This thesis features the work of Carolyn Jeans Mills for a Masters of Fine Arts in Sculpture.

The thesis discusses six sculptures completed during the period of study from October of 1973 to May of 1975 and presented at the White Gallery, April 28, 1975-May 13, 1975

This creative project identifies major conceptual and practical considerations inherent in the production of bronze figurative sculpture. What is considered and how, those considerations are weighted will vary among individuals. Many of these considerations affected my selection of subjects for the studio portion of the project. The paper touches upon considerations which both inhibit and advance a career in art, and have affected both aesthetic and procedural choices.A brief account of foundry procedures is presented. The studio portion of the creative project consists of four sculpted female dancers. The paper addresses a historical context with which each piece may be associated. Two figures exhibit the strong influence of Greek sculpture of the Classical period. The third figure is Impressionist in style. The forth figure has a Cubist influence. / Department of Art

A Dissertation Submitted to the Faculty of Arts. University of the Witwatersrand, Johannesburg, in partial fulfilment of the requirements for the Degree of Master of Arts in Fine Arts. Johannesburg 1996 / Likeness is a central issue to the tradition of portrait painting. This dissertation examines the notion of likeness in some contemporary high portrait painting. Likeness is viewed as constructed socially through the complex relations between artist, sitter and viewer. Faced with the problematic notions of realism and naturalism and their philosophical ramifications, the dissertation confronts the question of What in our world can be regarded as natural or given, and what is constructed or acquired. The discussion, framed by the debate set up between Nelson Goodman and E.H. Gombrich, leads to the conclusion that the 'natural' and the 'real' are not neutral, they are highly constructed. The dIfferences between various conventions; various ways of representing others, are extrapolated from the debate, and once acknowledged. the final position taken is a less linear conventionalist stance. The constructed nature of likeness is tested against the portraits by American artist, Andy Warhol and British artist. Lucian Freud, contemporary painters working in direct antithesis to one another. The aim is to show that both of their portrait likenesses. whether private or public, painterly Or mechanical, are embedded within socially constructed conventions. Recognition of 'the conventions can guide the viewer in deconstructing the work and locating the meaning. I discuss my own work in relation to the contents of this dissertation.

Wong Lai Ching. / Slides insert in pocket. / Thesis (M.F.A.)--Chinese University of Hong Kong, 1997. / Includes bibliographical references (leaves 45-46). / ABSTRACT / INTRODUCTION --- p.1 / Chapter Chapter 1 : --- SYMBIOSIS OF INSIDE AND OUTSIDE --- p.4 / -Transformation of vessel / Chapter Chapter 2 : --- THE CRISIS OF IDENTITY --- p.15 / -The magic of teapot / Chapter Chapter 3 : --- SITE - SPECIFIC WORK --- p.22 / -The giant in nature / Chapter Chapter 4 : --- METABOLISM --- p.35 / -Regeneration and process / CONCLUSION --- p.42 / BIBLIOGRAPHY AND REFERENCE --- p.45

The method I use in creating abstract sculpture presented the question that became the subject of my Master's thesis. Only occasionally will I create from a pre-conceived concept. The sculptures evolve through a process of addition and subtraction of material to something that simply pleases me. This method, really no method at all, seemed contradictory to my original intentions. My artistic goals were purposeful; I wanted to create sculpture that would provoke a reaction first, not a judgment of features. I wanted the viewers emotional and psychological involvement to be the basis for content and meaning in the work. In spite of the indirect approach, I felt there was some success in achieving my goal. Discovering how this occurred was important because I was at a loss to understand the content of my own work. Did the sculpture I was making hold any deeper meaning for me? My thesis proposal advanced the question of how sculptural form expresses content. A more accurate question is, what does it mean? I had faith that I was indeed making art that was more than a pleasant arrangement of forms. Confident that there was also meaning, I proceeded to explore and analyze the relationship of creative process to sculptural form and content. While writing a draft of my thesis, I realized the question was beyond a definitive answer. This was a personal investigation of a fundamental question. My expectation was that insight and analysis would provide the answer I needed.

This thesis project consists of sixteen abstract sculptures. The material most often used is polyester resin. The work explores the emotive potential of the relationship between the organic forms and geometric spaces. The forms are derived from observing the environment, other current artists’ works, and the works of art history. The sculptures generally divide into three groups. The first is composed of geometric and organic forms that are altered slightly so that aspects of each form reside in its opposite. The second group maintains a purity of organic and geometric elements. Here a balance is kept by weighing the visual strength of each form. The third is like the second except that the organic forms are easily recognized as human forms. Color is used to alter the impact of a form. The whole body of work strives for an equilibrium between form and color.

A terminal project featuring the work of Jeffery C. Johnston submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts.

Thesis (M.A.)--University of the Witwatersrand, Faculty of Arts, 1999.

Orientador: Nelson Alfredo Aguilar / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-20T11:12:27Z (GMT). No. of bitstreams: 1 Mol_EliasPerigolo_M.pdf: 45699349 bytes, checksum: 0aa0676c63c1f2a73f7b7c3e9192234d (MD5) Previous issue date: 2012 / Resumo: Este estudo analisa a obra do artista mineiro Amilcar de Castro (1920-2002) e busca as relações existentes entre as suas diferentes produções: o desenho, a pintura, a gravura, sua atuação à frente da reforma gráfica no Jornal do Brasil e o restante de sua produção escultórica / Abstract: This study examines the work of artist Amilcar de Castro (1920-2002). It investigates the relationships between his various activities: drawing, painting, printmaking, his role leading the redesign of Jornal do Brasil as well as his sculpture production / Mestrado / Historia da Arte / Mestre em História