Thesis--Wisconsin. / Title from title screen (viewed Mar. 15, 2007). Includes bibliographical references (leaves 76-77). Online version of the print original.

Thesis--Wisconsin. / Includes bibliographical references (leaves 76-77).

Thesis (Ed. D.)--Illinois State University, 1981. / Title from title page screen, viewed March 21, 2005. Dissertation Committee: Richard Salome (chair), Barry Moore, Max Rennels, Raymond Wiman, H. Dean Hustuft. Includes bibliographical references (leaves 166-172) and abstract. Also available in print.

This thesis addresses the relationship between art and society by examining the production of culture on the Oregon Federal Art Project (FAP) of the Works Progress Administration (WPA). The author examines the social conditions and decision-making processes which shaped the art that was produced and determined who produced and who consumed the art of the FAP. Also examined are the changing social relations of art prior tCI), during, and after the WPA's Federal Art Project. The research for the thesis utilized inductive methods of research aimed at theory construction rather than theory testing, although theoretical questions guided the gathering and analysis of data. Most of the data were obtained from primary sources, including interviews with fifteen people who had varying degrees of familiarity with the Oregon FAP; letters of correspondence, memos, and other primary documents on the Oregon FAP were used extensively. Secondary sources supplemented these primary sources by providing an overview of the national FAP and providing comparative data on the New York City FAP. An important factor in the establishment of the national FAP was the political activism of artists, particularly in New York. In Oregon, where only a handful of artists were politically active, the upper class administrators of the FAP seemed to have had more autonomy in shaping the direction of the program. It is argued that in many cases the goals of the FAP, to provide employment for artists on relief and to use the skills of these people to create socially useful projects, were undermined due to the orientations and inclinations of administrators and business sponsors of the projects who emphasized the professional art aspect of the FAP rather than the relief, socially useful aspect of the project. Nevertheless, the Oregon FAP brought about a change in the social relations among the artist and the art audience; not only was art made more available to the Oregon public through the public display of art works, and through the free instruction of art at community art centers, but artists, themselves, were for the first time employed to exchange their labor, as artists, for a wage. In this sense, the FAP was seen as a kind of "cultural revolution," although an examination of the social relations of art following the 1930s reveals that the cultural revolution took the form of an entrepreneurial, petit bourgeois revolution, rather than the socialistic revolution many artists had hoped for. It is suggested that the nature of this revolution stems, in part, from the characteristics of the FAP, where artists were government employees, yet were administered by a bureaucracy staffed by an elite which traditionally had been the patrons of art. The conclusions of this thesis are stated in the form of tentative propositions that await further testing in subsequent comparative studies of the FAP.

Thesis (Ph. D.)--University of Oklahoma, 1993. / Includes bibliographical references (leaves 220-242).

The New Deal was one of the largest government programs implemented in the twentieth century. Yet only recently have historians begun to explore the impact of the Works Progress Administration (WPA) on American culture by studying its smaller programs such as the Federal Writer's, Theatre, and Art Projects. This paper explores the life of Caroline Wogan Durieux, a New Orleans artist, WPA Federal Art Project (FAP) administrator, and representative for the United States' State Department, centering upon Durieux's career from 1917 to 1943. Durieux's work with the FAP, and later the State Department, helped to redefine the role of art in American society by making art widely accessible to the public. With her influential connections in New Orleans society and her commitment to public art, Durieux bridged the gap between art for the privileged few and art for the masses.

The number of Americans who did not suffer in some way from the depression of the thirties was small, indeed. This was a period of great travail for the United States and the entire world. However, it was also one of the most interesting and innovative periods in American history. President Franklin D. Roosevelt exhibited forceful and quick reactions to the economic and social problems besetting the nation. Not the least of these measures of mitigation was the Works Projects Administration and the inclusive WPA cultural projects. These projects contained an art program, a writers' program, a theatre program and a music program. The contributions of these programs were varied. A great deal of monetary value was produced by such respected Americans as Jackson Pollock, Mark Rothco, Stuart Davis, Richard Wright and Vardis Fisher. Monetary return did not comprise the major value or design of the programs. The first priority centered on providing useful employment to unemployed and creative citizens. This employment program was unique in that it strived to place the unemployed artist in a position in which he could use his artistic talent. The sculptor was not forced to dig ditches or lay pipe. He was given a job that utilized his true vocation, such as work on Mount Rushmore or sculptures for a children's playground, or even the instruction of sculpturing to an eager class of adults. This was probably where the real value of the program became patent. The artist was able to regain his self-respect and continue in his work. The state of Utah presented a useful example of the worth of WPA cultural programs. In a state as small and rural as Utah, a viable and workable program was effected. Therefore, it is reasonable to assume that if the cultural programs were of value to Utah, the significance to the larger states and the rest of the nation cannot easily be dismissed.

This thesis focuses on the question of “how can the Keiskamma Art Project, its processes and art, be understood in relation to a contextual ecofeminist spirituality?” This study is concerned with women’s experience and expression of the divine through their creativity. It explores how women’s art projects contribute to their aesthetic and creative development and the impact it has on their lives. The study argues that the “Spirit” which manifests as the power of divine creative energy which is released through human creativity can promote full life for women in South Africa. It also explores how the creative process offers a catalyst towards change which affects both personal and communal transformation. Protest art is presented and examples of its historical use both locally and internationally are sited. The discussion offers an understanding of why subordinates in society need to find a safe place to express their protest. Art projects are presented as ‘safe’ sites for women who find themselves oppressed by their societal circumstances to find opportunity for the exploration of their ideas and personal development. Ecofeminism is presented as a contemporary protest movement and the study engages with some of the work of three key ecofeminist theologians; Rosemary Radford Ruether, Ivone Gebara and Sallie McFague. Themes are developed which best describe the characteristics of an emerging ecofeminist spirituality. The focus of the case study is on the Keiskamma Art Project, its processes and art, with specific focus on the Keiskamma Altarpiece. The process of dialogue and consultation which preceded the art making and the artwork are discussed in detail. The context of the Keiskamma Art Project is explored in location in the Eastern Cape in the rural and coastal town of Hamburg. The socio-economic context of the Keiskamma Art Project is outlined, indicating the lived reality of women engaged in this Art Project. In conclusion, the study argues that an emerging contextual ecofeminist spirituality is evidenced through the women’s art, the Keiskamma Altarpiece and the Keiskamma Art Project and has contributed towards the empowerment of local women and helped them articulate a sustainable life giving vision of hope for the future. / Thesis (M.Th.)-University of KwaZulu-Natal, Pietermaritzburg, 2013.

The presented theoretical and project diploma thesis was aimed at developing an art project "RIVER", during the Art Education lessons in the first level of elementary school. It is structured in two parts, a theoretical and practical one. The theoretical part defines the terms and processes available literature on the topic. The project part of the thesis consists of ten proposed art lessons and also deals with the documentation, implementation and reflection of the proposed methodological sheets. The diploma thesis is followed with pictorial annexes related to the theoretical part, photo documentation of lessons and proposed structured preparation.

In this essay the renewal of the modern sacred art has been examined through the creation of three works of art from the art project “Kyrkorummet”. The aim has been to show that renewal of the modern sacred art is best accomplished by the combination of the artist history and Bible knowledge and the open mindness of the beholder towards the new and creative, in order to communicate the gospel in modern time. The large extend of the art project demanded a selection of the art works. Therefore, three were chosen and they show the last supper and the baptism in a renewal way including both symbolism and creativity. To complete and facilitate the analyses, a theme, light and water, have been used as well as relevant theories in art history with Kandinsky as main art critic. Through the art project and it’s teaching, history in combination with present time through visits in different and modern churches, thoughts have been stimulated and the result has been new works of art that speaks of our time. The project has also shown that symbolism is an important aspect in the renewal of sacred art, since it communicates and reveals important truths.