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1
Ferguson, Elizabeth. „Humans“. Pitzer College, 2009. http://ccdl.libraries.claremont.edu/u?/stc,58.
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Kato, Miwako. „Views from Daily Life: A Supporting Paper for a Graduate Exhibition“. [Johnson City, Tenn. : East Tennessee State University], 2001. http://etd-submit.etsu.edu/etd/theses/available/etd-0330101-110959/restricted/katoM0501.pdf.
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Mercure, Tammy. „Big Rock Candy Mountain: Photographs of the Great Smoky Mountain Tourist Towns“. Digital Commons @ East Tennessee State University, 2009. https://dc.etsu.edu/etd/1815.
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The photographer discusses the work in Big Rock Candy Mountain: Photographs from the Great Smoky Mountain Tourist Towns, her Master of Fine Arts exhibition held at the Reece Museum, Johnson City, Tennessee from September 22 to December 18, 2009. The exhibition consists of 17 large-scale color Archival Inkjet Prints edited from a large body of work done in the tourist towns surrounding the Great Smoky Mountains.
Topics include the historical and contemporary artistic influences on the work, examining the work of Jacques-Henri Lartigue, Weegee, Martin Parr, and Joel Sternfeld. A short history of the area, the subject of tourism pertaining to the work, and works from the exhibition are also discussed.
Included is the complete catalogue of the Big Rock Candy Mountain exhibit.
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Torres, Alessandra Lee Michelle. „OUT OF BODY“. VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/793.
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This thesis explores the evolution of Alessandra Torres's work, from her early performances and installations, to her latest work with surrogate bodies, as she challenges the relationship between artist and their creation, body and object, and audience and art. Examining the work of artists such as Cindy Sherman, Rebecca Horn and Marina Abramovic, Torres explores the transformative capabilities of interactive sculpture and live performance. Join Ms. Torres as she transforms herself into everything from a paintbrush to a serpent, in her ongoing exploration of the body's ability to adapt and evolve.
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Sauer, Amanda. „Invisible Green“. VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd/1387.
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How is nature conceived today, a generation into the environmental movement? Many contemporary artists grapple with how to reconcile our inheritance of both a precarious natural world and the culture that created it. My work investigates the subtle intricacies of our relationship with nature. I use photography to develop a way of seeing that points to the often-unnoticed nature in front of us. In particular, my work recognizes and re-imagines nature's deep connections in the context of our ecologically changed world.
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Ferguson, Elizabeth. „It's important for me to get good light. or "things which are happening"“. Pitzer College, 2008. http://ccdl.libraries.claremont.edu/u?/stc,59.
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Turner, Julia J. „Processing Nature“. VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4697.
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In my artwork, I merge nature with typography. I use macro-level photography to capture details of nature, such as the pistils of a flower or the sensory hairs of an insect. I print enlargements and transfer these photos onto pages of poetic text about nature, or collage them onto canvas. Once transferred, I use multiple media to alter and enhance features of the photos. I intentionally obscure much of the text which allows me to place focus on the overall layout and design. The arrangement of lines of text and spacing of words is used to create a visual rhythm. The poetic script acts as a foundation or platform for presenting the often unnoticed elements of nature.
In developing a piece, I use a wet transfer which allows me to obtain subtle textures and imperfections that occur from the process. To add visual interest and complexity, I continue to manipulate the surfaces with various media and marks. This approach helps to create a blending of text and image. Similar to reading a poem or observing nature, I want to engage the viewer in an experience of visual poetry.
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Baden, Eric. „The image of the body in the works of Frederick Sommer“. [Johnson City, Tenn. : East Tennessee State University], 2003. https://dc.etsu.edu/etd/838.
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Thesis (M.F.A.)--East Tennessee State University, 2003.Title from electronic submission form. ETSU ETD database URN: etd-1109103-152208. Includes bibliographical references. Also available via Internet at the UMI web site.
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Dorn, Joseph. „On The Road with the VanLife Community: The Art of Storytelling in the Age of Instagram“. Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/cmc_theses/1087.
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This thesis analyzes the countercultural community known as VanLife. Foster Huntington coined the term VanLife in 2011, when he decided to leave his comfortable job at Ralph Lauren and detach from society. Foster and many other individuals have moved into their vans to gain more freedom and live simply. For this thesis I studied the stories about life on the road, written by VanLife participants. I examined their blogs, photographs, and Instagram accounts. I did a literary analysis of Kerouac’s famous Beat novel, On The Road, as well as Steinbeck’s travel memoir, Travels with Charley.
I wanted to understand the common threads between the people who engage in this unique way of life known as VanLife. Also, I wanted find the motivation and inspiration for the community as a whole. Finally, I was fascinated in the role of social media, and how it could be problematic for a group that was determined to detach from mainstream society. I learned that the desire to connect with nature, explore unseen places, detach from societal pressures, and tell stories, are all important values to people in the VanLife community. Story telling is at the heart of their experiences, and it appears in many forms: photography, blogs, and websites. Social media can present problems for the group, but overall it is a tool that is positively utilized to connect with other like-minded individuals. The growth of VanLife illustrates the increasing desire for individuals to detach from the pressures of society and regain connection to simpler times and activities.
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Gustina, Charles F. „Escape Artist“. VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/1494.
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This thesis reviews the background, influences, and evolution of the body of work entitled Folia, which forms the basis for the candidate's thesis exhibition. It traces the development of the candidate's artistic inclinations from drawing to photography. Directorial and Pictorialist photography are discussed as forebears in the Influences chapter. Evolution of the Body of Work details how the current work grew from both the candidate's background and influences. A Brief Anthology of Quotations references Susan Sontag's influential work, On Photography, with quotations that have either influenced the candidate's work or reflect his perceptions of art and life. The balance of the thesis describes the candidate's working process in creating the work, and the installation at VCU's Anderson Gallery.
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Harper, Stephen Bryce. „Investigations into Social Game Theory“. VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/812.
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Investigations into Social Game Theory is a document that describes my two-year exploration of the ritual encapsulated in our societal framework. It discusses the thoughts and processes that accompanied the three bodies of work that led to the creation of my final thesis exhibition.
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Ehmann, Christina. „American Splendor“. VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4102.
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Artist Statement
My photographs and paintings are reflective of a simpler and slower paced, rural life. This focus is in high contrast to what contemporary urban life often requires. I depict scenes of tranquil landscapes, farm animals, old barns, fields of grasses, and growing crops.
I alter my digital photographic images with computer software. I use various filters that transform color, clarity, and value to give the photographs of nature an intentionally peaceful mood. These photographs are a basis for my paintings where I soften nature’s contours and emphasize tranquility. My desire is that viewers will look at my work and take a moment to stop, think, and breathe. Like myself, I want them to slow down and take in the simplicity and beauty of country life.
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May, John Edwin. „The McFarlands: "One Season"“. Digital Commons @ East Tennessee State University, 2010. https://dc.etsu.edu/etd/1719.
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This thesis is in support of the Master of Fine Arts exhibition entitled The McFarlands at East Tennessee State University, Slocumb Galleries, Johnson City, Tennessee, November 5th - 9th, 2007. This artist's photographic survey, which lasted approximately two years, investigated the lifeworld of a family in a rural Appalachian town. His photographic work depicts the subjects working on their farm growing tobacco and their relationships within the family unit.
The artist discusses his work in terms of historical and contemporary influences with an emphasis on the relationship to the work of Lewis W. Hine, Wright Morris, Mary Ellen Mark, and David M. Spear.
The thesis includes images and discussion of four works.
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Nguyen, Thao Thanh. „Elevating Communication“. Scholar Commons, 2010. https://scholarcommons.usf.edu/etd/1722.
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The products of vehicular transportation have led the modern traveler into a crisis of place. The modern journey that is held within ceaseless flux, confine movement to edges facilitating prompt passage yet negating active participation. These edges govern movement, highlighting points of destination while simultaneously obscuring our journey in between travels. The limited participation and extended observation of one's place within the concurring boundaries renders the senses dormant, causing passivity and reluctance to participate or communicate with the city. These lines of movement, demanding our attention toward beginning and end but omitting the middle, transforms the city, home, and place into the background at which movement seizes the foreground. If stability and opportunities for interruption is not made attainable to the modern traveler, one's sense of place will become blurred much like the perceived image of place occurring behind the window of our automobile. There must be a juxtaposition of the mechanical and instinctual experience in the modern travel with qualities that entice all human sensibilities. Elevating these grounded qualities of place into the traveled path will elevate the character of place against the pressure of movement, preserving the memory of place against the terror of forgetting.
Qualities of architecture and urban conditions have collapsed against the swift forces of modern travel. Contextual information must arise above the ferocity of the travelers movement to supply the traveling perceiver with opportunities of interruption and introspection on place. Inscribing contextual information into the modern journey will awaken the senses, reaffirming memory of place in order that the essence of place can be reestablished within its cultural and physical context. These interjected moments of knowing will reposition the perceiving traveler within the mental as well as bodily context of the city, home, and overall environment.
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Cohen, Jennifer A. „Vantage point: the representation of place and the visual experience“. Scripps College, 2010. http://ccdl.libraries.claremont.edu/u?/stc,86.
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We, as human beings, are unique creatures that have a need to form places. This obsession with claiming spaces and turning them into places starts at a young age. Maybe it is the first time a child goes to the park and claims a corner of the sand pit, because they think the sand is better on the right side. Perhaps it is a specific seat in the bleachers a person sits in at every home football game. Or maybe it is much more significant, like the spot on the path by the curved tree, next to the bike shed where you said good-bye to your family the first day of your freshman year in college.
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Cochran, Sharayah. „An Impossible Alternative: Orientalism and Margaret Bourke-White's "A Moneylender's House" (1947)“. VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3760.
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Between 1946 and 1948, American photographer Margaret Bourke-White traveled to India while on assignments for Life magazine. Since the late 1940s, a photograph from these assignments that depicts three men sitting in an ornately decorated room has appeared in several publications and exhibitions under variations of the title A Moneylender’s House (1947). Though Bourke-White is traditionally categorized as a documentary photojournalist, her photograph exhibits motifs similar to those seen in European Orientalist paintings from the nineteenth century. Considering recent scholarship that has expanded the temporal and geographical parameters of the Orientalist photography genre, this thesis analyzes the “documentary” photograph, A Moneylender’s House, in its varied exhibition and publication contexts to determine whether they present the photographic subjects from a “nonrepressive and nonmanipulative perspective” (one that Edward Said suggests might provide an “alternative” to Orientalism), or reinforce the “Self/Other” binary at the core of Orientalism.
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Brown, Christopher Shawne. „Exegesis“. Digital Commons @ East Tennessee State University, 2008. https://dc.etsu.edu/etd/1903.
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The photographer discusses the work in Exegesis, his Master of Fine Arts exhibition held at Slocumb Galleries, East Tennessee State University, Johnson City, Tennessee from October 29 through November 2, 2007. The exhibition consists of 19 large format color photographs representing and edited from a body of work that visually negotiates the photographer's home in East Tennessee.
The formulation of a web of influence is explored with a focus on artists who continue to pertain to Brown's work formally and conceptually. Included are photographers Eugene Atget, Walker Evans, William Eggleston, and Mike Smith as well as the artist Joseph Cornell, the painter Robert Motherwell, and the poet Charles Wright. Other topics include a discussion of place, particularly one's home, as a resource and an envelope for a body of work.
Included are images of the photographer's earlier work and a catalogue of the exhibition.
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Levacy, Megan Renee. „Eulogy“. Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/etd/1265.
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The artist discusses the search for identity which underlies her Master of Fine Arts exhibition, Eulogy, hosted by the Carroll Reece Museum on the campus of East Tennessee Sate University, Johnson City, Tennessee, from March 8 to May 6, 2011. This exhibit contains works which explore the artist's relationship with the natural world, ornithology, philosophy, psychology, poetry, and related personal influences.
The artist's thesis work consists of paintings, drawings, and photographs. The artist references her own investigation of poetry, philosophy, psychology, and personal history which have shaped a private sense of awareness. Also reviewed are the influences of artists such as Alexander Marshall, William Morris, Charles Burchfield, Rosamond Purcell, and Kiki Smith; the poetry of Rainer Maria Rilke and writings of Loren Eiseley; the ideas of philosophers G. W. F. Hegel and Slavoj Žižek, and art historian James Elkins.
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Comparetto, Heather. „The Bed as Object and Metaphor“. Master's thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5170.
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This series of work explores the nature of the bed as object and metaphor. The bed is an object where an action, such as thinking and laying awake takes place. In a metaphorical sense, the bed in my work represents moods and emotions that are psychologically tied to the bed. In this body of work I explore the relationship between the person and the bed. The bed represents not only an intimate space, but also a hiding place of retreat and self-imposed alienation. This series pulls from personal experience, influences such as Alison Brady and Sophie Callie, and select films that focus on the problems, issues, and decisions of the human condition. In my work I bring together formal qualities and conceptual content to create juxtaposition between beauty and mood. I am interested in visual poetry and formalism in photographs. Throughout all the photographic work I have created, I focus on using existing light and composing an image intuitively.ID: 031001562; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Title from PDF title page (viewed August 26, 2013).; Thesis (M.F.A.)--University of Central Florida, 2012.; Includes bibliographical references (p. 32).
M.F.A.
Masters
Visual Arts and Design
Arts and Humanities
Emerging Media; Studio Art and the Computer
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Minek, Joseph. „Some Account of the Art of Photogenic Drawing“. VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/2994.
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This thesis is an overview of the processes and procedures used in the production of my artistic practice. In my work, I explore notions such as the ambiguity of the photographic image, what constitutes an image or object as photographic, and the unexplored possibilities of the medium through surface and mark making. In addition, I draw inspiration from artists Wolfgang Tillmans, William Henry Fox Talbot, and Marco Breuer as entrance points to my conceptual interests. For viewers, my work generates an internal dialogue about the limits of the photographic medium.
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Gorham, Elizabeth Trabue. „Boundaries“. Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/etd/1395.
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The photographer discusses the work in Boundaries, her Master of Fine Arts exhibition on display at Slocumb Galleries, East Tennessee State University, Johnson City, Tennessee from October 31 to November 4, 2011. The exhibition consists of 20 black and white photographs, the main subject of which is the photographer's son. The photographs and supporting thesis explore the idea of boundaries real and implied, and how confinement can prompt a variety of behaviors. Topics include the process and evolution of the work and the artists who have influenced it, the importance of light and the challenge of photographing family. Included is a catalogue of the exhibition.
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Petzwinkler, Thomas. „Behind the Fire Line“. VCU Scholars Compass, 2004. http://scholarscompass.vcu.edu/etd_retro/121.
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BEHIND THE FIRE LINEA thesis submitted in partial fulfillment for the degree of Master of Fine Arts at Virginia Commonwealth University, 2004. Major Director: Jim Long, Department Chair. Behind the Line of Fire is a documentary of the professional lives of a group of firefighters. Inspired by the events of September 11th, it has been an ongoing journey for me as I continue to interact with an photograph these individuals doing the job that they live for. My goal for this project has been to work within the guidelines of a documentary, a genre that has a rich, diverse, and defined history. I did not want to show scenes in which firefighters were depicted in typically iconographic scenarios. I have not made any images to date representing exploding structures with firefighters risking life and limb fighting the fire, nor have I shown the firefighters performing heroic acts such as rescuing a child or an animal. I believe the imagery I have created presents firefighters in a different light. These are men and women working. There are no hidden meanings or agendas involved. The photos are to be taken at face value as images of people whose lives revolve around what they do.
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Wiedeman, Christopher William. „The Carnal Slip“. VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd_retro/167.
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The thesis exhibit installed at VCU's Anderson Gallery was carried out using still imagery (a photograph), moving imagery (recorded video, live video), constructed objects and a delineated space. It was an experiment dealing with how one comes to know the world by virtue of one's physical activity within it. It was most importantly a work that required the viewer's participation in order to become "complete".
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Litvak, Violetta. „In the Theater of Subjectivity“. VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1392.
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This thesis tracks the formal and conceptual development of my work during the two years of graduate study at the VCU Photography and Film Department. It describes the influence of photography on my evolution as an artist and contextualizes my desire to expand the practice beyond the traditional limitations of the medium. It recounts my experimentations with assemblage, video and installation and their contribution to my understanding of spatial and temporal dimensions in the formal construction of my work.In part, the thesis is also a statement of my convictions about art making. It discusses theimportance of perception and subjective experience, as well as the role of personal history in my work.
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Bryant, Ursula Moore. „Tolerance: Challenge, Perception, and Social Stigmas Defined through Visual Communications“. Digital Commons @ East Tennessee State University, 2007. https://dc.etsu.edu/etd/2095.
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My explorations and journey through life have led me to discover a connection in my work and responsibility as a visual communicator. My objective of communicating challenge, perception, and social stigmas through informed stories of individual lives is to provoke questions and spark moments of awareness in viewers. With this supporting manuscript, I hope to inform about my motivations through time including my personal, artistic, and historical influences. I will define graphic design as a fine art through the evaluation of artistic movements. I also intend to discuss design as a language and build a case for social awareness. Evaluating the process of my work will enlighten the technical aspects of my unique aesthetic and prove the success of my intention.
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Nienass, Sherri. „The Fabricated Shopping Experience: An Impersonal Impression on Consumerism“. Master's thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5356.
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I have a compulsion to document my surroundings. I do this in all forms possible; through a picture text-message, a point-and-shoot camera, or through a high end camera. Like most women in contemporary society, I feel an expectation to be gorgeous. While I do not feel this pressure directly from my boyfriend or close friends, I am constantly surrounded by advertisements for beauty products enforcing the importance of being attractive. My current occupation as a cosmetic counter makeup artist relies on convincing women to enhance their appearance. I am fascinated by how easily I can persuade clients to purchase unnecessary products. My art is both a celebration and commentary on the beauty industry and contemporary consumerism. My approach to this series is varied and complex. The individuals photographed are unaware of their participation in the creation of my work. I do not intend to exploit the subjects or places that I photograph, rather my work comes from a very natural understanding of this environment based on several years working in a major department store. I attempt to attach multiple emotions of — empathy, humor, and sometimes sympathy — to the moments I capture. My work is not fabricated or recreated, — it is documentary. I am aware of the times I live in, and the people that inhabit these times and places. Once documented, the captured moments in time can be reflected on from a multitude of perspectives at a later place and time. Because I also contribute to the general shopping and grooming experience, the details of these images come from a trained eye and attentive approach. I have chosen to write this thesis in an auto-biographical narrative because I play many roles. I am the retail specialist, the artist, the photographer, and the consumer.ID: 031001429; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Adviser: Carla Poindexter.; Title from PDF title page (viewed June 24, 2013).; Thesis (M.F.A.)--University of Central Florida, 2012.; Includes bibliographical references (p. 53-54).
M.F.A.
Masters
Visual Arts and Design
Arts and Humanities
Emerging Media; Studio Art and the Computer
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Rafferty, Eileen N. „Jimmy Hit His First Home Run“. VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/958.
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This document begins with the end of a life and ends with the beginning of hope. It is a brief description of the artist's history, artistic and literary influences, and subsequent works produced during graduate school, specifically Dichotomy, Swan Dive, and Jimmy Hit His First Home Run. Topics discussed include Human Physiology, Transference, Buddhism, and Bubbles. This document was created in Microsoft Word 2004 for Mac, Version 11.2.
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Howard, Justin K. „The Barbershop: a photographic documentation and exhibition“. VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/854.
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In this project I explore the environment that surrounds and frames my life experiences. Interests in form, architecture, vernacular typographyand community blend into a photographic documentationcommunicating my perceptual experience of Richmond barbershops through public exhibition.
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Davis, Alissa Grace. „Des Perdues: The Precariousness of Loss“. VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1295.
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The majority of losses that take place in a day are not large, or sad, they are built almost entirely on behaviors and systems that have nothing to do with loss. Most of these, I discovered, are the result of deliberate carelessness. The word loss is as difficult to define as truth, but its variation is what makes it so interesting and evocative. It is not, and never has been, a definition of loss that I seek: it is not enough to simply say I lost this person or that place, we must consider what is left and what can still be lost. I am interested in the moments of transition that surround loss, when something is in danger of disappearing yet is not quite gone; this work focuses not on past losses, but future moments to be preserved. There is beauty and humanity that can be revealed in fugitive moments and events, and value in their documentation.
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Alvarez, Guido Esteban. „Soul Hunting“. VCU Scholars Compass, 2004. http://scholarscompass.vcu.edu/etd/1069.
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According to the Webster's unabridged dictionary, a mania is an excessively intense enthusiasm, interest, or desire; a craze. I experience a mania on a daily basis: I take photographs. I trap photographs inside flat, airless fish tanks where time stands still. The creatures captured inside the tanks resurrect every time I see them to remind me of a sound, an odor, a flavor, and, ultimately, a feeling I once experienced and now cherish. This project will attempt to show the energy captured in my photographic archives as a journey through my memories using an experimental interactive method.
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Wampler, Carson A. „Ideas of space“. Honors in the Major Thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1051.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Humanities
Art
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Mccall, Jennifer Danielle. „Renegotiating Identities, Cultures and Histories: Oppositional Looking in Shelley Niro's "This Land is Mime Land"“. Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/4149.
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My master's thesis explores the photographic series "This Land is Mime Land," which Shelley Niro made in 1992. Despite this work's complex form and structure, there are currently no sustained studies of this series alone, or books solely dedicated to Niro's art. Instead, "Mime Land" is often discussed in compilations that address a number of Native artists, Western feminist practices, or multiple works in Niro's oeuvre. My thesis fills this gap, as I closely investigate how "Mime Land" asks the viewer to look at visual culture, histories and Niro herself. Bell hooks's definition of the "oppositional gaze" - meaning a way of looking that challenges the conventions of visual culture by implementing the media's tools (film and photography) to construct new images of self - provides the framework for my analysis. Specifically, I contend that the subject, form and structure of "Mime Land" critically intervene in mainstream visual culture by asking the viewer to look at Native American women's identities, cultures and histories in new ways; ways that disavow the conventions of dominant visual representations and return the power over one's image to Niro, her family and community. My study demonstrates this thesis through a close consideration of the context contemporary to the work's production; a detailed examination of the photographs in the series; and an analysis of the work's overall structure.
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MacDonald, Kelsey M. „Apparent Fate, 2010: Dismantling the Notion of Photographic Truth“. Scholarship @ Claremont, 2010. http://scholarship.claremont.edu/scripps_theses/18.
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When creating a current work, artists cannot ignore the images that have preceded theirs. The history of a medium and the related history of subject matter is vital to the meaning of a new art work. Each sign and symbol has a connotation out of the artists’ control. The developed meaning of a symbol is inseparable for the viewer regardless of the acknowledgment of that meaning by the artist. To work with imagery and not address it’s historical context is to perpetuate it’s meaning. The only way to not state what has already been stated is to critically engage with the preexisting meaning of the imagery. An artist can combine symbols to create dual meanings or juxtapositions of meaning, or present the imagery in a way that complicates what it already signifies. “Apparent Fate,”my combined negative, photographic mural, uses imagery from Yosemite National Park to comment on photography’s function or purpose in history and in the current economic, political, environmental, and social conditions in California and society’s current stance on Manifest Destiny. How have the ideas of innate rights over people and places changed over time in American culture?
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Nuss, Patricia Lois. „The individual behind the image female idols in their various forms“. Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4997.
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The research investigated the artistic and photographic processes corresponding with two studies motivated by the artist's personal history and focused on the role, affect, and history of various female idols represented in art, religion, and modern American popular media. The first part of the study documented female models as they were simultaneously asked by the artist to think of a range of personal but nonspecific moments from her life, the women were asked not to share their thoughts, only the moment spent thinking, with the artist. The second part of the study documented aspiring models as they awoke during sunrise in the nightwear they slept in. This study incorporated landscapes near the models home. A similar notion is exemplified between the two studies as the models are asked to procure an intimacy with the photographer and in consequence with the viewer. The written part of the study gathered information regarding the female idols presence in a variety of cultures and eras, which transitioned to question the female idols current role in western culture. Findings showed that all idols stress an approved appearance, behavior and morality; furthermore research shows that the modern female idol stresses an importance on appearance more than any other factor. The research continued by breaking down the importance of a viewer-subject relationship in iconography and other artworks. A focus was made on what factors might create this viewer-subject relationship, and furthermore what do the subtleties of the subject tell the viewer. Reference of the artist's memories of an inconsistent female role model in her own life combined with the idols that were constantly solicited by the media resulted in this investigation. A positive relationship was found between the photographic process and the study of models in personal moments.ID: 029809280; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.F.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 37-39).
M.F.A.
Masters
Visual Art and Design
Arts and Humanities
Studio Art and the Computer
35
Lieb, Michelle. „The Enduring Image“. VCU Scholars Compass, 2006. http://hdl.handle.net/10156/1500.
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Kozlowski, Andrew. „Would You Believe Me If I Said I Didn't Need You“. VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd/954.
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This thesis is an attempt to expand upon the ideas that permeate the practice of art making that has developed over the past two years. Art criticism, theory, history, and practice are used to give definition to the boundaries of my ever-shifting body of work. Focusing on the elusive nature of communication in both public and private spheres, these projects range from installation and sculptural work, to web projects, photography, and drawing.
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Karlsson, Gabriella. „The Social Media Muse“. Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23195.
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The social media influencer is becoming a prominent trope in contemporary media culture. In her Instagram performance artwork Excellences & Perfections, Amalia Ulman imitated the content and lifestyle of different types of influencers for five months in 2014, gaining attention and inciting controversy when she finally revealed her hoax. She captured problematic aspects of performativity online, examined how it related to tropes and myths in our culture, and ultimately to our sense of identity. By analysing images from her work and comments from her followers at the time, this thesis aims to understand how her art acts as a commentary on issues of digital labour and self-representation through images.
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Harney, Sara. „Catherine Opie's Domestic Series“. VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/471.
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American photographer Catherine Opie combines portraiture and documentary photography in her photographic series titled Domestic. At the center of this series lies the idea of community and the question of how community is constructed, a theme which unites Opie’s seemingly disparate bodies of work. Domestic depicts lesbians from across the United States in scenes of domesticity, living as couples, families, and housemates. Using formal portrait conventions to aestheticize the images, Opie photographed her subjects in and around their actual homes to create images that are documentary in essence. The series works to represent the lesbian community, which Opie felt had been underrepresented in American fine art photography, as well as present an alternative to the heteronormative view of domestic life in America.
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Lease, Michael K. „Posthumous“. VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/651.
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This thesis reviews the background, influences, and evolution of three works that form Posthumous, an exhibit by the thesis candidate. The thesis begins with a series of vignettes that relate a number of personal experiences involving death, and photography, which have influenced the conceptual development of the work. Chapters devoted to each piece follow the vignettes. These chapters refer to the various influences that have led to the development of the following works: Obit to Self: April 10, 2005, Posthumous, and Jay. These influences range from the movie Hotel Rwanda, to handbills for punk-rock shows. The thesis ends with a description of the exhibition at the Anderson Gallery.
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Urban, Margaret Mary. „Flight Signs, Flight Symbols“. VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/956.
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I am investigating the significance of historic events of flight through image making; particularly incidents that captured the collective imagination and became part of our cultural memory. These events have surpassed mere entries in historical texts and become mythic. In the terms of Jungian psychology, they have become symbolic. In terms of Semiotics, they have become signs. Through photographs and installation, I seek to understand their presence in my, and our, unconscious mind.
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McLeod, Carmen Alis. „In an Expression of the Inexpressible: Even this title is stolen, but I chose it“. VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/916.
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This thesis provides a tour through an imaginary building that contains the work I have completed in the last two years at Virginia Commonwealth University. The body of the text provides a discussion of specific paintings as well as more general themes related to painting and art. The discussion includes thoughts on futility, desire, schism, the leap, collage, photography, materiality, painting, image, and landscape. The second part of the text is an abstract statement about the paintings included in the thesis show, Splinter Paintings.
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Inocentes, Francesca Louise. „[REBELUTION 17]: Gender Bender“. Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/950.
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Fashion embodies what is accepted and valued in a given culture or society and empowers individuals by building self-confidence, enabling them to express themselves authentically through their bodies and garments. The gender binary, perpetuated by the mainstream fashion industry, marginalizes individuals who do not conform to it. In Rebelution 17, I utilize clothing design and photography to empower and liberate individuals who do not conform to the standards of beauty in regards to gender identity and acceptability. The finished works are featured in a Lookbook – a digital and physical collection of photographs used to market fashion – designed to promote awareness of gender-neutral fashion and deconstruct industry norms. Rebelution 17 can be viewed online at www.francescainocentes.com.
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Garvey, Carrie Rosicky. „Foliage and Fabrication“. VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/664.
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In my photographic work, I contrast natural and man-made objects abstracted by manipulation of scale. Details of the objects are blown up to proportions larger than life. By distorting the scale, I aim to allow the audience to view the image out of context, enabling the viewer to see it for its aesthetic value rather than the object's functional purpose.
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Rocheleau, Shane Robert. „Within and Without“. VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd/1186.
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Within and Without is a document which illustrates my personal and artistic research into the nature of the postmodern conception of the self: that self is unfixed, multiple, and reactive. It explicates my myriad and explorative approaches to photographic portraiture. Furthermore, it indicates many of my theoretical and artistic references and how I have applied my lessons both as an artist and a researcher to maximize the effect of my concepts within the formal and aesthetic confines of my photographs. Finally, this document explains my own beliefs concerning the nature of self and how a synthesis of my influences has led me to these beliefs.
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Vaughters, Amy Lillian. „Delineated Space“. VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd_retro/58.
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This document is a detailed description of the work produced throughout my graduate study in the Department of Photography and Film at VCU. Topics discussed in relation my photographic process include: stage, memory, character, the forgotten, and nostalgia.
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Appleby, Nellie Helen Frances. „Toward a New Kinship Constellation“. VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd/1085.
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This thesis attempts to elaborate on my artwork during my graduate studies, while contextualizing it within the framework of the art world and the works of other artists. A main project during this time was to minimize the singular interpretation and framing of a fine art photographic print, while expanding its possibilities of meaning through the addition of important ephemera and objects such as plants, drawings, moving imagery, conversation and the unknown.
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Park, Hyejin. „A Sense of Place: A Personal Exploration, Analysis and Re-interpretation of Diverse Places“. VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1929.
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Every city/place has unique, distinctive qualities. Individuals acquire a sense of place in accordance with their own experiences and perspectives, which may not be the same as the experiences and viewpoints of another person. In this project, I explore, analyze, and re-interpret three places that have creatively and emotionally influenced me and remained in my memory: Times Square, New York City; Insadong, Seoul, South Korea; and Broad Street, Richmond, Virginia. To comprehend and draw a sense of place, I observe, feel, and document the characteristics of each place through different methods and processes, based on my own experiences. In addition, I integrate, apply, and transform my experiences and emotional reaction to the objects, obtained from each place, into new visual form to grasp how the built environment can be used as inspiration and stimulus in developing creative methods and processes in graphic design.
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Coltelloni, Anne. „Le documentaire comme forme symbolique“. Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2009. http://tel.archives-ouvertes.fr/tel-00812350.
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L'étude sur le documentaire a suscité ces dernières années de nombreuses approches : historique, rhétorique, pragmatique, stylistique. Celles-ci posent la question de la réalité dans le film ou dans la photographie, problématique récurrente du documentaire. C'est à nouveau cette interrogation qui sera abordée dans cette recherche. La perspective envisagée a l'ambition de synthétiser toutes ces approches en remontant à l'origine de la photographie, au dix-neuvième siècle, et en faisant valoir sa spécificité d'image. Un parcours photographique est proposé montrant en quoi l'image photographique a pu bouleverser notre rapport à la réalité. Cette ambition synthétique a trouvé son fondement dans un concept original initié par le philosophe allemand Ernst Cassirer : la forme symbolique. Il s'agit d'une logique culturelle qui propose de se placer au cœur de nos réalités et d'analyser les principes qui les gouvernent. Le point d'ancrage d'une telle philosophie repose sur la culture comprise comme une réalité relative. Dans cette perspective, l'image photographique en tant que documentaire est considéré comme un lieu donnant à penser une réalité ? Comment ? Cette recherche nous amène à envisagé trois moments pour l'élaboration de cette forme symbolique particulière : 1) l'invention d'une image-monde que l'image photographique a suscité ; 2) la survivance des réalités contenues et transformées dans cette image-monde ; 3) la création d'un lieu de mémoire par la constitution d'un patrimoine photographique.
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Iacovone, Michael Dax. „Memories We Forget“. VCU Scholars Compass, 2005. http://hdl.handle.net/10156/1875.
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Conklin, Candace B. „Through My Eyes“. VCU Scholars Compass, 2006. http://hdl.handle.net/10156/1927.
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