Visually, Baldessari’s art mirrors the schoolroom chart, the cinematic storyboard, the Surrealist collage, the sensationalist graphics of the tabloid, and the grid format of the textbook. Black and white photography, performance, collage, bright prints, film, drawing, and painting: Baldessari has done it all. The artist has consistently demonstrated an inventiveness and sense of play in his work, and it is unlikely that he would stick to any one mode of artmaking for an extended period of time. It is probable that the explicit critique of contemporary Conceptualists of the text paintings mellowed because Baldessari had moved on to new questions. While he continues to examine the trope of the artistic outsider despite his commercial success, it is always with a wink. As Baldessari’s use of his own image in Portrait (Self) demonstrates, he has encouraged his audience to interrogate any artistic self-representation as a purposeful construct. Unlike the majority of his fellow Conceptualists, Baldessari’s serious goals are couched in a selfmocking attitude and in the colorful, playful style he has made his own.

Thesis (Ph. D.)--University of Oklahoma, 1995. / Includes bibliographical references.

Not available / text

Thesis (Ed.D.)--Georgia Southern University, 2008. / "A dissertation submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Doctor of Education." Under the direction of Ming Fang He. ETD. Electronic version approved: May 2008. Includes bibliographical references (p. 203-215) and appendices.

Thesis (Ed. D.)--Teachers College, Columbia University, 1991. / Typescript; issued also on microfilm. Dissertation Committee: Ellen Condliffe Lagemann, Labros Comitas. Includes bibliographical references (leaves 118-123).

Thesis (Ph. D.)--University of Minnesota, 1969. / Includes bibliographical references (leaves 175-188).

Thesis (M.A.)--University of North Texas, May, 2009. / Title from title page display. Includes bibliographical references.

Thesis (B.A.)--Haverford College, Dept. of History, 2005. / Includes bibliographical references.

In the middle of his career, Arthur Garfield Dove created a smell yet novel body of landscape assemblages. They illustrate Dove's central interest in evoking nature--its motifs and rhythms--through imaginative associations of organic and man-made materials. These works represent Dove's synthesis of contemporary European stylistic and intellectual ideas as well as American philosophies and concerns. They also reflect the influence of Alfred Stieglitz and his circle and the artist Helen Torr, Dove's second wife. This study examines how Dove used a complex interplay of European theory and technique, American ideas and his own nature-based abstract style to create the landscape assemblages, works that are uniquely independent in the history of American art.

From the late nineteenth-century until the outbreak of World War II, monuments were erected in large numbers across the United States. Critics referred to the phenomenon as "statue mania," because of the number and diversity of monuments appearing in cities across the country. Women's clubs and organizations were heavily involved in this monument culture, commissioning and raising funds for monuments to America's heroes. After the Woman's Building at the 1893 Chicago World's Columbian Exposition advanced the idea of a monument honoring women's work in civic space, organizations began to commission monuments to honor individual women. With few precedents to build on, both artists and patrons were challanged to create a visual language that could represent the work of real women, ideally. These monuments first followed the established form of the "hero statue," using historical figures to represent precedents for women's contemporary demands for the economic and social privileges of citizenship. Women became voters when the Nineteenth Amendment was ratified in 1920, but still lagged behind full economic and social equality. A brief period of experimentation in the 1920s attempted to create monuments representing the accomplishments of women's collective work, demanding recognition of the demographic at large as contributing members of the electorate. By the 1930s, "ideal" figures replaced individual identity in women's monuments, reflecting the demand to acknowledge the many women participating every day in reform work. Public monuments visually marked the narrative of women's reform work in civic space, supporting their patrons' ambition for autonomy and the rights of full citizenship in a democracy.