51 - 75 of 93
Number of results to display per page
51 Airth, Paula SueBelongings: a material lineageAs a designer, I am influenced by the appearance and tactility of the materials that surround me. I notice their color, shape, texture, type and decoration. My subconscious records these details and replays them as I design. I have a particular affinity for things with history. For this reason I am ...2007-12
52 Dykes, StefanieQuerl dismantling the bookWhen 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 My artistic practice changed dramatically with my desire to dismantle books, to unburden myself from outdated or discarded texts, and to fold them i...Methodology of Literacy Material Preparation; Artist books2010-07
53 Tachinni, Eugene RonaldPaper & tapeThis final project paper has two components; text and imagery. 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 called...Text and interpretation; Imagery - criticism and interpretation2008-05
54 James, JanAerial alchemyThis is a final project paper based on the use of alchemic fundamental practices to explore contemporary symbols, dynamic opposites and elements representing our transformative time. By uniquely combining these elements, color, mediums and techniques into an imagined space, I hope to deliver somethi...Alchemy in art2010-05
55 Knapp, Alma J.The history of Cyrus Edwin Dallin: Eminent Utah sculptorThe origin of sculpture is lost in antiquity. In fact, sculpture is as old as civilization itself. The appreciation of the fine arts do not belong to the savage era of the human race as that was a period of self-preservation, although there are some evidences in caves and on weapons of carving and p...Dallin, Cyrus E. (Cyrus Edwin), 1861-1944 Sculptors -- Utah -- Biography1948
56 Maksym, RebeccaCreolite and cultural cannibalism: reconstructing Cuban identity in the work of Marta Maria Perez Bravo and Maria Magdalena Campos-PonsNo matar ni ver matar animales (1985) created by Marta María Pérez Bravo and When I Am Not Here/Estoy Allá (1994) by María Magdalena Campos-Pons are two photographs inspired by Afro-Cuban mythology, particularly the beliefs and symbolism of Santería, a syncretic religious tradition stemming fro...African diaspora; Créolité; Cuban contemporary art; Cultural cannibalism; Gender; Identity2012-12
57 Gray, Winston GrantDance theatre of Alwin NikolaisAlwin Nikolais, the man from Mars, the non-dancer, the "de-humanizer" would have pointed ears, diabolical fingernails and green skin. What else could be expected of the creator of such works as Imago, Stratus and Nimbus, and Noumenon Mobilus? Myriad dance acquaintances, traditionalists, and yes, e...Modern Dance1905-05-20
58 Jacobs, David KentThree creative projects in directing: an original play, a scripted film, a documentary filmThis dissertation is concerned with theatre and film directing. The scripts of the three direction projects are included in this work. Copies of the two completed films are on file with the University of Utah Library. The three projects in directing are: First, an original play, IT BEGINS WITH O...College and school drama; Theater -- Production and direction; Documentary films -- Utah -- Salt Lake City; Mormon Church -- Welfare program, History -- 20th century1974-12
59 Pottratz, Katherine I.Artists live on islands: limitations as a creative ritualThe purpose of this research is to show how implementing limitations as a creative ritual may lead to a more optimal artmaking experience. Research has shown that creating parameters within a challenging activity increases an individual's concentration to the point that work seems effortless, and th...Choreographic process; Creative rituals; Film theory; Flow; Limitations; Modern dance2012-08
60 Peng, Shih-YaAn exploration of vulnerability through creative process and performanceThis thesis explores the relationship between vulnerable experiences and dance. As artists, why is it important for us to value our vulnerabilities? Through examining or facing our weakness, our true strengths are revealed. In my 3- year MFA studies, I have found that allowing myself to be vulnerabl...Creative process; Performance; Vulnerability2012-08
61 Sailer, Kathryn PatriciaEmbodied spectacle: an exploration of three-dimensional performanceThis thesis chronicles a theoretical and creative journey through dance as a three-dimensional performance environment. I follow in the footsteps of architectural historians and psychologists as I propose that the performance experience is affected by its structural frame. My desire to create a perf...Choreography; Installation; Modern dance; Postmodern; Site-specific; Three-dimensional2012-05
62 Ririe, Abigail MarieDancing metal/dancing flesh: alternate opportunities for embodiment through cybernated addendaThe cyborg has been traditionally defined as a being that incorporates both biological and artificial parts. I am interested in expanding this definition, describing the cyborg as a person who is human+, a human being who has been added to, melding their reality with technological innovation for rea...Choreography; Cyborg; Dance; Disability; Performance; Technology2012-05
63 Shaw, Rachael L.Metamorphic chrysalis: embodying mindfulness in transformationIn this research, I explore the relationship between mindfulness and transformation embedded within the creative process. I draw on the discipline of modern dance, psychological research on the relationship between environment and human behavior, Creative Systems Theory, Bartenieff Fundamentals, and...Change; dance; Mindfulness; Performing arts; transformation2012-05
64 Hurtado, Laura AllredMotherhood and representation at the Sackler Center for Feminist Art: Judy Chicago, Catherine Opie, Canan SenolThis thesis begins with one central question: how did second-wave feminist artists represent motherhood and his is it represented today? I explore this question through case-studies of three artists and their work: Judy Chicago's The dinner Party (1974-1979), Catherine Opie's Self-Portrait/Nursing (...Breastfeeding; Catherine opie; Feminism; Judy Chicago; Motherhood; Sackler center for feminist art2011-08
65 Hill, ScottiThe artist is not present: Andy Warhol's 1967 Utah "hoax" as performance and self-portraitureMy thesis recounts Andy Warhol's 1967 controversy at the University of Utah, in which the artist sent actor Alan Midgette to lecture in his place. My first chapter incorporates critical source material from the University's student newspaper the Daily Utah Chronicle, including articles, eyewitness ...Performance; Self-portraiture2011-08
66 Empey, Erin DoreanA collaboration: dance and theatreThis thesis explores the potential and the origin of dance and theatre as performing arts. I examine the relationship of the audience to performers, discuss the possibility for ritual and the sacred, and develop ideas for meaningful and effective collaboration of theatre and dance. It is through th...Audience; Collaboration; Dance; Performance; Theatre2011-05
67 Niu, Li-ShaThe me of yours and the me of mine: an investigation of subjective self and objective self in danceThis thesis investigates how the subjective self and objective self are shaped by interacting with the world. It examines how self-awareness arises when we put ourselves in an unfamiliar environment. In this research, I include personal dance experiences that have illuminated my own subjective self...Choreography; Dance; Objective self; Performance; Subjective self2011-08
68 Vance, Shannon NoelleSurfacing: finding an individual voice by living the honest language of the danceThis thesis navigates my journey as a dance artist, transcending movement creation in search of an individual voice through the practice of honest dance language. I believe a present and open dialogue with the body/mind, facilitates honest dance language and thus, discovery of the individual voice. ...Choreography; Creative impulse; Creative process; Honesty; Individual voice; Movement language2010-08
69 Stich, Elizabeth AnneEmbodying identity: movement as an experience of selfDance is a way of knowing the self, but who is the self that is known and how does one come to know it? In this research, I explore the relationship between movement and identity, drawing on the disciplines of modern dance; Self Psychology, as defined by Heinz Kohut; Creative Systems Theory, as art...Creativity; Identity; Laban movement analysis; Modern dance; Movement; Self2011-05
70 Womack, EricaRunning from conscience: the compliant individualMy research deals with the complexity and ambiguity of the choices we make, and the physiological factors that often influence our decisions. Why do we follow, why do we conform, and why do we comply are questions that I researched, and these complex questions served as an impetus for my creative wo...Modern dance2011-08
71 Decker, Donald JosephAre you my boyfriend? exploring a choreographic narrativeThis thesis investigates the choreographing of the dance "Are You My Boyfriend?" This work was performed on November 14 through 17 of 2001 at the Hayes/Christensen theatre in the Marriott Center for Dance on the University of Utah campus. This written component investigates my choreographic process ...Choreography; Context;; Familiarity; Meaning; Narrative; Surprise2010-08
72 Hohlios, Stephanie M.Henry Fuseli's The Death of Dido at Somerset HouseThis thesis examines the disquieting paradoxes of neo-classical form in Henry Fuseli's The Death of Dido (1781). Drawing his subject matter from Virgil's Aeneid, Fuseli depicts a voluptuous and seemingly ideal feminine figure that recalls the Nike of Samothrace (c. 220-190 BCE) in all her drama and...Dido; Feminine; Fuseli; Fussli; Joshua Reynolds; Somerset2011-08
73 Baggs, BelleBeyond words: an embodied empathetic processToday, empathy is repeatedly considered a highly important influence in human interaction, yet our active and embodied practice of empathy seems scarce. Empathy is commonly recognized by many academic fields including philosophy, psychology and biology. In my experience as a dancer, my movement e...Choreography; Empathy; Movement; Relationships2011-08
74 Barker, Emmy PaiserA thousand steps around me: a study of discovering metaphor through manipulating repetition in danceThis research presents questions and ideas about repetition and metaphor. It addresses the question: What is it about repetition that drives home a point, unravels ideas and opinions, and creates metaphor and connection to lived experiences? The thesis explores a very personal experience of dysfunc...Metaphor; Modern dance; Repetition2011-08
75 Beardsley, Amanda KayThis is the place: site-specificity in Ernesto Pujol's Awaiting (2010)The recent performance work of Ernesto Pujol complicates the notion of site-specific art, extending into the tension of what--or who--constitutes a site. This project considers Pujol's April 2010 site-specific performance entitled Awaiting as a case study in the decidedly complicated relationship be...Awaiting; Ernesto Pujol; Performance art; Place; Site-specificity; Situationism2011-08
51 - 75 of 93