependence. The project’s approach draws on sociological research on Western thought, values and beliefs naturally occurring in China since the “Open Door” policy as raw data to focus on the transition and transformation of contemporary Chinese individuality, and translates these data to form the concepts underpinning the metaphoric method of my artwork. Bubbles are the main visual symbols that metaphorically imply the incessantly transformable Chinese individuality and social cultural identity. My aim has been to portray this phenomenon through artistic practices on screens. By reflecting and engaging with moving images and paintings, underpinned by theoretical research and methods including data collecting, self-reflecting on data, practical manifestation and self-inquiry, I have attempted to unfold the phenomenon of contemporary Chinese individuality through my art practice. The thesis is composed as a creative work of moving images accompanied by an exegesis component. The moving image represents a nominal 80%, and the exegesis 20% of the final submission.

No abstract available. / Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2010.

Thesis (M.A.)--University of Montana, 2008. / Title from title screen. Description based on contents viewed Oct. 27, 2008. Includes bibliographical references (p. 73-75).

Thesis (M.F.A.)--Rochester Institute of Technology, 2004. / Typescript. Includes bibliographical references (leaves 92-96).

The objective of this dissertation is to establish the notion that art can serve to create and communicate an awareness of the interconnectedness between people and nature. This study debates the theoretical similarities and differences in attitudes toward the planet as interpreted in the artworks of pre-history shamans and traditional societies, 20th century land and urban artists and contemporary environmentally concerned artists. The comparative findings suggest that attitudes of anthropocentricism, greed and power and a denial of Pantheism associated with agriculture, industrial and technological developments, have changed the human-nature symbiosis found in early societies. The creative component of this study has employed the processes of etching and embossing, digital image manipulations and the juxtaposition and layering of images to establish visual metaphors that communicate interconnectedness. Sculptures, billboards, prints and photographs as artworks of the conscience intend to shift socially and personally constructed perceptions from human-centeredness toward a symbiotic worldview. / Art History, Visual Arts & Musicology / M.A. (Visual Arts)

The objective of this dissertation is to establish the notion that art can serve to create and communicate an awareness of the interconnectedness between people and nature. This study debates the theoretical similarities and differences in attitudes toward the planet as interpreted in the artworks of pre-history shamans and traditional societies, 20th century land and urban artists and contemporary environmentally concerned artists. The comparative findings suggest that attitudes of anthropocentricism, greed and power and a denial of Pantheism associated with agriculture, industrial and technological developments, have changed the human-nature symbiosis found in early societies. The creative component of this study has employed the processes of etching and embossing, digital image manipulations and the juxtaposition and layering of images to establish visual metaphors that communicate interconnectedness. Sculptures, billboards, prints and photographs as artworks of the conscience intend to shift socially and personally constructed perceptions from human-centeredness toward a symbiotic worldview. / Art History, Visual Arts and Musicology / M.A. (Visual Arts)