Thesis (Ph. D.)--University of Technology, Sydney, 2002.

Thesis (MEd (Human Resources)) -- University of South Australia, 1992

This dissertation examines the connection between colonial governance and art education in colonial Punjab after its annexation by the British in 1849. It argues that art education at the Mayo School of Art was part of large project for creating a disciplinary society. It draws largely on archival and printed primary sources for tracing the career of disciplinary technologies of art schools, museums, exhibitions as well as regulatory discourses of colonial anthropology and the folklore, that together constitute colonial sphere of art education. The archives entered the present study both as the source of information as well as the technology of the colonial rule. The disciplinary discourses of the colonial state formed the primary archive for the colonial construction and ranking of indigenous population on the evolutionary scale of "primitive" through the techniques of census and surveys. The ethnological, psychological and intellectual profile of "tribal" population of Punjab along the scale of evolutionary history provided a grid to structure empirical knowledge for vast scale social engineering of indigenous society, including the organization of a system of colonial education for "pre-literate" and "oral" society. The study specifically contends that boundaries between "oral" and "literate" were the folklorist prisms through which the practices of communities and institutions of "art" and "craft", the distinctions between, "primitive" and "modem", "artists" and "craftsmen", "traditional" and "creative", "anonymous" and "individuals", "literature" and "myth", "history" and "legend", and "knowledge" and "folklore" were articulated. The historical contingencies of naturalization of these binary oppositions will be read in the ethnographic project of the colonial state and art educational discourses in the late nineteenth and early twentieth century Punjab that transformed individuals and social groups into subjects of a particular kind of power through the techniques of discipline and regulation. The institutional career of the Mayo School of Art (from 1875 to 1920s) as a technical as well as an educational institution is located at the intersection of discourses on utility and aesthetics. Through the writings of key exponents of the British craft advocates in India and the administrative discourses of the colonial state in Punjab that had brought the study of "decorative arts" to the forefront of the imperial concerns as well as art pedagogy, the dissertation analyzes the implications of the art school instruction on the production of modern artists and craftsmen and the construction of "customary" sphere and "traditional" Punjabi art and craft.

Thesis (Ph. D.)--University of Adelaide, Dept. of Education, 1993? / Includes bibliographical references (leaves 537-561).

Thesis (Ph. D.)--UCLA, 2005. / Vita. Includes bibliographical references (leaves 258-266).

Thesis (Ed. D.)--Illinois State University, 1983. / Title from title page screen, viewed April 27, 2005. Dissertation Committee: Jack A. Hobbs (chair), M.M. Chambers, Ronald Halinski, Fred V. Mills, Robert Stefl. Includes bibliographical references (leaves 93-94) and abstract. Also available in print.

Thesis (Ph. D.)--Ohio State University, 2007. / Title from first page of PDF file. Includes bibliographical references (p. 142-152).

Thesis (Ph. D.)--University of Chicago, Department of Art History, December 1999. / Includes bibliographical references. Also available on the Internet.

Vertical Buildings (skyscrapers) challenge our perception of space, our perception of scale, our idea of movement, they challenge the way we live. Currently urban cities are becoming more and more dense. Lack of space is a big issue and now buildings are being torn down and are replaced by skyscrapers. And these new skyscrapers are being redefined to house a living and working environment. Cubism challenges our perception of depth, our tactile sense, our ideas of proportion. Cubism, as a 20th century movement, was in continuous exploration of the senses.  Cubists challenged the conception of art, and consequently shaped and influenced many social movements of their time. Like any human expression, art and architecture are in a continuous evolution. Both share the pursuit of perfection, the exploration of spatial, sensorial, and emotional feelings.  Both are a part of us. With all of these ideas in mind, I started to investigate and explore the idea of a skyscraper that would house an  art school. Where the building and its inhabitants will contribute to its surroundings of the school. There is the challenge of programing the art school into a vertical configuration and at the same time, this challenge offers the possibility of discovery for new organization of the school as a vertical world. / Master of Architecture

Lorsqu'en 1917 le peintre George Groslier (1887·1945) répond au souhait des autorités coloniales de créer à Phnom Penh une école d'art, il propose un vaste programme de«rénovation des arts cambodgiens». S'il définit ceux-ci comme étant «universels», pratiqués par tous, du paysan à l'artiste du Palais, les arts qu'il entend « rénover» sont pourtant ceux qui de tout temps, ont été l'apanage du Palais. Le «Service des arts cambodgiens» qu'il dirige dès 1919 conserve, reformule et exalte un art d’origine palatiale qu'aucune disposition idéologique ne le destinait à promouvoir. Cette étude s'attache à comprendre les modalités de la reprise d'une prérogative royale au profit de l'entreprise coloniale française et entend démontrer que si l'entreprise de Groslier semble marquée de l'empreinte de sa «doctrine», elle s'insère dans faisceau d'initiatives françaises et cambodgiennes qui invitent à relativiser sa singularité. L'étude de l'histoire du Service des arts, observatoire de l'action coloniale de la France au Cambodge, révèle la place centrale du patrimoine khmer dans les relations entre l'administration coloniale et les élites cambodgiennes, avant comme après l'indépendance. Dans la définition qu'en donne Groslier convergent le système de légitimation de l'aristocratie fondé sur le retour à l'âge d'or angkorien, et la mission civilisatrice française qui se vit en protecteur d'un peuple khmer déchu depuis la fin d'Angkor. Cette convergence empiriquement saisie par le premier administrateur colonial né au Cambodge éclaire en grande partie la portée de son action culturelle et sa postérité. / When in 1917 the painter George Groslier (1887-1945) responds to the wish of the colonial authorities to create a school of art in Phnom Penh, he proposes a vast program of ''restoration of the Cambodian arts". If he defines those as “universal”, being practised by all, from the peasant to the artist of the Palace, the arts he intends to "renovate" are however those that have always been the prerogative of the Palace. The "Service des arts cambodgiens" that he directs by 1919 preserves, reformulates and exalts an art of palatial origin that no ideological provision intended him to promote. This study attempts to understand the terms of the resumption of a royal prerogative to the benefit of the French colonial initiative and intends to demonstrate that if Groslier's action seems marked with the imprint of his “doctrine”, it is part of a set of initiatives both French and Cambodian that invite us to relativize its singularity. The study of the history of the Service des arts, observatory of the colonial action of France in Cambodia, reveals the central place of the Khmer heritage in the relations between the colonial administration and the Cambodian elites, before as well as after independence. In Groslier’s definition, the system of legitimation of the aristocracy based on the return of the Angkorian golden age converges with the French civilizing mission, which lives as a protector of Khmer people, fading away since the fall of Angkor. This convergence, empirically seized by the first colonial administrator born in Cambodia mainly clarifies the scope of its cultural action and its posterity.