The purpose of this creative project was to create a functional and aesthetically pleasing line of garments. The goals of this project were to: 1) produce three textile designs (motifs), 2) screen print the textile designs on fabric, and 3) design and construct a functional/aesthetically pleasing garment line using the three original textile motifs. There were several processes involved in creating the end result. The processes involved in this project were designing a motif for fabric, screen printing the designs on to the fabric, and designing and constructing the clothing line.The work of three artists from the Surrealism movement in art history were used as a source of inspiration for designing the motifs printed on the fabric. The three artists were Joan Miro, Salvador Dali and Max Ernst.The images of the motifs were first sketched and redrawn on the MicroDesign I Cad system. The motifs were printed on 100% cotton using the stencil process in screen printing. Five alternating colors were used to print the three different images. After the fabric was printed, three garment designs were created to be constructed using the new fabric. The patterns for the garments were created using the draping method for pattern making.The results of the project were favorable. The fun spirited motifs represented the feel of the Surrealist movement. The completed garments looked like the original illustrations. Although much was achieved through this project, it far exceeded the time expectations for completion. / Department of Family and Consumer Sciences

Denna uppsats undersöker hur den svenska konstnären Greta Knutson historiskt sett har kanoniserats i relation till sitt förhållande med den kände dadaisten Tristan Tzara och den franska surrealiströrelsen under 1920- och 1930-talet. Knutson hade en lång och produktiv karriär och uppsatsens intention är att flytta fokus från de tidiga dagarna i Paris med surrealisterna till hennes senare konstnärliga period, räknad från slutet på 1960-talet fram till hennes död 1983. Min tes är att en radikal stilförändring då skedde till ett, paradoxalt nog, mer surrealistisk konstnärligt uttryck. Med hjälp av Griselda Pollock och det teoretiska begreppet ”kanonisering” ifrågasätts varför denna senare period i stort har gått förbi konsthistorien och hur Knutsons relation till surrealismen sett ut. Genom en formalistisk analys presenteras därefter verken La Surprise, Feu dans la maison och Det stulna brevet, vilka är representativa för Knutsons senare konstnärliga period. / This essay examines how Swedish born artist Greta Knutson has been historically canonised in reference to her relationship with the famous Dadaist Tristan Tzara and the French surrealist movement of the 1920’s and 1930’s. Knutson had a long and productive career and the overall purpose of my essay is to change focus from the early days in Paris with the Surrealists into her later artistic period, counted from the late 1960’s until her death in 1983. It is claimed here that she then made a radical change of style into, paradoxically, a more surrealistic artistic expression. Through Griselda Pollock and the term “canonisation” I’m exploring and questioning why Knutson’s later career has gone unnoticed in art history and I’m also looking at Knutson’s relation to surrealism. Through a formalistic analysis the artworks La Surprise, Feu dans la maison and Det stulna brevet are presented, which are representative for Knutson’s later artistic period.

Francis Poulenc (1899-1963) demonstrates a remarkable affinity for surrealist poetry in his numerous settings of leading modernist French poets from the first half of the twentieth century. The poetry of Max Jacob (1876-1944), a once unduly marginalized writer who is now regarded as an influential initiator of surrealism, provided the inspiration for one of Poulenc's most significant works, the chamber cantata Le Bal masque (1932). / This thesis seeks to shed light on Poulenc's largely neglected artistic interaction with Jacob by exploring musical counterparts to the poet's unique surrealist aesthetic in Le Bal masque. Chapter one examines Poulenc's artistic milieu surrounding the composition and first performance of Le Bal masque, and reviews previous literature on Poulenc's involvement with avant-garde art and literature. Chapter two focuses on Jacob himself and discusses key aspects of his subversive poetic aesthetic. Chapter three outlines the fundamental characteristics of surrealist art in general and reviews previous discussions of music and surrealism. The final chapter explores surrealist influences in Le Bal masque while concentrating on musical parallels to central features of Jacob's poetry and surrealist art in general described in the preceding chapters.

People I Know is a conceptual visual arts project which involves collecting and archiving information with the intention of extending the notion of portraiture and identity beyond the frame of the body. The collection is a body of collaged material that is a substitute for the body of the sitter, characterizing them. My practice methodology is a combination of collage and collection which allows for a wide field of research and an interdisciplinary approach. These works could be considered case studies of people I know; in object, text, and sculpture; brought together in installation.

People I Know is a conceptual visual arts project which involves collecting and archiving information with the intention of extending the notion of portraiture and identity beyond the frame of the body. The collection is a body of collaged material that is a substitute for the body of the sitter, characterizing them. My practice methodology is a combination of collage and collection which allows for a wide field of research and an interdisciplinary approach. These works could be considered case studies of people I know; in object, text, and sculpture; brought together in installation.

Thesis (MA (Hons)) -- University of Western Sydney, Nepean, 1998. / Includes bibliographical references.

Thèse (M.A.) -- Université du Québec à Chicoutimi, 2004. / Bibliogr.: f. 76-79. Document électronique également accessible en format PDF. CaQCU

Thesis (Ph. D.)--Ohio State University, 2008.

Thesis (Ph.D.)--Syracuse University, 2006. / "Publication number: AAT 3364352."

Thesis (Ph. D.)--University of Wisconsin--Madison, 1972. / Vita. Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.