The Duomo, Taylor L. Andrews

The Mercury

No abstract provided.

Ireland, Taylor L. Andrews

The Mercury

No abstract provided.

Catalogue Essay For Kiera O'Toole Solo Exhibtion, Brian Fay

Exhibition Catalogues

A catalogue essay discussing elements of O'Toole's practice as it responds to recent contemporary drawing practices and the specifics of the history and architecture of the Wicklw site.

Kiera O'Toole - A Fragile Intensity, Brian Fay

Catalogues

This catalogue essay discusses the Irish artist Kiera O'Toole's practice in relation to serial drawing practices of the 1960's and Alain Badiou's observations on drawing.

Submersion, Hannah M. Harper Ms.

Undergraduate Honors Theses

The artist discusses the influence, concept, and process behind creating a cohesive body of work and accompanying show, Submersion, for the completion of her Bachelor of Arts degree and undergraduate research for the Fine and Performing Art Scholars branch of East Tennessee State University's Honors College. The show is to be held May 1st through May 7th of 2014 with its reception on May 3rd in the Submarine Gallery located on ETSU campus. The artist explored themes of the unknown, subconscious, and memory, using water as a reoccurring symbol. The works include five large portraits and two small to medium …

Brian Fay Contribution To The Lismore Castle Arts Public Discussion- Painting As A Dream, Friday 25th Of April, 2014, Brian Fay

Other resources

Brian Fay contribution to the Lismore Castle Arts, Waterford, Public Discussion- Painting As A Dream, Friday 25^th of April, 2014

A Language In Becoming, Camille C. Hawbaker

School of Art, Art History, and Design: Theses and Student Creative Work

Words as I have known them are evolving concepts in the landscape of human language, where the meanings of words are interwoven with layers of history and culture. The boundaries of language are defined by words, and around the edges are instinctive sounds that precede and exceed meaning. These sounds are an interrupting force that unsettles the linguistic structure. We often use them for expression in the form of sobs, grunts, moans, murmurs, chants, obscenities and exclamations. They appear in times of spontaneous emotion that words cannot convey. They can also be used purposely, poetically, “…to shatter [one’s] judging consciousness …

Exploring Distortion And Clarity In The Modern Printed Portrait, Karina M. Harper

Summer Research

My work has focused on two sides of the artistic process: inspiration and application. While studying abroad, I read, saw, and experienced modern France, living with a host family in Dijon. In the midst of this, I researched the work of Henri de Toulouse-Lautrec, a French printmaker who utilized the lithographic process and pushed it forward as a modern and respected art practice. Lithography is a type of art involving changing the chemical nature of limestone to attract ink where an image is drawn with greasy pens. Returning to the Puget Sound campus and to one of the few lithograph …

Paper - A Reserve Or Backgound?, Brian Fay

Conference Papers

Paper: A Reserve or a Background?

“Using examples from contemporary practice and my own research, this presentation will discuss two models for the role of paper in drawing: as background and as reserve. It will focus on Walter Benjamin's definition for the graphic lines almost metaphysical relationship to the background, and compare it with Norman Bryson's model of the paper as a reserve, for him an 'area without qualities'.”

Joanne Aono Interview, Charlie Lacke

Asian American Art Oral History Project

Bio: Joanne Aono is a Japanese American Sansei artist, born in Chicago. She received a BFA from Drake University with post graduate classes through the SAIC.

Solo and two person exhibitions of her paintings and drawings include South Shore Arts, Images Gallery, Eyeporium Gallery, Dayton Street, and 303 Erie Artspace, with an upcoming solo show at the Lee Dulgar Gallery. Joanne has shown in numerous group exhibitions including Julius Caesar, Contemporary Art Workshop, Governor’s State University, Woman Made Gallery, Beverly Art Center, Northern Illinois University, and Art Chicago International. She has received City of Chicago Arts grants in addition to …

Brian Fay Interview For Peel Magazine, Brian Fay

Other resources

This interview is from a series of artist conversations around the use of and relationships to the materials they employ in their practice. Other interviewees include Alexandra Hughes, Nadia Scola, Rachel Sharp, James Watts and Zara Worth.

Temporalities And The Drawn Response To The Conservation And Restoration Of Paintings, Brian Fay

Other resources

This paper will consider the temporal implications for drawing in the light of conservation and restoration treatments to paintings by the Seventeenth Century Dutch painter Johannes Vermeer.

Using three critical frameworks: Norman Bryson’s becoming model for drawing and the relationship of liminality to a painting during conservation/restoration, George Didi Huberman’s anti-chronological reading of the detail and the pan in painting, and Walter Benjamin’s definitions of drawing the paper will seek to address some implications for a drawing practice that responds to a pre-existing museum artworks.

The paper will present some findings from my own drawing practice that responds to Vermeer’s …

Baa Baa Black Sheep, Olan Quattro

SPECS journal of art and culture

No abstract provided.

Stitching As Knowing: Mapping Nebraska With Textiles And Thread, Elizabeth Ingraham

School of Art, Art History, and Design: Faculty Publications and Creative Activity

Mapping Nebraska is a drawn, stitched and digitally imaged cartography of the state (physical, social, cultural, sociological) where I live. The interrelated components of this on-going project are:

• A 15 foot wide hand-drawn “Locator Map” of Nebraska, with every city, town, park, railroad, river, lake and creek drawn to scale on 95 Tyvek sections which were then stitched together.
• Terrain Squares, quilted and embroidered fabric relief forms of the physical topography of selected locations, using software to be able to see the terrain at a much larger scale (1 inch = 596 feet) than the Locator Map.
• Surveys, or on-the-ground …

Bleach, Kim E. Alexander Jr.

CGU MFA Theses

The work in this exhibition investigates the unique potential for drawing to articulate the ideas and attitudes of architecture and objects. Accepting drawing as operating in conceptual space, I explore experimental loops within the visual logic of that territory. The work asserts the material fact of drawing and its connection to forms of fabrication in other materials like wood, paint, metal, and plastic. Like painting and sculpting, the drawings occupy an intangible state between objects and ideas. I embrace this irresolution. Please see Download button in top right corner for the full statement.

A Matter Of Taste., Charles E. Haskins

Electronic Theses and Dissertations

This thesis paper supports the Master of Fine Arts exhibition at the Slocumb Galleries, East Tennessee State University, from March 14th through March 18th, 2011. The exhibit is composed of nine oil paintings depicting an invented story about two characters who create a soup for a cooking competition. The show A Matter of Taste chronicles an allegory concerning the evaluation of creative works. Through Gaudie and Baudie's "odd" recipe this work illustrates the ways in artists and art audiences interact and determine artistic value. The work is inspired by techniques in distortion and narrative painting. The following expands on the …

Milestones / Miles’S Tones: A Coincidence, Brian Fay

Exhibition Catalogues

Milestones/Miles’s Tones: a Coincidence is a catalogue essay published in the 25^th. anniversary catalogue for Black Church Print Studio’s, Dublin.

Finding Time: How It Is Made Visual Artists Newsletter, Brian Fay

Articles

FINDING TIME

Brian Fay outlines the processes and concepts underpinning his practice

Moving Pictures, Melissa Ann Mcclure

Dissertations and Theses

My thesis work includes 10 large drawings that explore the narrative qualities of line movement. I use line in these drawings as a recording device to document both the physical activity of the process and the personal experience that the lines represent. Through this work I attempt to develop a language of visual imagery that is autobiographical in nature. A system of personal symbols and recurring forms make up the structure of this visual vocabulary. Line movement and rhythm provides a sense of the dialog.

Words & #S, Museum Of Contemporary Art At Wright State University

Exhibition and Program Catalogs

The gallery guide discusses the exhibition Words and Numbers shown at Wright State University from April 7 through May 10, 1991. The exhibition focused on the combination of art and text.

John Baldessari, The New Museum, New York, Wright State University Art Galleries

Exhibition and Program Catalogs

The wit, intelligence, irreverence, and breadth of knowledge manifest in John Baldessari's work have made it important to many others, artists and public alike. This is the first museum exhibition, however, to show in depth the work Baldessari has done over the past fifteen years.

When The New Museum learned that an exhibition of Baldessari's photographic works was being planned at the University Art Galleries at Wright State University, the two organizations decided to join forces. While the scope and nature of our respective exhibitions differed, we felt that by jointly sponsoring the catalog, more information about Baldessari's work could …

16 Projects / 4 Artists, Wright State University Art Galleries

Exhibition and Program Catalogs

During the spring and summer of 1975 Wright State University organized a cooperative workshop/exhibitions program with three other schools and, in 1976, received the support of the National Endowment for the Arts. The program consisted of sending four prominent contemporary artists to the four colleges and universities during the 1976-1977 academic year. The artists selected to participate in the program were Siah Armajani of Minneapolis, Larry Bell of Taos, Lloyd Hamrol of Santa Monica, and Pat Steir of New York, each of whom works in diverse media and materials, and all of whom represent a range of artistic and aesthetic …

The Art Institute Of Boston Course Catalog (1973), The Art Institute Of Boston

Art Institute of Boston (AIB) Course Catalogs

The Art Institute of Boston maintains, and always has maintained throughout the course of its long history, that the artist holds a unique position of responsibility in his society. Because the weight of his contribution is so widely felt in this age of the expanded media, the artist is expected to be not only innovator, but also arbitrator. The decisions which affect his life and his work influence a wide body of people who look to him for illumination.

Art cannot be taught as a development of certain visual talents separate from a larger awareness of life. The Art Institute …

Photographic Imagery As A Source For Iconography In Painting And Drawing, Eric Peder Brakken

All Master's Theses

Any verbalization of an artistic statement is by its very nature, an inadequate interpretation. However, I feel there is some merit in a concise declaration of my general concepts in the study. This paper represents a summation of the concepts and directions involved in my studio investigation in painting and drawing.

Specifically, it is within the scope of man's altered and effected perception of reality that I have based the studio research.

The Art Institute Of Boston Course Catalog (1971-1972), The Art Institute Of Boston

Art Institute of Boston (AIB) Course Catalogs

The Art Institute of Boston maintains, and always has maintained throughout the course of its long history, that the artist holds a unique position of responsibility in his society. Because the weight of his contribution is so widely felt in this age of the expanded media, the artist is expected to be not only innovator, but also arbitrator. The decisions which affect his life and his work influence a wide body of people who look to him for illumination.

Art cannot be taught as a development of certain visual talents separate from a larger awareness of life. The Art Institute …

The Art Institute Of Boston Course Catalog (1969-1971), The Art Institute Of Boston

Art Institute of Boston (AIB) Course Catalogs

In January of 1968 The School of Practical Art changed its name to The Art Institute of Boston as an outward sign of the diversity of ideas and interests that had generated during the past decade. The combined efforts of students, teachers, and administrators have produced a broad program which attracts students with a variety of goals, and affords an opportunity to study in several different disciplines.

The Art Institute of Boston seeks talented young people who wish to make art their lifetime career. The school offers a three-year program leading to diplomas in advertising design, illustration, photography, and fine …

The Art Institute Of Boston Course Catalog (1968-1969), The Art Institute Of Boston

Art Institute of Boston (AIB) Course Catalogs

It is the purpose of the School of Practical Art to train students so thoroughly in the various phases of commercial art, that they may upon completion of the course earn a good living in their chosen career. Earnest effort and thorough preparation are necessary if the student is to become successful professionally. Enthusiastic and excellent working habits must be developed early and maintained throughout the course. Deadlines must be given and met punctually. Good design, composition, color and technical skill must be evident in all finished work. In preparation for this high standard the beginner receives a thorough foundation …

School Of Practical Art Course Catalog (1967-1968), School Of Practical Art

Art Institute of Boston (AIB) Course Catalogs

It is the purpose of the School of Practical Art to train students so thoroughly in the various phases of commercial art, that they may upon completion of the course earn a good living in their chosen career. Earnest effort and thorough preparation are necessary if the student is to become successful professionally. Enthusiastic and excellent working habits must be developed early and maintained throughout the course. Deadlines must be given and met punctually. Good design, composition, color and technical skill must be evident in all finished work. In preparation for this high standard the beginner receives a thorough foundation …

School Of Practical Art Course Catalog (1966-1967), School Of Practical Art

Art Institute of Boston (AIB) Course Catalogs

It is the purpose of the School of Practical Art to train students so thoroughly in the various phases of commercial art, that they may upon completion of the course earn a good living in their chosen career. Earnest effort and thorough preparation are necessary if the student is to become successful professionally. Enthusiastic and excellent working habits must be developed early and maintained throughout the course. Deadlines must be given and met punctually. Good design, composition, color and technical skill must be evident in all finished work. In preparation for this high standard the beginner receives a thorough foundation …

School Of Practical Art Course Catalog (1963-1964), School Of Practical Art

Art Institute of Boston (AIB) Course Catalogs

It is the purpose of the School of Practical Art to train students so thoroughly in the various phases of commercial art, that they may upon completion of the course earn a good living in their chosen career. Earnest effort and thorough preparation are necessary if the student is to become successful professionally. Enthusiastic and excellent working habits must be developed early and maintained throughout the course. Deadlines must be given and met punctually. Good design, composition, color and technical skill must be evident in all finished work. In preparation for this high standard the beginner receives a thorough foundation …