abstract: The German Dada artist Hannah Höch is considered one of the most significant artists of photomontage. What is less discussed is Höch’s continued use of other mediums, particularly watercolor, and how the two mediums of watercolor and photomontage are combined in many of her artworks. Berlin Dada criticized bourgeois artistic groups and mediums. The Berlin Dadaists Richard Huelsenbeck and Raoul Hausmann called for new ways of engaging with the medium of painting, which resulted in the group’s development of photomontage. However, other Dada artists such as George Grosz, Kurt Schwitters, Francis Picabia, and Hausmann, continued to engage with the traditional medium of painting. Höch was integral to the development of photomontage. Like her Dada contemporaries, she also experimented with painting. She developed the new hybrid medium of photomontage-painting. I argue that Höch’s photomontages are better understood as photomontage-paintings. Höch’s photomontage- paintings combine the mediums of (watercolor) painting and photomontage into a singular medium. My reexamination of these works as photomontage-paintings presents a more accurate view of Höch as a multidimensional artist. / Dissertation/Thesis / Masters Thesis Art History 2015

This dissertation explores the development of Soviet photomontage from the second half of the 1930s to the end of the 1970s. Until now, the transformation of the modernist medium and its incorporation into the everyday practice of Soviet visual propaganda during and after the Second World War has not attracted much scholarly attention. The firm association of photomontage with the Russian Avant-garde in general, and with Constructivism in particular, has led art historians to disregard the fact that the medium was practised in the USSR until the final days of the Soviet system. The conservative government organisations in control of propaganda preserved satirical photomontage in its post-Dadaist phase and Heartfield-like form, finding it useful in the production of negative propaganda.

The statement of the problem for this creative thesis project was: How to construct photomontages that expressed the photographer's personal concerns regarding the human condition and the environmental status of the earth. Secondary components of this problem were the use of color within the work and how to reproduce this color. The goal of this project was: To stimulate individual awareness resulting in a reevaluation of one's own position and responsibilities towards humanity and the environmental status of the earth.A description of the significance of this problem is given along with supportive research. This project provided the photographer with an opportunity to use an artistic process to express environmental concerns that grew out of the photographer's environmental studies.Methods used to solve this problem included the collection of visual elements from readily available pre-printed material such as magazines and books. By combining these elements together in a new context a collage or montage was created. After the montage image was complete it was photographed on color slide film. These color slides were then placed in a projector system connected to a color laser copier. Each slide was projected on to the bed of the copier and scanned. This scanner communicated the image's digital signal to a color laser printer which produced a color laser print.Finally, each photomontage color print was window matted on white 100% acid free rag mat board and placed in a white frame for exhibition. An exhibition was held in the Ball State University Theatre Lounge/Gallery. Included in the appendices of this thesis is a copy of the exhibition flyer, artist statement and press release.A description of each individual piece is provided within_ this thesis. Addressed in this section are the formal properties of each photomontage. Techniques used in the construction of each photomontage are outlined. The expressive elements are identified arid their functions explored as they apply to the montage image. It is within this section that the photographer's opinions and feelings are expressed.The last section of this thesis is the evaluation and conclusion. In the photographer's opinion this project was a success because the photomontages express the personal concerns of the photographer. Also, these photomontages did stimulate awareness and reevaluation in the audience as reported by members of the audience to the photographer. / Department of Art

When a witness views a crime, they are often asked to construct a facial likeness, or composite of the suspect. These composites are then used to stimulate recognition from someone who is familiar with the suspect. Facial composites are commonly used in large scale cases e. g. Jill Dando, Yorkshire Ripper, however a great deal of research has indicated that facial composites perform poorly and often do not portray an accurate likeness of the suspect. This thesis therefore examined methods of improving facial composites. In particular, it examined methods of increasing the likeness portrayed in composites, both during construction and at test. Experiments 1 to 3 examined the effectiveness of a new three-quarter-view database in PROfit. Experiment 1 examined whether the presentation of composites in a three-quarter- view composite will aid construction. Participant-witnesses were exposed to all views of a target and the results indicated that three-quarter-view composites performed as well as full-face composites but not better. Experiments 2 and 3 then examined whether the presentation of two composites (one in a full-face view and the other in a three-quarter-view) from the same participant-witness would increase performance above the level observed for a single composite. The results revealed that two views were better than one. In addition, experiment 3 examined the issue of encoding specificity and viewpoint dependency in composite construction. All participant-witnesses were exposed to either one view of a target (full-face or three-quarter) or all views and they were asked to construct both a full-face and a three-quarter- view composite. The results indicated that performance was better when all views of a face had been presented. When a target had been seen in a three-quarter-view, it was better to construct a three-quarter-view composite. However, when a target had been seen in a full-face view, performance for both full-face and three-quarter composites was poor. Experiments 4 to 8 examined whether the presentation of composites from multiple witnesses would increase performance. The results revealed that morphing composites from four different witnesses (4-Morphs) resulted in an image that performed as well as or better than the best single image. Further experimentation attempted to examine why multiple composites performed well. In particular, it was asked whether multiple composites performed well because they contained varied information or whether they performed well because they just contained more information. Multiple composites from both single and multiple witnesses using the same (PROfit) and different (PROfit, E-FIT, Sketch, EvoFIT) composite techniques were compared and the results revealed that multiple composites performed well because they contained different memorial representations. This combination of different memorial representations appeared to result in an image that was closer to the ideal, or prototypical image. Experiments 9 to 12 examined the relationship between verbal descriptions and composite quality. The results revealed that there was no clear relationship between the amount of description provided, the accuracy of the description and performance of the resulting composite. Further experimentation examined whether the presentation of a composite and a description would increase performance above the level observed for a single composite. The results revealed that the combination of a description and a composite from the same participant-witness did increase performance. This indicated that descriptions and composites might contain differing amounts and types of featural and configurational information. Both the theoretical and practical implications of these results are discussed. Experiments 1, 2 and 3 of this thesis have been submitted for publication. Ness, H., Hancock, P. J. B., Bowie, L. and Bruce, V. Are two views better than one? A study investigating recognition of full-face and three-quarter-view composites. Applied Cognitive Psychology. Experiment 4 of this thesis appears in Bruce, V., Ness, H., Hancock, P. J. B., Newman, C. and Rarity, J. (2002). Four heads are better than one: combining face composites results yields improvements in face likeness. Journal of Applied Psychology. 87 (5), 894-902. Other Publications Frowd, C. D., Carson, D., Ness, H., Richardson, J., Morrison, L., McLanaghan, S., Hancock, P. J. B. Evaluating Facial Composite Systems. Manuscript accepted for publication in Psychology, Crime and Law. Frowd, C. D., Carson, D., Ness, H., McQuiston, D., Richardson, J., Baldwin, H., Hancock, P. J. B. Contemporary Composite Techniques: The impact of a forensically relevant target delay. Manuscript accepted for publication in Legal and Criminological Psychology.

Zugl.: Duisburg, Essen, Univ., Diplomarbeit

Zugl.: Berlin, Freie Univ., Diss., 2005

Thesis (Ph. D.)--University of Washington, 2006. / Vita. Includes bibliographical references (p. 104-115).

Rosler’s 1967-1972 series, Bringing the War Home: House Beautiful conflates images of domestic interiors with images of combat related to the Vietnam War. This thesis places the series within the socio-political context of the Cold War examining the manner in which Rosler utilizes specific elements of governmental ideology and rhetoric to implicate the viewer in complicity with American involvement in Vietnam. The dissemination of governmental ideology through advertising, the effects of desire, and the critique of consumption conveyed by this series are investigated. The series is analyzed in terms of Sigmund Freud’s theory of the Uncanny and in relation to historic use of photomontage. In the final chapter, Rosler’s revival of the series, begun in 2004, is compared to the original in terms of its ability to effectively alter the viewer’s perception of the war in Iraq in terms of politics, media, and institutional context.

Master of Landscape Architecture / Department of Landscape Architecture/Regional and Community Planning / Jessica Canfield / The contemporary globalized world is full of wicked problems. A wicked problem is difficult to resolve, complex, and solving one aspect of a problem may create other problems. Wicked problems are shaped by invisible forces and flows. Landscape architects are uniquely poised to address wicked problems with their skills and capacity to think across systems and scales in spatio-temporal, ecological, and cultural dimensions. Landscape architects also communicate through visually-accessible methods which tell a story. Storytelling in landscape architecture seeks to reveal, connect, and tie together relationships and processes of the past and present to inform future possibilities of a place. Methods of storytelling can be used to address wicked problems because of their utility in inquiry and ideation. Developed through an original methodology using maps, diagrams, photomontage, and photographs, this project creates a storytelling framework which iteratively uses inquiry and representation to identify dilemmas, pose questions, and address issues as a means to reveal the impacts of forces on a wicked problem. The site selected to test this proposed methodology is the Athabasca oil sands in northern Alberta, Canada. Visible from space, the potential minable area of the oil sands spans an area the size of New York State. The world’s quest for oil has placed this landscape and its people on center stage. Billions of dollars’ worth of industry investment has put the landscape and people under siege through ever-shifting visible and invisible forces and flows. Dilemmas created by the region’s mining industry not only directly impact local people and landscape, but the greater world as well. Hampered with environmental, social, political, and economic issues, the future of this region is largely unknown, as there are few formal plans and regulations to ensure landscape reclamation and guide urban development. To tell the story of the oil sands, four themes—oil, infrastructure, environment, and people were analyzed. These themes—referred to as "ghost ecologies" because of their inconspicuous nature—when considered together, reveal key regional dilemmas and highlight new opportunities for future directions. Analysis inspired thinking toward future scenarios that imagine a series of new, highly productive and programmatically-integrated futures for the oil sands and its people. The unique process of inquiry and discovery led to a final project framework that identified methods for landscape architects to use in addressing wicked problems. A variety of audiences can consume this work to address the challenges of the Athabasca oil sands and other wicked problems in the world. To the public, the work serves as an evocative display of critical dilemmas worthy of future consideration. For professional and student landscape architects, the work reveals methods of inquiry to address wicked problems through the discipline.

Bibliography: pages 109-111. / Dispossession, aspects of conflict and the breakdown of the relationship between people and their environment is the subject of this thesis. The body of work presented consists of twenty-four photographs and sixteen screen-printed off-set lithographs (referred to as the prints). The photographs are largely intended to introduce and contextualize the prints which act as the main body and conclusion of the thesis. In the series of prints I have manipulated certain photographic imagery in order to explore the ways in which meaning can shift with changes in context, and reveal associations not apparent in the original photographs. This book is divided into four sections: 1. Sources and context: This section contains a brief outline of the historical tradition of apocalyptic literature and its relevance to our times, as well as a discussion of some of the literary texts to which I have referred. All the visual source material for my prints was derived from my own photographs. As a result, I have not looked to other artist's works for reference, or for the development of my theme. Of great importance, however, were the texts I read during the course of my study, which included a wide and diverse range of literature and poetry. I have also looked to film as a source, including popular cinema such as George Miller's "Mad Max" series, as well as the more serious aspects of cinema, for example, the films of Francis Ford Coppola, Werner Herzog and Wim Wenders. While my prints do not necessarily fall within the mainstream of apocalyptic, they have in common with it, a particular attitude towards the present. It is the vision of imminent chaos and the desire for a return to a restored natural order that has informed my work. 2. My working methods and their implications: This section contains an explication of the processes involved in the making of the prints, and the manner in which these processes contributed to the meaning of the images. Also included is a discussion of the relationship between my photography and my printmaking. 3. Introduction to the work: This section introduces my theme. In my photographs I have documented those aspects of southern African urban and rural landscape which reveal evidence of the erosion of the natural environment, as well as the physical manifestations of displacement. In my prints, I have disintegrated, translated and recontextualised these images. While the theme of my work lies within the broad context of apocalyptic, it is the individual's conflicts and sense of displacement within that context that has been of particular interest to me. As the apocalypticist expressed the tensions and conflicts of his time in a language of symbols, so I have similarly presented a response to my environment. It is not my intention in this section to present an interpretation of my work, but rather to highlight those aspects important to an understanding of the motives I had in making the images. In addition, this book includes documentation of the photographs and prints, preparatory sketches and collages, reproductions of source photographs, and a selection of literary texts which informed the work.