No description available.

Thesis (M.A.)--Eastern Illinois University, 1977. / Includes bibliographical references (leaves 60-62).

Thesis (D.C.A.)--University of Western Sydney, 2008. / A thesis submitted to the University of Western Sydney, College of Arts, School of Communication Arts, in fulfilment of the requirements for the Doctor of Creative Arts. Includes bibliographical references.

Images of Remembered Earth is a musical composition scored for full orchestra. The composition was inspired by Georgia O'Keeffe's painting, Light Coming on the Plains I (1917), which depicts a sunrise over a flat and empty landscape. In the painting, the expanse of the sun's rays is expressed through an even-blended transformation of color from goldish-blue at the light's source to progressively darker shades of blue near the edges of the canvas. The progression of color is interrupted by thin gold bands which sectionalize the sunrise into seven concentric arches. The construction of the musical composition derives musical materials directly from elements found within O'Keeffe's painting, specifically the shaping of structure, expansion, and color in arch patterns. Arch patterns, an integral element in O'Keeffe's painting, govern elements in the musical composition, including pitch selection, the overall tempo scheme, rhythmic activity, and formal shape. Pitch materials are expansive by design; this expansive quality is exhibited through the employment of wedge-shaped musical ideas and through the utilization of higher and lower registers. O'Keeffe's use of color in the painting influenced the orchestration of the music and is manifested in two ways: 1) gradual transformation of timbral colors and 2) the juxtaposition of contrasting instrumental groupings.

No description available.

This study of the single artists museums using the Clyfford Still Museum in Denver, Colorado and the Georgia O'Keeffe Museum in Santa Fe, New Mexico aims to compare these institutions to each other in terms of organizational practice and design as well as to the broader museum industry.

Orange, turqoise, apricot, brown, dirt, soil, water, sky and sulfur were my first bricks while building this collection. Ifound them in the pictures I took in Yellowstone, in the summer of 2010. While being in Yellowstone I thought aboutthe artist Georgia O´Keffee, an artist I’ve long liked. The landscape of Yellowstone reminded me about her landscapepaintings so I researched her life and work. She was a genuine feminist without saying it, she just lived like she wasequal to other women and men. This led me to a book about forgotten goddesses where I found references todrapings that I’ve developed and interspersed with flat pattern cutting. One of my key objectives, in this project andother projects, has been to push the limits of menswear towards feminine elements. I believe that there’s a certainreason why a woman can wear a suit without anyone looking twice but it’s very striking if a man wears a dress. Inthis collection I’ve looked into various reasons for this and I aim to let men dress the same way as women do aswell as the other way around. / Program: Modedesignutbildningen

Thesis (Ph. D.)--University of Notre Dame, 2007. / Thesis directed by Margaret Anne Doody and Seamus F. Deane for the Department of English. "July 2007." Includes bibliographical references (leaves 396-449).