Thesis (M.F.A.)--Rochester Institute of Technology, 1992. / Typescript. Includes bibliographical references (leaf 13).

Thesis (Ph. D.) University of Missouri-Columbia, 2006. / The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on August 31, 2007) Vita. Leaves 196-242 are blank. No reproduction of photographs available due to copyright issues. Includes bibliographical references.

No description available.

Thesis--Münster. / Includes indexes. Includes bibliographical references (p. iv-xxxi).

Thesis (M.F.A.)--West Virginia University, 2009. / Title from document title page. Document formatted into pages; contains iv, 40 p. : ill. (some col.). Vita. Includes abstract. Includes bibliographical references (p. 38).

No description available.

This project has explored the use of leather as a nonfunctional sculptural medium. The sculptures in this project had their design and construction roots in the historical use of leather for clothing, shelter, tools, and protection. The scultpures differed from leather objects in the past by being solely involved with the aesthetic possibilities of leather and curvilinear relationships, hard and soft oppositions, and surface decoration.There were four sculptures in this project. Each sculpture was built entirely of leather. There were no metal or wood armatures. The construction and the end results of these sculptures depended entirely on the various shaping properties of leather.

Taking as its starting point the anti-monumental stance of much Post-minimalist sculpture, my research investigates alternative paradigms for sculptural practice, drawing on the decorative traditions of provisional and temporary objects made for ceremonies and celebrations (including bunting, balloons, tablecloths, banners etc.) / In order to find a way of creating sculptural works that are formally flexible and mutable, but that also connect with the symbolism emanating from such vernacular celebrations; I have turned to studying objects that are separate to, yet which 'surround', those located within the 'fine art' sculptural tradition. The pageant, feast, religious occasion and personal celebration are examples of symbolic events which necessitate the manufacture of decorations, costumes and props. Often these objects are ephemeral, in being made from materials such as flowers, textiles, or food, and are meant to be discarded or consumed. Sometimes they have a cyclical or 'seasonal' aspect - in terms of their temporality - in being able to be repeatedly used and then packed away. The characteristics of such deployment, and the emphasis on the manner in which these objects transform an environment tie them to many key aspects within both modernist and postmodernist visual art practice (whether within Minimalism, Arte Povera, for Neo-concretism). / Special occasions have a shared symbolic language that is intimately understood by most people across a wide diversity of cultures; while in requiring the production of objects as 'accessories', decorations or props, they also share many basic elements of what might be called a 'formal vocabulary' or language. / This research focuses on the formal conventions and structures of the material culture of special occasions; the sculptural language of the streamer, pageant float, tinsel, birthday cake, and balloon. With the 'expansion of the sculptural field' and the loss of confidence in the signifying capacity of the tradition of the monumental within public art, artists have increasingly turned to exploring other forms and types of symbolic language, as a way of engaging anew with communal commemoration and celebration - whether on large or domestic scale (illustrated ephemeral, performative and domestic materials and processes in contemporary art. / Also of interest is the tradition of display and spectacle inherent in protest marches and rallies. Very often the formal elements of trade union parades, suffragette marches and mass demonstrations utilise a similar formal language to parties and pageants. The ability of such festive structures to carry and even advance an ideological cause is intriguing, and provides a point from which to begin to speculate on how 'personal ideologies', obsessions, and intense psychological and emotional affects might be drawn upon to create a visual language (or formal system) that can operate in non-literal, highly associative ways - whilst providing a meaningful point of reference for viewers. / A selection of artists included in this research: Thomas Hirschhorn, Eva Hesse, Robert Morris, Matthew Barney, Jeff Koons, Helio Oticica, Polly Apfelbaum, Lygia Clark and Tracy Emin. / The research has been conducted within several overlapping fields - art history, contemporary cultural theory, visual art practice and literature, and cultural anthropology - which have provided useful points of critical reference, source material and interpretive paradigms. Nevertheless, the focus has been upon 'special occasion objects' within the western tradition (with Australia viewed as a post-colonial European nation), with particular reference to positions within the Minimalist and Post-minimalist contemporary visual art practice. / This research utilises an Action Research methodology which provides a useful paradigm for understanding and developing the relation between artistic experimentation and production, critical analysis and personal reflection characteristic of studio-based research. The thesis will take the form of an exhibition of art work and an accompanying ten thousand work exegesis. / Thesis (MVisualArts)--University of South Australia, 2006.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1984. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 253-286).

Thesis (Ph. D.)--Rutgers University, 2008. / "Graduate Program in Art History." Includes bibliographical references (p. 265-278).