No description available.

The basis for this project is the visual representation of memory. Both the past and present are depicted using the tools of a painter and a drawer in the traditional form of watermedia on paper. The question arose: by making a visual record of events that were witnessed, heard, or thought about, could someone piece together a visual representation of memory? This investigation and research sheds light on the nature of memory, its capacity as well as its foibles, while the body of artwork will explore and attempt to hold onto "time". Understanding that the brain processes memory by extracting key elements from experiences for storage, one can visually represent these same key elements in an artwork and generate the memory in what is essentially a "hard copy". In perspective to my artwork, I took a mental note of certain events within a day's time, and sketched the objects that struck my attention on that very same day. I am for all intents and purposes, paring down a day to its most basic elements and recreating the experience: constituting a moment or a memory. / Department of Art

Thesis (Ed.D.)--Teachers College, Columbia University, 1965. / Typescript; issued also on microfilm. Sponsor: Justin Schorr. Dissertation Committee: Dwayne Huebner. Includes bibliographical references.

This project has been an exploration into the various techniques of watercolor and their resulting effects through research into the work of past and contemporary watercolorists. The investigation of this background knowledge led to experimentation and later implementation of these techniques in a group of seventeen paintings, reproduced in slide form and then framed. Techniques such as wet-on-wet, splatter and dry-brush were illustrated.Subsequently following was the development of an instruction packet designed for interested watercolor students. The packet consists of the slide of the paintings in which the various techniques are illustrated, a text explaining the "how-to" of the different techniques and their resulting effects, and a tape which can be used in co-ordination with the text.

Experimentation is the beginning and end of all of my art. I examine the interactions of the materials that are involved in the journey of creativity. Typically, I begin a piece with an irregularly drawn line, using a white crayon to resist the media that I will later apply, thereby creating a negative line. This gestural line becomes an element that helps direct my intuitive mark-making. My process involves masking, using resists, and layering materials. I then remove the layers of media by scraping or sanding them away changing the texture of the paper. I am drawn to media that is unpredictable, difficult to control, and can be unforgiving. These qualities enhance the process of the experimentation because application of a pigmented mark cannot completely be erased. The resulting work reveals its history through the process of making it.

Thesis (M.A.)--Brigham Young University Dept. of Art. / Includes bibliographical references (leaves 81-84).

Thesis (Ed.D.)--Teachers College, Columbia University, 1970. / Typescript; issued also on microfilm. Sponsor: Edwin Ziegfeld. Dissertation Committee: Maxine Greene. c.1 contains original illustrations. Includes bibliographical references.

Thesis--University of Washington. / Includes bibliographical references (p. 272-296).

Thesis (M.A.)--University of Wisconsin--Madison, 1983. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 68-72).

Thesis (M.F.A.)--Rochester Institute of Technology, 1987. / Typescript. Includes bibliographical references (leaves 25-27).