Art and Design Commons^™

Thoughts Of An Artist In Stained Glass, Robert N. Oddy

School of Information Studies - Faculty Scholarship

No abstract provided.

Textile Society Of America Newsletter 11:2 – Fall 1999

Textile Society of America Newsletters

Three Institutions Share Larsen Design Archives by Karen Searle
Textile Study at the University of Nebraska - Lincoln
TSA News
Letter from the President
People in the News
Exhibition/Conference Reviews
Fellowship/Publication Opportunities
Conferences
Exhibitions
Lectures/Workshops
Tours/Courses
Membership Application
Board Nomination Form

Thesis Awards 1998-1999, Syracuse University

School of Architecture - All Scholarship

This small publication is a record of the noteable thesis projects from 1998-1999.

Addressing Gender Equity Through Artistic Process, Jane P. Rando

Critical and Creative Thinking Capstones Collection

On our society, girls and women face unique physical and psychic dangers. There is insufficient support for respectful surfacing and articulation of voice, neither are there sufficient tools with which to combat the socio-environmental phenomena of “hitting the wall” and “going underground.” (Gilligan 1983). While the creative process is full of risk taking and challenge for all, it presents additional problems for girls and women. This thesis identifies and explores the ideas and factors that influence female voicing, with a focus on artistic process as a voicing too. The reader is offered a selective review of the literature on gender …

Textile Society Of America Newsletter 11:2 – Summer 1999

Textile Society of America Newsletters

Textiles in Tucson
TSA Board Members
TSA News
Letter from the President
Letter from the Editor
People in the News
TSA Call for Papers: 7th Biennial Symposium
Career/Research Opportunities
Grants/Fellowships
Info Xchange
Exhibition Reviews
Conferences
Exhibitions
Lectures/Workshops
Tours/Courses
Membership Application

When There Will Be Great Women Artists, Anne M. Stanton

Critical and Creative Thinking Capstones Collection

Linda Nochim has posed the question why there are no great women artists? (Nochim 1988) While this question can be challenged as a issue of perspective, I attempt to address it as an actual phenomenon. What is it that limits the productivity of women in art? Historically, women in the modem industrialized world have been objectified and stereotyped, and I will present a brief overview that discusses the definition of woman in this context (Bohan 1993, West and Zimmerman 1987, Hare-Mustin and Marecek 1990), and also demonstrate this view has saturated society. As a first step to change, women must …

1999 Artist In Residence Biennial (Exhibition Catalogue), Sam Yates, Michael Brakke

Ewing Gallery of Art & Architecture

The presence of acclaimed artists—who have lived and worked in major cultural centers across the country—enhances the educational opportunities for both undergraduate and graduate students enrolled in the University of Tennessee School of Art. With daily contact over the course of a full semester, resident artists develop a unique relationship with the student body which complements the creative stimulation offered by guest lecturers and the School of Art’s faculty. Representing diverse ethnic, cultural, educational, and professional backgrounds, these resident artists introduce another layer of candor and a fresh artistic standard for the students who, though early in their formal art …

Where The Roots Reach For Water: A Personal & Natural History Of Melancholia, Lynn Buckley, Sky Bergman

Art and Design

Jacket design: Copyright © 1999 by Lynn Buckley. Jacket photograph: Copyright © 1999 by Sky Bergman.

The Role Of Artists In Ship Camouflage During World War I, Roy R. Behrens

Faculty Publications

Experiments in ship camouflage during World War I were necessitated by the inordinate success of German submarines (called "U-boats") in destroying Allied ships. Because it is impossible to make a ship invisible at sea, Norman Wilkinson, Everett L. Warner and other artists devised methods of course distortion in which high-contrast, unrelated shapes were painted on a ship's surface, thereby confusing the periscope view of the submarine gunner.

The Visual Culture Of Robert Rauschenberg, Daniel A. Siedell

Sheldon Museum of Art: Catalogs and Publications

The importance of Robert Rauschenberg to the history and development of 20th-century American art has been firmly established for well over three decades. It is, however, the nature of his importance that remains, in large part, unresolved. The recent retrospective exhibition of the artist's work at the Solomon R. Guggenheim Museum in New York in 1997- 98 represents to date the most ambitious attempt to document comprehensively the multiple aesthetic activities of one of the most complex and diverse artists in the history of modern art. By focusing on his involvement in performances, sculpture, and unique and creative engagement with …

An M.F.A. In L.A., Ken Gonzales-Day

Scripps Faculty Publications and Research

The author, an artist, discusses M.F.A. (Masters of Fine Arts) degree programs in the Los Angeles area, with attention to the balance of theory and practice in these programs. Article is in both English and Spanish.

Robert Henri: A Nebraska Legend, Nancy H. Dawson

Sheldon Museum of Art: Catalogs and Publications

Robert Henri: a Nebraska Legend, the twelfth in a series of Sheldon Statewide exhibitions, is a result of the uniquely successful partnership between the staff of the Sheldon Memorial Art Gallery and Sculpture Garden and our principal funding support group, the Nebraska Art Association, a nonprofit volunteer membership organization dedicated to the advancement of the visual arts in Nebraska, and twenty-two Nebraska communities that have served as exhibition venues since the inception of the program in 1987. Local sponsors who support the exhibition in their communities, and volunteer docents who disseminate important information to the school children and adults …

Textile Society Of America Newsletter 11:1 – Winter 1999

Textile Society of America Newsletters

TSA ’98: Wrapping up the New York Symposium
Studying Textiles at the University of Wisconsin - Madison
TSA News
Letter from the President
Career and Research Opportunities
Exhibition Reviews
Publication Opportunities
Calls for Papers
Conferences
Exhibitions
Lectures/Workshops
Tours/Courses
Membership Application
Membership Survey

Evolution By Numbers: An Exploration Of Functional Pottery, Chad W. Wolf

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

The functional pottery I make is work which is profoundly influenced by the groupings of objects that I have both consciously and unconsciously looked at in my eleven years of retail experience at Menards. Most of these objects are unaesthetic individually, but when stacked and grouped together, become unusually compelling when seen from a distance, or in the field of peripheral vision. When I understood that this aspect of my life was informing my work, I became more attentive to the details like the negative spaces created around and between objects, and the intervals and spacings in and around objects. …

Paintings, Susan L. Arthur

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

This body of work is an endeavor to explore the connection of form to environment that mirrors my interaction with the external. In painting, I limit means in terms of subject and range of color in order to allow deeper examination of my perceptions. By imposing such external restrictions, a new awareness in painting emerges.

The insistence on the connection of the form to its surroundings is key to the formal and emotional content of the paintings. Form- frequently a chair- is found in relation to the color, intensity, and temperature of space and other forms . In finding incremental …

Necessary Fictions, Yvonne M. Meyer

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

Photography is a compelling process for exploring, editing, and clarifying. It acts as an increasingly fine sifter of experience. Life is vast 3-D motion full of colors, sounds, expectations, intensities, temperatures, textures, and so many constant sensations. Simplify. Squinting through the viewfinder, I frame visual segments and record their rectangular impressions in black and white. Light and the chemistry of the darkroom transform pieces of what had been in dynamic flow to pauses lying flat on paper. Time, color, and motion now suspended in the print are quiet to allow consideration and sometimes insight.

I leave the darkroom with another …

Rest For The Eye, Jason L. Briggs

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

My work is the product of two chief motivations: a desire to touch and a compulsion to create. Beyond any external inspiration lie these two gut-level responses. The obsessive character of these drives is reflected through an extravagant covering of surface with minute, repetitive markings. The result is intensely focused, highly articulated work that combines passion, beauty, and diverse content.

The very nature of the surfaces--pushed, poked, scored, marked, indented, smoothed, carved, wiped, and sanded--are taken to extremes. As the maker, I am both captivated and at ease; it is just me and the clay. The act of texturing becomes …

The Well Considered Pot, Matthew Lee Kelleher

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

Utilitarian objects are accessible and universal. Their forms are recognizable and their utility makes them inclusive. I choose to make utilitarian objects in order to use these characteristics as a foundation for my ideas. This decision invites the viewer to discover my visual and tactile interests.

Process is the vehicle I use for expression. When I use the wheel to create form, I respond to the clay as it passes through my fingers and tools. I search for a clean line that displays a balance of volume pushing out and a force squeezing in. When I work with molds, I …

Storytelling: Artist's Books, Nancy Jo Ann Steele

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

My thesis exhibition presents mixed media artist's books inspired by autobiographical stOlies originating from my family. These stories relate to the lives of my family and the natural environment of my home in a small-town farming community with deep Appalachian roots. With a sense of humor and solemnity, I make artist's books about the events and stories related to our religion, work, animals, neighbors, land and superstitions .

I mournfully watch the slow disintegration of our way of life. Vital aspects of our lives, such as working on the farm as a family, speaking with an accent, and making much …

Circumstantial Evidence, Paula Day

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

The American Heritage Dictionary defines the relevant terms as follows: Circumstantial: 1. Of, relating to, or dependent on circumstances. 2. Of no primary significance; incidental. 3. Complete and particular; full of detail. 4. Full of ceremonial display. Pomp and circumstance.

Circumstantial evidence: n. Law. Evidence not bearing directly on the fact in dispute but on various attendant circumstances from which the judge or jury might infer the occurrence of the fact in dispute.

Evidence: 1. A thing or things helpful in forming a conclusion or judgement. 2. Something indicative; an outward sign. ~videnced, -dencing, -dences. 1. To indicate • clearly; …

Falling/Floating: Pieces Of Nature, Susan Belau

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

The work presented in this exhibition developed from my sustained interest in the metaphorical power of landscape. In a time when the scale of our land is dwarfed by modem technologies, and the American wilderness has shrunk to near extinction, I look to the small and intimate in the landscape to find awe and an awareness of cycle. My intaglio prints depict fragments of nature - leaves, sticks, pods - and are distinguished by layering of forms, the combination of rendering with abstraction, and lush color. The images evoke ideas of loss, endurance, possibility, and growth - ideas inherent in …

Maps To Places You Couldn't Find, Michael J. Strand

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

I have been searching for a common ground. A place where my ideas, in all their diversity exist in harmony. I am compelled by memory and its relation to history. In Minnesota there is a group of rune-stones that are said to bear the inscription of ancient people from Northern Europe. They exist in a wonderful state. Part mythical and part historical, their authenticity is uncertain. With these rune-stones as inspiration my work acts as a transmitter of infonnation lost, or memories forgotten.

Over the past 18 months I have made work that exists outside of categories, merging image and …