Relevant bibliographies by topics / Fine arts / Dissertations / Theses
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Dissertations / Theses on the topic 'Fine arts'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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1

Leung, Yin-ling Carol, and 梁燕玲. "Academy of fine arts." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31982062.

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2

APMANN, NADINE. "PROPOSED FINE ARTS LIBRARY." The University of Arizona, 2000. http://hdl.handle.net/10150/555351.

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3

Leung, Yin-ling Carol. "Academy of fine arts." Hong Kong : University of Hong Kong, 1994. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25944873.

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4

Degges, Douglas Ross. "Master of fine arts thesis." Thesis, University of Iowa, 2012. https://ir.uiowa.edu/etd/2854.

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In the course of studying painting for the past three years at the University of Iowa, I have found collaborating with other artists to be a great way for me to try on different hats. Two of these collaborations in particular, The Old Man Study Group with Hamlett Dobbins (Memphis, TN) and The Coracle Drawing Club with David Dunlap (Iowa City, IA), have given me the license and opportunity to pretend to be someone else. These collaborative projects have asked me to consider, and at times adopt, even if only for a moment, the interests and concerns of another maker. A few months into these two projects, I noticed that the work I was making on my own, in the isolation of my own studio, was suddenly open to the world's innovations, and not just my own.
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5

Lattarulo, Mariacristina <1993&gt. "Strumenti assicurativi nel settore Fine Arts." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/16017.

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Una polizza assicurativa corrisponde ad un accordo contrattuale tra la compagnia assicurativa e l’istituzione museale relativamente i rischi indagati.Il risk management svolge un ruolo di primaria importanza nell’analisi dei rischi percepiti e come il termine stesso suggerisce, concerne la gestione del rischio attraverso uno studio delle criticità riscontrabili al fine di schivare o quantomeno limitare il rischio stesso e se necessario, accettarlo e ricorrere alla pratica assicurativa. Per ragioni talvolta di natura legislativa o per rischi non stimabili a livello statistico o ancora caratterizzati da una elevata probabilità, non è assolutamente possibile assicurare tutti i generi di rischi a cui si potrebbe andare incontro. Senza dubbio alcuno, il rischio va individuato specificando la natura del danno e circoscrivendolo in maggior misura seguendo tre dimensioni quali la causa, il tempo e lo spazio.1 Nel caso specifico di un’istituzione museale, contenitore di una vasta gamma di beni anche di piccole dimensioni, il risk manager valuta un ventaglio di fattori affinché possa essere identificata l’eventuale possibilità della stipula di un’ assicurazione ad hoc. Tuttavia, in questo processo di analisi dell’efficacia ed efficienza delle varie prassi1 di controllo e sicurezza e finanche di gestione degli inventari e dei visitatori all’interno della macchina museale, accompagnato da un costante obiettivo di riduzione di eventuali danni o perdite, potrebbe risultare lampante come buona parte del budget di un museo possa essere meglio investito nell’ottimizzazione di pratiche ed attrezzature preventive anziché in polizze assicurative. I problemi maggiormente rintracciabili2 nel momento della valutazione di un rischio per un’istituzione museale possono essere di diversa natura e hanno una non indifferente incidenza sul riconoscimento dell’elevato tasso di perdita del museo da parte del risk manager, una volta accertatosi che l’istituzione abbia osservato la molteplicità di indicazioni ed accorgimenti propedeutici ad una corretta gestione della situazione. Dunque, il modus operandi di gestione del rischio concerne qualsivoglia prassi di revisione cautelativa per la collezione di un museo ed il ricorso alla pratica assicurativa diventa l’ultimo tentativo a favore della protezione del bene. Non vi è una copertura assicurativa riconosciuta universalmente e qualora fosse accolta dalla comunità museale una polizza organica, il maggior numero degli interrogativi tra debitore e creditore circa l’idoneità della copertura assicurativa, si dissolverebbero Eric Fisher, vicepresidente di Willis, società di broker assicurativi che ingloba clienti quali musei, gallerie e soggetti coinvolti nel settore Fine Arts, ha dichiarato in un’intervista del Sole24ore che sia le collezioni permanenti che le collezioni di soggetti privati di istituzioni museali, possono essere vittime di sinistro. Va indubbiamente riconosciuta al ramo assicurativo dell’arte una fase evolutiva piuttosto recente. Come vedremo nei capitoli successivi, il ventaglio d’offerta delle compagnie assicurative include la copertura del rischio sia di giganti museali e dei relativi progetti espositivi, attorno ai quali ruotano i migliori investimenti; sia delle collezioni di soggetti privati1 che rappresentano circa il 20% dei tecnici del comparto cultura. Nonostante tale crescita, le polizze assicurative per le collezioni permanenti di istituzioni museali,anche per i grandi colossi dell’arte, rappresentano un onere non indifferente.
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6

Berge, Jon K. "Disability in the Arts." The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1394711642.

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7

Wood, Andrew John. "gala." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492695903406475.

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8

Cavener, Kim R. "Federal Education Laws and the Fine Arts." Thesis, Lindenwood University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3605243.

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Due to federal laws requiring standardized testing of only a select few of the core subjects, many students have been divested of fine arts instruction (Chen, 2008; Garcia, 2010; Jacobsen & Rothstein, 2009; Maxwell, 2008; Suzuki, 2009). Moreover, school officials have reduced funding allocated to non-tested content areas as one means of balancing district budgets in a poor economy (Chen, 2008; Garcia, 2010). This mixed method study examined music educators' and curriculum directors' perceptions of how federal education laws have affected public school fine arts. Analysis of data from interviews of six music educators and six curriculum directors were conducted concurrently with the distribution of a Likert online survey. The interview and survey methodologies provided descriptive data of educators' perceptions regarding the consideration of fine arts as a core subject in policy and practice, the role of public school fine arts in the education of the whole child, the overall value of the fine arts in light of brain research, and the controversy surrounding the standardized assessment of the fine arts. The findings of the study revealed that even though all curriculum directors and music educators agreed the fine arts should be included in a child's holistic education, music educators possessed stronger beliefs regarding the fine arts being considered a core subject, Curriculum directors indicated their districts valued the fine arts as a public relations tool and as a means to boost achievement in other subjects, while music educators in the same district spoke of feeling devalued, indicating a disconnect in communication between administrators and staff. Finally, though many educators oppose the standardized testing of the fine arts, the assessments would provide valuable data.

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9

Mulinder, Guy. "Master of Fine Arts Thesis in Playwriting." Thesis, University of Canterbury. Humanities, 2011. http://hdl.handle.net/10092/5236.

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10

Cheung, Wing-him Edward, and 張穎謙. "HKU extension: Music & Fine Arts complex." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31986341.

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11

Johansson, Alva. "Bodydressed : BA IN FINE ARTS; FASHION DESIGN." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-640.

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Bodydressed: Investigate alternative forms of wearing garments in relation to the body trough questioning garments fixed position and bodily relationship, using the own body and a bodystocking as a tool for draping.
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Cheung, Wing-him Edward. "HKU extension : Music & Fine Arts complex /." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25948647.

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13

Whitacre, Brandon M. "Visual Conversations, in Tangible Poems." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338397773.

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14

Smith, Nicole Gnezda. "Creativity in the twenty-first century : a critique of contemporary theories of creativity." Connect to resource, 2001. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1230729415.

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15

Hughes, Pamela. "Microcomputers as creative media in fine arts education." Thesis, University of British Columbia, 1989. http://hdl.handle.net/2429/28240.

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Microcomputer applications to fine arts areas of education have received limited attention although the need for interdisciplinary education made evident in a substantial body of literature would seem to make such applications desirable. The use of microcomputers as creative media for the composition of poetry, art images, and music by grade four students at an elementary school in British Columbia, Canada was observed and analyzed in order to discern what actually happened as a result of the juxtaposition of microcomputers and creative aspects of fine arts. Ethnographic research methodology allowed the classroom teacher to conduct the study in a participant-observer role throughout the 1988-1989 school year. As a side aspect to the study, it was observed that students developed problem solving strategies that involved assessments and value judgements which encouraged those students to accept responsibility for their own learning. Word processed poetry engendered visual awareness that promoted extensive editing and proofreading and stimulated exploration of visual presentations in the genre of concrete poetry. Art images of nonrepresentational and abstract styles predominated because microcomputer capabilities supported such compositions and allowed students to experience satisfaction in their work regardless of their personally perceived proclivities toward portrayal in realistic style. The use of microcomputers facilitated image processing: the explorations of single ideas that resulted in the creation of series of related images. The students revealed developmental stages in music composition approaches and perceptions by the manner in which they structured sound into music. The students integrated concepts and techniques that involved poetry, art, and music into single works and thus demonstrated associative thought processing skills. Microcomputers used as creative media in the fine arts areas of poetry, art, and music enabled unique learning outcomes, provided a previously unavailable means whereby the developmental stages of child music composition were able to be observed, and constantly allowed students to be simultaneously creators and observers of their own work. The students were thus in position to concurrently recognize and respond to artistic form: a position in which aesthetic experiences are possible.
Education, Faculty of
Language and Literacy Education (LLED), Department of
Graduate
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16

Morris, Christopher. "His Mask is Me." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492782265866954.

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17

Hoffman, Daniel Forrest. "An Exploration of Absence." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1250223181.

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18

Pruitt, Sharon Ivette. "Perspectives in the study of Nigerian Kuntu art : a traditionalist style in contemporary African visual expression /." The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487260859495397.

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19

Amano, Fumi. "Re-exploring my identity as a Japanese woman." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4846.

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This document contains reflections on my motivations and the personal decisions made in the realization of selected works leading up to and including my thesis exhibition "Voice". The following text shares the many and varied connections between my life and art-making. My issues in my personal relationships with others has spilled out from my heart and turned into these works. I'm continuously expressing the unsuccessful attempts we make at developing true bonds that bridge the gaps between people.
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20

Milburn, Jason K. "Compressed Spaces." Kent State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=kent1511268861196472.

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21

Watrous, Shawn. "Undersound: An Investigation of Painting as a form of Expression." Kent State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=kent1366359903.

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22

Monnier, Antoinette. "The interrelationship of graphic design and fine art /." Online version of thesis, 1995. http://hdl.handle.net/1850/11969.

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23

Brown, Ryan. "Integrating the fine arts into an early childhood classroom." Staten Island, N.Y. : [s.n.], 2007. http://library.wagner.edu/theses/education/2007/thesis_edu_2007_brown_integ.pdf.

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24

Herr, Kerry Ellen. "Integrating the fine arts into a niddle school classroom." CSUSB ScholarWorks, 2000. https://scholarworks.lib.csusb.edu/etd-project/1705.

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25

Singleton, Joe. "Ascension: A Fine and Performing Art Scholar Thesis." Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/honors/17.

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26

Francis, Andrew M. "belt melon grass." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3885.

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This essay was written largely after the completion of my thesis exhibition which shares its title. An integral aspect of the work was the after-­hours maintenance it required. Below I describe the unforeseen personal significance that labor came to hold and the way in which it functioned as a healing ritual. Through this work, and those leading up to it, I have a reinvigorated awareness of the importance of therapy as an aspect of my art­making, of which this thesis is a testament.
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Westergren, Ulla-Britta. "TRANSLATING OUR CONSTANT MIGRATING IDENTITIES : Jewellery to carry, fill and let go of." Thesis, Konstfack, Ädellab/Metallformgivning, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-4697.

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28

Sandy, Heather. "Beauty and the Synthetic." Thesis, Southern Illinois University at Edwardsville, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1591407.

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29

Giaquinto, Kevin. "Digital Chaos| Exploring Relationships Between Technological Advancement and Visual Experience." Thesis, Rochester Institute of Technology, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1561428.

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More so than any other time in history, humans are being exposed to an enormity of digital images every day. The internet, combined with accompanying technological advancements in cellular communication has created an exceptionally chaotic visual experience within the daily lives of millions of people. Through the use of digital photomontage, my artwork attempts to quantify and evaluate the impact that thousands of digital images may have on the emotional and psychological state of human beings. Concurrently, I am in interested exploring the mental repercussions of visual overload, specifically, how chaotic digital experiences may impact the quality of the human condition as a whole. I use the internet to recontextualize found images through a variety of digital manipulation methods to create a system of aesthetic and conceptual relationships. Each collage is comprised equally from images I have produced myself, and appropriated images found on the internet to indicate the increasingly ambiguous boundary between our physical and virtual realities. I often use images that imply a war-like opposition between our natural and technological environments. I believe such images are indicative of the conflicts that take place on a psychological plane of consciousness within our minds every day as we strive to cope with our new digital reality brought forth by rapid technological advancement.

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Urquidi, Nicole Lauren. "Cindy Sherman| Portraits in question." Thesis, California State University, Long Beach, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1527024.

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Since her Untitled Film Stills of the 1980s, Cindy Sherman has assumed the roles of artist and model to present a continuum of complex female personas that are embedded within our cultural unconscious. Though we are often reminded that her photographs are not self-portraits, Sherman continues to employ many stylistic conventions of portrait photography. I use this as a means to re-contextualize Sherman's practice within a critical study of portrait photography that will open up new possibilities in reading her work. Using the photographic index, Charles Sanders Peirce's classification of signs, Charcot's nineteenth century photographs of hysterics, and Jacques Lacan's four discourses, I locate Sherman's practice within a complex history of photographic portraiture from the nineteenth century to today's digital landscape to ask where portraiture has been and where it is headed.

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31

Phipps, Kristen Renee. "'Till the Cows Come Home." The Ohio State University, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu1618747544530061.

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32

Dietz, Matthew Shoemaker. "It did well for what I wanted it to do." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1276789430.

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33

Ajmal, Saulat. "Fragmented Places." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4271.

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My work is about an inner struggle, which stems from the shifting nature of my own identity being constantly displaced and re-imagined. My paintings and performances are propositions for a utopic world. They offer a place for identity to rest and are defined through ritualistic movements, which are inescapably mine. While I work in several mediums including paintings, performance, installation and sculpture, this thesis paper is an exploration of the work I have produced specifically over the last six months
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34

Lieberman, Christina Michele. "A handbook for developing an exhibition guide for a student union art gallery." Thesis, The University of Arizona, 2002. http://hdl.handle.net/10150/278798.

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This thesis is a narrative of the development and design of an exhibition guide entitled Exhibition Guide for the Student Artist. The guide was created for use with student artists who will exhibit at the Union Galleries. The contents of the Exhibition Guide were based on an analysis of data collected from questionnaires administered to university students and curators of community galleries. The data were compared for common themes and threads. A series of questions about exhibiting emerged which formed the basis for the guide. The purpose of the guide is to help art students, new to the exhibition process, and to encourage their professional development. The Exhibition Guide for the Student Artist will be publicized by the Arizona Student Unions in January 2003.
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35

Mazzone, Marian 1963. "Van Gogh and the Dutch tradition: Mapping the countryside of Arles." Thesis, The University of Arizona, 1990. http://hdl.handle.net/10150/291528.

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In July of 1888 Vincent van Gogh produced a series of drawings of the plain the Crau. Two drawings from this series are particularly shaped by the circumstances surrounding van Gogh at that time, and what he wanted to communicate about the French countryside. Wanting to produce drawings that would sell, van Gogh turned to methods of composition and style based on Dutch seventeenth-century panoramic landscapes, which were themselves shaped by the practices of map making. Van Gogh produced representations of the French countryside that reveal his nostalgic attitude and the biases of his class. What van Gogh saw in France was the old Holland of the seventeenth-century landscape artists, not France of the late nineteenth century. The drawings re-connect the artist to his Dutch visual heritage. They also reveal van Gogh's nostalgic view of the rural landscape, and his particularly Dutch attitude toward changes in this landscape caused by nineteenth-century modernization. (Abstract shortened with permission of author.)
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Hansen, Julie Vinsonhaler 1961. "The philosophers of laughter: Velazquez' portraits of jesters at the court of Philip IV." Thesis, The University of Arizona, 1990. http://hdl.handle.net/10150/291615.

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Previous art historical scholarship has approached the portraits of court jesters painted for the Buen Retiro Palace by Diego Velazquez between the late 1620s and 1630s as fascinating character studies that provided the artist with the opportunity to display psychological nuances and to experiment with painterly techniques that were precluded in his formal portraits of the royal family and members of the court. In addition, they have been discussed as an interesting intermingling of Northern and Southern Italian traditions of jester and dwarf imagery. This thesis will show that Velazquez was also deliberately including sophisticated references to prevailing philosophical ideas concerning inverted realities, and that these paintings, as well as their placement, provide information about the function of the jester as an instrument of opposition and comparison for the monarch at the court of Philip IV.
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37

Bright, Matthew Jerome. "Disparate Realities." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1366385044.

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38

Petrosky, Natalie E. "Little Moving Windows." Kent State University Honors College / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1344224872.

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Osborne, Ryan T. "Biomorphia." Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1397772443.

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40

Johnson, Alyssa Marie. "Views From The House." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429835120.

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41

Jones, David Edwal. "All the king's horses (a 3-dimenslonal fine art piece)." Honors in the Major Thesis, University of Central Florida, 1999. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/65.

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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 Sciences
Art
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42

Macpherson, Janet Lynn. "Marginalia." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1282086567.

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43

Bowman, Claire F. "In between the space of you and I." Kent State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=kent16194375647394.

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44

Kozma, Madeleine. "Essay for bachelor degree of Fine Arts. : by Madeleine Kozma." Thesis, Konstfack, Institutionen för Konst (K), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-4569.

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45

Holmes, Elizabeth Geesey. "The Virginia Museum of Fine Arts: its Founding, 1930-1936." W&M ScholarWorks, 1993. https://scholarworks.wm.edu/etd/1539625838.

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DeBellis, Elizabeth Ann. "Mapping Threads." Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1416587832.

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Noseworthy, Molly. ""Ya'll Come Back" Continuing Arts and Crafts in Gatlinburg." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/honors/36.

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Gatlinburg, Tennessee is a tourist town. I was born and raised in this area, and am currently employed at a ceramics shop in the historic Arts and Crafts Community. Due to this job, I have decided to research the importance of the town and crafts area. In this paper, I will present an overview of the history of the town and its art community, and also present an inside look at life and business in a tourist town. Although the Arts and Crafts Community has grown to be a tourist attraction, its roots still lie in the traditional handmade trades, and its artisans attempt to balance the integrity of their crafts with modern demand and economic realities.
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Miller, Lauren B. "SUBDUER." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3127.

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By reclaiming and translating the use of material in my work, I speak of oneness on a basic physical level. As the body in the images slips in and out of focus in abstraction of material, the objects patiently wait to be interjected into the composition of the space as a whole.
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Gunduz, Erol Mehmet. "Playing With Clay| Knowledge Making Across Physical and Digital Materials." Thesis, Teachers College, Columbia University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10287813.

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Digital clay is a virtual material that exists currently in many 3D design software applications. Coupled with the rapid development of 3D printing technology, clay forms designed with a computer can now be externalized into the physical world as 3D prints or, vice versa, as digital scans. Recently, advanced tools have become available to artists and designers as affordable systems marketed to the professional consumer. As a response to these developments, my research examines the learning that occurs for eight artists who have been asked to play with physical and digital clay. This research employs a multiple case study methodology to understand the challenges of learning to work with digital clay and the supporting role of physical material engagement in this process. By interviewing participants and thematically analyzing their responses, I presented the subjective experience of the artists through portraiture showcasing the educational role play assumes when engaging across physical and digital media. Findings of the study suggest that engaging physical and digital materials calls upon a broad scope of cognitive processes including recollection and mental wanderings that contributed to reflection and discovery of novel ideas. Details from unstructured interviews were presented through narrative reporting as this research also strives to make sense of the participants' experience and situate the details of the study’s context.

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Morrell, Deborah Leigh. "Master of Fine Arts submission." Thesis, 1994. https://eprints.utas.edu.au/20961/1/whole_MorrellDeborahLeigh1994_thesis.pdf.

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The nature of human experience and the acquisition of knowledge through that experience is not just a process of the mind, but is also that of the body. We perceive the world through the relationship of mind and body, transforming physical sensations into knowledge. This shift from the physical to the metaphysical is central to the concerns I wish to address in my work. In doing so I will attempt to develop a correspondence between internal structures (structures of consciousness, conventions of perception, systems of belief, as well as activities of thought and feeling) and external structures, those of physical experience in relation to architectural space. By doing so I will address the concept of the self and its relationship to the external world, therefore questioning the nature of reality. Through installation and architectural structures, I will attempt to explore the above concerns by using architectural space as a metaphor for the internal structures of the self.1 By using physical enclosures, I aim to heighten the awareness of how we perceive the spatial and temporal continuum of experience, and how the body is integral to this experience, expanding our perception of objects and space. Through the physicality of the sculptural form, I wish to address the notion of spatial presence in relation to memory. Primarily I will be dealing with body memory; that which alludes to memory that is intrinsic to the body; how we remember in and by and through the body (a felt memory). In dealing with the above, I aim to transform the viewer's understanding of space, physically, psychologically and aesthetically by dealing primarily with perceptual content - where the work addresses not just vision but the viewer's whole physical being. I therefore propose to continue working within the architectural enclosure as a means of expressing the human condition.
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