This is a terminal project report containing the work of Kanetaka Ikeda submitted in partial fulfillment of the requirements for a degree of Master of Fine Arts in Sculpture.

This paper is not to be considered as the main project for the master's thesis, but rather as an accompaniment to the mail project, which is a piece of sculpture entitled, The Cello Player. The paper will briefly discuss what sculpture is, together with a general overview of the materials and methods employed in the creation of a sculptural piece. In the paper an attempt will be made to explain why and how The Cello Player was created. It will also consider the technical and working aspects of a new material, Magnesite. Lastly, it will evaluate the use of Magnesite as sculptural material. It is hoped that this paper will be of some future use to anyone wishing to do a piece of sculpture by the modeling method, or anyone interested in experimenting with a comparatively new sculptural material.

Thesis (Ph. D.)--University of Sydney, 2006. / Title from title screen (viewed 25 March 2008). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Dept. of Art History and Theory, Faculty of Arts. Includes bibliographical references. Also available in print form.

Diss. : Kunstwissenschaft : Wien : 1980. - Bibliogr. p. 177-200. Index.

Diss.--Bonn--Universität, 1989.

Thesis (M.F.A.)--Rochester Institute of Technology, 1996. / Typescript. Bibliography: leaf 53.

Thesis (Ph. D.)--University of Kansas, 1985. / Includes bibliographical references (v. 2., leaves 325-338).

Why "igolf"? I love golfing, especially enjoying the gigantic space of the golf course. More importantly, this is the place where I dream and get inspiration for my art. I imagine filling my own global golf course with monumental golf sculptures in the future. This motivation and enthusiasm has modified my direction in creating sculpture. I named my final MFA exhibition "igolf". The idea of the name comes from modern terms we find in popular devices, such as the iPhone, iPod, and the iMac that reflect our technological world. In addition, the sound for "i" shares the same sound of the Chinese Mandarin word for "love." The content of my art represents a dialogue of love similar to the dialogue between men and women who are in love. I have discovered that human beings share many common conversations in daily life, which contain either positive or negative meaning. These conversations might contain hope, excitement, humor, despair, sadness and so on. I decided to use dialogues such as "Can we Start over Again?", "Love is Blind" or "You are my Last Hope!" as the titles of my sculptures. These dialogues help build a mutual understanding between my works and my audiences. When the audiences look at my works and the titles, hopefully they will be reminded of their memorable experiences, whether it be good or bad, with their loved ones. Choosing golf as my subject matter in creating sculptures was inspired by Murakami Takashi, the famous Japanese artist, and Zaha Hadid, an outstanding architect. They are well acknowledged by their incredible works, which symbolize the luxurious life. Therefore, the famous brand Louis Vuitton invited both artists to design for their brand. Events such as these made me realized the potential trend for commercial art. In addition, my 15 year experience as a graphic designer has also helped generate many ideas that relate to golf and its associated products. The practical principles of graphic design have been applied in my "igolf" exhibition. I will proceed to explain the creative process behind each of the works in the exhibition.

No description available.

The notion of a sculptural type of drawing is often summarily included in critical literature. These references tend to be brief and regularly contradict one another. Furthermore, drawings made by Tuscan sculptors of the sixteenth century are often neglected altogether. This thesis investigates the notion of a sculptural type of drawing and attempts to understand more clearly the appearance and purpose of drawings made by sixteenth-century sculptors working in central Italy. In order to understand this notion, the history of drawings for sculpture and the literature related to them should be examined. Individual artists from whom a number of drawings survive must be studied separately before being related to one another as a group. This investigation utilizes several methodologies: the early history of drawings for sculpture is recreated from information contained in contemporary written documents and contracts; the literature related to the characterization of inherently sculptural qualities is reevaluated against the surviving visual material; the attributions made to lesser-known sixteenth-century sculptors are scrutinized; and, finally, the drawings executed by sculptors are placed in the broader context of sixteenth-century draughtsmanship. This investigation reveals that some drawings exhibit a functional approach that explores the challenges of preparing a three-dimensional work of art. Such an approach is, however, not unique to sculptors, whose drawings employ an approach that cannot be separated from those by painters. These similarities are significant because they reveal several misunderstandings concerning graphic characteristics often understood to be inherently sculptural, and a history of incorrect attributions based on these assumptions. / Thesis (Master, Art History) -- Queen's University, 2013-09-28 21:18:45.79