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Art and Design Commons

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2011

Art

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Articles 1 - 30 of 35

Full-Text Articles in Art and Design

Relics And Constellations: Hybrid Work Of Paul Catanese, Robert And Elaine Stein Galleries Oct 2011

Relics And Constellations: Hybrid Work Of Paul Catanese, Robert And Elaine Stein Galleries

Exhibition and Program Catalogs

This catalog is from an exhibition of work by artist, Paul Catanese. Originally held at Robert and Elaine Stein Galleries at Wright State University from October 23, 2011 through January 8, 2012.Relics and Constellations, features a collection of different works in a variety of media that range from prints, to modified Gameboy Advance consoles, to site specific installations.


Choosing Glass: Color And Impressions, Robert N. Oddy Oct 2011

Choosing Glass: Color And Impressions, Robert N. Oddy

School of Information Studies - Faculty Scholarship

In the last issue of Glass Craftsman, I said that, for me, the choice of glass is probably the most important factor contributing to artistry in stained glass. Tiffany’s company made glass for specific purposes, and raised the medium to a new level of expressive power. Now, we have a huge selection of stained glass available for our creative purposes. We just have to make the effort to familiarize ourselves to what is out there.


The Illusion Of Depth In Stained Glass: Techniques, Robert N. Oddy Oct 2011

The Illusion Of Depth In Stained Glass: Techniques, Robert N. Oddy

School of Information Studies - Faculty Scholarship

No abstract provided.


Parts Of The Sum, Andrew Cho Aug 2011

Parts Of The Sum, Andrew Cho

Art and Design Theses

Parts of the Sum is an installation of ceramic, wood, and drawn components which examines the symbiosis of individual and cultural identity: a recursive relationship which engenders unceasing diversity. The installation uses patterns and rule-based compositions as vehicles to address the development of complexity from compounded simplicity as it relates to personality. An immersive meta-network that emulates the complexity underlying identity, Parts of the Sum ultimately relies on the active participation and inclusion of the viewer for completion.


Spontaneity In Stained Glass Work, Robert N. Oddy Jul 2011

Spontaneity In Stained Glass Work, Robert N. Oddy

School of Information Studies - Faculty Scholarship

Stained glass does not lend itself to spontaneity. We design, thinking always about how the glass will be cut and what glass will be available to us. Then, the fabrication is a very slow and meticulous process, requiring accuracy of cutting so that the pieces fit together closely – glass doesn’t bend, stretch or squash. We have to do too much careful planning, and too much engineering! How can we make our subjects come alive, with movement and energy, when we cannot use our bodies to express these things while we are doing the art?


The Illusion Of Depth In Stained Glass: Exposed To The Light, Robert N. Oddy Jul 2011

The Illusion Of Depth In Stained Glass: Exposed To The Light, Robert N. Oddy

School of Information Studies - Faculty Scholarship

Stained glass artwork often looks flat. Of course, most stained glass panels are flat. What I mean is that the objects depicted look flat. In my own work, I have given a lot of attention to creating the illusion of depth. What is depth? It refers to the spacial dimension that recedes directly away from our eyes into the distance. If a picture has depth, we see some of its elements as solid objects; some appear closer than others; we are aware of foreground, middle distance and background.


Quiet Moments: My Artistic Exploration, Neena Jube Jun 2011

Quiet Moments: My Artistic Exploration, Neena Jube

Honors Theses

I believe that fate led me to dive into my artistic study on the human form. I firmly believe all things happen for a reason. Every year, every day, every hour, every minute, and every second of my life play a significant role in how things turn out. Looking back on the past two decades, there have been numerous accounts that have brought me to where I am today. The classes I have taken and the interactions with various artists have led me to pursue art, one of my strongest passions, and have influenced the development of my current collection ...


Creative Consciousness: Becoming A Reflective Designer, Renessa Ciampa Brewer May 2011

Creative Consciousness: Becoming A Reflective Designer, Renessa Ciampa Brewer

Critical and Creative Thinking Capstones Collection

As a graphic designer, I was drawn to the CCT Program in part because I desired to strengthen my thinking skills as a creative professional. Through being reflective, I aimed to “get more in touch” with my process to better understand it and see how I might improve my approaches. Scholarship on reflective practice in design education and design practice is a growing body of literature, which inspired this synthesis project. This paper looks at Schön’s theories of reflection-in-action and reflection-on-action, models for reflection in the design process provided by Ellmers, Brown, and Bennett, and Reymen, and various reflective ...


Bleach, Kim E. Alexander Jr. May 2011

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.


Fixing Belief: Artificial Preservatives, James Walker Tufts Iv May 2011

Fixing Belief: Artificial Preservatives, James Walker Tufts Iv

Masters Theses

Research opened with inquiries into the state space of the self and various modalities of the construction of the self. Flawed research design led towards a loss of original focus, spaces opened accordingly. Early sculptural work looked towards a semantic flattening through flushing out and digitally manipulated photographic and video work investigated avenues of ocular-centric landscape construction. Photoshop CS5 and its Content Aware Fill tool were engaged as collaborator and animations ensued. Hesitant time-based sketches were developed to suggest work incomplete and instead took their place. Space-based sketches followed, using the multiple to thwart focus on parts and draw it ...


"By Reason Of Birth", Cheyenne Kody Crawford May 2011

"By Reason Of Birth", Cheyenne Kody Crawford

Masters Theses

This written monograph is intended to parallel my MFA thesis show, “by reason of birth”. These written accounts from my childhood are specific occurrences in my life that influenced the creation of this work. Through the combination of written and made work, I recall an ambiguous past that allows the viewer to infer his or her own personal histories alongside mine.


Ragland, Mark S. (Fa 559), Manuscripts & Folklife Archives May 2011

Ragland, Mark S. (Fa 559), Manuscripts & Folklife Archives

FA Finding Aids

Finding aid only for Folklife Archives Project 559. Paper: "Influence of Popular Culture on the Subject of Art," done by Mark S. Ragland as part of a folk studies class at Western Kentucky University. Includes an interview done by Ragland with artist and art educator Michael Taylor about the influence of popular culture on art, with particular emphasis on the pop art genre.


A New View, Meaghan Mulligan May 2011

A New View, Meaghan Mulligan

Art & Art History

No abstract provided.


2011 Forces, Scott Yarbrough May 2011

2011 Forces, Scott Yarbrough

Forces

No abstract provided.


Digital Brushstrokes, Michelle A. Tavano May 2011

Digital Brushstrokes, Michelle A. Tavano

Master's Theses, Dissertations, Graduate Research and Major Papers Overview

Digital painting enables the traditional painter to paint using new technology without experience in traditional painting. But few digital painters are able to transcend the technology to create aesthetically pleasing compositions that address traditional design elements and content. This thesis examines digital painting's place i an evolving digital culture by focusing on six digital painters, the digital audience and how new media theory applies.


Measured Chance, Brian R. Kluge Apr 2011

Measured Chance, Brian R. Kluge

Theses, Dissertations, and Student Creative Activity, School of Art, Art History and Design

In my practice I use clay to make enigmatic, non-representational sculptures that employ reductive geometry and archetypal forms. By pressing clay into a variety of molds, it is my intention to contrast a primal crudeness with a skilled precision in my handling of the material. I fabricate objects that range in scale from handheld to human- size. In this work, I combine references to the forms of manmade things with surfaces that allude to age and wear resulting from natural patinas that occur on stone, wood, or metal. This body of work shares qualities with the Minimalist and Earth Art ...


Ua68/5/1 Senior Art Show Catalog, Wku Art Apr 2011

Ua68/5/1 Senior Art Show Catalog, Wku Art

WKU Archives Records

Exhibition catalog showcasing the work of senior art students in a variety of mediums.


Taking In: The Best Of Aib Photography 2011, Aib Students Apr 2011

Taking In: The Best Of Aib Photography 2011, Aib Students

Taking In

Taking In is a student run project featuring a selection of work created by students attending the Art Institute of Boston. The project focuses on the business of promoting art and culminates each year with a juried exhibition, publication. and website all designed to promote selected works of AIB artists. The selected pieces were chosen anonymously by a jury of distinguished members of the Boston art community to represent the best of AIB Photography in 2011. The book in your hands is the end result of a collective effort by those in the class.


Line Relationships: More To Lines Than Meets The Eye, Robert N. Oddy Apr 2011

Line Relationships: More To Lines Than Meets The Eye, Robert N. Oddy

School of Information Studies - Faculty Scholarship

Lines in stained glass artwork are important design features. With copper foil and lead came techniques, they are often prominent and black with the light source behind them. Carefully designed and implemented lines can enhance the sense of depth in a picture and have a rather paradoxical nature in our work. I find that I have a rather complicated relationship with my lines.


The Lead Line Effect: Shape Without The Came, Robert N. Oddy Apr 2011

The Lead Line Effect: Shape Without The Came, Robert N. Oddy

School of Information Studies - Faculty Scholarship

In a previous article, I have mentioned my view that stained glass work is akin to impressionism. We use the features of the glass to suggest detail in our subject matter. However, I often find that for some details, this approach is not adequate. For an example, see the scales in Koi, figure 1. It is also not always practical to implement this fine detail by joining large numbers of very small pieces of glass. In this article, I will talk about methods that produce effects compatible with the ‘lead’ lines of traditional stained glass, namely the use of copper ...


Line Relationships: More To Lines Than Meets The Eye, Robert N. Oddy Mar 2011

Line Relationships: More To Lines Than Meets The Eye, Robert N. Oddy

Robert Oddy

Lines in stained glass artwork are important design features. With copper foil and lead came techniques, they are often prominent and black with the light source behind them. Carefully designed and implemented lines can enhance the sense of depth in a picture and have a rather paradoxical nature in our work. I find that I have a rather complicated relationship with my lines.


Since 1980, Sookyung Bae Mar 2011

Since 1980, Sookyung Bae

CGU MFA Theses

Please see Download button in top right corner for the full statement.


Jason Walker, School Of Art Feb 2011

Jason Walker, School Of Art

Anthony E. Stellaccio Visiting Artist Lecture Series

Sponsored by the Anthony E. Stellaccio Visiting Artists Fund, ceramic artist Jason Walker visited campus and presented a lecture on February 17, 2011 in the Joyce Eichhorn Ames School of Art Building. For more information on the artist, visit http://jasonwalkerceramics.com/.


Blazing The Real: Writing By Indiana Children, Susan C. Adamson, Julie Patterson Jan 2011

Blazing The Real: Writing By Indiana Children, Susan C. Adamson, Julie Patterson

Anthologies

I got my first camera when I was in third grade—a Brownie Hawkeye flash model with a snazzy little camera case. The instruction manual provided six simple steps for taking successful pictures.

Hold the camera steady, supporting it underneath. Then, with the sun behind your back or over your shoulder, locate the subject in the finder. At the instant of exposure, hold your breath and press the shutter release with a gentle squeezing action (Brownie Hawkeye Instruction Manual).

The camera came with two rolls of film, each with16 frames. I eagerly used them up and sent the exposed film ...


Plating In Stained Glass: Experience The Beauty, Robert N. Oddy Jan 2011

Plating In Stained Glass: Experience The Beauty, Robert N. Oddy

School of Information Studies - Faculty Scholarship

“Plating” is a piece of stained glass jargon. It refers to the practice of using more than one layer of glass in the construction of a panel. The layers are not fused together. They are simply stacked up, one on top of another and joined by soldering foil or came. I would like to spend a little time on the reasons for using this plating technique. In a future article I may say more about the techniques themselves, but the why’s are more important than the how’s.


Jim Starrett: Drawings, Brian Mains, Patrick E. White Jan 2011

Jim Starrett: Drawings, Brian Mains, Patrick E. White

Exhibit Catalogues

This exhibition and catalog have had the close cooperation of the artist, Jim Starrett, to whom must go the first thanks. His professional experience and dedication as an artist and teacher has helped shape this exhibition. Brian Mains' design of the catalog and his essay contribute valuable perspectives for our audience. Starting with "Impersonations: Scott Greiger" in 2007, then "Bobby Ross: Drawings" in 2010, the Nora Eccles Harrison Museum of Art began a tradition of presenting ideas and objects that stimulate discussion, challenge the audience, encourage open-mindedness and expand perspectives.


A Lexicon Of Drawing Problems And Solutions, Johannes H. Von Gumppenberg Jan 2011

A Lexicon Of Drawing Problems And Solutions, Johannes H. Von Gumppenberg

Johannes von Gumppenberg Books

Not so much a "how-to" on drawing, this book of unique art plates adds new insights to modern concepts of composition and design. Its beautiful presentation seeks to please the art collector as well as the student.

A single theme, whose nuggets are scattered throughout, unifies these varied and original drawings done over a period of ten years: Understanding fundamentals enables the modern artist to present "all things in all ways," making the most of both observation and inventiveness.

This volume consists only of images. While including "teaching text" handwritten into the illustrations, at the same time the artist crafted ...


Mfa11 (Mfa 2011), Sam Fox School Of Design & Visual Arts, Mildred Lane Kemper Art Museum, Buzz Spector, Patricia Olynyk, Marshall N. Klimasewiski, John Talbott Allen, Meghan Bean, Shira Berkowitz, Darrick Byers, Jisun Choi, Zlatko Ćosić, James R. Daniels, Kara Daving, Andrea Degener, Kristin Fleischmann, William Frank, Nicholas Mccullough, Jordan Mcgirk, Zachary Miller, Esther Murphy, Kathryn Neale, Christopher Ottinger, Maia Palmer, Nicole Petrescu, Lauren Pressler, Bryce Olen Robinson, Whitney Sage, Donna Smith Jan 2011

Mfa11 (Mfa 2011), Sam Fox School Of Design & Visual Arts, Mildred Lane Kemper Art Museum, Buzz Spector, Patricia Olynyk, Marshall N. Klimasewiski, John Talbott Allen, Meghan Bean, Shira Berkowitz, Darrick Byers, Jisun Choi, Zlatko Ćosić, James R. Daniels, Kara Daving, Andrea Degener, Kristin Fleischmann, William Frank, Nicholas Mccullough, Jordan Mcgirk, Zachary Miller, Esther Murphy, Kathryn Neale, Christopher Ottinger, Maia Palmer, Nicole Petrescu, Lauren Pressler, Bryce Olen Robinson, Whitney Sage, Donna Smith

Books and Monographs

Catalogue of a culminating student exhibition held at the Mildred Lane Kemper Art Museum, May 6-Aug. 1, 2011.

Content includes Introduction / Buzz Spector -- Patricia Olynyk -- Marshall N. Klimasewiski -- John Talbott Allen -- Meghan Bean -- Shira Berkowitz / Maggie Stanley Majors -- Darrick Byers, Bryce Olen Robinson -- Jisun Choi -- Zlatko Ćosić -- James R. Daniels -- Kara Daving -- Andrea Degener -- Kristin Fleischmann / Randi Shapiro -- William Frank / Lawrence Ypil -- Nicholas Kania -- Katherine McCullough -- Jordan McGirk / Aditi Machado -- Zachary Miller -- Esther Murphy / Maggie Stanley Majors -- Kathryn Neale -- Christopher Ottinger / Melissa Olson -- Maia Palmer -- Nicole Petrescu / Melissa Olson -- Lauren Pressler / Randi Shapiro -- Whitney Sage / Aliya A. Reich -- Donna Smith.


Renditions, Nathan Halverson Jan 2011

Renditions, Nathan Halverson

Theses and Dissertations

This thesis includes ideas and explorations behind my MFA thesis work and the work that that preceded it in late 2010 and early 2011. In it, I use a creative text by Gertrude Stein, in which she reveals ways that writing reveals and creates language and culture, to illustrate similar ideas regarding field recording and appropriation in my art practice. I use this thesis writing to investigate practices and relationships between media and how these practices can encourage an active, participatory, listening and looking. It also contains discussion of the use of popular music in torture, which inspired Rendition(s ...


The Lead Line Effect: Shape Without The Came, Robert Oddy Dec 2010

The Lead Line Effect: Shape Without The Came, Robert Oddy

Robert Oddy

In a previous article, I have mentioned my view that stained glass work is akin to impressionism. We use the features of the glass to suggest detail in our subject matter. However, I often find that for some details, this approach is not adequate. For an example, see the scales in Koi, figure 1. It is also not always practical to implement this fine detail by joining large numbers of very small pieces of glass. In this article, I will talk about methods that produce effects compatible with the ‘lead’ lines of traditional stained glass, namely the use of copper ...