Thesis (M.A.)--New York University. / Includes bibliographical references.

Thesis (Ph.D.). / Written for the Dept. of Art History and Communication Studies. Title from title page of PDF (viewed 2008/01/12). Includes bibliographical references.

Thesis (Ph. D.)--University of California, Los Angeles, 1981. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 1146-1157).

Thesis (M.A.)--Ohio State University, 2005. / Includes bibliographical references (leaves 84-86). Available online via OhioLINK's ETD Center

Cubism has often been referred to as “a dead art.” It is the objective of this thesis to present evidence gained through working with high school art students that the study of Cubism, at the secondary level, can result in greater creativity and a genuine appreciation of the abstract. In addition to the study of Cubist artists and their techniques, a correlation was made between art of the early 1900’s and other areas such as Social Science, Music and Literature of this time. By this method, the students were given a broader insight into the motives of the Cubist artists. The personal involvement of each student in the progressive changes from objective representation of subject matter to quasi-nonrepresentational painting provided them with more open attitudes in understanding art of the past and of the present. Photographs of student work from an advanced art class at Reynolds High School are offered as evidence to support this thesis.

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In this thesis the concept behind our notion of video sculpture is to imagine an image sequence or movie as a three dimensional volume. We then also imagine that there is a frameset that traverses the image sequence to give us what we commonly think of as a video or movie. In the ordinary sense this frameset moves through an image sequence in a completely timeparallel linear fashion. In video sculpture, we free the frameset from these bounds so that we can sample space and time in completely unorthodox ways. We can view the whenwhere in previously unforeseen perspectives. Slices of the video environment can simultaneously reveal both past and future actions within a single frame. Building on this free representation of video spacetime, we then wrest the frame once more from the present constraints of topography and/or topology. The frame can bend and twist and jump and dive. The view of a fading quadratic surface cutting through two scenes makes for a beautiful curtain transition. We present a framework and an implementation for modeling the frame as it passes through the image sequence volume object.

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The purpose of this creative project was to further the development of the artist's personal style. Also to produce an exhibition of sculpture that relate to each other through common themes and techniques. The exhibition would become a unique environment for the viewer.The artist used steel as a medium in the creation of his sculptures. Various types of steel where cut, forged, welded, and fabricated in order to produce and extend the vocabulary of the sculptures. Steel was used experimentally with line, texture, and bright color. The exhibited works were successful because they concentrated on abstract designs that resembled animal or personages with gestural and emotional content. The artist's exhibition displayed a direction of style that is distinctive. The style has a complexity within its asymmetrical design that simplifies gestural and emotional content. From this work the artist has drawn conclusions about found objects and constructivism. He will utilize this working knowledge in future projects. / Department of Art