From Market Place to Superstore reflects on 21st century retail presentation of home furnishing consumer goods. In particular the artwork focuses on the lounge suite. Inside the Harvey Norman superstore, which stands on the site of a 19th century colonial marketplace, the retail space with its ironically palace-like dimensions is divided into a series of tableaux of methodically ordered furniture. Carefully chosen colour-coordinated accessories are arranged and lit by softly glowing lamps promoting seductively comfortable home scenarios. Glossy catalogues take the production line furniture beyond the store to demonstrate the almost seamless retail/home experience. Still life settings interact and merge with contemporary lifestyle expectations. Merchandise can be the substance of desire. The research artwork sought to capture an art image from retailing, advertising and specific elements derived from popular commercial TV lifestyle programs. The concept of the work was to ascertain if the lounge-suite-as-image retained its aura of aesthetic expendability and collapsed into contemporary art when transferred to the white box of the gallery space. To this end digital photographs, miniaturised models, video and actual merchandise were installed in the gallery space. Using varying scales and tactility the viewer was asked to engage in an alternative retailing experience within the Academy Gallery, University of Tasmania at Inveresk.

Sociopolitical artists in Yogyakarta have a long history of objection to governmental suppression in Indonesia. Yogyakarta has been Indonesia's 'city with a social conscience' and a continuous focal point for artists from all over Indonesia, particularly those with a sociopolitical agenda. This thesis argues that the work and motives of the most influential Yogyakarta sociopolitical artists are essentially tragicomic in character. An analysis of the work and statements of artists who protested against the oppression and corruption under Suharto's New Order regime from 1966 to 1998 reveals a strong vein of protest art, disguised to avoid government reprisals. In the years immediately following Suharto's forced resignation in 1998 artists more boldly showed criticism of both previous and present corruption, collusion and nepotism. Examples of this work were more frequently and openly exhibited in Indonesia and overseas as the potential for government reprisals diminished.

Thesis (Ph. D.)--University of Adelaide, Dept. of Architecture, 1987. / Includes bibliographical references.

Thesis (Ph. D.)--University of Pennsylvania, 1903 / "Reprinted from German American annals, vol. II." Series name at head of title. Includes bibliographical references (p. 162-163). Also issued in print and microfiche.

Thesis (M.A.)--University of Toronto, 2005. / Includes bibliographical references (leaves 148-154).

Thesis (Ph.D.)--Union Institute, 1998. / Includes bibliographical references (leaves 380-389).

Thesis (Ph.D.)--Murdoch University, 2005. / Thesis submitted to the Division of Arts. Bibliography: leaves 448-492.

Thesis (MArch (Prof)) -- University of Pretoria, 2008. / Abstract in English. Includes bibliographical references.

Thesis (Ph. D.)--University of Adelaide, Dept. of Architecture, 1987. / Includes bibliographies.

Thesis (Ph.D.) - Carleton University, 2003. / Includes bibliographical references (p. 183-198). Also available in electronic format on the Internet.