Sculpture Commons^™

Untitled, Amber Drew

A Midwestern Review: A Magazine of the Arts and Issues at DePauw University

No abstract provided.

Seed Pods, Bases And Formalism: An Artist's Journey, Craig Luster

Dissertations and Theses

A sculpture can offer visual information that is simple or complex. The work can present only a single facet to ponder or deal with all facets equally polished and linked. There can be enough information to arrange in an order that reads as narrative. All is possible but, without question, the more complex the sculpture, the more information given, the greater the challenge to the artist to make a coherent and interesting whole of everything being presented. The body of work presented in my thesis show represents the outcome of exploring a chain of questions about sculpture. The first question …

Subject/Matter, Gilles J. L. Foisy

Dissertations and Theses

The process of obtaining the Master of Fine Arts degree led me to probe the aims and methods of my artmaking. What emerged and became uppermost was the issue of form and content or perhaps form versus content. While highly concerned with the formal aspects of art, content (subject matter) would not fade from my intentions or cease to occupy my mind. Through much "soul searching" and inquiries into numerous materials both familiar and new to me, I concluded that my intended content was about my experience of being. I further distilled my conclusion and focused on my ontological experience …

Material Origins, Carol E. Minchin

Dissertations and Theses

The intent of this thesis project was to use sculpture as a means of investigation for exploring the structural uses of Masonite, and to understand how those uses affect the nature of my work. The transformation of this material into form becomes the a process that is adjusted and refined until a formal solution is found. The tension, texture, scale, and form of the work contribute to a dialogue that results in sculptures that reference the human body and the growth of plants.

1996 Forces, Peggy Brown

Forces

No abstract provided.

El Crocodilo, Helena Guzman

A Midwestern Review: A Magazine of the Arts and Issues at DePauw University

No abstract provided.

Untitled, Patrick Petro

A Midwestern Review: A Magazine of the Arts and Issues at DePauw University

No abstract provided.

1995 Forces, Larraine Stroman

Forces

No abstract provided.

Aries, Karly Whitaker

A Midwestern Review: A Magazine of the Arts and Issues at DePauw University

No abstract provided.

1994 Forces, Peggy Brown

Forces

No abstract provided.

1993 Forces, Peggy Brown

Forces

No abstract provided.

1992 Forces, Peggy Brown

Forces

No abstract provided.

1991 Forces, Peggy Brown

Forces

No abstract provided.

Voyaging: William Bennett And Elizabeth Schoyer, University Of Richmond Museums

Exhibition Brochures

Voyaging: William Bennett and Elizabeth Schoyer

February 14 to March 07, 1991

Marsh Art Gallery

Introduction

For both William Bennett, sculptor, and Elizabeth Schoyer, painter, art is a voyaging: invoking, acknowledging, celebrating the forces and mysteries of life's passages.

Bennett builds up, with stone, glass, copper, lights, and wood, exquisitely crafted monumental forms: The Voyage, The Boat over Ocean over Ocean, Stigmata, Bed of Dreams, Belly Scepter among them. The titles signal the theme of quest, while axial forms draw the viewing into ritual alignment. One come to Bed of Dreams as an altar; Stigmata, part anchor and part …

1990 Forces, Peggy Brown

Forces

No abstract provided.

Untitled, Stacy Remmy '90

A Midwestern Review: A Magazine of the Arts and Issues at DePauw University

Stacy Remmy '90 (Untitled, p. 11) is an Art major from St. Louis, MO.

Creating The Paradox In Form, Dennis A. Peterson

Dissertations and Theses

The intent of this thesis project was to create visual and psychological illusions and paradoxes by manipulating sculptural elements. This format embodied balances between man and nature and social comment.

1989 Forces, Peggy Brown

Forces

No abstract provided.

Mark Rhodes/Ephraim Rubenstein: Sculpture, Painting, And Drawing, University Of Richmond Museums

Exhibition Brochures

Mark Rhodes/Ephraim Rubenstein: Sculpture, Painting, and Drawing

November 29 to December 18, 1988

Marsh Art Gallery

Introduction

The art of Ephraim Rubenstein and Mark Rhodes is art about the human figure, born out of personal experience and nourished by the great tradition of the figure in western culture. Indeed, the persistence of the human form in art from prehistoric times into the 20th Century, demonstrates not only the infinite variety of interpretations and expressions possible through the body, but our consistent need for self-realization and re-creation through the figure. The particular pieces in this show convey a remarkable cumulative visual …

Reconstructions : Humor Through The Use Of Ambiguous Images And Color, Karl J. Ross

Dissertations and Theses

A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in Sculpture.

Transparent Sculptures, Lithographs, And Watercolors : A Personal Response To The Natural World, Stephan Spencer Soihl

Dissertations and Theses

The group of works that I am presenting as my Master of Fine Arts thesis exhibition is a selection of my best work from the past three years. It is made up of two different artistic forms: fairly small sculptures comprised of aluminum channel and plexiglas, on the one hand, and lithographs and watercolors, on the other.

Construction-Sculpture, Kanetaka Ikeda

Dissertations and Theses

A terminal project report submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in Sculpture.

Bronze Sculptures: A Thesis Report, Michael T. Story

Dissertations and Theses

The Thesis discusses sculptures completed during the period of study from October 1976 to April 1978 and presented at the Department of Art and Architecture Gallery April 10, 1978 to April 28, 1978.

Super Slick Synthetic Softys, Dennis Smith

All Master's Theses

The following thesis is the thought pattern I use during the conceptual stages of my sculpture. "Super Slick Synthetic Softys" bombards the imagination with thousands of images. Images are of immense importance to the artist. His mind must be in constant motion, forever conceiving new and different forms and images.

The Micro-Environment Museum, John Clark Gleason

All Master's Theses

The purpose of this paper is to give an explanation of the show, "The Micro-Environment Museum"; to give an explanation of the miniaturization process and it's opposite, enlargement; and to give a larger insight into the micro-environment.

Design Of Spatial Interstices, Byron Hiroyuki Kato

All Master's Theses

It was the purpose of this study: (1) to develop an idea visually as well as to articulate it in writing; (2) to evolve and develop illusions and realities of spatial interstices (spatial framents) as positive elements of two and three dimensional form; (3) to articulate, as objectively as possible, an analysis of the body of creative work.

A Study Of Three-Dimensional Form Using Steel And Non-Ferrous Metals, Derell Roger Midles

All Master's Theses

A discussion and documentation of Midles' student art and sculpture studio exhibition.

The Record Of A Masters Thesis Exhibit, Gary Michael Green

All Master's Theses

This thesis documents the preparation, exhibition, and audience reaction to an art exhibit created by the author.

Charles Forrester's Sculpture Studio Plans For Ivan Wilson Fine Arts Center, Charles Forrester

Research Collections

Charles H. Forrester’s 1969-1970 plans for the sculpture studio in the Ivan Wilson Fine Arts Center. Plans include hand-drawn drawings, typed and written plans, lists of tools for the sculpture studio, and receipts.

The Creation Of Three Original Junk Sculptures, Norman Bennett

Dissertations and Theses @ UNI

The purpose of this thesis is to apply any sculptural concepts and beliefs, as well as my sensitivity to materials, to the creation of sculpture from junk materials. The text of this thesis is concerned with a personal definition of junk, a brief historical background of the use of junk in art, personal statements concerning the nature of sculptural material, personal statements concerning my sculptural concepts and beliefs, and a short discussion of problems which arose during the creation of my thesis works. Photographs of these three works are given for visual consideration by the reader. The original works are …