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Title | Creator | Description | Department | Date |
26 |
 | Herbarium obscura: shadow of nature | Rivera, Nancy E. | Nature is ephemeral, fragile, and wild. Over time, we have learned to tame and control it: We grow lawns, cultivate houseplants, and manufacture synthetic facsimiles of nature for aesthetic and ornamental purposes. In this way and more, we manipulate how we experience and understand it. In my exhibi... | Art/Art History | 2016 |
27 |
 | Iconography of the trail | Brunvand, Sandra Lynne | A focusing element in my work is to confront the theme of life and death and how this dichotomy could be cast as metamorphoses of states of being. In many ways this is such a fundamental theme of our existence as to be at once too simple and too pervasive to be fully comprehended. As I co... | Art/Art History | 2004-12 |
28 |
 | Improvisational structure | Hixon-Longaker, Victoria | I believe archetypal rhythms create life cycles and are manifest in the emotional, philosophical, and physical world. This environment is continuously churned by forces both positive and negative. My work is a direct response to this environment and its impact on the human experience. The power o... | Art/Art History | 1996-06 |
29 |
 | In my neighborhood: an installation | Hart, Allyn | My thesis installation, titled "In My Neighborhood," combined collage prints, paintings, and sculptural elements. The installation was loosely based on the structure of an ideal 1950's suburban American home. Found objects played a prominent role in both two- and three-dimensional constructions. ... | Art/Art History | 1996-08 |
30 |
 | Intersection | Dolberg, Daniel Glen | The unifying theme that runs throughout the paintings in my MFA show is that of space versus form. Light versus darkness and the interaction and relativity of color are secondary themes that I explore in my paintings. The subject matter I have chosen to explore in-depth is the architectural form o... | Art/Art History | 2005-12 |
31 |
 | Language and fragmentation | Blundell, Simon Henry | As our environment becomes increasingly mediated, so does our experience. My work is a direct response to an overmediated enviroment. Through mediation, our experience becomes fragmented. I am exploring the role of photography in the process of fragmentation and the way we construct meaning from our... | Art/Art History | 2003-12 |
32 |
 | Left behind | Moore, Jeremiah Lee | This project paper contains a description of the development of my thesis exhibition. The introduction covers just over a year of work on a wood construction project, research on medieval maps, and how both endeavors influenced the advancement and outcome of my paintings. The second section titled ... | Art/Art History | 2008-08 |
33 |
 | MFA exhibition | Bench, Ryan Joe | The subject of my paper is a body of work representing my personal interpretations, experiences, memories, and processes of creating images using the mediums of printmaking, painting and drawing. The subject matter represents broad visual sketches of the landscape, not direct visual copies; but inst... | Printmaking | 2017-09 |
34 |
 | MFA thesis show by: James McGee | McGee, James | The body of work represented it this packet reflects on remembered and imagined experiences from childhood. Mostly symbols from a suburban world, the subject matter includes above ground pool and BMX bikes; the people portrayed are my family. These paintings illustrate what is specific about memory... | Art/Art History | 2005-06 |
35 |
 | Motion pictures | Moore, Amanda Jane | Art cannot be created in a bubble. Motion Pictures is no exception. This body of work is a culmination of my education, location, and personal interaction with pop culture. Without my move from Atlanta to Salt Lake City, I would not have become so obsessed with my subject matter. Without my subje... | Art/Art History | 2006-05 |
36 |
 | Multicultural: Facts and findings from the two years I spent living under a microscope | Mehr, Annette | This final project paper is an accompaniment of my thesis work: a series of 11 oil paintings of bacterial cultures. These bacterial cultures were collected from volunteers, throughout 2016-2017. The paintings of these cultures are defined as portraits of the people who volunteered their bacteria. Th... | Art & Art History | 2017-12 |
37 |
 | Paper & tape | Tachinni, Eugene Ronald | This final project paper has two components; text and imageiy. The first component, the text, has two parts. The first part is a collection of four personal narratives written by the artist, contained in the first four chapters. The second part is a response to an assignment given in a course ca... | Art/Art History | 2008-05 |
38 |
 | Prime Property | Liebich, Thomas | This Final Project Paper is concerned with my art project Prime Property. The final exhibition of the project opened on August 24, 2007 and ran through September 14, 2007 in the Alvin Gittins Gallery of the University of Utah. In this paper, I'm attempting to shed light on my rational and intentio... | Art/Art History | 2008-05 |
39 |
 | Project paper: Kirsti A. Ringger | Ringger, Kirsti Asplund | Hegel believed the aim of a human mind is to know itself, but that a human mind develops a notion of itself within a community of other minds, and that throughout history, humans collectively build upon what has gone before and improve. Art is one way that the collective knowledge is learned by eac... | Art/Art History | 2010-10 |
40 |
 | The quasic garden | Sevenans, Monique Ann | Within this thesis I will discuss the origins of the work I have created for The Quasiac Garden. It will begin with an explanation of how I use the creation of art as an instigator of my intuition. There is a dependent relationship between the creation of materials and the formal elements of de... | Art/Art History | 1998-03 |
41 |
 | Querl dismantling the book | Dykes, Stefanie | When an artist adopts an intuitive working methodology, the creation of images or objects often appear before a final clear conceptual idea is defined. My artistic practice changed dramatically with my desire to dismantle books, to unburden myself from outdated or discarded texts, and to fold them ... | Art/Art History | 2010-07 |
42 |
 | Recollection | Jorgensen, Eva Christina | I would like to thank the following: my committee, Justin Diggle, Maureen O'Hara Ure, and Kaiti Slater, for their helpful criticism and advice; my fellow graduate students, especially Zuzanna Smolarkiewicz, Thomi Liebich, Meredith Prevot, and Leah Moses Gandhi, for their insight, camaraderie, and h... | Art/Art History | 2007-08 |
43 |
 | Reflection | Lockett, Steven Dennis | My art is based on my life. These life experiences acquired fuel my imagery. They speak a personal language of emotions both positive and negative. Using the human figure as my subject, I look for interesting ways to capture the essence of my thoughts as I create an image. The focus is on an inn... | Art/Art History | 2006-04 |
44 |
 | Ritual - ceremony - immortality | Freeman, Etsuko Ogura | The following pages describe my experience in the University of Utah's Master of Fine Arts graduate program in ceramics. The technical aspects are not the main focus. The focus is on the symbolism, ritual and ceremony of the installation, "Ritual - Ceremony - Immortality."The challenge was to sea... | Art/Art History | 2005-12 |
45 |
 | Rural decline | Hill, Jay David | Driving past Burley, Idaho on my way to Boise for what must be the umpteenth time, I pass an aged and worn out motel sign, broken and unlit, perched far above the highway on three naked metal poles. The motel, once an oasis for the road-weary traveler, is gone. The sign stands proud but weary, in th... | Art/Art History | 2006-08 |
46 |
 | Salt and mortar | Flack, Douglas McGarren | My work constructs a culture that lives in the salt flats. I desire to understand why people do what they do and 1 achieve this by capturing my own experiences through every day life and translating them into a visual representation on the salt flats. I choose to paint these people in their contex... | Art/Art History | 2008-05 |
47 |
 | Seeing and reflection | Bateman, Edward James | Art has become a term that eludes definition. Inasmuch as art is a truly human activity, I believe that any attempt to explore this complex topic must establish as its foundation basic human capacities. I propose that this foundation consists of three aspects of human interest that come together i... | Art/Art History | 2003-08 |
48 |
 | Sequential figuration | Gerhart, Daniel Lyle | The show contained twenty-two sculptures of the human form. All but three of the figures in the show were derived from five half life-size figures. Of these five figures three were female and two male. The group of five figures were each represented in the three media of beeswax, aluminum, an... | Art/Art History | 2001-12 |
49 |
 | Simple stuff...? | Kurtz, Michelle | We are all part of the human condition that I describe as being human in a social, cultural, and personal context. To be part of this plays a part in shaping who we are. Often times we are not aware of, or have forgotten situations in our lives that have shaped us. In SIMPLE STUFF... ? I use clic... | Art/Art History | 2010-08 |
50 |
 | Simulations of input | Ragland, Gregory S. | My art is based on my dreams. By viewing my work you are experiencing simulations and reproductions of my dreams. My work is in paint, ceramics, and other mixed media. I use whatever media it takes to re-create the image I saw. I am an artist who uses signs, symbols and dreams to make decisions ... | Art/Art History | 2003-08 |