Visual Arts
Permanent URI for this collectionhttps://hdl.handle.net/11274/15810
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Item The body as voice, visual culture epistemologies(Aug-23) Spencer, Caitlin Elizabeth 1993-; Dr. Sara Ishii-Bear; Megan Griffiths; Michael Giovanni ValderasThis project explores the ways Black and Latinx women of color artists express identity through the body in visual art. It is two part in nature, consisting of written research and an entire curated art exhibition. For the purposes of this thesis, I present four works from within the exhibition from artists Ari Brielle, Tiara Unique Francois, Tina Medina and Eliana Miranda. The theme of the project and exhibition centers around the concept of Intersectionality and the ways these women use the site of the body to reflect interconnected, social and personal issues women of color face and the ways they contribute to social justice. Each artwork is accompanied by a visual analysis that connects elements within the work to Black and Chicana feminist theory on Intersectionality and the creative process as tools of resistance and resilience.Item Design and execution of the front doors for the Chapel at the Texas State College for Women(1940-08) Drummond, Carmeta; Lemmon, ThetisItem Mural Painting in Texas: A survey of the work and aims of artists who have painted historic and industrial themes for walls(1939-08) Stolz, Thelma; LaSelle, DorothyItem Integration of bearings in Kinetic welded metal sculpture(1983-05) Eldridge, Patricia; Calabese, JohnItem Joseph Wright of Derby: His inspirations and symbols(2013-12) Laws, Leslie Ann; Calabrese, John; Parsons, Colby; Washmon, GaryThe purpose of this thesis is to analyze and expand on the use of symbolism in some of Wright's paintings depicting portraiture, landscape, mythology, and history. Although Wright never directly addressed the use of symbolism in his work, observations/interpretations can be formed based on contextual information. Five paintings are analyzed in this thesis in regard to Wright's use of symbols. Other pieces of art are referenced; however, their inclusion is only intended to augment the expansion of information about Wright's work and to substantiate a particular interpretation of his artwork. This thesis is arranged in such a way as to provide a discussion of Joseph Wright's association with the Enlightenment, Industrial Revolution, members of the Lunar Society, and their impact on his artworks. Research was conducted by examination of peer-reviewed and scholarly periodicals, books, and Internet sources.Item The mythic hero's journey as applied by selected Texas artists(1991-08) Chandler, Debra Greenway; Calabrese, John A.; Copeland, Betty; Broussard, JeanneThe purpose of this study was to analyze the use of the archetypal mythic hero's journey by five Texas artists. These artists include: Forrest Bess, James Surls, James Drake, Harry Geffert, and Michael Tracy. A questionnaire was designed and submitted to twentyfive Texas artists who have indicated the use of mythical . elements in their art. Scholarly journals, books, exhibition catalogs, and the artists' files from the Dallas Museum of Art were researched. The number of artists was narrowed to five that seemed to utilize the idea of the archetypal hero's journey, either by obtaining their ideas through a creative shamanistic journey or as subject matter for their art. Joseph Campbell's description of the hero's journey was used to analyze art works and the creative processes utilized by these artists.Item Multi-layered weaving(1973-12) Dempster, Margaret Mathis; Maxcy, Mable; Spellman, Coreen; Miller, John B.Item Stylistic influences in the work of Thomas Hart Benton(1976-05) Burchett, Jayme Sue Schaumann; Casey, Warren; Williams, Winifred; Rios, John; Smith, DonaldItem An art history curriculum guide for seventh and eighth grades(1992-08) Garber, Jeana; Calabrese, John A.; Copeland, BettyThis study provided a curriculum for teaching art history to seventh and eighth grade students based on the principles of discipline-based art education (DBAE). The student included historical facts, descriptions and the application of DBAE. The curriculum included a series of lesson plans which contained objectives, audio visual lists, and student expectations and evaluations. Each lesson also contained questions, or statements in the four domains of DBAE: art history, art criticism, art aesthetics and art production. The lessons represented structured, sequential learning as required by DBAE philosophy. The lessons were written according to the junior high level of needs and interests.Item A realist's abstract handling of color interactions(1976-05) Hendry, Louise Gray; Rios, John; Miller, John Brough; Casey, WarrenItem Fifteen contemporary designers of jewelry and hollow ware: USA 1952(1952-08) Rafford, Ruth Bachman; Lemmon, ThetisItem Gerhard Richter's paintings of terrorists: The artist confronts history(2013-05) Cope, Gail; Calabrese, John A.This thesis addresses these questions: Why did Gerhard Richter choose to paint terrorism, a complex, political, and polarizing theme? How does he convey such a subject, deal with the controversy generated, get the paintings exhibited, and find a permanent home for them? Acclaimed artist Gerhard Richter painted fifteen scenes of the violent Baader-Meinhof Gang that terrorized West Germany from 1968 to 1977. He named his amorphous views of the terrorists and their deaths simply, October 18, 1977, the date the gang leaders died in their prison cells. Research included visits to the German gallery that first exhibited the paintings, the MOMA in New York City, which owns them, and the Tate Modern in London. The author had access to original material in museum archives. Richter was drawn to the theme in part from his experiences growing up in Nazi Germany and may have been seeking validation as a painter of history.Item The art of the early Christian church: Its function as a teaching device(1976-05) Glover, Barbara Black; Casey, Warren; Rios, John; Miller, J. BroughItem Two stained glass windows designed for the Little-Chapel-In-The-Woods, Texas State College for Women, Denton, Texas: An historical survey of the craft, and problems of design and technique(1940-02) Paschall, Beatrice Hogue; LaSelle, DorothyItem The influence of religion on the jewelry and ornaments of the ancient Egyptians(1937-08) Bowen, Mary; Lemmon, ThetisItem Mythic themes from "The Nibelungenlied", Sturluson's "The Prose Edda", and Wagner's "Ring of the Nibelungs" made contemporary in Anselm Kiefer's artworks(5/30/2015) Dunnagan, Lindsey; Calabrese, John A.; Washmon, Gary; Wingate, VanceThe purpose of this study was to explore how Anselm Kiefer resurrects the Nordic myths of Brunhilde and Siegfried by illustrating terrible events from World War II in his artwork. Hitler adulterated the memory of Nordic myth when he used these sources of German pride to further his elitist and hateful ideals. In contrast, Kiefer takes these same myths and casts Hitler and his actions as the villain. Kiefer pushes his art further, however, and questions the assumption of Siegfried's purity, sometimes depicting this hero as villainous as well. The resulting morass brings into question a larger statement about perception, duplicity, and the impurity of human nature. To study this topic, a total of eight paintings have been chosen for careful analysis and the research for these works has been gathered through scholarly journals, books, and professional online sources.Item A study of the art and Christian philosophy of William Holman Hunt(11/30/1981) VanGeuns, Susan; Rios, John F.; Miller, John Brough; Smith, Mark; Calabrese, John A.Item Sermaka Omare: The Ainu motif of protection. An analysis of traditional Ainu artwork(8/30/2017) Hunger, Kristie; Calabrese, John A.; Evans, Laura; Perez, JanaThe purpose of this thesis is the preservation and discussion of the artwork of a culture that has been marginalized and almost made to vanish from history. The Ainu people have been pressured to assimilate to either Japanese or Russian cultures in the past. Only recently have they been able to assert their rights as indigenous people and are rebuilding their culture. Interpretations of patterns, through the scope of art history, have been made and linked to the motif of protection, which is referred to as sermaka omare. Necessary to understanding this culture, an explanation of their traditions opens the thesis, and then an examination of their traditional works becomes the content.
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