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Title | Creator | Description | Department | Date |
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Four stage & 3 months in-between | Romo, Vanessa | Time stops right before change occurs. As you cease to exist in your usual state of mind, you find yourself alone, reflecting, and ask what lies ahead? This sliver in time feels like a terminal. Years pass and you move far from the moment you thought was the death of newness. It becomes a distant pa... | Art/Art History | 2017-07 |
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Gather-piece-stitch: the art of place | Downen, Céline | Philosopher Gaston Bachelard celebrates the "naive wonder we used to feel when we found a nest. This wonder is lasting, and today when we discover a nest it takes us back to our childhood or, rather, to a childhood; to the childhoods we should have had." I use the nest as a metaphor in my art with t... | Art and Art History | 2016 |
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Mabel Dodge Luhan: portrait of a patron | Steadman, Kandace Celeste | Mabel Dodge Luhan (1897- 1962) occupies an important and pivotal place in the artistic culture o f early twentieth-century America. Yet despite her prominence, Luhan is seldom heard o f today. This study examines Luhan's life and significance, using painted portraits, word portraits, and photograp... | Art/Art History | 2006-05 |
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American landscape painting: Dutch influences in the works of Thomas Doughty, Thomas Cole, Asher B. Durand, George Inness, Frederick E. Church, and Albert Bierstadt | Napper, Angela Sierra | Many connections exist between the American artists of the Hudson River School, specifically Thomas Doughty, Thomas Cole, Asher B. Durand, George Inness, Frederick Church, and Albert Bierstadt, and the Dutch landscape painters of the seventeenth century. Among these connections are similarities in ... | Art/Art History | 2007-12 |
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The art world expanded | Truxes, Anna | This paper explores the evolution of the concept of the art world, starting with the going-away, in order to show that effective art criticism requires knowledge of the art world. The nature of criticism implies that a critic logically identify, define and evaluate a work of art. Reasons are use... | Art/Art History | 2008-12 |
6 |
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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 |
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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 |
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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 |
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Where things belong | Gawle, Benjamin Joseph | The following is a written account supporting the sculptures in my MFA Thesis Exhibition. Each piece consists of ceramic objects along with ceramic containers to house such objects. These containers protect, present, and preserve the objects in an organized way. The containers are also labe... | Art/Art History | 2006-06 |
10 |
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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 |
11 |
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Constructed realities and metaphotography Gregory Crewdson's twilight series | Cook, Ashlee | Gregory Crewdson's Twilight (1998-2002) is a series o f photographs depicting scenes o f American suburbia embedded in psychological anxiety and uncanny undercurrents. Crewdson stages these photographs, constructing fragmented narratives evoking fantasy, magic and the supernatural, pulling fro... | Art/Art History | 2009-12 |
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Creative visions of community | Moyer, Sarah Elizabeth | Wondering how to utilize my freshly issued BFA, I became captivated by the publicly accessible format of mural paintings. Always on display, murals can be enjoyed by everyone, regardless o f their age or socio-economic background. Many have become landmarks in their community, often catalysts for ne... | Art/Art History | 2008-08 |
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Surface...ing | Zimmer, Cristin Elizabeth | What happens inside our minds is often just as important as what transpires in the natural world. These private thoughts, feelings, emotions and ambitions are crucial in forming our being. Although difficult to access and sometimes accept, these fragments that make up our psyche can be contradictor... | Art/Art History | 2010-07 |
14 |
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Emanuel de Witte's market scenes reexamined: an analysis in economic studies and material culture | Stout, Jeffrey Dale | Emanuel de Witte (1617-1691/92) is generally considered the finest Dutch architectural painter of the seventeenth century. Scholars have focused almost exclusively on De Witte's paintings of church interiors; however, De Witte produced a number of exceptional market scenes that have gone relatively ... | Art/Art History | 2006-12 |
15 |
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Across the Road | Meikle, David W. | The rolling foothills, rugged mountains, and sharp red rock found in the West have always held great appeal to me. I am a keen observer of the environment around me. I am constantly making mental notes about what is happening to the land at various times of day and at different times of year. A... | Art/Art History | 2006-05 |
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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 |
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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 |
18 |
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Van Chu photographic brushstroke | Chu, Van | Photographic Brushstroke, a term that has been an oxymoron, is no longer. Being a visual artist is in many ways like being a singer, if you sound like everyone else then why even bother singing. If you go to my exhibition with a predetermination of what photography is, you will not find a single ... | Art/Art History | 2010-05 |
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The architectural development of block eighty-eight, plat A, Salt Lake City survey during the era of Brigham Young 1847 to 1877 | Rogers, Janie L. | The object of this thesis is to document the architectural development of Block Eighty-eight, Plat A, Salt Lake City Survey during the time of Brigham Young's presidency of the LDS church in Utah, 1847-1877. The history of the block is introduced by discussing the architectural trends of the per... | Art/Art History | 1996-08 |
20 |
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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 |
21 |
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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 |
22 |
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Jackson Pollock and Andy Warhol: two disparate American artistic identities shaped by the nature-machine dichotomy | Vergadavola, Salvatore F. | In 1942, in response to Hans Hofmann urging him to look outside himself and seek sublimity in nature Jackson Pollock replied, "I am nature," and later moved to The Springs, a rural area on Long Island, where in the isolation of his bam/studio created his signature hand-poured canvases. Two decades ... | Art/Art History | 2004-12 |
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Tapisseries | Prevot, Meredith Louise Maynes | Patterns appear throughout the history of visual art. It is on printed or woven cloth that these patterns are most ubiquitous, and at the same time, least noticed. Over the past few years, textile design and decorative arts patterning have become a significant interest in my artwork, especially the ... | Art/Art History | 2007-12 |
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Final project paper | Smolarkiewicz, Zuzanna Joanna | The examination of personal identity inevitably leads to questions - the most common of which is what enables the perpetuation of the self. Who am 7? Am I myself because of my past, my present, or what I hope for in my future? Or does my identity emerge from my personal relationships with others,... | Art/Art History | |
25 |
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A study in form: process and results | Burgos, Francisco | This thesis documents the interests that inspired the body of work that is the core of this MFA; it mentions the biographical antecedents that led to it; it muses on the thoughts and dilemmas that were present while the work progressed; it describes the technical details of such progre... | Art/Art History | 2006-12 |