Latest content added for UNT Digital Library Partner: UNT Librarieshttps://digital.library.unt.edu/explore/partners/UNT/browse/?sort=creator&start=10&fq=str_degree_department:School+of+Visual+Arts2019-05-28T13:07:35-05:00UNT LibrariesThis is a custom feed for browsing UNT Digital Library Partner: UNT LibrariesDallas as Region: Mark Lemmon's Gothic Revival Highland Park Presbyterian Church2008-05-14T20:46:01-05:00https://digital.library.unt.edu/ark:/67531/metadc5560/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc5560/"><img alt="Dallas as Region: Mark Lemmon's Gothic Revival Highland Park Presbyterian Church" title="Dallas as Region: Mark Lemmon's Gothic Revival Highland Park Presbyterian Church" src="https://digital.library.unt.edu/ark:/67531/metadc5560/small/"/></a></p><p>Informed by the methodology utilized in Peter Williams's Houses of God: Region, Religion, and Architecture in the United States (1997), the thesis examines Mark Lemmon's Gothic Revival design for the Highland Park Presbyterian Church (1941) with special attention to the denomination and social class of the congregation and the architectural style of the church. Beginning with the notion that Lemmon's church is more complex than an expression of the Southern cultural region defined by Williams, the thesis presents the opportunity to examine the church in the context of the unique cultural region of the city of Dallas. Church archival material supports the argument that the congregation deliberately sought to identify with both the forms and ideology of the late nineteenth-century Gothic Revival in the northeastern United States, a result of the influence of Dallas's cultural region.</p>The Sculptural Creation of a New Form of Visual Awareness Concerning Predators: The Cheetah and the Wolf2019-05-28T13:07:35-05:00https://digital.library.unt.edu/ark:/67531/metadc1483049/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1483049/"><img alt="The Sculptural Creation of a New Form of Visual Awareness Concerning Predators: The Cheetah and the Wolf" title="The Sculptural Creation of a New Form of Visual Awareness Concerning Predators: The Cheetah and the Wolf" src="https://digital.library.unt.edu/ark:/67531/metadc1483049/small/"/></a></p><p>The problem I have addressed this year revolves around my search for a means to visually challenge mankind's present concepts and ideology concerning the wolf and the cheetah. At the same time, it was essential that I find a way to visually challenge previous artistic interpretations of these animals. This involved the discovery of a new form of animal representation relevant to modern societies' problems concerning the future of wildlife and the significance of the predator.</p>An Examination of Factors Contributing to Critical Thinking and Student Interest in an On-line College-level Art Criticism Course2008-01-14T23:07:20-06:00https://digital.library.unt.edu/ark:/67531/metadc4005/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc4005/"><img alt="An Examination of Factors Contributing to Critical Thinking and Student Interest in an On-line College-level Art Criticism Course" title="An Examination of Factors Contributing to Critical Thinking and Student Interest in an On-line College-level Art Criticism Course" src="https://digital.library.unt.edu/ark:/67531/metadc4005/small/"/></a></p><p>This qualitative case study research examined how constructivist problem-based learning facilitated higher level thinking, increased interest in art, and affected attitude toward on-line courses in an undergraduate philosophical aesthetics and interpretation of art criticism course. The research conducted for this study suggests that constructivist problem-based learning does facilitate higher level thinking and increases student interest in art and in on-line classes. Active learning assignments, along with the constructivist collaborative class atmosphere, encouraged students to think more deeply about their personal values concerning art and to consider alternative views. Problem-based learning in this class acted as a scaffold to aid in understanding the material and then in applying the material to unique and real-life situations. Each subject came to the course with certain thinking skills and left with increased knowledge about art but also with increased critical thinking skills for critically examining and discussing art. Participants completed the course with more confidence in their critical thinking ability and in dealing with visual art images. Data was gathered from seven study participants in the form of highly-structured interviews, an early and final critical writing analysis, a major problem assignment and its reflection journal, a beginning survey, and two final surveys. The final major problem involved an individual proposal followed by a collaborative group proposal. Group collaboration constituted the most frustration and problem within the constructivist design of the class. This research took a relativistic viewpoint in gathering data and interpreting meaning.</p>Juan Bautista Maino's Adoration of the Shepherds: An Analysis of Iconography, Iconology, and Style2014-03-24T20:07:29-05:00https://digital.library.unt.edu/ark:/67531/metadc278375/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc278375/"><img alt="Juan Bautista Maino's Adoration of the Shepherds: An Analysis of Iconography, Iconology, and Style" title="Juan Bautista Maino's Adoration of the Shepherds: An Analysis of Iconography, Iconology, and Style" src="https://digital.library.unt.edu/ark:/67531/metadc278375/small/"/></a></p><p>This thesis investigates the iconography, iconology, and style of Juan Bautista Maino s Adoration of the Shepherds (1615-1620) located at the Meadows Museum, Dallas, Texas. The study begins with an overview of general information on Maino and his works. Chapter 2 explores the evolution of the Adoration of the Shepherds depiction in art, while examining social and political factors which may have influenced Maino's iconographical choices. Chapter 3 is a comparative analysis of the Meadows Adoration of the Shepherds to two other Adoration of the Shepherds by Maino, revealing a stylistic progression and presenting an argument for the dates the Meadows painting was rendered. Chapter 4 reviews the findings and suggests further study on this and other paintings by Maino.</p>In Search of Depth2019-05-28T13:07:35-05:00https://digital.library.unt.edu/ark:/67531/metadc1483090/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1483090/"><img alt="In Search of Depth" title="In Search of Depth" src="https://digital.library.unt.edu/ark:/67531/metadc1483090/small/"/></a></p><p>In this proposed study, I hoped to discover compositional elements that once added to the work would convey my conceptual ideas. I was interested in exploring the addition of deep pictorial space and increasing the size disparity between the figures as possible solutions for injecting a level of irony and/or eluding to the subverted agenda of the content. I wanted to see if these two secondary compositional adjustments subtly conveyed not only a strategic contradiction of the art historical concept of expressionism but the numerous accepted truths in society.</p>Rhetorical Drawings2007-09-24T23:53:05-05:00https://digital.library.unt.edu/ark:/67531/metadc2480/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc2480/"><img alt="Rhetorical Drawings" title="Rhetorical Drawings" src="https://digital.library.unt.edu/ark:/67531/metadc2480/small/"/></a></p><p>Document that details the conception, evolution and conclusions of a body of work consisting of seven prints executed in the printmaking technique of intaglio printing in the manner of the state print. The work is discussed by explaining the visual and conceptual associations that occur in an "Alice In Wonderland" manner, where the initial idea is paired with seemingly unrelated topics to establish a progressive visual language. This language is further supported by discussing a comparative of the state print with the idea of the sketchbook as a tool of thought generation and elaboration. The technical aspects of intaglio and the choice of techniques utilized are discussed to support this comparison. How the quality of the prints reflects the quality of the sketchbook and how these techniques combine with the conceptual reasoning, which result in the body of work. Findings for the work are based on three questions that deal with the progression of conceptual reasoning, predictability of recurring ideas and the intentions of the technical choices made.</p>Images of women shopping in the art of Kenneth Hayes Miller and Reginald Marsh, ca 1920-1930.2008-05-05T14:51:35-05:00https://digital.library.unt.edu/ark:/67531/metadc5327/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc5327/"><img alt="Images of women shopping in the art of Kenneth Hayes Miller and Reginald Marsh, ca 1920-1930." title="Images of women shopping in the art of Kenneth Hayes Miller and Reginald Marsh, ca 1920-1930." src="https://digital.library.unt.edu/ark:/67531/metadc5327/small/"/></a></p><p>This thesis examines images of women shopping in the art of Kenneth Hayes Miller and Reginald Marsh during the 1920s and 1930s. New York City's Fourteenth Street served Kenneth Hayes Miller and Reginald Marsh, respectively, as a location generating the inspiration to study and visually represent its contemporaneity. Of particular interest to this thesis are relationships between developments in shopping and the images of women shopping in and around Fourteenth Street that populate the paintings of Miller and Marsh. Although, as Ellen Todd Wiley has shown, the emerging notion of the New Woman helped to shape female identity at this time, what remains unstudied are dimensions that geographically specific, historical developments in shopping contributed to the construction of female identity which, this thesis argues, Marsh and Miller related to, by locating in, the department store and bargain store.</p>The Human Object: Explorations of the Figurative Toy2008-06-24T16:57:42-05:00https://digital.library.unt.edu/ark:/67531/metadc5848/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc5848/"><img alt="The Human Object: Explorations of the Figurative Toy" title="The Human Object: Explorations of the Figurative Toy" src="https://digital.library.unt.edu/ark:/67531/metadc5848/small/"/></a></p><p>This Problem in Lieu of Thesis documents the thought processes that led to the completion of a series of five interactive sculptures. Each piece incorporates a part of the human body taken from its normal context and placed into the context of children's playground equipment.</p>Little Deviants2008-06-24T18:15:08-05:00https://digital.library.unt.edu/ark:/67531/metadc5843/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc5843/"><img alt="Little Deviants" title="Little Deviants" src="https://digital.library.unt.edu/ark:/67531/metadc5843/small/"/></a></p><p>Most of my childhood was spent in either the expansive suburbs of north Texas or on a farm in southern Oklahoma. The experience of growing up in these two regions has done much to shape my sense of aesthetic. From these early experiences, I have developed two completely divergent ideas of beauty which I've tried to reconcile in my artwork. The first influence is that of sparseness, simplicity and the commonplace. This influence comes from the emptiness of the suburban landscape, the sameness of its architecture and the need to find beauty in mundane things as a simple cure for boredom. The second major idea is centered around peculiarity, chaotic complexity and irrationality. This interest originally stems from early memories of my grandfather, whose experiences in Oklahoma during the Great Depression gave him the obsessive habit of never discarding anything for fear that he might need it some day. The complexity in meaning that comes from unfamiliar combinations has allowed the ideas in my work a kind of ambiguity that frees it from any singular reading. I think the content of my work could best be described as constructions of memories, experiences and influences. I never speak about any one thing in particular, I try to simply suggest a number of juxtaposed ideas and let their interaction be the content of my work.</p>A Comparison of Texas Pre-service Teacher Education Programs in Art and the 1999 National Art Education Association's Standards for Art Teacher Preparation2007-09-26T01:53:59-05:00https://digital.library.unt.edu/ark:/67531/metadc3156/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc3156/"><img alt="A Comparison of Texas Pre-service Teacher Education Programs in Art and the 1999 National Art Education Association's Standards for Art Teacher Preparation" title="A Comparison of Texas Pre-service Teacher Education Programs in Art and the 1999 National Art Education Association's Standards for Art Teacher Preparation" src="https://digital.library.unt.edu/ark:/67531/metadc3156/small/"/></a></p><p>Texas programs in pre-service art teacher preparation vary little. Since 1970, the National Art Education Association (NAEA) has created voluntary standards in hopes of decreasing variability among programs. In 1999, the NAEA published Standards for Art Teacher Preparation, outlining 20 content areas that art pre-service programs should provide their students. To obtain information on the implementation and the extent to which these 20 standards are being implemented, a questionnaire was sent to all programs in Texas. The 20 standards were the dependent variable for the study. The four independent variables used in this ex post facto study were: the size of the institution where the program exists; the number of full-time art faculty; the number of full-time art education faculty; and, the number of undergraduate art education students who graduated last year. The 20 standards or provisions were scored on a Lickert scale with six options: zero (not taught) to five (comprehensively taught). The response size (N = 23) was 47% of the state's 49 approved programs. The results from the survey suggest no significant difference among programs. However, the results showed a significant difference in the number of provisions taught between programs with no art educators and those with 1 to 3 art educators. One art educator seemed to increase the number of pedagogical provisions taught but did not increase the extent or enhance the degree to which each provision was taught. A comprehensively taught response to the NAEA provisions on the questionnaire was further investigated through analysis of catalog course descriptions and correspondence with participants. The results are estimated in credit hours and indicate that there may be a point where time on task decides the limit that constitutes a comprehensive preparation. Perspectives on content are discussed and regarded as too subjective to define comprehensive preparation. Comprehensive time on task varies with content, which may imply an unconscious marker of time shared by educators that defines a comprehensive preparation for each provision. Changing and local standards in art pre-service programs may have produced a range of interpretations regarding the meaning of "comprehensively taught.";</p>Viewers' Choice2007-09-26T01:54:02-05:00https://digital.library.unt.edu/ark:/67531/metadc3154/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc3154/"><img alt="Viewers' Choice" title="Viewers' Choice" src="https://digital.library.unt.edu/ark:/67531/metadc3154/small/"/></a></p><p>This paper documents the execution and exhibition of a group of oil paintings exploring themes of spectacle and the construction of reality in contemporary American society. The paintings are composed of figures and fragments of text originating in stills taken from television news and reality TV. This paper describes and assesses the paintings according to a set of questions developed by the artist at the inception of the project. Various strategies employed in the execution of the work are analyzed and compared. The contribution of this project to the field of contemporary visual art is evaluated via comparison with other art, past and present, expressing similar concerns.</p>Pieter Bruegel the Elder's Apocalyptic Fortitude2014-03-24T20:07:29-05:00https://digital.library.unt.edu/ark:/67531/metadc278210/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc278210/"><img alt="Pieter Bruegel the Elder's Apocalyptic Fortitude" title="Pieter Bruegel the Elder's Apocalyptic Fortitude" src="https://digital.library.unt.edu/ark:/67531/metadc278210/small/"/></a></p><p>This thesis examines Pieter Bruegel the Elder's Fortitude, 1560, a print from the Seven Virtues series. Fortitude stands out as an anomaly within the cycle because it contains several allusions to the Book of Revelation. The linkage of Fortitude to the writings of St. John is important because it challenges previous iconographic and iconological analyses of the composition. Analysis of Fortitude's compositional elements is provided, along with an examination of the virtue tradition. Additionally, an exploration of sixteenth-century apocalypticism is included, as well as an examination of the artistic influences that may have inspired Bruegel. This thesis concludes that Fortitude's apocalyptic allusions do not seem unusual for an artist familiar with St. John's prophecies, influenced by Hieronymus Bosch, and living in an age of apocalypticism.</p>The Effect of Constructivist Learning Environments on Student Learning in an Undergraduate Art Appreciation Course.2008-05-05T14:43:47-05:00https://digital.library.unt.edu/ark:/67531/metadc5385/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc5385/"><img alt="The Effect of Constructivist Learning Environments on Student Learning in an Undergraduate Art Appreciation Course." title="The Effect of Constructivist Learning Environments on Student Learning in an Undergraduate Art Appreciation Course." src="https://digital.library.unt.edu/ark:/67531/metadc5385/small/"/></a></p><p>The purpose of this study was to determine the effects of constructivist methods on student learning in an undergraduate art appreciation class. Three constructivist learning activities were designed and implemented in an undergraduate art appreciation course for non-art majors at Mississippi College. Through these constructivist learning activities, students were involved in their learning throughout the semester in realistic art roles in which they worked as curators, Web page designers, and artists. Six subjects were selected to participate in this case study. Subject data was collected through three methods: interviews with subjects at three points during the semester, student documents produced during the three activities, and a field journal of observations made during the activities. The multiple data sources were triangulated to reveal nine patterns of learning. The data evidence that constructivism results in a deeper understanding of art and art processes than in a typical art appreciation course in which learners are merely passive recipients of knowledge. This was not only indicated by the nine patterns of learning which emerged from the data, but also in the students' awareness and regulating of their cognitive processes. Although the research provided an in-depth understanding of this case and should not represent or be generalized to the entire population of art appreciation students, the results of this study suggest that art appreciation instructors have an opportunity to facilitate high levels of student thinking and encourage metacognitive skills through constructivist methods such as the ones used in this study.</p>Adélaide Labille-Guiard and Elisabeth Vigée-Lebrun: Portraitists in the Age of the French Revolution2014-08-27T07:42:59-05:00https://digital.library.unt.edu/ark:/67531/metadc332771/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc332771/"><img alt="Adélaide Labille-Guiard and Elisabeth Vigée-Lebrun: Portraitists in the Age of the French Revolution" title="Adélaide Labille-Guiard and Elisabeth Vigée-Lebrun: Portraitists in the Age of the French Revolution" src="https://digital.library.unt.edu/ark:/67531/metadc332771/small/"/></a></p><p>This thesis examines the portraiture of Elisabeth Vigée-Lebrun and Adélaide Labille-Guiard within the context of their time. Analysis of specific portraits in American collections is provided, along with an examination of their careers: early education, Academic Royale membership, Salon exhibitions, and the French Revolution. Discussion includes the artists' opposing stylistic heritages, as well as the influences of their patronage, the French art academy and art criticism. This study finds that Salon critics compared their paintings, but not with the intention of creating a bitter personal and professional rivalry between them as presumed by some twentieth-century art historians. This thesis concludes those critics simply addressed their opposing artistic styles and that no such rivalry existed.</p>De-Emphasize Direct Presence2008-02-15T15:29:34-06:00https://digital.library.unt.edu/ark:/67531/metadc4632/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc4632/"><img alt="De-Emphasize Direct Presence" title="De-Emphasize Direct Presence" src="https://digital.library.unt.edu/ark:/67531/metadc4632/small/"/></a></p><p>The following paper reveals some aspects of my thoughts about art. The works discussed are featured in my M.F.A. exhibition. All works are mainly based on the ideas of absence, self-reference and utilization in art practice, even though each piece approaches the subject from differing angles. My dissatisfaction with preconceived notions in the contemporary art, rooted in art history, has shifted my focus from concerns of the direct, physical presence of artworks to the indirect or indecisive elements of their context. From this position I have felt free to explore the paradox of self-reference that is involved in performance. In addition, by transferring art works to functional objects, I have found a way to infuse everyday life with my art, and vice-versa. The ambiguity of interpreting artworks with language means that I present this paper with photographic documentation of my artwork. Combined, this will give a clear indication of the thrust of my graduate studies and the current theatrical direction of my art.</p>Reconciliation2019-05-28T13:07:35-05:00https://digital.library.unt.edu/ark:/67531/metadc1483189/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1483189/"><img alt="Reconciliation" title="Reconciliation" src="https://digital.library.unt.edu/ark:/67531/metadc1483189/small/"/></a></p><p>The content of my work focused on examining the relationship between certain elements of nature and of human beings and was also based on the question of what true life is. The woodcut process - combined with the other printing techniques such as intaglio, collagraph, and monotype - was adopted as a potentially successful medium for conveying the content of the work. Overlay printing techniques and repeated textures were utilized as well.</p>Loss Versus Hope: A Printmaker's Investigation2019-05-28T13:07:35-05:00https://digital.library.unt.edu/ark:/67531/metadc1483015/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1483015/"><img alt="Loss Versus Hope: A Printmaker's Investigation" title="Loss Versus Hope: A Printmaker's Investigation" src="https://digital.library.unt.edu/ark:/67531/metadc1483015/small/"/></a></p><p>Using this conflict between death and dying versus hope and new life, I searched for an undogmatic way to convey a Christian antidote to the despair and ugliness of post modern art. The struggle was to find the imagery, format, and media combinations to express a vision, with realism and hope, for the late twentieth century, in a unique and interesting context.</p>Exploration of Sculpture2008-06-24T16:57:57-05:00https://digital.library.unt.edu/ark:/67531/metadc5841/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc5841/"><img alt="Exploration of Sculpture" title="Exploration of Sculpture" src="https://digital.library.unt.edu/ark:/67531/metadc5841/small/"/></a></p><p>The images that I sculpt deal with reflections of human traits. Wood lends itself to this endeavor, offering minimal resistance to manipulation. Keeping the origin and qualities of the material while manipulating it into another object is a statement within itself. Letting the wood do what it does naturally keeps the viewer in touch with the fact it is still just an object of nature. Wood does not make itself any less real because of the relationship of the sculpture to it as wood.</p>Female2019-05-28T13:07:35-05:00https://digital.library.unt.edu/ark:/67531/metadc1483207/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1483207/"><img alt="Female" title="Female" src="https://digital.library.unt.edu/ark:/67531/metadc1483207/small/"/></a></p><p>My objective was to create a body of work using various printing processes. I wanted to communicate my emotional responses to the fertility and childbearing of older women. I wanted to address the realities that become problems for women who wait to have children at an older age and related feelings. Some of these problems were infertility, early menopause, "sticky eggs," and birth defects. There are current medical practices that help these problems such as the freezing of eggs, artificial insemination, and multiple births. I wanted to incorporate ideas about the panic I began to feel about having a child at an older age and my frustration over the lack of open discussion about such feelings. I have combined the use of realism and abstraction in my work. I included dyed and torn paper to lend organic and tactile qualities to the humanistic subject matter. The end result has consisted of various forms of collage and an assembly of the dyed, torn and printed paper.</p>Reconstructing Strata Lines of Reality2008-06-24T18:16:32-05:00https://digital.library.unt.edu/ark:/67531/metadc5832/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc5832/"><img alt="Reconstructing Strata Lines of Reality" title="Reconstructing Strata Lines of Reality" src="https://digital.library.unt.edu/ark:/67531/metadc5832/small/"/></a></p><p>This problem in lieu of thesis centers around my work and involves the production of the film trilogy Knife, Fork and Spoon. The methodology for this project comes from my investigation of postmodernist theory and social norms. Three problems are addressed and my professional procedures and practices that helped me find solutions while working on these films are included in chapter two.</p>A Delphi Study to Determine if SCANS Workplace Know-How Can Be Developed through the Achievement of National Standards for [Visual] Arts Education2015-03-08T22:24:40-05:00https://digital.library.unt.edu/ark:/67531/metadc500429/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc500429/"><img alt="A Delphi Study to Determine if SCANS Workplace Know-How Can Be Developed through the Achievement of National Standards for [Visual] Arts Education" title="A Delphi Study to Determine if SCANS Workplace Know-How Can Be Developed through the Achievement of National Standards for [Visual] Arts Education" src="https://digital.library.unt.edu/ark:/67531/metadc500429/small/"/></a></p><p>The purpose of this study was to provide a basis for understanding among Tech Prep and School-to-Work change agents, and educational leaders, of the role that Discipline-Based Art Education (DBAE) can perform as a part of the core curriculum, within the framework of these reform movements. The literature indicated that the federally supported Tech Prep and School-to-Work reform movements were not acquainted with DBAE reform initiative which were supported by the Getty Education Institute for the Arts through the work of Regional Institutes. Therefore, they had no ideas about the possible worth of art as an education core component. Also, DBAE was not acquainted with Tech Prep and School-to-Work and therefore had established no common terminology to communicate the power of what they do in a manner which was relevant to that audience. The DBAE Regional Institutes provided individuals to assist in the development and validation of the study tools, and to participate in the pilot study. The Regional Institutes also identified the 10 Discipline-Based Art Education experts who composed the national Delphi panel for the study. The findings were reported according to research questions. They show the national Delphi panels' perceptions of which SCANS skills can be developed by Content Standards and Performance Standards from the National Standards for [Visual] Arts Education. The study concluded that: 1) there is a relationship between the Content and Performance Standards taken from the National Standards for [Visual] Arts Education and the SCANS skills; 2) SCANS Basic skills, Thinking skills, Resources skills, Information skills and Systems skills could be developed through the achievement of the Performance Standards of the National Standards for [Visual] Arts Education; and 3) the relationship between the SCANS Workplace Know-How skills and the National Standards for [Visual] Art Education was validated by a national Delphi panel. Recommendations were made for DBAE, Tech Prep and School-to-Work, and Future Studies.</p>The Destruction of the Imagery of Saint Thomas Becket2014-03-24T20:07:29-05:00https://digital.library.unt.edu/ark:/67531/metadc278647/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc278647/"><img alt="The Destruction of the Imagery of Saint Thomas Becket" title="The Destruction of the Imagery of Saint Thomas Becket" src="https://digital.library.unt.edu/ark:/67531/metadc278647/small/"/></a></p><p>This thesis analyzes the destruction of imagery dedicated to Saint Thomas Becket in order to investigate the nature of sixteenth-century iconoclasm in Reformation England. In doing so, it also considers the veneration of images during the late Middle Ages and the Renaissance. Research involved examining medieval and sixteenth-century historical studies concerning Becket's life and cult, anti-Becket sentiment prior to the sixteenth century, and the political circumstances in England that led to the destruction of shrines and imagery. This study provides insight into the ways in which religious images could carry multifaceted, ideological significance that represented diversified ideas for varying social strata--royal, ecclesiastical and lay.</p>The Creation of Modern Fashions through the Merging of Eastern and Western culture: Spring Message2008-02-15T14:31:09-06:00https://digital.library.unt.edu/ark:/67531/metadc4225/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc4225/"><img alt="The Creation of Modern Fashions through the Merging of Eastern and Western culture: Spring Message" title="The Creation of Modern Fashions through the Merging of Eastern and Western culture: Spring Message" src="https://digital.library.unt.edu/ark:/67531/metadc4225/small/"/></a></p><p>I have always believed the design of clothes should not try to conceal the naked body but should act as a catalyst that reveals the existence and strength of the individual. Spring Message includes three phases, Spring Message, Mystification, and My Paradise to reflect my three life experiences. Spring Message is an attempt to express my thoughts and ideas though designs in fashion, which were derived from the ancient beliefs, traditions, and western influence I have experienced. Through my individual pieces and creations I hope the viewer will be able to see who I am, where I came from, and understand the happiness and changes in my life.</p>Sheep Tipping (It's All About Love)2008-06-24T18:16:30-05:00https://digital.library.unt.edu/ark:/67531/metadc5831/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc5831/"><img alt="Sheep Tipping (It's All About Love)" title="Sheep Tipping (It's All About Love)" src="https://digital.library.unt.edu/ark:/67531/metadc5831/small/"/></a></p><p>I believe that our individual religious experiences are just that, individual. Each of us has a different reaction to every narration, sermon, situation, and experience. Further, I believe these experiences are understood and maintained in or through abstract thought. In the parable of Jonah and the whale, what do you picture while reading the story? Most of what took place lacks any physical evidence of existence. The voice of the Spirit, the face of God, the sound of prayer in multitude, even the person begin swallowed by the fish, are all abstract in character. My paintings are visual investigations into the idea that most of our religious experiences and concepts are abstract in nature, thought, and experience. Continuing my exploration of how my specific Christian experiences can be expressed through abstract painting, I investigated how the placement of the ellipse or ellipses as a dividing line affects the field and how surface development, layering and the expressiveness of high intensity colors affected the specific experience or Biblical narrative chosen.</p>Voyeurism and Fetishism2008-02-15T14:31:12-06:00https://digital.library.unt.edu/ark:/67531/metadc4224/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc4224/"><img alt="Voyeurism and Fetishism" title="Voyeurism and Fetishism" src="https://digital.library.unt.edu/ark:/67531/metadc4224/small/"/></a></p><p>This problem in lieu of thesis concerns voyeurism and fetishism and how they relate to art. It addresses at voyeurism from both sides of the gaze. It describes a body of work that was created to explore the relationship between the voyeur and the fetish object and the viewer and the art object.</p>Body Conscious: Pushing the Boundaries of Traditional Western Adornment2019-05-28T13:07:35-05:00https://digital.library.unt.edu/ark:/67531/metadc1483159/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1483159/"><img alt="Body Conscious: Pushing the Boundaries of Traditional Western Adornment" title="Body Conscious: Pushing the Boundaries of Traditional Western Adornment" src="https://digital.library.unt.edu/ark:/67531/metadc1483159/small/"/></a></p><p>The focus of the problem was to challenge the more traditional. Western approaches to jewelry as adornment in respect to areas such as placement and scale. Approaching adornment as sculptural forms interacting with the human body could possibly challenge the individual's awareness of jewelry as wearable art. This approach brought up the issue of using the human body as a pedestal for adornment.</p>Geometric Imagery2019-05-28T13:07:35-05:00https://digital.library.unt.edu/ark:/67531/metadc1483056/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1483056/"><img alt="Geometric Imagery" title="Geometric Imagery" src="https://digital.library.unt.edu/ark:/67531/metadc1483056/small/"/></a></p><p>It was those problems and possibilities I wished to explore in my problem in lieu of thesis. While the simple, geometric images were very satisfying to that part of myself that craves order and rationality, it was all too easy to make work that was dull and uninteresting. I wanted to find a way to produce rich, sensuous, engaging work using only simple geometric forms.</p>The Evolution of Form2007-09-24T23:53:29-05:00https://digital.library.unt.edu/ark:/67531/metadc2473/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc2473/"><img alt="The Evolution of Form" title="The Evolution of Form" src="https://digital.library.unt.edu/ark:/67531/metadc2473/small/"/></a></p><p>A craftsman’s work evolves with time, new forms arise and old forms become more refined. This research attempts to study the evolution of pots over a designated period of time. The key findings include that the approach to glazing was relatively unchanged by the evolution in the work. However,the refinements that occurred in the work allowed the glazes to impart wonderful characteristics to the forms on which they are used.</p>The Desires of Rebecca Horn: Alchemy and the Mechanics of Interpretation2014-03-24T20:07:29-05:00https://digital.library.unt.edu/ark:/67531/metadc278016/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc278016/"><img alt="The Desires of Rebecca Horn: Alchemy and the Mechanics of Interpretation" title="The Desires of Rebecca Horn: Alchemy and the Mechanics of Interpretation" src="https://digital.library.unt.edu/ark:/67531/metadc278016/small/"/></a></p><p>The purpose of this thesis is to analyze the use of alchemy within the work of Rebecca Horn, to elucidate its presence in her work, and to illuminate its purpose as a personal philosophy and as a creative tool. The use of alchemy within Horn's work occurs as a process of revelation and transformation. Alchemy is revealed as a spiritual philosophy and as an interpretative system through the changes that occur in Horn's oeuvre. Throughout Horn's career, alchemy has developed into an interpretive system, a type of spiritual and cosmic perspective, that allows the artist to study, access, and meld diverse realities (sacred and profane) and diverse social systems (religious and scientific) into a more holistic and spiritually infused reality for herself and society-at-large. The purpose of her work is to help reinvest contemporary life with a spiritual presence by offering a model and a means of bringing the sacred into the profane.</p>Replacing the Horse2007-09-26T01:54:16-05:00https://digital.library.unt.edu/ark:/67531/metadc3149/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc3149/"><img alt="Replacing the Horse" title="Replacing the Horse" src="https://digital.library.unt.edu/ark:/67531/metadc3149/small/"/></a></p><p>I have been working with horses as imagery for about seven years and my problem in lieu of thesis continued along this vein by researching the roles of the horse in history, specifically mobility, and developing work that creates visual links between the past and present roles of horses. I am a printmaker and the work involved in the project consists of prints that use layers of related images and juxtaposition of unrelated images to accomplish my goals of cohesion between horses and the machinery that has replaced them. As the project developed the links between past and present society became my impetus rather the horse and mobility, and my future work will respond to this.</p>Art Museum Resources and Teacher Use.2008-05-05T14:03:27-05:00https://digital.library.unt.edu/ark:/67531/metadc5285/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc5285/"><img alt="Art Museum Resources and Teacher Use." title="Art Museum Resources and Teacher Use." src="https://digital.library.unt.edu/ark:/67531/metadc5285/small/"/></a></p><p>I proposed that both Bruner's (1963) idea of the spiral curriculum and Yenawine's (1992) theories of teaching for visual literacy in the museum set the stage for significant learning for students when used together. If school teachers lay a foundation of knowledge about a museum object, especially through museum resources, then the student may transform and apply this 'prior knowledge' (explicit memories from the classroom) while on the museum visit tour. When docents utilize Yenawine's (1992) methods toward the goal of visual literacy, the semantic knowledge of the classroom is then fused with museum learning, building stronger memories and facilitating deeper understanding as students learn about museum objects. This research explored the correlation of these two theories in a qualitative manner based on observations of actual museum visit preparation in classrooms in Casper, Wyoming, and how it related to a museum tour at the Nicolaysen Art Museum and Discovery Center. The research revealed that conditions do exist within the community that would facilitate Bruner's (1963) idea of a learning spiral, yet not in the manner envisioned. The observed conditions toward a spiral was accomplished through the participant teachers relating the museum exhibit to their operational curriculum in a variety of curricular areas, such as language arts and science, when docents related the tour to classroom learning, and not through museum resources or Yenawine's (1992) methods toward increasing visual literacy, as was previously considered.</p>Theory in Practice: Constructivism and the Technology of Instruction in an Authentic Project-based Computer Class2008-05-05T14:14:27-05:00https://digital.library.unt.edu/ark:/67531/metadc5228/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc5228/"><img alt="Theory in Practice: Constructivism and the Technology of Instruction in an Authentic Project-based Computer Class" title="Theory in Practice: Constructivism and the Technology of Instruction in an Authentic Project-based Computer Class" src="https://digital.library.unt.edu/ark:/67531/metadc5228/small/"/></a></p><p>While literature in areas of constructivism learning theory, use of computer technology in education, and the implementation of project-based learning in the classroom have received widespread attention, there is no reported research that specifically examines the effectiveness of using a project-based learning model for computer technology instruction for pre-service teachers' programs in general, and in art education in particular. Thus, the research problem was to examine through pre- and post-test control-group experimental research design whether two different teaching methods, constructivism teaching approach (project-based learning) and traditional (step-by-step) teaching approach, result in significant differences in learning computer usage, the application of computer technical skills, design projects, and attitudes toward using of technology. The research was conducted at University of North Texas during the fall semester of 2004. Both quantitative and qualitative methods were used to collect the data. The quantitative data, collected from a pre-post test and pre and post questionnaire, was analyzed using a t-test. No significant difference was found between the groups as it relates to computer usage, one aspect of the application of computer technical skills (Photoshop usage), and attitudes towards technology. There was, however, a statistical difference between the groups in the use of the other aspect of computer application technical skills (Illustrator). The qualitative data was collected from three sources, the final design project, the focus group interview, and the reflective papers and summarized quantitatively. A rubric was used to assess the final design project and the scores from the rubric were analyzed using the Mann-Whitney U test. A significant difference was found between the groups as it relates to the assessment of the final project design. The constructivist (project-based learning) group scored higher than the traditional (step-by-step) group. The analysis of the focus group interviews revealed more positive responses for the project-based learning group as opposes to the step-by-step group. The analysis of the reflective papers also revealed more positive responses by the project-based learning group as oppose to the step-by-step group. Overall, the results of the study indicate that the constructivist approach project-based learning did improve student learning.</p>Industrial Landscapes: Humanity Coexisting with Nature2008-02-15T14:31:18-06:00https://digital.library.unt.edu/ark:/67531/metadc4221/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc4221/"><img alt="Industrial Landscapes: Humanity Coexisting with Nature" title="Industrial Landscapes: Humanity Coexisting with Nature" src="https://digital.library.unt.edu/ark:/67531/metadc4221/small/"/></a></p><p>The focus of this project was on creating images of our industrial landscape and shows the coexistence of culture and nature. I confronted the landscape from a position that is accepting of our present landscape. While not idealizing the present industrial landscape I wanted to depict it in a way that is not devoid of beauty. I believe that no matter how the land is altered a certain grace still comes through in any landscape. In not idealizing or criticizing I wanted to show industrial areas in an accepting light and reveal the grace and beauty that is within every landscape. It is through my photographs and all the subjective decisions made when creating these images that make it possible for others to see the beauty in these industrial landscapes.</p>Art Criticism and the Gendering of Lee Bontecou's Art, ca. 1959 - 19642008-05-14T21:10:38-05:00https://digital.library.unt.edu/ark:/67531/metadc5587/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc5587/"><img alt="Art Criticism and the Gendering of Lee Bontecou's Art, ca. 1959 - 1964" title="Art Criticism and the Gendering of Lee Bontecou's Art, ca. 1959 - 1964" src="https://digital.library.unt.edu/ark:/67531/metadc5587/small/"/></a></p><p>This thesis identifies and analyzes gendering in the art writing devoted to Lee Bontecou's metal and canvas sculptures made from the 1959 - 1964. Through a careful reading of reviews and articles written about Bontecou's constructions, this thesis reconstructs the context of the art world in the United States at mid-century and investigates how cultural expectations regarding gender directed the reception of Bontecou's art, beginning in 1959 and continuing through mid-1960s. Incorporating a description of the contemporaneous cultural context with description of the constructions and an analysis of examples of primary writing, the thesis chronologically follows the evolution of a tendency in art writing to associate gender-specific motivation and interpretation to one recurring feature of Bontecou's works.</p>Altered Interiors and Reality: The Subtle Changes of Perception2019-05-28T13:07:35-05:00https://digital.library.unt.edu/ark:/67531/metadc1483013/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1483013/"><img alt="Altered Interiors and Reality: The Subtle Changes of Perception" title="Altered Interiors and Reality: The Subtle Changes of Perception" src="https://digital.library.unt.edu/ark:/67531/metadc1483013/small/"/></a></p><p>It was my intent to find objects that were both historically symbolic and symbolic of the times we live in, and that could be melded into a nineteenth century interior where their presence would be secondary to the overall atmosphere. I wanted to incorporate objects that would function as metaphors or personal symbols as well as historical icons.</p>Space and the Unexpected2019-05-28T13:07:35-05:00https://digital.library.unt.edu/ark:/67531/metadc1483108/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1483108/"><img alt="Space and the Unexpected" title="Space and the Unexpected" src="https://digital.library.unt.edu/ark:/67531/metadc1483108/small/"/></a></p><p>I intend to explore various canvas sizes and many formal issues, focusing on space and the application of paint are paramount in my work. I used closely cropped photographs to aid in this study and my exploration addressed the following questions: 1) How does the speed of execution affect the spontaneity and authority of the piece? 2) How important is the unexpected for the success of my painting in regards to formal issues?</p>Dialogue: An Exhibition of Ceramic Sculpture2007-09-24T23:53:35-05:00https://digital.library.unt.edu/ark:/67531/metadc2470/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc2470/"><img alt="Dialogue: An Exhibition of Ceramic Sculpture" title="Dialogue: An Exhibition of Ceramic Sculpture" src="https://digital.library.unt.edu/ark:/67531/metadc2470/small/"/></a></p><p>I want the viewers of my work to participate with me in a common experience. How I choose to communicate an experience in the work is intended to effect the viewer's level of understanding and participation. Toward this end, an exploration of nontraditional self-portraiture involving the viewer in a relationship with the artist will be used to maintain the visual dialogue imparted through the work. Utilization of recognizable symbols and icons within the work is meant to increase the clarity of my communication enhancing the viewer's involvement in the common experience. Color, as a concern will relate to the increased access and interest of the work to the viewer's experience and understanding.</p>Rasa: Serenity, Valor, Love2007-09-26T02:56:21-05:00https://digital.library.unt.edu/ark:/67531/metadc3347/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc3347/"><img alt="Rasa: Serenity, Valor, Love" title="Rasa: Serenity, Valor, Love" src="https://digital.library.unt.edu/ark:/67531/metadc3347/small/"/></a></p><p>The focus of this thesis is the conveyance of moods through clothes, the communication of feelings through fashion. The thesis illustrates how clothes speak, and the tools used to communicate a visual message. Three moods are used as examples: Serenity, Valor and Love. The thesis presents the author's design ability, creative personality, cultural background and technical skills. Sources of data range from personal experience to books on Cultural Studies, armor and mask making, Indian/ Asian dance and theatre, fabric design, fabric manipulation and websites on related topics. The chapters discuss background information of the author and the topic of research, and present each ensemble created to support the thesis. Through design details and photographs of the nine ensembles, the thesis demonstrates different techniques of achieving visual communication through clothes.</p>Like Random Piles of Debris in My Mind2019-05-28T13:07:35-05:00https://digital.library.unt.edu/ark:/67531/metadc1483097/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1483097/"><img alt="Like Random Piles of Debris in My Mind" title="Like Random Piles of Debris in My Mind" src="https://digital.library.unt.edu/ark:/67531/metadc1483097/small/"/></a></p><p>In this project, I further examined my work as a fictional layering of vernacular culture within the discourse of historical art. This investigation addressed the sources of my art, both in the outside world and in the context of an inherited art tradition. I focused on the issues of the formation and function of my work as an estheticized representation of this culture.</p>Pop Baroque2008-02-15T14:31:46-06:00https://digital.library.unt.edu/ark:/67531/metadc4216/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc4216/"><img alt="Pop Baroque" title="Pop Baroque" src="https://digital.library.unt.edu/ark:/67531/metadc4216/small/"/></a></p><p>My objective was to make a body of work that used baroque sensibilities with my own connections to popular culture. A series of mixed media works and one installation were created that infused baroque motifs with present popular design. My interpretation of the presence of the Baroque was expanded by using vivid colors, textures, patterns and designs collected from my environment during an investigation of the theatrical fantasies of popular culture. I expected to make work that could be approached conceptually from different angles, while being seductive on the surface.</p>Style and the Art of Chaim Soutine: Ethnicity, Nationalism and Geography in the Critical Reception and Historiography2008-05-05T14:51:56-05:00https://digital.library.unt.edu/ark:/67531/metadc5324/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc5324/"><img alt="Style and the Art of Chaim Soutine: Ethnicity, Nationalism and Geography in the Critical Reception and Historiography" title="Style and the Art of Chaim Soutine: Ethnicity, Nationalism and Geography in the Critical Reception and Historiography" src="https://digital.library.unt.edu/ark:/67531/metadc5324/small/"/></a></p><p>This thesis argues that art criticism published during Soutine's lifetime emphasizes ethnicity, nationalism and geography in discussions of the artist's style. These critical discussions have influenced the historiography of Soutine published after his death, resulting in a continued emphasis on style that includes references to ethnicity. Ethnicity, nationalism and geography are identified in the critical reception and historiography by noting references, both specific and implied, to Jewishness, French art, and foreign status (among others). These references are analyzed in terms of existing scholarship that addresses concepts of ethnicity and nationalism, and with consideration to how the critical reception has impacted the historiography.</p>Hard and Soft2008-06-24T18:15:10-05:00https://digital.library.unt.edu/ark:/67531/metadc5830/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc5830/"><img alt="Hard and Soft" title="Hard and Soft" src="https://digital.library.unt.edu/ark:/67531/metadc5830/small/"/></a></p><p>The purpose of this investigation is to explore the possibilities of manipulating clay in three distinct ways to effectively show that clay objects were at one time moist and pliable. The techniques used are faceting while wet, manipulating a variety of additions, applying different glazing techniques, and three separate firing methods. In addressing the problem, the following concerns were considered: (a) Which of the pieces made best expresses my aesthetic concerns? (b) Which firing method, oxidation, reduction or atmospheric, best illustrates these concerns? (c) Which glazing technique was most successful? In an attempt to explore and solve these problems, a series of twenty pieces were produced. A visual record of slides showing individual pieces were made to demonstrate the differences and similarities between firing methods.</p>Living Walls: The Integration of Clay and Architecture2019-05-28T13:07:35-05:00https://digital.library.unt.edu/ark:/67531/metadc1483183/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1483183/"><img alt="Living Walls: The Integration of Clay and Architecture" title="Living Walls: The Integration of Clay and Architecture" src="https://digital.library.unt.edu/ark:/67531/metadc1483183/small/"/></a></p><p>Although clay has been used throughout history as an embellishment of architectural structures, clay elements have usually remained subordinate to existing architectural forms. Three-dimensional ceramic modules which divided an existing space, altered or obscured architectural forms, and intersected with or penetrated established planes provided a greater interaction between clay and architecture. I explored the use of clay as an integral three-dimensional element which interacted with an architectural space, rather than merely surfacing it. Because the installation of these works was temporary, methods of connecting the clay elements to the architecture were also investigated.</p>Social Intercourse2007-09-26T01:54:39-05:00https://digital.library.unt.edu/ark:/67531/metadc3144/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc3144/"><img alt="Social Intercourse" title="Social Intercourse" src="https://digital.library.unt.edu/ark:/67531/metadc3144/small/"/></a></p><p>This thesis explains the stories and concepts behind each piece that was discussed on the opening night of my MFA Exhibition. The works, entitled Film Noir, Brains, Trains, and Beer, The Boy Next Door, Peterbuilt, and 10-50, H-1, was discussed more specifically and in greater detail. Speaking in public has always been a difficult task, especially on the subject of my art. My images deal with the highly intense subject matter of violence inflicted onto others as a result of human social behaviors. These vile social behaviors are translated into colorful and humorous lithographs, etchings, and drawings. These images are displayed to the public for individual interpretation. This thesis discusses audience interpretation before the literal meaning is revealed, how much information should be revealed to the viewer, and how this information manipulates the aesthetics of the piece.</p>The Execution of Woodcut Prints Utilizing Photographs as Source Material2019-05-28T13:07:35-05:00https://digital.library.unt.edu/ark:/67531/metadc1483197/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1483197/"><img alt="The Execution of Woodcut Prints Utilizing Photographs as Source Material" title="The Execution of Woodcut Prints Utilizing Photographs as Source Material" src="https://digital.library.unt.edu/ark:/67531/metadc1483197/small/"/></a></p><p>The purpose of this study was to investigate the personal success of using photographs as source material for woodcuts or other relief prints, and to determine how my selectivity, editing, and execution would enhance the content of these works. I proposed to create a body of woodcuts whose subject matter would be based on photographs dealing with the scenes and legends of Texas.</p>Faith and politics: The socio-political discourses engaged by Mexican ex-voto paintings from the nineteenth-century and beyond.2008-05-05T14:04:37-05:00https://digital.library.unt.edu/ark:/67531/metadc5274/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc5274/"><img alt="Faith and politics: The socio-political discourses engaged by Mexican ex-voto paintings from the nineteenth-century and beyond." title="Faith and politics: The socio-political discourses engaged by Mexican ex-voto paintings from the nineteenth-century and beyond." src="https://digital.library.unt.edu/ark:/67531/metadc5274/small/"/></a></p><p>The Universalis Ecclesiae of 1508 authorized Spanish colonization of the Americas in return for the conversion of native populations to Christianity. From its inception therefore, the Mexican nation lived an alliance between Church and State. This alliance promoted the transfer of Castilian Catholicism to American shores. Catholic practices, specifically the ex-voto tradition, visualize this intermingling of religion and politics. The ex-voto is a devotional painting that expresses gratitude to a religious figure for his/her intervention in a moment of peril. It is commissioned by the devotee as a means of direct communication to the divine. This project analyzes 40 Mexican ex-votos for their reflection of political issues in Mexico. I assert that the Mexican ex-votos engage discussions of social politics. To support this argument, visualizations of socio-political discourses such as the Virgin of Guadalupe as a national religious symbol, police action and economic disparity were examined.</p>Benjamin West's St. Paul Shaking the Viper from his Hand After the Shipwreck: Altarpiece of 1789 and Designs for Other Decorative Works in the Chapel of St. Peter and St. Paul, The Royal Naval College, London2014-08-27T07:42:59-05:00https://digital.library.unt.edu/ark:/67531/metadc332489/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc332489/"><img alt="Benjamin West's St. Paul Shaking the Viper from his Hand After the Shipwreck: Altarpiece of 1789 and Designs for Other Decorative Works in the Chapel of St. Peter and St. Paul, The Royal Naval College, London" title="Benjamin West's St. Paul Shaking the Viper from his Hand After the Shipwreck: Altarpiece of 1789 and Designs for Other Decorative Works in the Chapel of St. Peter and St. Paul, The Royal Naval College, London" src="https://digital.library.unt.edu/ark:/67531/metadc332489/small/"/></a></p><p>This thesis analyzes Benjamin West's altarpiece St. Paul Shaking the Viper from His Hand After the Shipwreck and his designs for thirty-three related artworks in the Royal Naval College Chapel, Greenwich, England, as a synthesis of the major influences in his life and as an example of both traditional and innovative themes in his artistic style of the late eighteenth century. This study examines West's life, the Greenwich Chapel history, altarpiece and decorative scheme, and concludes that the designs are an example of West's stylistic flexibility and are related thematically to his Windsor Royal Chapel commission.</p>Ceramics Without Clay: An Exploration into Potential2008-06-24T18:16:31-05:00https://digital.library.unt.edu/ark:/67531/metadc5817/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc5817/"><img alt="Ceramics Without Clay: An Exploration into Potential" title="Ceramics Without Clay: An Exploration into Potential" src="https://digital.library.unt.edu/ark:/67531/metadc5817/small/"/></a></p><p>Investigating the behavior, function and appearance of ceramic materials has proven an enduring point of interest throughout my education. In learning about the vast range of the earth-yielded materials and their physical manifestations in states ranging from wet to dry to fired, I have found myself excited and challenged to seek out ways to expand their presentation. My attention has been repeatedly drawn to the class of ceramic materials that frequently get classified as “glaze ingredients.” Understanding the structural and visual qualities of these minerals and compounds was an interest whether I was making tableware, tiles, or sculpture. For the purposes of this paper, I propose to deal expressly with the physical art-making considerations of material and process as they relate to my work in ceramics. By directing my focus as such, I hope to center my work on a concern that became evident to the art world upon the display of Marcel Duchamp’s Fountain: material equals content.</p>Bomaki/Arashi Shibori as a Pleated Texture in Silk Used in a Garment2019-05-28T13:07:35-05:00https://digital.library.unt.edu/ark:/67531/metadc1483109/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1483109/"><img alt="Bomaki/Arashi Shibori as a Pleated Texture in Silk Used in a Garment" title="Bomaki/Arashi Shibori as a Pleated Texture in Silk Used in a Garment" src="https://digital.library.unt.edu/ark:/67531/metadc1483109/small/"/></a></p><p>The purpose of this study was to use the bomaki/arashi shibori process to create three-dimensional fabric forms which could be incorporated by the design of a garment.</p>Poetic Products2008-02-15T15:00:13-06:00https://digital.library.unt.edu/ark:/67531/metadc4418/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc4418/"><img alt="Poetic Products" title="Poetic Products" src="https://digital.library.unt.edu/ark:/67531/metadc4418/small/"/></a></p><p>Not many artists have made a successful connection between art and text. In this installation of four works of art, I have given a new perspective on commerce by combining my poetry with common products. The content of my work is based on experiences I have had throughout my life. I believe that I have successfully combined my poems and art into cohesive works that break through the conventional understanding of products and their packaging.</p>