No description available.

No description available.

Behavioural Enrichment is a series of paintings of fictional zoo exhibits; the body of work as a whole creates a silent zoo. The paintings merge imagery and draw comparisons between the stage-like sets of mid-century interior design photographs and Western zoos exhibits. The paintings present curious new worlds that comment upon the artificiality that is in both zoos and the ideal home. The contained curious new worlds that comment upon the artificiality that is in both zoos and the painted environments are complete with props of still-lifes, behavioural enrichment devices from zoos, and animal actors. These strange worlds of artifice are constructed with images within images: odd compositions and disintegrating spaces that balance between an illusion of depth and an abstract flatness. The work provides a space for the imagination to contemplate many possible metaphors.

Albert Einstein is one indisputable luminary who in my opinion exemplifies the balance, brilliance, and altruism I look for in my heroes. Subsequent to his dream of riding a beam of light to the edge of the universe, with the tools of calculus and physics, he radically changed our understanding of the universe. But the dream came first, and everybody dreams.I believe everyone has something incredible to offer. In my creative project paintings I attempt to demonstrate with the tools of paint and canvas my peculiar dream of the cosmos from macrocosm to microcosm.I ride the beam of light using paint and canvas, in my creative project paintings I celebrate my fascination with that intuitive element we all share. I also celebrate those who have gone before with the wisdom to seek an understanding and discernment of the genius we all share, have access to, and indeed must thoughtfully and carefully awaken for our species to evolve past its current halting material, ideological, and technological adolescence. / Department of Art

There is no abstract available for this thesis.

The purpose of this Creative Project was to create and analyze the student's art work,which was finished within the academic year 1985-86, at Ball State University. Due to the difference in geographical features between Indiana and Hong Kong (where the student originally came from), the attitude and approach of the student towards painting was affected. This paper traced and identified how and where his works of art changed.The whole analysis was based on three major pieces. They were Frankton I, A Cold Summer, Frankton II and LandscaDe VI (which was a landscape of Muncie). These three works were oil paintings. The student also used some of the preparatory watercolor sketches that he made to help describe the different developing stages of his art. During the analysis, technical aspects of handling oil paint were discussed too.

This creative project has traced the development of shaped canvases from two-dimensional shapes to a more three-dimensional shaped form. This project has compared work completed in the past by Newman, Noland, and Stella and work presently being done by Bonticou, Baer, and Hinman with the work defined in the project.In addition, work defined in the project has been carefully described as to the selection of materials, the preparing of individual sections, the preparation of the canvas surface, and the proper way of displaying the art form.Finally, the project discussed the unique utilization of corner space for display purposes and the various techniques and methods of lighting used to alter the appearance and effect of the projected forms.

The purpose of this creative project was to explore various ways of using acrylic paint other than the traditional methods of direct application to canvas or paper and produce a suite of fifteen mixed media drawings using methods developed during the creative project. With the drawings produced during the creative project the writer discovered a new approach in using acrylic polymers. Subtle relationships of color, texture, value, and spacial illusion were achieved through the use of this method. The technique involved making a thin sheet of nonsoluable, flexible acrylic, cutting it, manipulating it, and applying it to a sheet of paper. Through the creative project the writer explored riew concepts in composition and personal imagery. Work completed during the project yielded over one hundred drawings. Works from the project have been exhibited regionally and nationally. Two pieces were included in Indiana Artists Exhibition in 1983 and two others were purchased by the Evansville Museum for their permanent collection.

No description available.

The thesis aims to prove, on the one hand that the second half of the nineteenth century was the period of maximum deviation from the traditional Romanian style of icon-painting and, on the other hand, that the process following the Romanian Orthodox Church's Synod of 1889, in spite of the proclaimed return to a pure Byzantine style, actually has involved the coexistence of at least two main styles of painting: Eastern Mannerist of Byzantine lineage and Western Mannerist of Renaissance persuasion. In addition to this, a mixture of various elements, even in the painting of the same building, is also present, reaching sometimes the point of kitsch. As steps towards this end, my thesis discusses the way in which the tradition of the Orthodox Church regarding icon and wall-painting manifested itself throughout Romanian history, with special emphasis on the period from the second half of the nineteenth century to the present day. I investigate whether or not, and how the Romanian modern icons (still) fit into the Byzantine conception of an icon. The thesis presents the same tradition regarding the requirements of the profession of an iconographer, how they were fulfilled in the past and how they are satisfied today in Romania, in both a monastic and a secular milieu. Traditionally, in addition to their skills and artistic training, it is essential that iconographers should be deep believers, have a solid theological training, and live a very pure life. In Chapter 6 I present the answers of 27 Romanian contemporary iconographers to a 17 item questionnaire regarding the way in which they are trained and keep the canonical rules today, the techniques they use in painting and their own attitude towards their work.