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1
Bradford, Shalen. "Children's Art Museum". VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2175.
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This Thesis explores the question; Is a children’s museum a playground or a museum? Through research and visits to children’s museums I feel that many are playgrounds. They are also visually stimulating to children, but not to the guardians who bring them there. In most cases the exhibits are permanent and there is little change to the atmosphere of the space on a regular basis. An old warehouse located on North Boulevard was chosen to house this project idea of a children’s art museum. The scenario is that The Virginia Museum of Fine Arts and the Children’s Museum of Richmond would have a joint venture in creating a the Children’s Art Museum of Richmond. Thebuildings’ close proximity to these two museums make it an excellent choice for both institutions. There are interactive changing exhibits, a studio that continues the learning experience from the exhibit, and a gallery to display artwork that was created in the studio spaces. Through these three core spaces I hope to create a continuous interactive learning experience in this children’s art museum.
2
Iqbal, Samina. "Modern Art of Pakistan: Lahore Art Circle 1947-1957". VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4359.
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This dissertation focuses on the modern art of Pakistan from 1947-57, more specifically, the role of six important artists who founded the Lahore Art Circle (LAC) in 1952. The group played a pivotal role in the formulation of modernism in Pakistan after its establishment as an Islamic Republic. Framed within postcolonial theories and criticism, this study will address the role of modern art in developing new artistic sensibilities in the nation of Pakistan. In order to understand the context of LAC’s framing of “modernism” and “nationalism” in terms of specific historic and hybrid nexus,my research will provide an investigation of works of only the founding members of the Lahore Art Circle including: Shakir Ali (1924-1975), Sheikh Safdar Ali (1924-1983),Moyene Najmi (1926-1997), Ali Imam (1924-2000), Ahmed Parvez (1926-1979) and Anwar Jalal Shemza (1928-1985). In analyzing the works of individual artists and the role of LAC during the first decade of the establishment of Pakistan as a nation-state, this study provides a framework to understand the specific condition of modernism in Pakistan that was dictated by these artists’ careers and works. Thus, this research investigates how the framing of modernism for these artists took on highly personal, international, incipiently national and distinctly local forms in the early years of the Pakistan after the Partition of 1947. Lastly, it will also examine how the individual LAC artists situated themselves in the discourse between constructing a newly established Pakistani identity within the larger paradigms of international modernism.
3
Didier, Jon. "Art, avoidism, and automation". Honors in the Major Thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1400.
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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
Fine Art
4
Sarut, Paula. "Thou Art That". Digital Commons @ East Tennessee State University, 2009. https://dc.etsu.edu/etd/1811.
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The artist discusses her Master of Fine Arts thesis exhibition, Thou Art That, held in Slocumb Galleries, East Tennessee State University, from November 3-7, 2008. The exhibit consists of self-portraits in oil on stretched canvas painted between May and October 2008.
Ideas explored include the creative power of limitation, metaphor, divinity, relationship, human development, life experience, and the bond between mother and child. Influences discussed include the written works and ideas of Joseph Campbell and Joseph Chilton Pearce, as well as the ideas of artist Judy Chicago, art critic Suzi Gablik, and the artwork of Gerhard Richter.
Included is a complete catalogue of the paintings from Thou Art That.
5
Perez, Elizabeth. "Art as a questioning process". Honors in the Major Thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/605.
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The topic of this thesis is, broadly, the crisis of postmodernity and the solution that French rhetorician, Michel Meyer, presents in his theory “problematology.” Meyer looks to relocate the focus of philosophical attention on the question as opposed to the answer. Meyer calls preoccupation with answers “propositionalism.” Propositionalism can be likened to the looming scientism that threatens philosophy in general. Meyer shows, through an examination of questioning, how philosophy can be rescued from obsolescence without being detracted to scientism.
Although Meyer’s philosophy is promising, it could not be considered thorough if it did not address art. Using Gilles Deleuze and Felix Guattari’s definition of art as externalized experience, this thesis will explore whether or not Meyer has examined the important relationship between art and philosophy. Through analysis of his three main books in English along with multiple essays, this thesis shows that, although Meyer did not examine art to a great extent, his philosophy contains underlying themes that correspond to the art world.
If Meyer’s philosophy is shown to be thorough enough in every respect, it could serve as a new starting point for thought. Meyer’s philosophy has the potential to pioneer a new paradigm of thought that has not been previously explored.B.A.
Bachelors
Arts and Humanities
Philosophy
6
Lai, Lingchun. "Taiwan music teachers' attitudes toward the arts and humanities curriculum". connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3951.
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7
Vice, President Research Office of the. "Art of Darkness". Office of the Vice President Research, The University of British Columbia, 2006. http://hdl.handle.net/2429/2666.
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8
Lopes, Pedro Zasciurinskis. "Redefining art as an experience". Honors in the Major Thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1107.
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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
Philosophy
9
Messemer, Heike, Walpola Layantha Perera, Matthias Heinz, Florian Niebling e Ferdinand Maiwald. "Supporting Learning in Art History – Artificial Intelligence in Digital Humanities Education". TUDpress, 2020. https://tud.qucosa.de/id/qucosa%3A73553.
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In recent years and especially in the context of the coronavirus pandemic, digital distance learning increases. But for academic students, the selection of adequate learning materials for educational purposes is becoming more and more complex. This marks only one starting point where the use of artificial intelligence (AI) offers additional value. AI has a great potential to enhance and support research and education in the field of digital humanities (DH). As international organisations have just expressed their thoughts on the subject, AI is the topic par excellence and will decisively shape the future development of educational processes.
10
Robinson, Chelseigh. "Music and Art: Exploring Cross-Pollination". Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/honors/115.
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As a music student who was always more attracted to the “academic” side of music rather than the performance side, I have come to hold a great respect for music history. This interest only grew when I got the opportunity to study music for a semester in Edinburgh, Scotland. Being surrounded by so much history, both musical and artistic, only fed my passion. I began to notice many similarities between the development of music and art both during lectures at the university and in my leisure time in galleries. I noticed that composers and visual artists in the same time period would hold similar beliefs or thoughts, therefore similarities could be found between the two art forms. Oftentimes, I would come across a composer whose compositional techniques were directly influenced by an artist and/or vice versa. I became interested in this type of cross-pollination in music and soon began to ask myself the question “Have the development of art and music always been influenced by each other? How many composers were inspired by art?” When it came time to begin my honors thesis, I decided to address this topic. So, I chose to explore this type of cross-pollination in music and, in conjunction with this research, create my own musical composition based on a work of visual art of my own choosing. Specifically, I wanted to look more carefully at the technique composers had used historically to connect their pieces of music with particular pieces of visual art. I therefore chose several art-influenced compositions to examine how the music expresses the art.
In the first chapter of my thesis, I discuss the problem of turning spatially existing art into a temporally existing composition and explore several compositions in which the composers chose to construct a musical narrative as an approach to this challenge. In the second chapter, I revisit the problem of turning art into music but instead explore a different set of compositions that overcome this issue using a ‘snapshot’ technique. In the third chapter, I take a look at ekprasis as a technique used to translate abstract art into music and focus on how one composition in particular expresses the artwork. The fourth chapter is a journal discussing the art I have chosen, the stages in my compositional process, and how I used what I learned from my research to create my own composition. I have included the score of my composition as the fifth chapter.
11
Gray, Anthony. "Re-Discovering the Art of Bel Canto". Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/honors/349.
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The purpose of this thesis was to research and emulate through composition the style and techniques of the bel canto composers (Rossini, Bellini and Donizetti). The thesis includes two art songs composed in the style as well as an analytical paper that explores their techniques on such aspects as vocal line, text setting, form, texture and performance practice.
12
Weiss, Katherine. "Samuel Beckett and Contemporary Art". Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etsu-works/5597.
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Sanchez, Wendy. "Redefining identities in art through Santeria". Honors in the Major Thesis, University of Central Florida, 2009. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1323.
Texto completo da fonteResumo:
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
Humanities
14
Flores, Pedro. "Transculturation and Hybridization in New World Baroque Art: A Study of a New World Identity as Defined by History and Art". Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/honors/54.
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The purpose of this thesis is to analyze New World Baroque art as a medium of syncretism allowing the reconciliation and fusion of discrepant cultures. This study will explore the region of New Spain as defined by the Baroque period by analyzing Mexico as a place whose identity was defined by the transcultural and hybrid components of the Baroque and as a place where a New World Baroque aesthetic first started to appear. Transculturation and hybridization will be analyzed historically and aesthetically as factors for the creation of a New World Identity. The term New World Baroque will be used to define art in the Spanish colonies during the Baroque period, the term New Spain will be used to refer to colonial Mexico, transculturation will refer to the exchange of ideas and intermingling of cultures and hybridization will refer to the outcomes of such. This analysis will begin by providing a definition of Baroque with the purpose of establishing an understanding of the main characteristics of the movement aesthetically and chronologically. Spain will be analyzed to provide evidence of the effects of coming into contact with a multicultural society on the Baroque aesthetic; followed by a historical analysis of the events that would result in the creation of the new world. Then transculturation will be analyzed as an answer to the conquest and as guided by the Catholic Church. Then a timeline will list important events leading up to the Baroque period, and finally an exploration of hybrid art will serve to exemplify a well-established hybrid identity culminating with a brief analysis of some of Frida Kahlo’s work as an embodiment of the New World Baroque aesthetic.
15
Gonzalez, Gabriel. "Hidden Scars: The Art of PTSD". Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5636.
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Through the use of mixed media, I explore imagery that reveals the trauma of returning combat veterans, of which I am one, as we try to reintegrate into a society that does not understand the war that still lingers within us. In my work, I depict emotional disturbances that are related to my personal encounters with war. My working process starts by referencing mainstream media imagery, which I juxtapose against harsh images inspired by veterans' drug and alcohol use, trauma and death. My black-and-white pixelated paintings feature the fragmented memories of a hostile combat environment, and although “Out of My Mind” depicts the chaotic emotions associated with PTSD, my whimsical style of illustration suggests a detachment from reality. Whether we call it shell shock, battle fatigue or PTSD, the war-related disorder is real. I want society to be aware of the hidden scars that our veterans carry with them. I do not anticipate my subject matter changing any time soon.M.F.A.
Masters
Visual Arts and Design
Arts and Humanities
Emerging Media; Studio Art and the Computer
16
Addis-Gutierrez, Christy. "Museum Design: art, wonder & discovery". VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2156.
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Christy Addis-Gutierrez MUSEUM DESIGN: art, wonder & discovery Some art institutions create such an elitist atmosphere that the average person might feel intimidated. But for the artists to be the most effective in expressing their ideas, their feelings, and their point of view, more people need to experience it. If the audience for art is limited to a relatively small group of art lovers, how does that serve the art process? A broader audience could enrich the art that is produced, allowing artists to engage in more daring work. A contemporary art museum that also incorporates spaces for gathering and communal activities, with an active and innovative educational program, could create this broader audience for art, and strengthen the surrounding community as well. Art brings people together – to discover more about themselves and each other. The challenge is to create a space that accomplishes this: more art; more people; more wonder; more discovery. The “big idea” of this project was “more art”. It was generated by the idea of bringing the wonder of art to more people.
17
Martin, Mary Rhoads. "Legal issues in African art". Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/546.
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This dissertation surveys the legal and ethical implications of the journey of artworks from Africa to Europe and the United States, beginning with events of the nineteenth century and continuing to the present. It addresses the laws regarding works of art from undeveloped countries, with focus on sub-Saharan Africa. The laws offer insight into what cultural value has been assigned to African art, and the changing laws and ethical norms reflect how African art has been perceived at different times.
This work also discusses to what extent the unique aspects of African art should affect laws protecting the cultural property of sub-Saharan African countries. The dissertation focuses especially on Nigeria, the home of the Kingdom of Benin. It also addresses the legal issues of art from Mali, Cameroon, and the Democratic Republic of the Congo. It shows when, where, and how the legal issues for sub-Saharan art are similar to, or different from, the legal issues for other regions.
Three spheres of academic endeavor were pursued in producing this work: African art history, ethics, and legal studies. From the combination of these areas emerges a narrative with a broad variety of events and people. Although the story is told chronologically, it is based on a set of legal and ethical issues. The common issues fall into four categories: plunder and illegal import/export; ethical collection and display; authenticity and forgery; and ownership and copyright.
African artworks found their way to the West in the nineteenth century. There they were considered "savage fetishes" and put in ethnographic museums. In the twentieth century, Western artists such as Picasso were inspired by the aesthetics of African art, and private collectors began acquiring it. Now the world's major art museums display African art.
Since World War II, important international conferences have established an increasing level of protection for cultural property, and thus for African art. International conventions have not prevented illicit art traffic, however. The story of the Afo-A-Kom's return to Cameroon in 1975 illustrates the diverging interests of collectors, museums, the public, and the source country.
Forgery has been an increasing problem for African art throughout the twentieth century and into the twenty-first century, fed by the high prices that authentic works receive in auction and at galleries. In 1991, for example, Sotheby's sold a forged terra-cotta ram from Mali for more than a quarter of a million dollars.
Today's attitudes and laws concerning African art reflect a complex interplay of historical events and legal changes over time. From the nineteenth century to current times, some progress has been made. Key issues remain from colonial times, however. Despite a growing body of international and national legislation to protect cultural property, African art is still seen by some as a commodity that can be stolen, illegally exported and imported, forged, destroyed or censored.
18
Caceres, Jara Luis Fernando. "A PICTORIAL ESSAY ABOUT ART AND MIGRATION". Thesis, Konstfack, Institutionen för Konst (K), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6343.
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The essays opens with a discussion about the terms: Storia and Storie and their English equivalent History’ and ‘Story/Stories’. As a migrant artist I explore, transform and translate Andean – and other ancient – myths, legends and rituals into contemporary pieces of art, for which Storia and Storie are fundamental. Aiming to critically engage with and contextualize my own practice, several historical examples of artists who have used pictorial narrations are presented. On the process of contextualizing my own practise, the essay engages in understanding the multi-layered components of some historic paintings such the Miracle of the cross by Bellini, or The slave ship by Turner to offer more complete and complex reading of its existence. The final part start defining the concept of the word protrusion. Taking from the language of science of conservation, the word on the essay is applied to the discussion of migration and art. On the presumption that art is a reflection of cultural heritage and traditions, art pieces can symbolically recapture past people’s forms of thoughts and re-embody their emotions individual and collective memory.
19
Glasser, Susan. "Playing with Aesthetics in Art Museums". VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/196.
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"Playing with Aesthetics in Art Museums" presents a strategy for using design thinking to mediate engrossing art experiences for adult museum visitors. Built upon a substantiated family resemblance between art and play experiences, the study synthesizes a typology of aesthetic theories, ten germane tenets of game design, and a psychographic portrait of the "archetypal" museum visitor to create a practical framework for delivering engrossing art experiences to adult visitors who typically enter museums with limited art historical knowledge. The interdisciplinary approach used is intended to replace the singular methodologies (whether art historical, pedagogical or aesthetic) that have informed museum practice in the United States since the late nineteenth century.
20
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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21
Petty, Nancy. "African Art in Western Museums: Issues and Perspectives". Honors in the Major Thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/992.
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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 History
22
Reid, Joshua S. "Art Appreciation Lecture and Sculpture Walk Tour". Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/3167.
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Rosenthal, Elizabeth A. "Advances in art restoration involving computers and nanotechnology". Honors in the Major Thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1044.
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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
History
24
Dwyer, Bryce. "James Ensor: Northern European Art and the Carnivalesque". Honors in the Major Thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1216.
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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 History
25
Dowd, Callie E. "The Importance of Adaptability in Art and Travel: My Experience Abroad". Digital Commons @ East Tennessee State University, 2021. https://dc.etsu.edu/honors/607.
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This thesis presentation will expand on my personal experience studying abroad in Blagoevgrad, Bulgaria. I travelled there the semester of the unexpected pandemic causing a worldwide shutdown. I take the reader through past theatrical experience and my training as an actor at ETSU. These things led me to my personal revelation of connecting art with travel and the importance of adapting in every situation.
I share with the reader times of trial during my training as an artist along with lessons I learned before the ultimate expedition to Bulgaria, which tied all of the lessons into one. I reflect on what it means to be a theatre artist. I will also look into how travelling to new places has been a tool for future creative projects. With the aide of my Bulgarian and Tennessee professors I touch on Meisner’s laws of acting as well as the general idea of travelling as a tool for anyone thirsty for new perspectives.
26
Dowd, Callie. "The Importance of Adaptability in Art and Travel: My Experience Abroad". Digital Commons @ East Tennessee State University, 2021. https://dc.etsu.edu/honors/608.
Texto completo da fonteResumo:
This thesis presentation will expand on my personal experience studying abroad in Blagoevgrad, Bulgaria. I travelled there the semester of the unexpected pandemic causing a worldwide shutdown. I take the reader through past theatrical experience and my training as an actor at ETSU. These things led me to my personal revelation of connecting art with travel and the importance of adapting in every situation.
I share with the reader times of trial during my training as an artist along with lessons I learned before the ultimate expedition to Bulgaria, which tied all of the lessons into one. I reflect on what it means to be a theatre artist. I will also look into how travelling to new places has been a tool for future creative projects. With the aide of my Bulgarian and Tennessee professors I touch on Meisner’s laws of acting as well as the general idea of travelling as a tool for anyone thirsty for new perspectives.
27
Winde, Annie Rita Yvonne. "I wan´t to work big and learn art- pupils views on art education in lower secondary school". Thesis, Malmö universitet, Fakulteten för lärande och samhälle (LS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-34506.
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This essay is about the participants students, teachers, school and their terms and regulations. The investigation aim to examine how the art subject curriculum interact with the pupils own views on what they want to achieve in art classes in school. Further this paper is on what impact some processes to adulthood can have on students learning ambitions during adolescence. Especially it discusses art education in aspects of identity process, influence, motivation, reflection and learning. Lastly this thesis inquires if pupils acquire tools through art lessons that can support their ability in learning for life skills and in further education on their own as adults.
28
Wilson, Janelle. "Accessioning and Managing the Petersburg Area Art League Collection". VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2296.
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Since the 1960s, the Petersburg Area Art League (PAAL) has obtained works of art for its permanent collection through purchases, private donations, and through the local art show, the Poplar Lawn Art Festival, later known as Artfest. Recently, however, the organization has decided to become a non-collecting institution in order to focus on its mission to promote the arts in Petersburg through gallery shows for local artists and educational programs. While PAAL’s staff members share a love of art and a dedication to the local community, they have not been trained in professional standards for handling museum collections as outlined by the American Association of Museums (AAM). Consequently, the PAAL collection had not been adequately documented or stored in a manner that protected the works from potential damage or degradation. This museums project was designed to help the Petersburg Area Art League meet AAM standards. During the summer of 2010, the collection of 150 artworks was accessioned; its storage facility was reorganized; a database was created; and a collections management policy that would ensure the continued care of the collection after the completion of this project was written and approved. This paper describes challenges encountered and resolved during the two-month project and provides a reference for those who wish to take on similar projects in the future.
29
Duer, Zachary. "Unification, Agency, Systemization, Intuition: My Art Making Process and Ideas". VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3373.
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This essay is an attempt to describe my ideas about my work, my process, and my philosophy of art by examining five of the major pieces I created during the pursuit of a Master of Fine Arts degree at Virginia Commonwealth University. I will discuss the pieces in chronological order, first providing a description of the works’ salient characteristics, then delving into both my specific thoughts about the work as well as the background ideas that were pertinent to me during my process of creation.
30
Bullock, Nora B. "Examination of values instruction in education and the role of humanities in values education". Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1988. http://www.kutztown.edu/library/services/remote_access.asp.
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31
Lochmann, Erin Megan. "THE ART OF NOTHINGNESS: DADA, TAOISM, AND ZEN". UKnowledge, 2011. http://uknowledge.uky.edu/art_etds/1.
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When examining the art, actions, and writings of Zurich Dadaists it becomes apparent that there is an affinity with Eastern thought, namely Taoism and Zen Buddhism. It cannot be said that Eastern thought directly influenced the artistic production of these Dadaists. However, the philosophy of Dada artists in Zurich mirrors that of Taoism and Zen so strongly that this connection cannot be ignored, although the Western art historical cannon has done just that. Exploring this connection offers a new perspective of Zurich Dada and encourages a reconsideration of the commonly applied label of nihilism to this group of Dadaists.
32
Koch, William. "Opening a World From Categorial Intuition to Art". [Tampa, Fla] : University of South Florida, 2008. http://purl.fcla.edu/usf/dc/et/SFE0002574.
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Leonard, Melissa M. "Motivating Students for Success in Art Education". Digital Commons @ East Tennessee State University, 2005. https://dc.etsu.edu/etd/1048.
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This study is intended to analyze the differences of elementary age students from two different public elementary schools and their motivation to learn about art. The analysis will compare and contrast the results of my efforts as an art educator to present the same curricular information to both groups of students.
I have examined the demographics, the parent involvement, and the other areas affecting the students of the two schools in which I have taught during my seven years as an elementary art educator. My purpose in completing this study has been to better understand how to meet the needs of my current students who seem to struggle considerably in the art classroom when compared to the students I have previously taught. I wish to better understand what shapes the minds and attitudes of our students today whom we teach in art programs.students today that we teach in art programs.
34
Liguori, Samantha. "Stingray : an exploration into the art and craft of playwriting". Honors in the Major Thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/579.
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Cloud Nine by Carol Churchill is a good example of non-linear play structure. Episodic plays are part of an even more disjointed time structure. There are both many different locations and characters in an episodic play; it is similar to a film script for that matter. Onstage, this was a revolution; how can a person be in one city and then the next shortly after? This was the rule of continuity that episodic structure broke. Bertolt Brecht did this throughout his movement in epic theatre, and traces of this structure can also be found as early back as Medieval plays. Therein lays the problem. If there are so many different way to write a play, how is it possible to just pick one? How does one even decide? There are many texts on playwriting that all say something different. In the end, the way you format a play script is decided by the structure in which you are writing your script, whether it be linear, non-linear, and episodic structures. This is an exploration to research possible methods of playwriting in the English language, choose a format, and create a story, ultimately forming a universally acceptable play script for a one-act production. Through my process, I researched various elements about play structure. I researched various types of formatting options found throughout texts, and the formatting options found in different publications of plays. I also researched the options of different software programs I could use to format my play. In regards to the show's content itself, I researched the personality disorders of my main character, John, in order to ensure I am staying accurate to the realistic expectations of the disorder. The possible disorders that might influence John included Bi-Polar disorder, Autism, Alzheimer's, or Narcissistic Personality Disorder. These disorders fit the characteristics of John and further research led me to finally adopt Autism as the end result.; David Ball's Backwards and Forwards: A Technical Manual for Reading Plays, Rosemary Ingham's From Page to Stage: How Theatre Designers Make Connections Between Scripts and Images, and Cal Printer and Scott E. Walter's Introduction to Play Analysis aided in ensuring the translation from the script to the stage works together fluidly. By understanding how the play will be analyzed, the potential flaws with the work can be identified before it is put in front of an audience, publisher, or director. A writer needs to know why they made certain choices with both script and character. When a writer can analyze how their script can be perceived, they can create a more solid structure. It also is useful to utilize available play scripts in order to understand the conventions through example. Works that were useful included: Proof by David Auburn, The Glass Menagerie by Tennessee Williams, Equus by Peter Shaffer, The Cherry Orchard by Anton Chekhov, The Vagina Monologues by Eve Ensler, Doubt by John Patrick Shanley, and Death of a Salesman by Arthur Miller. The Vagina Monologues follows the format of episodic structure because of its inconsistencies to time and the multiple characters included in its script. Equus, Proof, and Death of a Salesman are examples of non-linear play structure because of the non-specific timeline the characters follow between past and present. The Glass Menagerie, The Cherry Orchard, and Doubt are all examples of linear structure because a majority of their play's content was written within a specified chronological order.; I researched the historical significance of the car, an all-original, 1969 Stingray Corvette Convertible, in order to allow my characters to speak accurately about their knowledge of the car. I also researched how previous playwrights have accomplished their transitions between the world of the play and a character's alternate reality. This was done in order to provide both a believable and a sly transition so the audience is left unaware until the reveal. In the final stages of this process, I polished the script for inclusion in the Theatre UCF Spring 2012 One-Act Festival (OAF). As stated above, the process of writing a play can be taken down many different avenues; however, the format of a play script is something that remains constant throughout. Knowing the history from where plays derive and which movements created such is just as essential. W. B. Worthen's The Wadsworth Anthology of Drama and Living Theatre by Edwin Wilson and Alvin Goldfarb provide an adequate brevity into the history of theatre. The books Playwriting: Brief and Brilliant by Julie Jensen, Playwriting: A practical guide by Noel Greig, The Art and Craft of Playwriting by Jeffrey Hatcher, and The Elements of Playwriting by Louis E. Catron all provide an introduction to the structured format of the play. These books also contain sections on theory explaining how to create a storyline for a play, how to accomplish believable dialogue, and how to defeat writer's block. Jensen, Catron, and Hatcher all go one step further and take their readers through the processes of publications, copyrights, and productions. Those sources help create the play, but during the editing phase, it is wise to acknowledge how others may study and analyze the work.; Through exploration and research, I plan on combining my two degree tracks, Theatre Studies and Creative Writing, in order to create an original one-act play for production, utilizing the techniques of both fields. My education has been lagging in playwriting, specifically. Neither Creative Writing nor Theatre Studies have any courses geared towards playwriting. Students appear to be taught everything but this aspect. I will, therefore, complete in-depth research in playwriting techniques through literature studies and one-on-one consultations with my professors in both departments. There are many different types of writing structures and play movements. Play scripts can be written in linear, non-linear, and episodic structures. Each structure is measured by the action of a script. The action of a script is developed with each action a character completes that moves the script further along towards a conclusion. Linear structuring of a play is when a majority or all the action of a play occurs in a chronological order. The play, therefore, always will be moving forward in time without any disruptions of said timeline. In a linear play, it does not necessarily mean all the action occurs in this chronological sequence. Comparable to Tennessee Williams' The Glass Menagerie, the entire recollection of Tom Wingfield's story is told chronologically in linear structure, despite the fact that this story is from Tom's memory, about an event he is no longer part of at that time. Non-linear structure occurs when the chronological timeline of a play is broken. The play's action constantly moves backwards and forwards through time. This type of play is based on the ideology of the human thought process. As humans, we may not remember the exact order of how things are remembered; these images and events are distorted somehow by our subconscious in order to remember. Thus, a non-linear play erupts based on the infrequencies of a timeline.B.A.
Bachelors
Arts and Humanities
Theatre Studies
54 p.
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Blair, Wendy R. "Type Image and the Art of Protest". [Johnson City, Tenn. : East Tennessee State University], 2004. http://etd-submit.etsu.edu/etd/theses/available/etd-0916104-121219/unrestricted/BlairW112204f.pdf.
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Thesis (M.F.A.)--East Tennessee State University, 2004.Title from electronic submission form. ETSU ETD database URN: etd-0916104-121219 Includes bibliographical references. Also available via Internet at the UMI web site.
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Hasenkam, Amanda. "A study of recurrent themes in the art of alcohol and drug dependent individuals in art therapy groups at a medical detoxification centre". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1994. https://ro.ecu.edu.au/theses/1476.
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This qualitative study uses an existing body of data derived from weekly art therapy groups conducted as part of a treatment programme at a medical detoxification facility. The design for this study relies on phenomenological and heuristic model of research. Previous art therapy researchers have suggested the recurrence of themes in the art work of particular client groups. This study examines themes previously observed in the art of substance abusers which are also present in the current data as well as additional themes that emerged in this study. These additional themes include the sun, the island paradise, the journey, cross roads and split-self images. These themes are examined in the light of a number of therapeutic models for change and in terms of the myth of the hero journey. An outline is proposed for a series of groups based on the hero’s journey to be used with substance misusers in recovery. Identifying the characteristics of the work produced by substance abusers in the early stages of their recoveries can be valuable aid for those who work with such clients in art therapy or substance use counselling. The images produced may give some indication of the client’s progress and in turn an indication of how effective the intervention strategies have been.
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Humphreys, Brianne Alta. "Humans Aren't Boxes, Art Isn't Finite". VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5894.
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I am bored. All around me are systems that perpetuate repetitive, reductive, and mundane modes of living. In an attempt to counter a culture obsessed with singular ways of existence and bite-sized perfection, I utilize moving mediums of video and performance to dive head first into a vast array of sloppy sincerity. The crisp, white-washed, analytical, and restrictive is loudly replaced with the empirical, haphazard, and instinctual. My intention is to create and encourage raw, performative-based work that is as multifaceted as unbridled life itself. This alive and physical practice hosts a conglomeration of sweat, memories, heartbreaks, hymn singing, line dancing, cake eating, wig wearing, bedroom jamming, live streaming, code switching, hallway running, body dragging, easter egg hiding, angst, and hair salons.
This is a refusal to slice up, organize, and distill myself and my work into one dish with convoluted, explanatory rhetoric stamped with institutionalized approval and topped with the cherry of MFA status for the sake of being justified and relevant. I have zero obligations to make polished art, resolve things, or pinpoint what makes me “me”, because humans are not boxes and art does not have to be finite.
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Cook, Robert. "An historical and psychological context for the phenomenon of art therapy". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1994. https://ro.ecu.edu.au/theses/1103.
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This research develops an historical and psychological context for the phenomenon of Art Therapy. It addresses the larger context within which Art Therapy developed, which has not usually been considered by researchers in the Art Therapy field. Using a Jungian framework, this psychohistorical thesis analyses cultural trends, in the fields of painting, mental health, religion, world events, science and philosophy, for revelation of psychological content pertinent to the conditions generally favourable for the emergence of the Art Therapy field. A complex understanding of the world leading up to Art Therapy's emergence is, therefore, presented. What was found in this study was a consistent split in all areas of thought one area focused on rationality and objectively verifiable truth, and the other area focused on subjectivity and the realm of the feelings. Those areas that value the former are traditionally the dominant modes of thought in western civilisation. The latter seems to be repressed and pushed into the dominant's shadow. There was also a general trend to the disintegration of the old symbologies across even those who seem to oppose each other in other matters. In this context, Art Therapy is understood as being associated with the child archetype which seeks to join the opposites, of rationality and subjectivity, and create new meaning in life. Art Therapy is also observed as being a phenomenon developing from the more subjective side of history and allowing people to develop those subjective aspects of themselves which are usually shut off, or only partially developed.
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Contreras-Koterbay, Scott, e Łukasz Mirocha. "The New Aesthetic and Art: Constellations of the Postdigital". Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu_books/112.
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The case for the new aesthetic -- Manifestations of the new aesthetic -- Glitch ontology and the new aesthetic -- Setting the stage : the new precursorsand boundaries for a new aesthetic art -- Letting go : new aesthetic artists and the new aesthetic art that works -- Teleology and the new aesthetic -- Conclusion -- References -- Biographies.
"The new aesthetic and art: constellations of the postdigital is an interdisciplinary analysis focusing on new digital phenomena at the intersections of theory andcontemporary art. Asserting the unique character of New Aesthetic objects, Contreras-Koterbay and Mirocha trace the origins of the New Aesthetic in visual arts, design, and software, find its presence resonating in various kinds of digital imagery, and track its agency in everyday effects of the intertwined physical world and the digital realm. Contreras-Koterbay and Mirocha bring to light an original perspective that identifies an autonomous quality in common digital objects and examples ofart that are increasingly an important influence for today's culture and society."https://dc.etsu.edu/etsu_books/1118/thumbnail.jpg
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Blatter, John Henry. "Creative Insubordination". VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1825.
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In today’s lexicon a ‘Daily Constitutional’ usually refers to a daily walk. But in actuality, a ‘Daily Constitutional’ is something that one does on a daily basis that is beneficial to one’s constitution or healthful(1); and one’s constitution being the aggregate of a person’s physical and psychological characteristics(2). With this definition, the daily constitutional refers to any daily activity that improves a person’s physical or mental health. At various stages in my life I may have understood my constitutional to be any number of things and it was not until I came into my own did I truly discover my Daily Constitutional, the creative process. In the following thesis I will be covering my thoughts and opinions on the creative process as well as my role of Artist in a larger art community. The thesis consists of six chapters, each being a letter I wrote for Daily Constitutional, A Publication for the Artist’s Voice as the Editor-in-Chief. I created the Daily Constitutional in 2005 in order to provide my contemporary colleagues with an opportunity to once again have a voice in the art world. The publication is entirely submission based with an international open call. Each semi-annual issue is created out of the submissions received and composed by a rotating panel of six artists and has been ongoing throughout my tenure at Virginia Commonwealth University. The mission of the publication is to provide an outlet and forum for the individual Artist’s voice, rather than the cacophony that is the art world at large (galleries, critics, curators, museums, patrons and finally the artists themselves). To provide a place to express, exchange and discuss, without interpretation, the artist’s opinions, ideas and discoveries within one’s practice. This publication can only be made possible, through a collaboration of individual Artists.(3) This document was created with Adobe InDesign CS2. 1. “constitutional.” Dictionary.com Unabridged (v 1.1). Random House, Inc. 03 May. 2009. . 2. “constitution.” Dictionary.com Unabridged (v 1.1). Random House, Inc. 03 May. 2009. . 3. “Mission Statement,” Daily Constitutional, A Publication for the Artist’s Voice, 2005-09, http://www.dailyconstitutional.org/mission_statement.html
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Tate, Rachanice Candy Patrice. ""Our art itself was our activism" Atlanta's neighborhood arts center, 1975-1990". DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2012. http://digitalcommons.auctr.edu/dissertations/296.
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This cultural history study examined Atlanta’s Neighborhood Arts Center (NAC), which existed from 1975 to 1990, as an example of black cultural politics in the South. As a Black Arts Movement (BAM) institution, this regional expression has been missing from academic discussions of the period. The study investigated the multidisciplinary programming that was created to fulfill its motto of “Art for People’s Sake.” The five themes developed from the program research included: 1) the NAC represented the juxtaposition between the individual and the community, local and national; 2) the NAC reached out and extended the arts to the masses, rather than just focusing on the black middle class and white supporters; 3) the NAC was distinctive in space and location; 4) the NAC seemed to provide more opportunities for women artists than traditional BAM organizations; and 5) the NAC had a specific mission to elevate the social and political consciousness of black people.
In addition to placing the Neighborhood Arts Center among the regional branches of the BAM family tree, using the programmatic findings, this research analyzed three themes found to be present in the black cultural politics of Atlanta which made for the center’s unique grassroots contributions to the movement. The themes centered on a history of politics, racial issues, and class dynamics. The research offers an alternative to the claim that southern expressions of this movement were generated solely by the historically black colleges and universities of their cities.
The study’s findings demonstrate that the Neighborhood Arts Center was a grassroots. multidisciplinary entity for black aesthetics and black cultural nationalism. The findings also suggest that the Neighborhood Arts Center perpetuated the Black Arts Movement through the 1980s. Lastly, the study offers insight on the movement’s transition and legacies.
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Bretschneider, Miette. "The Bauhaus: Understanding its History and Relevance to Art Education Today". Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/honors/53.
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I am interested in how the ideas of the Bauhaus shaped not only today’s world of art education, but also the outlook of the German nation during the early 20th century and today. It appears that art is not as prevalent as it once was, whereas fields like science and engineering have become popular. However, the ingenuity of the Bauhaus has lasted into this century and continues to have an impact on our American education system, as well as our ideas about art. As part of my thesis, I am comparing the classes I have taken at East Tennessee State University with those courses taught at the Bauhaus. Many of my art pieces are exploration of materials and my subjective artistic outlook. For example these subjects included weaving, metalsmithing, printmaking, and ceramics. I am placing most emphasis on the significance of the famous Bauhaus Preliminary Course, the Vorkurs, and how our education was closely linked to that of 1920s Germany.
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Duffy, Owen. "Anish Kapoor: The Formation of a Global Art". VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/508.
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This study intends to investigate British artist Anish Kapoor’s stylistic formation in relationship to globalization, positing its history as a multiplicity, comprised of several competing localisms, including: minimalism; the traditions of modern painting; and the artist’s own personal diasporic narrative. It will demonstrate how Kapoor is a transgressive global artist, concerned not only with rethinking the longstanding question of artistic form, but also with the enduring process central to the cultural formation of subjects. Overall, this thesis will propose that Kapoor’s art in particular can be comprehended by the special liminal position it occupies between such polarities as modern and postmodern art, painting and sculpture, East and West, national and trans-national, and local and global. By transgressing the borders that demarcate these discourses, Kapoor’s art enters an in-between state; through both formal and thematic strategies, his sculptural forms orchestrate viewers so they are able to move beyond distinct, fixed, and stabile meanings and view the works as eminently open to the different perspectives and radically diverse discourses they engage, making them truly global works of art.
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Alvarez, Andrea. "Art Criticism, Scholarly Interpretation, and Curatorial Intent: A Reassessment of the 1998 Jackson Pollock Retrospective at the Museum of Modern Art". VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/439.
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In 1998, the Museum of Modern Art held a retrospective exhibition of artworks by Jackson Pollock. Curators Kirk Varnedoe and Pepe Karmel worked in an art historical context that had been significantly shaped by the early critical writings by Clement Greenberg and Harold Rosenberg. The curators’ stated intention for the exhibition installation was to provide “a fresh chance for new generations of artists to come to terms with a legendary figure” and to enable “the broader public to reassess a quintessentially American artist in light of three decades of new scholarship,” without “ hewing to any particular critical dogma.” Despite this curatorial intention, this thesis examines the ways in which the retrospective inscribed Greenberg’s and Rosenberg’s theories, while disregarding subsequent scholarship that did not explicitly inscribe or align with the mid-century criticism in its account of Jackson Pollock.
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Walker, Jan Bridwell. "The evidence of Bias within Art Historical Methodolgy and the Potentiality of Viewer Dialog as a Pedegogical Tool". Digital Commons @ East Tennessee State University, 2004. https://dc.etsu.edu/etd/891.
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The evidence of cultural and social partiality within the methodology of art history has influenced the manner in which art is presented to the public. The formally structured and often obsolete methods of the earliest art historians continue to influence the telling of art history today, relying on and emphasizing art historical fact over the viewer's personal interaction and interpretation.
The traditional structure of both the public art museum and art education course rely on the classical methodologies of the past, resulting in the presentation of the object as historically and socially removed from the viewer's own experience.
The role of the art historian should cease to be one of translator, but rather one of facilitator to the artistic exchange. It is through this intentional dialog between artist, viewer and art object that authentic enlightenment occurs.
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Hall, Martin R. ""Typical really" : an examination of the emergence of a British art-cinema during the 1960s". Thesis, University of Hull, 2013. http://hydra.hull.ac.uk/resources/hull:7988.
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Jeppe, E. A. "Gals, guys and gender construction: What's in it for art therapy". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1994. https://ro.ecu.edu.au/theses/1108.
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The aim of this thesis is to orient the reader towards an art therapy which is conscious of external dynamics of power in western society. In order to do it is necessary to look at art therapy in the light of feminism and recent post-modern theories, which include critical theory and deconstruction. Critical theory is a social theory integrating the works of Karl Marx and Sigmund Freud, which when merged with a feminist praxis (the active relationship between theory and practice) provides a method of critical analysis to investigate traditional therapeutic theories which gave rise to art therapy. The established therapeutic theories (for example Psychoanalysis, Jungian analytic psychology, family and systems theories) generally do not examine this culture's issues of power (organized in varying degrees around the four primary areas of class, race, gender and age) in relation to the construction of the individual. A critical analysis enables investigation into not only the construction of gender in society, but also the institutions that maintain and perpetuate oppression. One of the myths of traditional therapy is that it is value free or value neutral. "Value free" therapy functions as a mechanism of social control, implicitly supporting the status quo by "therapising" the client to adjust to or come to terms with the problematic situation. Unless these areas are taken into account, therapy becomes another site of reproduction for inequalities and injustices in society. Strategies of challenge regarding a gender aware art therapy for therapists both male and female will be suggested. There is potential for a socially conscious art therapy, in breaking away from traditional theories, to be in a position to offer a bond between individual insight and external social dynamics. Power inequalities in society lead those who have little power or control in their lives to suffer from various forms of distress, depression and mental disorders. Because the number of women being diagnosed with mental ill health and depression is more than double the amount of men, and 95% of anorexics are female, this paper will also look at gender construction and women in western society. Working from the principle that the personal is political, the possibility of a gender aware art therapy is examined, in particular for women with anorexia, negative body image and low self-esteem. The nature of art therapy, with its unique image making content, has the potential to generate its own framework and break away from its originating theories which will enable its own wisdom to emerge.
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Packer, Carolyn E. "The Evolution of Craft in Contemporary Feminist Art". Scholarship @ Claremont, 2010. http://scholarship.claremont.edu/scripps_theses/23.
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Gadd, Jordan. "Performing Violence: The (Un)reality of War - Chris Burden, Edward Kienholz, Wafaa Bilal". Scholarship @ Claremont, 2009. http://scholarship.claremont.edu/pomona_theses/29.
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Guerra, Aredal Maria Elena. "Art and Transformation under State Repression : The CADA group; art activism as social movement for political resistance during the Pinochet years". Thesis, Stockholms universitet, Romanska och klassiska institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-143298.
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Artist communities are often the first in revolting within a repressive society in the outer marginal borders of state control. This silent revolt takes place in the time period before larger oppositional movements gain momentum. However, the research has been scarce, especially when looking at the specific circumstance of the 17 years long Chilean dictatorship and the social influence that the artists had during this period. This Bachelor thesis will treat the subject and time period from a specific cultural angle, namely the effect the artistic production made by a specific art group, Colectivo de Acciones de Arte (henceforth named CADA) had on the social, and in effect, political discourse in society. CADA, a group of four Chilean artists, sociologists and writers, started collaborating in 1979, applying their artistic endeavors within a social practice that intended to interrupt and challenge the normalized routines of daily life during the Pinochet dictatorship – by utilizing semiotics and signs to reorganize and transform urban behaviors and social discourse. To illustrate the conversation CADAs production held, I will analyze two art works from their total oeuvre, as I am interested in researching the forbidden discourse that the artist movement conducted in Chile at this particular time. During the dictatorship, the official politics regressed to favor cultural symbols and expressions with a patriotic, nationalist and conservative message. This thesis wants to investigate the clash between the rules imposed by the ruling military regime and the actual art scene in Chile.