Thesis (Ph. D.)--University of Delaware, 1982. / Includes abstract. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 402-430).

Thesis (Ph. D.)--Princeton University, 1998. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 306-311).

Thesis--Tübingen. / Vita. Includes indexes. Includes bibliographical references (p. 180-195).

Thesis--Cologne. / Vita. Includes bibliographical references (p. 183-188).

For my BFA Capstone exhibition Preying For a Miracle I analyzed the Biblical book of Job found in the Old Testament in relation to my own life. My interest in the Book of Job stems from a human desire to understand suffering, especially suffering that is unprovoked. At the beginning of the book of Job, Job is described as “blameless and upright; he feared God and shunned evil”. (Job 1:1) As the first chapter of the book progresses, Satan comes to God and presents a wager. Satan insinuates that Job is only faithful to God because God has “put a hedge around him”. (Job 1:9) Satan proposes that he can make Job curse God’s name if he removes the abundant blessings he has received. God accepts this wager and declares that as long as Job’s life is spared Satan can do with him as he wants, which begins a series of brutal trials. I found myself asking how can such violence and human suffering be justified?

The following is an exploration of ideas and themes related to my studio work, past and present, concrete and aspirational. I approach painting as an experience of pleasure and as a mode of resistance and critique. I will discuss how my work is aligned with many of the themes found in the Pattern and Decoration movement of the 1970s. I will also identify alliances that my work has with DIY, networks, and the contemporary art scene as discussed in Lane Relyea’s "Your Everyday Art World". I describe my mode of working in the context of "workable resistance," which Jan Verwoert defines in his essay, "Exhaustion and Exuberance: Ways to Defy the Pressure to Perform" (Verwoert, 19). And lastly, I detail how my recent work embodies the concept of the singular multitude as outlined in "Being Singular Plural" by Jean-Luc Nancy.

楊晶. / "2004年6月". / 論文(藝術碩士)--香港中文大學, 2004. / 參考文獻 (leaves 32-34). / 附中英文摘要. / "2004 nian 6 yue". / Yang Jing. / Lun wen (yi shu shuo shi)--Xianggang Zhong wen da xue, 2004. / Can kao wen xian (leaves 32-34). / Fu Zhong Ying wen zhai yao. / 前言 --- p.1-2 / Chapter 第一章 --- 歷史中的色彩回顧 --- p.3-11 / Chapter (一) --- 開創時期 --- p.3-6 / Chapter (二) --- 發展時期 --- p.6-9 / Chapter (三) --- 衰落時期 --- p.10-11 / Chapter 第二章 --- 二十世紀中的「創新」課題 --- p.12-18 / Chapter (一) --- 以古開今 --- p.13-14 / Chapter (二) --- 中外融合 --- p.15-18 / Chapter 第三章 --- 色彩創新與自我探索 --- p.19-31 / Chapter (一) --- 用色觀念 --- p.20-25 / Chapter (二) --- 著色技巧 --- p.25-27 / Chapter (三) --- 顏料運用 --- p.27-31 / 後記 --- p.32 / 附錄一參考書目 / 附錄二圖版

No description available.

Burford discusses his development as a painter while earning his MFA at the University of Iowa. He emphasizes that he wanted to paint in a style understandable to layman and critic alike and came to be known as a figurative artist. Three black and white photos of the oil paintings laid in. The two paintings "Circus workers" and "Reclining figures" depict African American men, the third "Vigilantes" shows two hooded Ku Klux Klan-like figures.

My creative process is a ritual I use to examine my personal narrative. Digital photography is a way for me to mine an object or environment with an obsessive emphasis, and extract an image that signifies something relatable. By employing tropes derived from my personal narrative, and filtering them through image manipulation software; I am able to dramatize aspects of perspective and scale. With an automatic mark guided by printed images and projections of digital panoramic images, the surface and resulting picture comes into focus. This is a way for me to move past my experiences. Achieving this level of intimacy with the mundane objects or environments makes it possible for me to develop a personal iconography.