Thesis (M.F.A.)--Rochester Institute of Technology, 1985. / Typescript. Includes bibliographical references (leaves 23-24).

Thesis (M.F.A.)--Rochester Institute of Technology, 1983. / Typescript. Includes bibliographical references (leaves 90-92).

Thesis (M.F.A.)--Rochester Institute of Technology, 1984. / Typescript. Includes bibliographical references (leaf 40).

Thesis (Ed. D.)--Illinois State University, 1973. / Title from title page screen, viewed Oct. 13, 2004. Dissertation Committee: Jack Hobbs (chair), Gene Blocker, George Barford. Includes bibliographical references (leaves 219-225) and abstract. Also available in print.

Thesis (Ph. D.)--University of Colorado at Boulder, 1980. / Film copy in University Microfilms, Ann Arbor. Includes bibliographical references (leaves [206]-209).

Published Article / In this article I argue for the acceptance of artistic outputs as equivalent or congruent to research outputs when these artistic outputs are generated by lecturers at tertiary institutions. Central to the argument is the implementation of critical peer-review mechanisms. I argue that, whereas in research outputs the justification and substantiation of the research takes the form of an article, thesis / dissertation or book, for example, and the further justification and substantiation is confirmed in the publication peer review, for artistic outputs the presentation of the article equivalent - the artwork - requires the justification and substantiation to be carried out by the peer-review process itself. The article then suggests how this might be carried out in practice.

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Since the Middle Ages, strict regulations had divided the Venetian craft guilds according to the raw materials that they used. Because of this there were few occasions in which to compete over the production of cognate objects. Altarpieces were the major exception. The design and production of an altarpiece, whether its central image was painted or carved from stone or wood, had involved multiple competencies, providing work for different artisans, and facilitating the exchange of ideas across mediums. Over the last third of the fifteenth century, however, sculpted altarpieces flourished and their designs increasingly eschewed participation from painters as polychromy became more and more limited and new classicizing tastes prevailed. While collaboration did not disappear, the dialogical nature of altarpiece production in this period was imbued with a sense of competition. The discourse on media, however, was not restricted to the realm of aesthetics and matters of business or personal pride. Reflection upon the ontologies, merits, and symbolic efficacy of their materials was also informed by these objects' privileged locations on or in proximity to the altar. Previous studies on sculpted altarpieces have focused on morphology, iconography, and patronage. My study, in contrast, examines this object category as an intermediary, in a threefold sense: altarpieces acted as facilitators, as go-betweens engendering practical interaction between professional groups; they constituted a locus of artistic exchange between mediums, and of reflection upon the ontology of the crafts of painting and sculpture; the materiality of sculpted altarpieces engaged in a reciprocal inflection of meaning with their setting, the altar. By virtue of their unique status as a shared object category, altarpieces allow us to chart the interaction between the arts of Venice. Their privileged position at a fulcrum of holy space opens their interpretation to an array of written sources of information. An examination of these sources and of this formal and thematic dialog provides a window into understanding the artistic principles that guided artists and viewers in a city that produced almost no theoretical literature directly addressing the arts until the middle of the sixteenth century.