Thesis (M.F.A.)--Rochester Institute of Technology, 1990. / Typescript. Includes bibliographical references (leaf 20).

This project focused on the integration of metal and book forms. Each piece addressed infertility and how this condition affects a couple, both physically and socially. The seven projects are connected through content interest and metal-smithing skills. The techniques used include: casting, sheet construction, enameling, hinge construction, resin insets, xerography and silver etching with Image-On. In additional to the metal-based artworks, this creative project also includes six large-scale photographs to illuminate the experiences of infertile individuals and couples. Three contemporary techniques - de-enameling, Image-On transfers, and Xerography - were used for the creation of Based on a True Story. This was the first usage of Image-On transfers and de-enameling during a creative project at Ball State University. / Department of Art

This thesis provides an account of the events of the first ten years of Printed Matter, Inc., a distribution center for artists’ books established in New York City in 1976. Included are descriptions of the individuals who formed Printed Matter’s first board, their objectives, books published by Printed Matter, and the windows installation program. This thesis also describes challenges the board members faced, including lack of organization, difficulty cultivating a broad public audience, and inadequate income. In addition, it recounts the gradual streamlining of business practices, and the realignment of goals and expectations for the genre as board members accepted the fact of a limited audience for artists’ books. The conclusion offers a brief summary and a look at Printed Matter, Inc.’s current operations.

No description available.

This thesis is a critical study of the poetry and practice of Thomas A. Clark. It constitutes the first extended critical study of Clark's work. This thesis orients Clark within a network of influence, both historic and contemporary. It does this in order to contextualise and investigate Clark's innovative use of form, theme, and materiality. In Clark's work, form is used to explore and engage with the natural world. These interactions reveal the primacy of close attention in Clark's work, and his understanding of the ethical relationship between form, content, and the natural world. This thesis isolates four geographic features in Clark's work as lenses through which to explore his practice: the Field, the Garden, Concrete, and the Mountain. Thus, the thesis follows the structure of a walk through Clark's work, designed to echo Clark's own walking poetry. These four chapters explore different facets of Clark's influence: The Field chapter investigates Clark's reputation as a pastoralist, and his links to Romanticism, as well as to Charles Olson's open field poetics. Chapter two, 'Composition is a forgotten art': The Garden, explores Clark's engagement with 'domestic nature', and the parallels he creates between the space of the text and the space of the garden, and how this parallel allows for intense formal experimentation in a small space. Additionally, the Garden chapter investigates spaces of rest and recuperation in Clark's work. Chapter three, Thomas A. Clark and Concrete Poetry investigates Clark's relationship with concrete poetry, and how his post-concrete poetics have developed in relation to the broader post-concrete and conceptual art scene in Britain. Finally, Mountain Tasting: Zen and the poetry of Thomas A. Clark examines Clark's relationship with Japanese Zen poetics, and the way in which the 1960s interest in Zen which influenced Objective poetry and minimalism has profoundly influenced Clark's understanding of the ethical function of a text.

No description available.

Orientador(a): Agnus Valente / Banca: Susana Oliveira Dias / Banca: Carolina Cantarino Rodrigues / Banca: Omar Khouri / Banca: José Paiani Spaniol / Resumo: Livro: material da dobra e do labirinto pretende testar o fazer de um objeto livro, por entre experimentações e procedimentos artísticos (gráficos, plásticos e digitais), em aproximação com os conceitos de dobra e labirinto do filósofo pós-estruturalista Gilles Deleuze (1991). A inspiração para esta proposta foi a minha dissertação de mestrado intitulada Objetos e afetos (2014, IEL-Labjor, Unicamp), na qual experimentei dar visibilidade ao processo de escrita da pesquisa, deixando visíveis rasuras, correções, apagamentos, com desenhos, manchas de tinta e linhas de costura, em conversas com o artista brasileiro Arthur Bispo do Rosário e com o poeta Manoel de Barros. Com a vontade de dar continuidade à pesquisa, no doutorado buscamos ampliar a trama de conexões entre autores e artistas para investigar a própria tese enquanto abrigo dos diversos gestos e procedimentos da feitura de um objeto livro (ou um livro-objeto). Compor lâminas de espaços-tempos nas quais as relações imagem-texto se desdobrem pelos labirintos da poesia visual de Augusto de Campos, Haroldo de Campos e Julio Plaza, pelas escritas de Jorge Luis Borges, e pelos livros e instalações de Edith Derdyk. Uma pesquisa por superfícies artesanais-digitais que acumulam as camadas dos rumos perdidos, das escolhas traçadas, dos caminhos embaralhados, das referências inspiradoras dos processos do fazer-escrever um livro. Uma tentativa de entrelaçar o tátil, o visual, o sonoro e o semântico, por dobras e redobras da matéria... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: Book: fold and labyrinth material aims to test the making of a book object, through experimentation and artistic procedures (graphics, plastics and digital), in close proximity to the concepts of fold and labyrinth by the poststructuralist philosopher Gilles Deleuze (1991). The inspiration for this proposal was my master dissertation entitled Objects and Affects (2014, IEL-Labjor, Unicamp), in which I tried to give visibility to the research writing process, leaving visible erasures, corrections, sketches, with drawings, ink stains and sewing threads, in dialogue with the Brazilian artist Arthur Bispo do Rosário and the poet Manoel de Barros. With the desire to continue the research, in the doctorate we seek to broaden the web of connections between authors and artists to investigate the thesis itself as a shelter of the various gestures and procedures of making a book object (or an object book). A willingness to compose blades of spaces-times in which the imagetext relations unfold through the labyrinths of the visual poetry of Augusto de Campos, Haroldo de Campos and Julio Plaza, through the writings of Jorge Luis Borges, and the books and installations of Edith Derdyk. A search for handmade-digital surfaces that accumulate the layers of the lost directions, the choices drawn, the scrambled paths, the inspiring references of the process of making-writing a book. An attempt to intertwine the tactile, the visual, the sonorous and the semantic, through the folds and the refold... (Complete abstract click electronic access below) / Doutor

Thesis (Ph.D.)--University of Western Sydney, 2007. / A thesis submitted to the University of Western Sydney, College of Arts, Writing and Society Research Group in fulfilment of the requirements for the degree of Doctor of Philosophy. Includes bibliographical references.

Thesis (M.F.A.)--Rochester Institute of Technology, 1988. / Typescript.

Thesis (M.F.A.)--Rochester Institute of Technology, 2008. / Typescript. Includes bibliographical references (leaf 21).