Project (M.F.A.) - Simon Fraser University, 2002. / Theses (School for Contemporary Arts) / Simon Fraser University. Also issued in digital format and available on the World Wide Web.

Thesis (M.F.A.)--Rochester Institute of Technology, 1982. / Typescript. Includes bibliographical references (leaf 25).

Thesis (Ed. D.)--Illinois State University, 1969. / Title from title page screen, viewed Aug. 27, 2004. Dissertation Committee: Virginia H. Vint (chair), F. Louis Hoover, Benjamin C. Hubbard. Includes bibliographical references (leaves 46-47) and abstract. Also available in print.

This thesis aims to consider the potential for perception of the subtle exchanges of viewers and artwork; subject and object. This necessitates an examination of ontologies, concepts of the body, perceptive schemas and modes of consciousness that ultimately destabilise the assumed solidity and individuality of subject and object. Exchanges of subtle effects are continually taking place between viewer and object, and the space between subject and object is alive with interaction. Process philosophy is introduced as the basic ontological perspective underlying this reflection of subject-object relations. Three conceptualisations of subject-object interaction are considered: Western, Esoteric and Eastern, and three types of body-mind proposed by these investigations are discussed. The process and practice of cultivation required to activate intuition as a faculty able to perceive subtle effects are considered. This focuses mainly upon Eastern practices, with emphasis on the interrelation of cultivation and the creation/contemplation of visual art works. / Master of Arts (Hons)

Exegesis (MA--Art and Design) -- AUT University, 2007. / Includes bibliographical references. Also held in print (64 leaves : col. ill. ; 22 x 30 cm.) in City Campus Collection (T 709.93 CUN)

Curious to understand my fascination with and attraction to certain individuals who live and work in urban, often economically disadvantaged environments, my thesis exhibition explores properties of paint and image to develop a personal and compelling visual vocabulary that communicates as well as celebrates the strength, power, confidence and swag of these individuals. This work investigates the "face" people front in public in order to survive their situations. Representing individuals within my own community in Miami, these portraits help me come to terms with the way I too have adopted and performed identities of survival. Additionally, I want this work to make visual record of these compelling individuals rarely acknowledged within the history of art. / Includes bibliography. / Thesis (M.F.A.)--Florida Atlantic University, 2014.. / FAU Electronic Theses and Dissertations Collection

Thesis (M.CA.-R.)--University of Wollongong, 2006. / Typescript. Includes bibliographical references: leaf 23-24.

My thesis exhibition is comprised of approximately eleven large-scale portrait paintings done primarily in oil paint on canvas. This body of work investigates the ways the identity of both artist and subject can coexist in a portrait and evolved from my desire to combine portrait painting with writing as well as to develop methods of using paint to express a merging of myself with the individual depicted in the portrait. My creative research has focused on the traditional form of the portrait as a powerful form of representing an individual and how meaning can be expanded through scale, brushstroke, color, texture, composition and the many variables that portraiture deals with. I expanded on the traditional portrait painting by cataloguing my memories and thoughts along with the thoughts of the subject by painting under, into and over the subject in my own handwriting. My "hand" is visible both in the brushstroke and in the cursive writing, preserving my identity in a "readable" way both literally and through graphology, or handwriting analysis. / by Christina Maya Major. / Thesis (M.F.A.)--Florida Atlantic University, 2010. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2010. Mode of access: World Wide Web.

Interested in nurturing beauty, I create paintings that reference life processes through layers of struggle, discovery, recovery and generation. Employing a metaphor of the garden, my paintings can be seen as spaces where I determine what grows, stays, is mulched, or weeded out. I seek a balance between coexisting desires of restraint and control and extravagance with a sense of coming unbound. I emphasize the painting field as a whole, while also paying deep attention to the minute, inviting the viewer to discover complex worlds at different scales within each environment I create. My intimate, domesticated painted environments offer the viewer the possibility to experience the spaces I find beautiful and to add to the conversation of where beauty resides today in contemporary art. / by Kim Spivey. / Thesis (M.F.A.)--Florida Atlantic University, 2011. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2011. Mode of access: World Wide Web.

Thesis (M.F.A.)--Rochester Institute of Technology, 2003. / Typescript. Includes bibliographical references (leaves 21-23).