Art Practice Commons^™

Andy Chan Interview, David Escobedo

Asian American Art Oral History Project

Bio: [by David Escobedo] Andy Chan is a Chinese immigrant that does a new style of Chinese traditional painting. His art career began in Hong Kong where he attended the Lingnan School and learned the Lingnan style of Chinese painting. Andy Chan is a well-known and established artist in his community in Chinatown Chicago. His art is beautifully done in composition and rendering. Andy is currently facing struggles with his health, which imposes on his ability to create large works and plans to make large art shows.

Liat Smestad, Amy Dosen

Asian American Art Oral History Project

Artist Bio:

"Coming from a family of architects, I saw how closely related the functions of fashion and architecture are. I wanted to explore the function of fashion further and began my coursework in fashion design, focusing on the protective aspect of clothing. My focus on the protective function of clothing led me to a 25+ years career in fur design. My artistic explorations have led me in some interesting directions. I continually reshape my idea as an artist and the boundaries of my art. I've recently branched out into photography and also returned to my childhood passion: painting. I …

Willi Red Buhay Interview, Lauren Todd

Asian American Art Oral History Project

Bio: Willi Red Buhay was a graduate of San Beda College and the University of Sto. Tomas. He was the first artistic director for design of the Cultural Center of the Philippines and the Folk Arts Theater, a position he held for fifteen years. He also held a teaching post at the University of the Philippines and his alma mater.

One of Manila’s celebrated design-artist-painters, Willi had staged over 300 productions from theater and cinema to gallery exhibitions. In 1970, he won the prestigious design competition for the Philippine Center in New York. It was the start of numerous design …

George Suyeoka Interview, Bridget Pasapane

Asian American Art Oral History Project

Bio: Born in 1926 in Hawaii, George Suyeoko was raised in Hawaii and graduated from McKinley High School. He served in the U.S. Military Intelligence Service during WWII in Japan. In 1953, he graduated fro the School of the Art Institute of Chicago. He has been a fine art and commercial artist in Chicago ever since. He was married to the late Irene Suyeoka, a weaver, has two children, and lives in Evanston, IL.

Suyeoko’s exhibitions include: Chicago International New Art Forms Exposition; Folkworks Gallery of Evanston; Honolulu Academy of Fine Art Extension; Honolulu Gallery; Best pf show at SAN …

Alice Brill's Sao Paulo Photographs: A Cross-Cultural Reading, Danielle Jean Hurd

Theses and Dissertations

In this thesis I consider the influence of Alice Brill's transnational background on her photographs of 1950s São Paulo. Brill was born in 1920 to a Jewish-German family. In 1934 she immigrated to São Paulo where she involved herself in local artistic circles. From 1946-47 she received a grant to study at the University of New Mexico and with the Art Students League in New York. Brill learned photography during her time in the United States, hoping to create documentary photo-essays in Brazil which she could send to American illustrated magazines. None of Brillss works were published in the United …

Jin Soo Kim Interview, Jin Woo Kim

Asian American Art Oral History Project

Artist Bio: jin soo kim was born in 1950 in Seoul, during the Korean War. In 1974, after receiving her B.S. from Seoul National University, kim left Korea. Upon arriving in Los Angeles, the severity of the culture shock was such that after eight months, she moved to a remote rural town Macomb Illinois, forty miles east of the Mississippi River. She began studying art in Western Illinois University while working at a hospital as a registered nurse.

In 1983, kim went on to receive an MFA at The School of the Art Institute of Chicago. Since then, her work …

Measured Chance, Brian R. Kluge

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

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 …

Signs And Symbols: Art And Language In Art Therapy, Malissa Morrell

Journal of Clinical Art Therapy

This paper is a preliminary attempt at theory building by exploring the use of art and language in art therapy through a theoretical inquiry model. Inductive and deductive processes are used to explore literature from the fields of psychology, art philosophy (particularly aesthetics), and linguistics. Concepts common to each of these disciplines are then further explored through the lens of bilingual therapy. Practical applications are discussed, along with suggestions for future research.

Understanding Client Imagery In Art Therapy, Erica K.M. Curtis

Journal of Clinical Art Therapy

This study offers a preliminary investigation into the question: How do art therapists make meaning from viewing client-made art? Art therapy literature on making meaning from client art is reviewed. The Visual Thinking Strategies (VTS) model used in art education and museum education is also briefly discussed for its parallels to this study’s findings. An adapted form of grounded theory for data collection and analysis was used, leading to emergent themes that suggest that understanding client art requires more than analyzing content and aesthetic elements. More specifically, this inquiry offers the consideration that viewing client art is a dynamic practice …

Echoes, Justin Huffman

CGU MFA Theses

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Push The Button//Start The Show, Davin K. Knight

CGU MFA Theses

My work is based in mediation and simulation via machines. The pieces in this exhibition are hybrids of object and image, dealing directly with the process of rearranging information. They are frenetic optical renderings of time, space, light, and motion. They are signs without clear indication, formal without express composition and flat without abandoning illusionistic space. Please see Download button in top right corner for the full statement.

"Après Dieu, C’Est L’Artisan": A Study Of Bamikéké Woodcarving In Dschang, Cameroon, Rebecca Potts

Independent Study Project (ISP) Collection

Wood sculpture among the Bamilékés is a political, spiritual and economic endeavor. Sculptural artwork is ultimately at the service of the community and is used in the daily and ceremonial life of the chefferie. Though the sculptor must create according to the needs of his society, he is himself responsible for the very formation of his community’s values and ideology.

Over the course of one month in Dschang I worked with wood sculptors in an artisanat, learning the technical aspects of the craft as well as their philosophies behind their profession. I created two wooden chairs and conducted seven interviews. …

Domestic, Anne-Elizabeth Sobieski

CGU MFA Theses

Los Angeles based painter Anne-Elizabeth Sobieski works in oil on linen. Using saturated colors and lush textures, she processes daily life, exploring emotional undercurrents, inevitable loss, and the instinct to protect what is loved.Please see Download button in top right corner for the full statement.

Claudia Carballada Mfa Thesis Statement, Claudia Carballada

CGU MFA Theses

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尼西黑陶: A Study Of Tibetan Black Pottery, Catherine Elliott

Independent Study Project (ISP) Collection

This paper addresses the contemporary production of traditional crafts through a close study of Tibetan black pottery. By considering the traditional process, materials, and techniques of Nixi pottery alongside contemporary changes in markets, resource availability, and production methods, this paper suggests possible directions for the development of traditional crafts. Ultimately, the paper challenges traditional distinctions between “arts” and “crafts,” suggesting the inherent mobility of crafts as their makers respond to changes in the social, political, and economic contexts of production.

Blanket Statements, Issue 103, Spring 2011

Blanket Statements: News Publication of the American Quilt Study Group

Blanket Statements, Issue 103, Spring 2011

Thinh Nguyen Mfa Thesis Statement, Thinh Nguyen

CGU MFA Theses

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Jane Gillespie Pryor Mfa Thesis Statement, Jane Gillespie Pryor

CGU MFA Theses

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Laser Cutting Informatics, Charlotte Becket

Cornerstone 2 Reports : Community Outreach and Empowerment Through Service Learning and Volunteerism

No abstract provided.

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.

A Meditative Art, Lori White

All Student Theses and Dissertations

My artwork symbolizes the idea of meditation through the true and organic forms. I paint a space where my mind is at ease. A place where all the chaos of the world around me stops and become beauty. In my artwork, the organic forms that I produce reflect the meditative power of natural forms. My mind sees the environment in a simple abstract appearance that mirrors a sense of peace and harmony. By painting with smooth, organic, and soft lines my artwork helps me get to a point of relaxation. Through the process of letting go of the world that …

Impressions Of Reality, Brooke Nicholson

All Student Theses and Dissertations

This thesis reviews the student's reflections and statements on her master's show. Watercolor and graphite (pencil) are used. (Abstract by OPUS staff)

Cultural Transgression: The Pursuit Of Art And Education, Ann Langeman

Research Day (Arts & Humanities, FIMS, and Education)

My research focuses on the transformational role art and education played in my life and seeks to explore broader cultural and educational implications of these experiences.

Jacob Fowler Mfa Thesis Statement, Jacob Fowler

CGU MFA Theses

I am invested in mindless activity, repetitive actions, and hasty production. Performance and completion are at the forefront of my hurried work habits. Practicality has directed my selection of materials and decision-making process toward meaningful and intentional outcomes. However the outcome is reminiscent of goal-oriented activities that are misplaced, in essence, a pragmatic process of customization gone astray. Please see Download button in top right corner for the full statement.

Day Jaw Boo, A Re-Collection, Rachel Vanwagoner

Theses and Dissertations

For my MFA thesis exhibition, I have collected ideas surrounding events that happened in the past and combined them with the ceramic work I have made in the three years of my master's program at Brigham Young University. I have grouped visual elements from Buck Rogers and other Futro (retro-future) pop-culture with ideas surrounding the Voyager Interstellar Mission and the compiling of the Golden Record. Combining these elements in an installation, will create an environment where people can reflect on things they have "already seen" and envision a brighter future. For that reason I playfully call the show Day Jaw …

Since 1980, Sookyung Bae

CGU MFA Theses

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Wilson, Ivan, 1889-1981 (Mss 356), Manuscripts & Folklife Archives

Manuscript Collection Finding Aids

Finding aid only for Manuscripts Collection 356.  Correspondence, photographs, sketches and drawings, writings, journals and clippings of or relating to Ivan Wilson, an artist and faculty member in the Art Department at Western Kentucky University  from 1920 to 1958.  Includes some materials related to other artists.

Drawing A Line In The Sand: Copyright Law And New Museums, Megan M. Carpenter

Law Faculty Scholarship

Over the last twenty years, audience attendance at museums, galleries, and performing arts institutions in the United States has decreased dramatically. Major museums and galleries are considering ways to add engaging and meaningful value to the user experience with technology, from incorporating user-generated content to creating multimedia installations billed as “collaborative” works.

In 2010, the Dallas Museum of Art’s Coastlines: Images of Land and Sea exhibition featured landscapes from 1850 to the present, as well as a sound installation composed by students and faculty in the Arts and Technology program at the University of Texas at Dallas, which played on …

Delicacies, Michelle Carla Handel

CGU MFA Theses

My work initiates a conversation about corporeal strangeness by creating ambiguity or mystery where simultaneous qualities of sensuality, vulnerability, and disgust exist. I create contradictions, subverting pleasing or friendly forms with uncomfortable qualities to elicit a sort of visceral consternation. Cues pointing in different directions can remain simply experiential or they can refer to the complexity of the body and raise questions about human attitudes towards it. Abstraction is used as a visual shorthand or entry point to the body in an effort to describe commonality among humans rather than emphasizing their differences. In this way, there is more freedom …

Selecting In - Selecting Out, Melanie S. Moore Bermudez

CGU MFA Theses

The scientific process was developed as a means to understanding the world around us. It is a systematic approach to reaching the unknown, and consists of fixed and unknown variables. At the beginning of an inquiry the known variables are identified and utilized within the experiment. But working with what is known and predictable can only go so far. It is with the introduction of the unpredictable that gaps are bridged and a new lens to see is created. It is this methodology that is at the foundation of my art practice. Please see Download button in top right corner …