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Visual Arts Theses and Dissertations

Theses/dissertations from 2014 2014.

A Maoli-Based Art Education: Ku'u Mau Kuamo'o 'Ōlelo , Raquel Malia Andrus

Accumulation of Divine Service , Blaine Lee Atwood

Caroline Murat: Powerful Patron of Napoleonic France and Italy , Brittany Dahlin

.(In|Out)sider$ , Jarel M. Harwood

Mariko Mori's Sartorial Transcendence: Fashioned Identities, Denied Bodies, and Healing, 1993-2001 , Jacqueline Rose Hibner

Parallel and Allegory , Kody Keller

Fallen Womanhood and Modernity in Ivan Kramskoi's Unknown Woman (1883) , Trenton B. Olsen

Conscience and Context in Eastman Johnson's The Lord Is My Shepherd , Amanda Melanie Slater

The War That Does Not Leave Us: Memory of the American Civil War and the Photographs of Alexander Gardner , Katie Janae White

Theses/Dissertations from 2013 2013

Women and the Wiener Werkstätte: The Centrality of Women and the Applied Arts in Early Twentieth-Century Vienna , Caitlin J. Perkins Bahr

Cutting Into Relief , Matthew L. Bass

Mask, Mannequin, and the Modern Woman: Surrealism and the Fashion Photographs of George Hoyningen-Huene , Hillary Anne Carman

The End of All Learning , Maddison Carole Colvin

Civitas: A Game-Based Approach to AP Art History , Anna Davis

What Crawls Beneath , Brent L. Gneiting

Blame Me for Your Bad Grade: Autonomy in the Basic Digital Photography Classroom as a Means to Combat Poor Student Performance , Erin Collette Johnson

Evolving Art in Junior High , Randal Charles Marsh

All Animals Will Get Along in Heaven , Camila Nagata

It Will Always Be My Tree: An A/r/tographic Study of Place and Identity in an Elementary School Classroom , Molly Robertson Neves

Zofia Stryjeńska: Women in the Warsaw Town Square. Our Lady, Peasant Mother, Pagan Goddess , Katelyn McKenzie Sheffield

Using Contemporary Art to Guide Curriculum Design:A Contemporary Jewelry Workshop , Kathryn C. Smurthwaite

Documenting the Dissin's Guest House: Esther Bubley's Exploration of Jewish-American Identity, 1942-43 , Vriean Diether Taggart

Blooming Vines, Pregnant Mothers, Religious Jewelry: Gendered Rosary Devotion in Early Modern Europe , Rachel Anne Wise

Theses/Dissertations from 2012 2012

Rembrandt van Rijn's Jewish Bride : Depicting Female Power in the Dutch Republic Through the Notion of Nation Building , Nan T. Atwood

Portraits , Nicholas J. Bontorno

Where There Is Design , Elizabeth A. Crowe

George Dibble and the Struggle for Modern Art in Utah , Sarah Dibble

Mapping Creativity: An A/r/tographic Look at the Artistic Process of High School Students , Bart Andrus Francis

Joseph as Father in Guido Reni's St. Joseph Images , Alec Teresa Gardner

Student Autonomy: A Case Study of Intrinsic Motivation in the Art Classroom , Downi Griner

Aha'aina , Tali Alisa Hafoka

Fashionable Art , Lacey Kay

Effluvia and Aporia , Emily Ann Melander

Interactive Web Technology in the Art Classroom: Problems and Possibilities , Marie Lynne Aitken Oxborrow

Visual Storybooks: Connecting the Lives of Students to Core Knowledge , Keven Dell Proud

German Nationalism and the Allegorical Female in Karl Friedrich Schinkel's The Hall of Stars , Allison Slingting

The Influence of the Roman Atrium-House's Architecture and Use of Space in Engendering the Power and Independence of the Materfamilias , Anne Elizabeth Stott

The Narrative Inquiry Museum:An Exploration of the Relationship between Narrative and Art Museum Education , Angela Ames West

Theses/Dissertations from 2011 2011

The Portable Art Gallery: Facilitating Student Autonomy and Ownership through Exhibiting Artwork , Jethro D. Gillespie

The Movement Of An Object Through A Field Creates A Complex Situation , Jared Scott Greenleaf

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

A Comparative Case Study: Investigation of a Certified Elementary Art Specialist Teaching Elementary Art vs. a Non-Art Certified Teacher Teaching Elementary Art , Jordan Jensen

A Core Knowledge Based Curriculum Designed to Help Seventh and Eighth Graders Maintain Artistic Confidence , Debbie Ann Labrum

Traces of Existence , Jayna Brown Quinn

Female Spectators in the July Monarchy and Henry Scheffer's Entrée de Jeanne d’Arc à Orléans , Kalisha Roberts

Without End , Amy M. Royer

Classroom Community: Questions of Apathy and Autonomy in a High School Jewelry Class , Samuel E. Steadman

Preparing Young Children to Respond to Art in the Museum , Nancy L. Stewart

DAY JAW BOO, a re-collection , Rachel VanWagoner

The Tornado Tree: Drawing on Stories and Storybooks , Toni A. Wood

Theses/Dissertations from 2010 2010

IGolf: Contemporary Sculptures Exhibition 2009 , King Lun Kisslan Chan

24 Hour Portraits , Lee R. Cowan

Fabricating Womanhood , Emily Fox

Earth Forms , Janelle Marie Tullis Mock

Peregrinations , Sallie Clinton Poet

Leland F. Prince's Earth Divers , Leland Fred Prince

Theses/Dissertations from 2009 2009

Ascents and Descents: Personal Pilgrimage in Hieronymus Bosch's The Haywain , Alison Daines

Beyond the Walls: The Easter Processional on the Exterior Frescos of Moldavian Monastery Churches , Mollie Elizabeth McVey

Beauty, Ugliness, and Meaning: A Study of Difficult Beauty , Christine Anne Palmer

Lantern's Diary , Wei Zhong Tan

Text and Tapestry: "The Lady and the Unicorn," Christine de Pizan and the le Vistes , Shelley Williams

Theses/Dissertations from 2008 2008

A Call for Liberation: Aleijadinho's 'Prophets' as Capoeiristas , Monica Jayne Bowen

Secondhand Chinoiserie and the Confucian Revolutionary: Colonial America's Decorative Arts "After the Chinese Taste" , Kiersten Claire Davis

Dairy Culture: Industry, Nature and Liminality in the Eighteenth-Century English Ornamental Dairy , Ashlee Whitaker

Theses/Dissertations from 2007 2007

Navajo Baskets and the American Indian Voice: Searching for the Contemporary Native American in the Trading Post, the Natural History Museum, and the Fine Art Museum , Laura Paulsen Howe

And there were green tiles on the ceiling , Jean Catherine Richardson

Four Greco-Roman Era Temples of Near Eastern Fertility Goddesses: An Analysis of Architectural Tradition , K. Michelle Wimber

Theses/Dissertations from 2006 2006

The Portrait of Citizen Jean-Baptiste Belley, Ex-Representative of the Colonies by Anne-Louis Girodet Trioson: Hybridity, History Painting, and the Grand Tour , Megan Marie Collins

Fix , Kathryn Williams

Theses/Dissertations from 2005 2005

Ideals and Realities , Pamela Bowman

Accountability for the Implementation of Secondary Visual Arts Standards in Utah and Queensland , John K. Derby

The Artistic and Architectural Patronage of Countess Urraca of Santa María de Cañas: A Powerful Aristocrat, Abbess, and Advocate , Julia Alice Jardine McMullin

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Home > FACULTIES > Visual Arts > VISUALARTS-ETD

Visual Arts Theses and Dissertations

This collection contains theses and dissertations from the Department of Visual Arts, collected from the Scholarship@Western Electronic Thesis and Dissertation Repository

Theses/Dissertations from 2023 2023

sweeping the forest floor of frequencies , Maria A. Kouznetsova

Achy Awfulness , Rylee J. Rumble

Nonstop Digital Flickerings; , Sam Wagter

Theses/Dissertations from 2022 2022

Credulous Escapism , Brianne C. Casey

At Dusk , Michelle Paterok

Theses/Dissertations from 2021 2021

Marvelous Monsters , Thomas Bourque

On Ground , Matthew Brown

Pharmakon: From Body to Being , Jérôme Y. C. Conquy

The Other Neighbour of El Otro Lado , Anahi Gonzalez Teran

Neoliberalism, Institutionalism, and Art , Declan Hoy

Strings of Sound and Sense: Towards a Feminine Sonic , Ellen N. Moffat

Cyber Souls and Second Selves , Yas Nikpour Khoshgrudi

The No No-Exit Closet: An Alternative to No-Exit Pathways , Faith I. Patrick

Fleet: Nuances of Time and Ephemera , Rebecca Sutherland

Theses/Dissertations from 2020 2020

The Hell of a Boiling Red , George Kubresli

still, unfolding , Ramolen Mencero Laruan

Theses/Dissertations from 2019 2019

Spanning , Mary Katherine Carder-Thompson

The Medieval Genesis of a Mythology of Painting , Colin Dorward

Philosophical Archeology in Theoretical and Artistic Practice , Ido Govrin

Bone Meal , Johnathan Onyschuk

Inventory , Lydia Elvira Santia

Collaborative Listening and Cultural Difference in Contemporary Art , Santiago Ulises Unda Lara

Absence and Proximity , Zhizi Wang

Theses/Dissertations from 2018 2018

Then Again, Maybe I Won't , Claire Bartleman

and where is the body? , Tyler Durbano

Next to a River: Mobility, Mapping, and Hand Embroidery , Sharmistha Kar

Interfaces of Nearness: Documentary Photography and the Representation of Technology , Mark Kasumovic

Buffer , Graham Macaulay

The English Landscapes in the Seventeenth Century , Helen Parkinson

SuperNova: Performing Race, Hybridity and Expanding the Geographical Imagination , Raheleh Saneie

Slower Than Time Itself , Matthew S. Trueman

Skim , Joy Wong

Theses/Dissertations from 2017 2017

Gardening at Arm's Length , Paul Chartrand

Lesser Than Greater Than Equal To: The Art Design Paradox , Charles Lee Franklin Harris

Skin Portraiture: Embodied Representations in Contemporary Art , Heidi Kellett

Midheaven , Samantha R. Noseworthy

Drum Voice , Quinn J. Smallboy

Theses/Dissertations from 2016 2016

Beyond the Look of Representation: Defamiliarization, Décor, and the Latin Feel , Juanita Lee Garcia

Emphatic Tension , Mina Moosavipour

Symbiotic: The Human Body and Constructs of Nature , Simone Sciascetti

Thin Skin , Jason Stovall

On Coming and Going , Quintin Teszeri

Theses/Dissertations from 2015 2015

Crowdsourcing , Sherry A. Czekus

From Dust to Dust , Lynette M. de Montreuil

Hand-Eye , Michael S. Pszczonak

Abstraction And Libidinal Nationalism In The Works Of John Boyle And Diana Thorneycroft , Matthew Purvis

Tangled Hair: Uncertain Fluid Identity , Niloufar Salimi

Liminal Space: Representations Of Modern Urbanity , Matthew Tarini

Theses/Dissertations from 2014 2014

Creative Interventions and Urban Revitalization , Nicole C. Borland

What Lies Behind: Speculations on the Real and the Willful , Barbara Hobot

Turning to see otherwise , Jennifer L. Martin

Come Together: An Exploration of Contemporary Participatory Art Practices , Karly A. McIntosh

A Photographic Ontology: Being Haunted Within The Blue Hour And Expanding Field , Colin E. Miner

Matters of Airing , Tegan Moore

Liquidation , Amanda A. Oppedisano

Just As It Should Be: Painting and the Discipline of Everyday Life , Jared R. Peters

Clyfford Still in the 1930s: The Formative Years of a Leading Abstract Expressionist , Emma Richan

From 'Means to Ends': Labour As Art Practice , Gabriella Solti

Across Boundaries , Diana A. Yoo

Theses/Dissertations from 2013 2013

Following the Turn: Mapping as Material Art Practice , Kyla Christine Brown

Queer(ing) Politics and Practices: Contemporary Art in Homonationalist Times , Cierra A. Webster

Some Theoretical Models for a Critical Art Practice , Giles Whitaker

Lines of Necessity , Thea A. Yabut

Theses/Dissertations from 2012 2012

Out of Order: Thinking Through Robin Collyer, Discontent and Affirmation (1973-1985) , Kevin A. Rodgers

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Sounding the climate crisis: time and the more-than-human in contemporary folk music in scotland and england , indigenous landscapes in caspana: exploring a ch'ixi epistemology , new pulsar generator (nupg): compositional practice, digital sound synthesis model and their temporalities , 'we are such stuff': shakespeare and material culture in eighteenth-century england , wellbeing as a decision making criterion in urban park design: assessing urban parks on their effect on user wellbeing , forgotten images still resisting time: writing the london bomb damage photograph archive 1940 - 1945 , medicine and modernity: fifty years of nhs hospital building in scotland, 1948-1998 , farc musicians' musical identities and political identities through their music: analysis of their narratives, musical practices and songs in the colombian peace post-agreement , drawing-with eye-tracking technology: an exploratory art-based research investigating the adaptation of eye-tracking methodology as a contemporary artistic drawing practice , staging the carnivalesque: seditious strategies in print and performance from simplicissimus to berlin dada, 1896-1920 , differential space in underused town centres: community appropriation of space through creative practices of arts-led urban regeneration , spatial narratives of happiness in everyday environments , humour in fifteenth-century france: a study of visual evidence , policing as material form: public works and local government in the transition from colony to nation in chile, 1786-1833 , diversity on display: a study on gentry-class women and their painting practice in the jiangnan region of high qing china , untangling collaboration: a critical study on the relationship between natural fibres artisans and designers in chile , incorporation of polyphony into russian sacred music , transmuting values in artificial intelligence: investigating the motivations and contextual constraints shaping the ethics of artificial intelligence practitioners , archive of gestures , architecture of error: matter, measure and the misadventures of precision .

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Art and Art History Theses and Dissertations

Theses/dissertations from 2023 2023.

Fragmented Hours: The biography of a devotional book printed by Thielman Kerver , Stephanie R. Haas

Theses/Dissertations from 2022 2022

Assessing Environmental Sensitivity in San Diego County, California, for Bird Species of Special Concern , Eda Okan Kilic

Theses/Dissertations from 2021 2021

Empress Nur Jahan and Female Empowerment: A Critical Analysis of a Long-Forgotten Mughal Portrait , Angela N. Finkbeiner

Theses/Dissertations from 2019 2019

Seeing King Solomon through the Verses of Hafez: A Critical Study of Two Safavid Manuscript Paintings , Richard W. Ellis

Moving Away from The West or Taking Independent Positions: A Structural Analysis for The New Turkish Foreign Policy , Suleyman Senturk

A Quiet Valley at Roztoky : Testimony of Singularity in the Landscape Imagery of Zdenka Braunerová , Zdislava Ungrova

Theses/Dissertations from 2018 2018

Mirror Images: Penelope Umbrico’s Mirrors (from Home Décor Catalogs and Websites) , Jeanie Ambrosio

Theses/Dissertations from 2016 2016

Incongruous Conceptions: Owen Jones’s Plans, Elevations, Sections and Details of the Alhambra and British Views of Spain , Andrea Marie Johnson

An Alternative Ancien Régime? Elisabeth Vigée-Lebrun in Russia , Erin Elizabeth Wilson

Theses/Dissertations from 2015 2015

Sarah Sze's "Triple Point": Modeling a Phenomenological Experience of Contemporary Life , Amanda J. Preuss

Cross-Cultural Spaces in an Anonymously Painted Portrait of the Ottoman Sultan Mahmud II , Alison Paige Terndrup

Theses/Dissertations from 2013 2013

The Choir Books of Santa Maria in Aracoeli and Patronage Strategies of Pope Alexander VI , Maureen Elizabeth Cox

Theses/Dissertations from 2012 2012

Painting Puertorriqueñidad: The Jíbaro as a Symbol of Creole Nationalism in Puerto Rican Art before and after 1898 , Jeffrey L. Boe

Franz Marc as an Ethologist , Jean Carey

Renegotiating Identities, Cultures and Histories: Oppositional Looking in Shelley Niro's "This Land is Mime Land" , Jennifer Danielle Mccall

Theses/Dissertations from 2010 2010

Empty Streets in the Capital of Modernity: Formation of Lieux de Mémoire in Parisian Street Photography From Daguerre to Atget , Sabrina Lynn Hughes

Theses/Dissertations from 2009 2009

Intervention in painting by Marlene Dumas with titles of engagement: Ryman's brides, Reinhardt's daughter and Stern , Susan King Klinkenberg

Self-fashioning, Consumption, and Japonisme : The Power of Collecting in Tissot’s Jeunes Femmes Regardant des Objets Japonais , 1869 , Catherine Elizabeth Turner

Theses/Dissertations from 2008 2008

Kandinsky’s Dissonance and a Schoenbergian View of Composition VI , Shannon M. Annis

Theses/Dissertations from 2007 2007

Re-Thinking the Myth of Perugino and the Umbrian School: A Closer Look at the Master of the Greenville's Jonas Nativity Panel , Carrie Denise Baker

I'm Not Who I Was Then, Now: Performing Identity in Girl Cams and Blogs , Katherine Bzura

Manifestations of Ebenezer Howard in Disneyland , Michelle M. Rowland

The assimilation of the marvelous other: Reading Christoph Weiditz's Trachtenbuch (1529) as an ethnographic document , Andrea McKenzie Satterfield

Theses/Dissertations from 2006 2006

Rethinking the Monumental: The Museum as Feminist Space in the Sexual Politics Exhibition, 1996 , Devon P. Larsen

Vision and Disease in the Napoleonic Description de l’Egypte (1809-1828): The Constraints of French Intellectual Imperialism and the Roots of Egyptian Self-Definition , Elizabeth L. Oliver

Theses/Dissertations from 2005 2005

The articulate remedies of Dolores Lolita Rodriguez , Hyatt Kellim Brown

Negotiating Artistic Identity through Satire: subREAL 1989-1999 , Anca Izabel Galliera

From Chapel to Chamber: Liturgy and Devotion in Lucantonio Giunta’s Missale romanum , 1508 , Lesley T. Stone

Theses/Dissertations from 2004 2004

Ensenada , Julia DeArriba-Montgomery

Threatening Skies , Brandon Dunlap

Apocalypth pentagram , Matthew Alan Guest

African Costume for Artists: The Woodcuts in Book X of Habiti antichi et moderni di tutto il mondo , 1598 , Laura Renee Herrmann

The Artist and Her Muse: a Romantic Tragedy about a Mediocre and Narcissistic Painter Named Rachel Hoffman , Rachel Gavronsky Hoffman

Procession: The Celebration of Birth and Continuity , I Made Jodog

The Thornton Biennial: The Kruszka Pavilion: The 29YR Apology , Ethan Kruszka

american folk , Preston Poe

A Simple Treatise on the Origins of Cracker Kung Fu Or Mai Violence , Mark Joseph Runge

"My Journey" , Douglas Smith

Twilight , Britzél Vásquez

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SUNY New Paltz Masters in Fine Art (MFA) Thesis Collection

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Corpus Ex Machina: a biomechanically collaborative exploration of the corporeal fantasies of artificial intelligence: MFA Thesis - Painting & Drawing

Fractured horizon: MFA Thesis - Photography and Related Media

Intimate exchanges: MFA Thesis - Printmaking

Take a breath: MFA Thesis - Sculpture

Transcendence: post-Catholic healing: MFA thesis - Photography and Related Media

Ethereal lines: MFA Thesis - Metal

Diasporican: MFA Thesis - Sculpture

At the gate of dawn: MFA Thesis

How are you?: MFA Thesis - Metal

Personal preparedness in the nuclear age: MFA Thesis - Printmaking

Layers of self - an unfolding conversation through painting, encaustics and doll making: MFA Thesis - Painting & Drawing

“Romantic Painter”: MFA Thesis - Painting & Drawing

Adorned with rattles: meditations on indigenous sonorism, communal healing, and nature : MFA Thesis - Photography and Related Media

Dark garden: MFA Thesis - Photography and Related Media

Bloom: MFA Thesis - Ceramics

Slippery spaceIsI: MFA Thesis - Metal

Plain sight: MFA Thesis - Sculpture

$P4RKL3 FiLTH CLOUD NiN3 queerness of the in between: MFA Thesis - Metal  

Birds, buttons, brontosauruses, and belugas: MFA Thesis - Printmaking

Mobility blues: MFA Thesis - Painting & Drawing

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DISSERTATION MA Visual Arts (MVA6017) Mahatma Gandhi Institute School of Fine Arts Project's Title Beyond Shapes and Forms Conceptualisation of art in a Mauritian context

Beyond shape and form Title: conceptualisation of art in a Mauritian context Sub title: Has craft been integrated in art work done by local artists, why and to what extent from a Mauritian perspective. My intention is to write on a few local artists’ work to investigate the use of crafts and craftsmanship in their work. I will analyse their work in a Mauritian context. A quick glance in the history of art shows that in the ancient civilisation, there has been no clear demarcation between arts and craft. (As we find craft is part and parcel of ancient civilisation. Remnants from pottery, statuettes, architecture and other artefact disclose the socio economic and cultural factors that existed in the past. As society evolved, scholars started to define terminologies and categorize various fields of specialisation, so much so, that art was seen as “art for art sake” and “art for not art”. In Mauritius, the context of evolution in art has been to a large extent marked by colonialism as our nation has been under the French and British rule. The educational, economic, social and cultural system has thus been modelled accordingly. The Mauritian nation is endowed with different cultures, traditions and languages which are linked together by our local dialect which is the Creole. The development in art has evolved in terms of styles and techniques into contemporary era where it has bridged the gap of fine art and craft. My main concern in the research will be to seek how and to what extent craft has been integrated amongst the art practitioners.

Related Papers

In: Cultural diversity and interculturality: what is the foundation for sustainable peace?

Gitanjali Pyndiah

Conference Proceedings Cultural diversity and interculturality: what is the foundation for sustainable peace? Mauritius 2011

Journal of Mauritian Studies New Series Vol. 7 No.1

Conference Proceedings International Conference on Contemporary Mauritius 2010

Island Studies Journal. Vol. 11 No. 2 (Special Issue: Island decolonisation) pp. 485-504

East-West Interchanges in American Art

Jacquelynn Baas

Thesis Dissertation University of Wollongong

marie geissler

This thesis surveys in a strictly chronological fashion discourses that were critical to promoting changes in the understanding of Arnhem Land bark painting from 1850 to 1990. The thesis is based on extensive surveys of the record in relation to early historical accounts, reports, press clippings and catalogues of exhibitions of Aboriginal art and bark painting in particular. While this study does not depart from existing perspectives on the reception of Aboriginal art, such as those of Jones, Lowish, Morphy and Taylor, it presents a more nuanced account and its specific focus is the reception of Arnhem Land bark painting. Its chronological period is 140 years and it includes new data from the press. It elaborates more fully on the reception of Aboriginal art in the gallery. It considers 177 press commentaries (from 1853-1990), many of which have not, to my knowledge, been hitherto noted, and creates broader contexts by means of the chronological documentation and analysis of the commentaries detailed in 62 key exhibition catalogues of Aboriginal art. As well, - 17 local and international professionals in the fields of anthropology, art and business who have played critical roles in the development of the understandings for Aboriginal art and Arnhem Land bark painting since the 1960s have been interviewed. An underlying aim of the thesis has been to document the shifts in perception that occurred in regards to emerging understandings in the historical records of the sophistication of Aboriginal people and their art; importantly, it aims to identify how and when these first happened and what the mechanisms were that allowed this to become widely understood by mainstream audiences. It therefore tracks accounts of the earliest periods of contact, noting evidence of these initial perceptions and the changes that followed.

Interactions: Studies in Communication & Culture. Special Edition: Reggae Studies in a Global Context, 9 (1), pp. 119–136. Intellect Books 2018.

Editors Dr. Carolyn Cooper and Dr. Leo Vigidal.

Dina Bangdel, « Packaging the Naked Buddhas », Ateliers d'anthropologie [En ligne], 43 | 2016, mis en ligne le 05 octobre 2016, consulté le 05 octobre 2016. URL : http://ateliers.revues.org/10263

Dina Bangdel

This article explores the phenomenon of tourist art in Nepal, as narratives of cultural imaginings, specifically as constructions of identity and meaning through the commodification of “ethnic” art. This demand for the imagined “authentic” has given rise to new iconographies and nontraditional styles that are increasingly becoming the standard for tourist paintings. This paper argues that tourist imaginings offer an alternative space for artistic creativity and innovation. I consider how traditional artists see themselves meeting the expectations of tourists, by constructing categories of the aesthetic tastes of the “other,” based on specific national identities in a global context. This imagining then becomes critical to the marketing/packaging of the commodities as it underscores how these new iconographies are interpreted and sold as continuities of the traditional works of art. As a tourist commodity, these cultural productions, their negotiations with local reception and global consumption provide alternative frameworks to contextualize paradoxical definitions of authenticity, tradition, and innovation. Cet article s’intéresse au phénomène de l’art touristique comme une production de récits d’imaginaire culturel, et plus particulièrement une construction d’identité et de sens au travers de la marchandisation de l’art « ethnique ». Cette quête d’une « authenticité » imaginée a donné naissance à une nouvelle iconographie et à des styles non traditionnels devenus des standards des peintures pour touristes. Cet article défend l’idée que l’imaginaire touristique est un espace alternatif propice à la créativité et à l’innovation artistique. Il montre comment les artistes traditionnels répondent aux attentes des touristes, catégorisant le goût des autres à partir d’identités nationales construites dans un contexte de globalisation. Cet imaginaire est essentiel dans les processus de marchandisation et de « packaging » de ces biens en permettant à ces nouvelles iconographies d’être vendues et interprétées en continuité avec les oeuvres d’art traditionnel. Ces productions culturelles et, en tant que produits pour touristes, leur négociation entre échanges locaux et consommation mondialisée, offrent un cadre contextualisé de réflexion sur les définitions paradoxales de l'authenticité, de la tradition et de l'innovation.

David Corbet , Pamella A Dlungwana

Avilla Damar

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Dissertation,   the dissertation.

After the successful completion of the general examination, a topic and adviser for the dissertation should be chosen. Students should discuss potential topics with several faculty members before beginning. The final prospectus should be approved not later than 3 months (within the academic calendar -- September through May) of passing the general examinations in order to be considered to be making satisfactory progress toward the degree. This is the time when the Thesis Reader and Dissertation Proposal form should be completed and submitted to the department office or DGS. Three signatures are now required on the thesis acceptance certificate. Two of the three signatories must be GSAS faculty. The primary adviser must be in the department of History of Art and Architecture; the secondary adviser need not be. In addition to the primary and secondary advisers the student may have one or more other readers. Two readers must be in the department.

Thesis Defense

The Department of History of Art and Architecture requires that all Ph.D. dissertations (of students entering in September 1997 and beyond) be defended. At the defense, the student has the opportunity to present and formally discuss the dissertation with respect to its sources, findings, interpretations, and conclusions, before a Defense Committee knowledgeable in the student's field of research. The Director of the thesis is a member of the Defense committee. A committee is permitted to convene in the absence of the thesis Director only in cases of emergency or other extreme circumstances. The Defense Committee may consist of up to five members, but no fewer than three. The suggested make-up of the members of the committee should be brought to the Director of Graduate Studies for approval. Two members of this committee should be from the Department of History of Art and Architecture. One member can be outside the Department (either from another Harvard department or outside the University). The Defense will be open to department members only (faculty and graduate students), but others may be invited at the discretion of the candidate. Travel for an outside committee member is not possible at this time; exceptions are made rarely.  We encourage the use of Skype or conference calling for those committee members outside of Cambridge and have accommodation for either.  A modest honorarium will be given for the reading of the thesis for one member of the jury outside the University. A minimum of one month prior to scheduling the defense, a final draft of the dissertation should be submitted to two readers (normally the primary and secondary advisors). Once the two readers have informed the director of graduate studies that the dissertation is “approved for defense,” the candidate may schedule the date, room, and time for the defense in consultation with the department and the appointed committee. This date should be no less than six weeks after the time the director of graduate studies has been informed that the dissertation was approved for defense. It should be noted that preliminary approval of the thesis for defense does not guarantee that the thesis will be passed. The defense normally lasts two hours. The candidate is asked to begin by summarizing the pertinent background and findings. The summary should be kept within 20 minutes. The Chair of the Defense Committee cannot be the main thesis advisor. The Chair is responsible for allotting time, normally allowing each member of the committee 20 to 30 minutes in which to make remarks on the thesis and elicit responses from the candidate. When each committee member has finished the questioning, the committee will convene in camera for the decision. The possible decisions are: Approved; Approved with Minor Changes; Approved Subject to Major Revision (within six months); Rejected. The majority vote determines the outcome. --Approved with minor changes: The dissertation is deemed acceptable subject to minor revisions. The dissertation is corrected by the candidate, taking into account the comments made by the committee. The revisions will be supervised by the primary adviser. Upon completion of the required revision, the candidate is recommended for the degree. --Approved subject to major revision within six months: The dissertation is deemed acceptable subject to major revisions. All revisions must be completed within six months from the date of the dissertation defense. Upon completion of the required revisions, the defense is considered to be successful. The revisions will be supervised by the primary adviser. --Rejected: The dissertation is deemed unacceptable and the candidate is not recommended for the degree. A candidate may be re-examined only once upon recommendation of two readers. Rejection is expected to be very exceptional. A written assessment of the thesis defense will be given to the candidate and filed in the Department by the Chair of the Defense Committee. Candidates should keep in mind the Graduate School of Arts and Sciences deadlines for submission of the thesis and degree application when scheduling the defense.

Submitting the Dissertation

Students ordinarily devote three years to research and writing the dissertation, and complete it prior to seeking full-time employment. The dissertation will be judged according to the highest standards of scholarship, and should be an original contribution to knowledge and understanding of art. The final manuscript must conform to University requirements described in the Supplement The Form of the Doctoral Thesis distributed by the Graduate School of Arts and Sciences.

Graduate students should negotiate with their readers the timing of submission of drafts prior to final revisions. However, the complete manuscript of the dissertation must be submitted to the thesis readers not later than August 1 for a November degree, November 1 for a March degree, and April 1 for a May degree (this in order to provide both the committee with time to read and the candidate to revise, if necessary). The thesis readers may have other expectations regarding dates for submission which should be discussed and handled on an individual basis. The student is still responsible for distribution of the thesis to the committee for reading. In cases where a thesis defense is scheduled, the thesis must be submitted to the primary adviser at least one month prior to the defense. The thesis defense must be scheduled at least two weeks prior to the university deadline for thesis submission.

A written assessment by dissertation readers must be included with the final approval of each thesis including suggestions, as appropriate, on how the dissertation might be adapted for later publication.

The Dissertation is submitted online.   The Dissertation Acceptance Certificate (original) must be on Harvard watermark paper and is submitted directly to the registrar’s office once it is signed.

Degree Application and Deadlines

Commencement

How to Write Your MFA Thesis in Fine Art (And Beyond)

Ryan Seslow

Public Paper Draft

I enjoy writing and I find the process to be fun. Do you? I know that writing takes regular practice and it’s an essential part of my learning process. Writing helps me “see” and organize my thoughts. This allows me to edit and become clear about what it is I am expressing. Practicing my writing helps me identify mistakes (the endless typos..) as well as further emphasize what I really want to explore and write about. When a topic of interest strikes me the process is effortless. I notice how I feel about the topic and this is a key factor as to how quickly I will get working on as essay, blog post or tutorial. This is something I have identified in myself over time and through repetition. Writing induces and activates new awareness. In my experiences as a college art and design professor, I have taken notice of a few consistent patterns when it comes to more formal writing, especially a final thesis deadline. For some, the thought of generating a final graduate thesis can be a daunting thought in and of itself. Associated with that thought may be an outdated feeling that your body still remembers. This outdated association can be especially frustrating to the point of extreme procrastination. If you are unaware that you are the cause of this feeling then you will continue to perpetuate it. Sound familiar? If you choose to enroll into an MFA program you will be required to write a final thesis. This will be an in depth description of your concepts, process, references, discoveries, reflections and final analysis. The best part of writing a final thesis is that the writer gets to create, format, define and structure the entirety of it. Throw away any pre-conceived and or outdated perceptions of what you think you should do. You must take responsibility for your writing the same way that you discipline yourself in the creation and production of your art work.

Where do you begin?

Your final thesis is an official archival record of what you have completed, explored and accomplished throughout the duration of your MFA program. Not only will your thesis be written for yourself, it will prove and back up your convictions, theories, assessments and statements for other people. It should be known that the content in this tutorial could also be applied to other writing needs that may be similar to the MFA thesis structure. An MA thesis or undergraduate BFA thesis can also easily follow this format. By all means, you can share it and remix it.

A regular writing practice must be established. This means, you will need to create a plan for how and when practice will take place. The calendar on your mobile device or the computer that you use will work just fine to remind you of these appointments. Thirty minutes of practice twice a week can work wonders in the installation of a new habit. Are you up for that? Perhaps there is a way to make this decision seem effortless, keep reading.

You can get started right away. Technology in this area is very accessible and helpful. With the use of a blogging platform such as WordPress one can privately or publicly begin their writing practice and archiving process. Even setting up a basic default blog will do just fine. You can always customize and personalize it later. If a blog does not interest you (but I do hope it does) a word processing document will also do just fine. Either way, choosing to wait until your final semester to get started is a really bad idea and poor planning. Are there exceptions to this statement? Of course, and perhaps you will redefine my outlook, and prove me wrong, but until I experience this from someone, let’s make some longer-term plans.

I taught an MFA and MA thesis course between 2012 – 2019 at LIU Post  in NY (but this format transcends into my CUNY courses as well) that put an emphasis on content and exposure to help students generate their final thesis. The course revolved around several exercises that contributed to the process as a whole. They were broken down into individual isolated parts for deeper focus. Much like your thesis itself, this process is modular, meaning, many parts will come and work together to make up the whole. One of the first exercises that we do with the class is identify a thesis template format. This is the basic structure that I have students brainstorm via a series of questions that I ask them. Keep in mind; you most likely already have a default version of this template. This could be the writing format that you learned in high school and had redefined by a professor in college. You may have been forced to use it or suffer the consequences of a poor grade solely on that formatting restriction. This feeling and program may still be running inside you. So how do we deal with this? Together as a class we discuss and record the answers directly onto a dry erase board (or word document will also do just fine) I ask one of the students to act as the scribe to record the list manually while notes are also individually taken. I later put the information into a re-capped blog post for our class blog. Are you surprised that I use a blog for my class?

The Format-

The format for an MFA thesis in Fine Art (applied arts & digital) will in almost all cases coincide with a final thesis exhibition of completed works.   This formats fits accordingly with the thesis exhibition in mind.   This is a criteria break down of the structure of the paper. It is a simplified guide. Add or remove what you may for your personal needs.

• Description/Abstract:  Introduction. A detailed description of the concept and body of work that you will be discussing. Be clear and objective, you need not tell your whole life story here. Fragments of your current artist statement may fit in nicely.
• Process, Materials and Methods:  Here you will discuss the descriptions of your working processes, techniques learned and applied, and the materials used to generate the art that you create. Why have you selected these specific materials and techniques to communicate your ideas? How do these choices effect how the viewer will receive your work? Have you personalized a technique in a new way? How so? Were their limitations and new discoveries?
• Resources and References:  Historical and cultural referencing, artists, art movements, databases, and any other form of related influence. How has your research influenced your work, ideas, and decision-making process? What contrasts and contradictions have you discovered about your work and ideas? How has regular research and exposure during your program inspired you? Have you made direct and specific connections to an art movement or a series of artists? Explain your discoveries and how you came to those conclusions.
• Exhibition Simulation:  You will be mounting a final thesis exhibition of your work. How will you be mounting your exhibition? Why have you selected this particular composition? How did the space itself dictate your choices for installation? How will your installation effect or alter the physical space itself? Will you generate a floor plan sketch to accompany the proposed composition? If so, please explain, if not, also explain why? What kind of help will you need to realize the installation? What materials will you be using to install? Do you have special requirements for ladders, technologies and additional help? Explain in detail.
• Reflection:  What have you learned over the course of your graduate program? How has the program influenced your work and how you communicate as an artist? What were your greatest successes? What areas do you need to work on? What skills will you apply directly into your continued professional practice? Do you plan to teach after you graduate? If so, what philosophies and theories will you apply into your teaching practice? Where do you see your self professionally as an artist in 3-5 years?

Individual Exercises to Practice-

The following exercises below were created to help practice and expand thinking about the thesis format criteria above. It is my intention to help my students actively contribute to their thesis over the course of the semester. The exercises can be personalized and expanded upon for your individual needs. I feel that weekly exercises performed with a class or one on one with a partner will work well. The weekly meetings in person are effective. Why? Having a classroom or person-to-person(s) platform for discussion allows for the energy of the body to expose itself. You (and most likely your audience) will take notice as to how you feel when you are discussing the ideas, feelings and concepts that you have written. Are you upbeat and positively charged? Or are you just “matter of fact” and lifeless in your verbal assertions? Writing and speaking should be engaging. Especially if it is about your work! The goal is to entice your reader and audience to feel your convictions and transcend those feelings directly. Awareness of this is huge. It will help you make not only edits in your writing but also make changes in your speaking and how you feel about what you have written.

• The Artist Interview – Reach out to a classmate or an artist that you admire. This could also be a professor, faculty member, or fellow classmate. It should be one that you feel also admires or has interest in your work if possible. Make appointments to visit each other in their studios or where ever you are creating current work. This can even be done via video chat if in person visits cannot be made. In advance prepare for each other a series of 15-20 questions that you would like to ask each other. Questions can be about the artist’s concepts, materials, process, resources and references about their works. Questions may be about how they choose to show or sell their work. Personal questions about the artist’s outlook on life, business, and wellbeing may come to mind and may also be considered. Record and exchange each other’s responses in a written format. You will make a copy for yourself to retain. Re-read and study your responses to the questions that the artist asked you. This will be helpful for you to read your spoken words coming from another format of communication. Do you find that you speak the same way that you write? Where do these words fit into the thesis criteria format above?
• The Artist Statement & Manifesto – Of course this will change and evolve over time but it is a necessary document that you will update each year as you evolve and grow. In one single page generate your artist statement or manifesto. Who are you? What is your work about? What are you communicating with your current work, projects and why? Who is your audience? How is your work affecting your audience, community and culture? Manifestos are usually published and placed into the public so that its creator can live up to its statements. Are you living up to yours? Keeping this public is a good reminder to walk your talk. Where do these words fit into the thesis criteria format above?
• Reactive Writing – Create a regular online space, document or journal to generate a chronological folio of reactive writing. Visit museums, galleries, lectures and screenings regularly. If you live outside of a city this may require a bit of research, but if you are in NYC this is all too easy. Bring a sketchbook and take notes! For each experience share your impressions, thoughts, feelings and reactions. Describe what you witness. Be objective down to the smallest details that have stayed with you. Reflect and find similarities and contrasts to what you are working on. Use this exercise as a free writing opportunity. Write with out editing or with out any formatting restrains, just express yourself in the immediacy that you feel about your experiences. At the end of each month (or designate a class for this aspect of the exercise) sit down and re-read your passages. Select the reaction(s) that you resonate with the most. Edit and format this selection into a more formal essay paying proper attention to a formatting style, grammar, punctuation and spelling. Where do these words fit into the thesis criteria format above?
• Tutorials  & How To Guides – Writing tutorials and how-to guides are great ways to practice getting really clear about what you are doing. It helps you cultivate your vocabulary and describe the actions that you are performing with specific detail. It puts you in a position to list your steps, process, materials, and references and explain what the contributing contextual aspects are. Try this with a specific project or with the art that you are currently creating. Are you painter? Explain how you create a painting from start to finish. This includes the very first spark that inspires the idea for the painting, as well as how it will be installed, packaged, transported and exhibited. Details matter. Are you sculptor working in woodcarving? Explain the process from start to finish. Ask a fellow artist if you can sit in on his or her process and record what you experience. This is a really fantastic and fun exercise. It also contributes greatly to creating lesson plans for teaching. (I’m actually obsessed with this exercise a little bit.) Where do these words fit into the thesis criteria format above?
• Reviews & Critiques – Much like the reactive writing exercise above, generating reviews and critiques will foster great ways to find insight into your own work. With regular practice you will find common threads of thought and subject matter. You will discover similar referencing and contrasts. This can easily be done in two ways. You can visit specific museums, galleries, lectures and screenings to write about that excites you. This already puts a positive charge on the act of writing itself. I also suggest that you contrast this with subject matter and content that also does not agree with you. We want to be able to fully express what we do not like as well. Understanding why helps us become clear in our choices. Understanding this helps strengthen our position on what we do want to write about and what we want our audience to understand. It allows us to explore dichotomies. The second way to further exercises in writing reviews and critiques is to speak about them. Speaking about art in person is a great way to further the clarification of your writing. Where do these words fit into the thesis criteria format above?

Further Experimentation-

The spoken word versus the act of writing? I have come across many students and colleagues who find that they write much differently than they speak. I feel that writing needs to have a consistent flow and feel fluid to keep its reader engaged. Speaking well and articulating oneself clearly is also something that takes practice. I have found that sometimes recording my words and thoughts via a voice transcribing application is helpful to get ideas out and into a more accessible form. A lot of transcribing software is free for most mobile devices. Much like voice recording the powerful enhancement is to see your words take form after you have said them. You can simply copy and paste the text and edit what is valuable.

This essay is also a work in progress. It’s an ongoing draft in a published format that I will continue updating with new content and fresh ways to simplify the exercises.

I appreciate your feedback!

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• Pamm [missing word] 1. Artist Interview- Do you find that (you) speak the same way that you write? July 15, 2018 at 1:38 pm Reply
• Ryan Seslow Hi Marilyn! I see you! So weird, this is the first comment that has appeared on the paper. I have gotten several e-mails about past comments but still cant see where those are, lol! :)) September 18, 2018 at 1:05 pm Reply

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UKnowledge > College of Fine Arts > Art and Visual Studies > Theses & Dissertations

Theses and Dissertations--Art and Visual Studies

This collection was known as Theses and Dissertations--Art before July 1, 2012.

Theses/Dissertations from 2022 2022

ART EDUCATION IN MEDICAL EDUCATION: BENEFITS AND CHALLENGES , Sara K. Brown

Theses/Dissertations from 2021 2021

THE TRUST-BASED CLASSROOM: AN ANALYSIS OF CURRENT TRENDS IN SOCIAL AND EMOTIONAL LEARNING AND THE DEVELOPMENT OF A NEW TRUST-BASED APPROACH TO ART EDUCATION , Ellen Prasse

Theses/Dissertations from 2019 2019

Sketch-Plan Book: A Teacher’s Planning Resource for the Secondary Classroom , Katherine M. Avra

IN BLACK AND WHITE: RICHMOND’S MONUMENT AVENUE RECONTEXTUALIZED THROUGH THE PHOTOGRAPHIC ARCHIVE , Charlsa Anne Hensley

Photography, Visual Culture, and the (Re)Definition/Queering of the Male Gaze , David Nicholas Martin

Theses/Dissertations from 2018 2018

FROM PRACTICE TO PERFORMANCE: THE IMPORTANCE OF BALLET IN DEGAS’S DANCER PAINTING PROCESS , Whitney LeeAnn Hill

Theses/Dissertations from 2017 2017

PROFESSIONAL COLLABORATION: THE VALUE OF MEANINGFUL CONVERSATION FOR THE STUDIO ART EDUCATOR , Christopher L. Bryant

FROM BLUES TO THE NY DOLLS: THE ROLLING STONES AND PERFORMANCE OF AUTHENTICITY , Mariia Spirina

HAYASHI YASUO AND YAGI KAZUO IN POSTWAR JAPANESE CERAMICS: THE EFFECTS OF INTRAMURAL POLITICS AND RIVALRY FOR RANK ON A CERAMIC ARTIST’S CAREER , Marilyn Rose Swan

Theses/Dissertations from 2016 2016

Reimagining Needed Funding for Elementary Art Programs in Fayette County Public Schools , Lori M. Barnett

A Study on Student Learning in Higher Education: Art Exhibition Motivation , Olivia M. Lussi

Theses/Dissertations from 2015 2015

The Truth of Night in the Italian Baroque , Renee J. Lindsey

Theses/Dissertations from 2014 2014

FROM GEOLOGY TO ART HISTORY: CERAMIST ALEXANDRE BRONGNIART’S OVERLOOKED CONTRIBUTION TO THE DEVELOPING SCIENCE OF ART HISTORY IN THE EARLY NINETEENTH CENTURY , Julia A. Carr-Trebelhorn

The Image of Antinoös: Sexy Boy or Elder God? , Ashlee R. Chilton

LEARNING TO RETELL STORIES THROUGH COMPARATIVE TEACHING: WRITING AND DRAWING , Rachel L. Lindle

Edward Steichen and Hollywood Glamour , Alisa Reynolds

Looking to the Future, Selling the Past: Churchill Weavers Marketing Strategies in the 1950s , Cassandra White-Fredette

USING VIDEO BASED INSTRUCTION TO TEACH ART TO STUDENTS WITH AUTISM SPECTRUM DISORDER , Anthony W. Woodruff

Theses/Dissertations from 2012 2012

FROM CELLULOID REALITIES TO BINARY DREAMSCAPES: CINEMA AND PERCEPTUAL EXPERIENCE IN THE AGE OF DIGITAL IMMERSION , Edwin Lloyd McGuy Lohmeyer

APPLYING SPECIFIC ARTS ACTIVITIES TO IMPROVE THE QUALITY OF LIFE FOR INDIVIDUALS WITH ALZHEIMER’S DISEASE AND DEMENTIA , Ann Christianson Tietyen

Theses from 2011 2011

PRAGMATIC MODERNISM: PROJECT [ PROJEKT ] AND POLISH DESIGN, 1956-1970 , Mikolaj Czerwinski

DEFYING THE MODERNIST CANON: MIKHAIL LARIONOV’S ARTISTIC EXPERIENCE BEYOND THE CANVAS , Ella Hans

THE ART OF NOTHINGNESS: DADA, TAOISM, AND ZEN , Erin Megan Lochmann

CONSTRUCTING THE REAL: THE NEW PHOTOGRAPHY OF CREWDSON, GURSKY AND WALL , Melissa A. Schwartz

Theses from 2007 2007

FROM EXCEPTION TO NORM: DEACCESSIONING IN LATE TWENTIETH CENTURY AMERICAN ART MUSEUMS , Julianna Shubinski

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Department of the History of Art

You are here, dissertations, completed dissertations.

1942-present

DISSERTATIONS IN PROGRESS

As of July 2023

Bartunkova, Barbora , “Sites of Resistance: Antifascism and the Czechoslovak Avant-garde” (C. Armstrong)

Betik, Blair Katherine , “Alternate Experiences: Evaluating Lived Religious Life in the Roman Provinces in the 1st Through 4th Centuries CE” (M. Gaifman)

Boyd, Nicole , “Science, Craft, Art, Theater: Four ‘Perspectives’ on the Painted Architecture of Angelo Michele Colonna and Agostino Mitelli” (N. Suthor). 

Brown, Justin , “Afro-Surinamese Calabash Art in the Era of Slavery and Emancipation” (C. Fromont)

Burke, Harry , “The Islands Between: Art, Animism, and Anticolonial Worldmaking in Archipelagic Southeast Asia” (P. Lee)

Chakravorty, Swagato , “Displaced Cinema: Moving Images and the Politics of Location in Contemporary Art” (C. Buckley, F. Casetti)

Chau, Tung , “Strange New Worlds: Interfaces in the Work of Cao Fei” (P. Lee)

Cox, Emily , “Perverse Modernism, 1884-1990” (C. Armstrong, T. Barringer)

Coyle, Alexander , “Frame and Format between Byzantium and Central Italy, 1200-1300” (R. Nelson)

Datta, Yagnaseni , “Materialising Illusions: Visual Translation in the Mughal Jug Basisht, c. 1602.” (K. Rizvi)

de Luca, Theo , “Nicolas Poussin’s Chronotopes” (N. Suthor)

Dechant, D. Lyle . ” ‘daz wir ein ander vinden fro’: Readers and Performers of the Codex Manesse” (J. Jung)

Del Bonis-O’Donnell, Asia, “Trees and the Visualization of kosmos in Archaic and Classical Athenian Art” (M. Gaifman)

Demby, Nicole, “The Diplomatic Image: Framing Art and Internationalism, 1945-1960” (K. Mercer)

Donnelly, Michelle , “Spatialized Impressions: American Printmaking Outside the Workshop, 1935–1975” (J. Raab)

Epifano, Angie , “Building the Samorian State: Material Culture, Architecture, and Cities across West Africa” (C. Fromont)

Fialho, Alex , “Apertures onto AIDS: African American Photography and the Art History of the Storage Unit” (P. Lee, T Nyong’o)

Foo, Adela , “Crafting the Aq Qoyuniu Court (1475-1490) (E. Cooke, Jr.)

Franciosi, Caterina , “Latent Light: Energy and Nineteenth-Century British Art” (T. Barringer)

Frier, Sara , “Unbearable Witness: The Disfigured Body in the Northern European Brief (1500-1620)” (N. Suthor)

Gambert-Jouan, Anabelle , “Sculpture in Place: Medieval Wood Depositions and Their Environments” (J. Jung)

Gass, Izabel, “Painted Thanatologies: Théodore Géricault Against the Aesthetics of Life” (C. Armstrong)

Gaudet, Manon , “Property and the Contested Ground of North American Visual Culture, 1900-1945” (E. Cooke, Jr.)  

Haffner, Michaela , “Nature Cure: ”White Wellness” and the Visual Culture of Natural Health, 1870-1930” (J. Raab)

Hepburn, Victoria , “William Bell Scott’s Progress” (T. Barringer)

Herrmann, Mitchell, “The Art of the Living: Biological Life and Aesthetic Experience in the 21st Century” (P. Lee)

Higgins, Lily , “Reading into Things: Articulate Objects in Colonial North America, 1650-1783” (E. Cooke, Jr.)

Hodson, Josie , “Something in Common: Black Art under Austerity in New York City, 1975-1990” (Yale University, P. Lee)

Hong, Kevin , “Plasticity, Fungibility, Toxicity: Photography’s Ecological Entanglements in the Mid-Twentieth-Century United States” (C. Armstrong, J Raab)

Kang, Mia , “Art, Race, Representation: The Rise of Multiculturalism in the Visual Arts” (K. Mercer)

Keto, Elizabeth , “Remaking the World: United States Art in the Reconstruction Era, 1861-1900.” (J. Raab)

Kim, Adela , “Beyond Institutional Critique: Tearing Up in the Work of Andrea Fraser” (P. Lee)

Koposova, Ekaterina , “Triumph and Terror in the Arts of the Franco-Dutch War” (M. Bass)

Lee, Key Jo , “Melancholic Materiality: History and the Unhealable Wound in African American Photographic Portraits, 1850-1877” (K. Mercer)

Levy Haskell, Gavriella , “The Imaginative Painter”: Visual Narrative and the Interactive Painting in Britain, 1851-1914” (T. Barringer, E. Cooke Jr)

Marquardt, Savannah, “Becoming a Body: Lucanian Painted Vases and Grave Assemblages in Southern Italy” (M. Gaifman)

Miraval, Nathalie , “The Art of Magic: Afro-Catholic Visual Culture in the Early Modern Spanish Empire” (C. Fromont)

Mizbani, Sharon , Water and Memory: Fountains, Heritage, and Infrastructure in Istanbul and Tehran (1839-1950) (K. Rizvi)

Molarsky-Beck, Marina, “Seeing the Unseen: Queer Artistic Subjectivity in Interwar Photography” (C. Armstrong)

Nagy, Renata , “Bookish Art: Natural Historical Learning Across Media in Seventeenth-century Northern Europe” (Bass, M)

Olson, Christine , “Owen Jones and the Epistemologies of Nineteenth-Century Design” (T. Barringer)

Petrilli-Jones, Sara , “Drafting the Canon: Legal Histories of Art in Florence and Rome, 1600-1800” (N. Suthor)

Phillips, Kate , “American Ephemera” (J. Raab)

Potuckova, Kristina , “The Arts of Women’s Monastic Liturgy, Holy Roman Empire, 1000-1200” (J. Jung)

Quack, Gregor , “The Social Fabric: Franz Erhard Walther’s Art in Postwar Germany” (P. Lee)

Rahimi-Golkhandan, Shabnam , “The Photograph’s Shabih-Kashi (Verisimilitude) – The Liminal Visualities of Late Qajar Art (1853-1911)” (K. Rizvi)

Rapoport, Sarah , “James Jacques Joseph Tissot in the Interstices of Modernity” (T. Barringer, C. Armstrong)

Riordan, Lindsay , “Beuys, Terror, Value: 1967-1979” (S. Zeidler)

Robbins, Isabella , “Relationality and Being: Indigeneity, Space and Transit in Global Contemporary Art” (P. Lee, N. Blackhawk)

Sen, Pooja , “The World Builders ” (J. Peters)

Sellati, Lillian , “When is Herakles Not Himself? Mediating Cultural Plurality in Greater Central Asia, 330 BCE – 365 CE” (M. Gaifman)

Tang, Jenny , “Genealogies of Confinement: Carceral Logics of Visuality in Atlantic Modernism 1930 – 1945” (K. Mercer)

Thomas, Alexandra , “Afrekete’s Touch: Black Queer Feminist Errantry and Global African Art”  (P. Lee)

Valladares, Carlos , “Jacques Demy” (P. Lee)

Verrot, Trevor , “Sculpted Lamentation Groups in the Late Medieval Veneto” (J. Jung)

Von-Ow, Pierre , Visual Tactics: Histories of Perspective in Britain and its Empire, 1670-1768.”  (T. Barringer)

Wang, Xueli , “Performing Disappearance: Maggie Cheung and the Off-Screen” (Q. Ngan)

Webley, John , “Ink, Paint, and Blood: India and the Great Game in Russian Culture” (T. Barringer, M. Brunson)

Werwie, Katherine , “Visions Across the Gates: Materiality, Symbolism, and Communication in the Historiated Wooden Doors of Medieval European Churches” (J. Jung)

Wisowaty, Stephanie , “Painted Processional Crosses in Central Italy, 1250-1400: Movement, Mediation and Multisensory Effects” (J. Jung)

Young, Colin , “Desert Places: The Visual Culture of the Prairies and the Pampas across the Nineteenth Century” (J. Raab)

Zhou, Joyce Yusi, “Objects by Her Hand: Art and Material Culture of Women in Early Modern Batavia (1619-1799) (M. Bass, E. Cooke, Jr.)

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Slade School of Fine Art

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Malgorzata Dawidek

2015 – ongoing.

My artistic work is focused on the conflict between the condition of the human body and discursive language. My research provides an overview of the phenomenon of the human body as a textual form, repository for memories and emotions. I...

Eloise Fornieles

2016 – ongoing.

The research investigates whether performed acts of ‘Queer Extimacy’ can generate new narratives and voices on the gender spectrum, using my own experience of gender and my subsequent performances as an example.

Katarzyna Depta-Garapich

2017 – ongoing.

My practice-led research project “Neither Subject nor Object”: Reciprocal Readymade in Times of Useful Art explores ‘use value’ of art in the context of site specific interventions. The investigation examines the intersection of art and society, collective approaches to art...

Ellie Doney

We too are stuff , but as humans, we are no longer held to be alpha matter . This practical research project travels the boundaries of our bodies through the materials we ingest and reflect, noticing our temper and terroir.

Egidija Čiricaitė

2018 – ongoing.

My practice-related research furthers the discussion on artists’ books — and it’s peripheries, such as visual poetry — using the relevance theory of language interpretation as a framework to expand the conversation on multimodal art objects.

Anneke Kampman

This PhD seeks to understand the capitalistic functions of the music-video form, interpreting its distinctive mode of audio-visuality as characteristic of new forms of commodity production.

Hermione Spriggs

“Anthropologists don’t believe in things, they believe out of them.” Roy Wagner

Alfonso Borragan

The project proposes an artistic reading of stone ingestion while questioning the pathologizing of this practice by psychology. It contemplates the mouth as a site of profanation as well as a mediating device of possession, digestion and knowledge.

Jumana Emil Abboud

2019 – ongoing.

My PhD will investigate the role of folk tales as an empowerment device; empowering people, and people affected by conflict in particular.

Shino Yanai

This PhD research project aims to critique the power of the state and the aesthetics of nationalism.

Vaishali Prazmari

Thousands of artworks generated by the 1001 Arabian Nights, focusing on memory, magic and marginalia.

Robert Mead

Moving through the strata of my paintings digs up histories and ghosts of our past which linger in the changing landscapes of today.

Shao-Jie Lin

2020 – ongoing.

This practice-led Fine Art PhD researches the concept of freedom of movement, aiming to address the Universal Declaration of Human Rights and prevent hidden injustices developing into a new hierarchy.

Nastassja Simensky

My current PhD research explores the potential of collaborative fieldwork between artists and archaeologists. In addition, this project asks how the development of place-specific and collaborative methods ‘in the field’ enable new ways of highlighting current discourses around nuclear energy...

The research started from a magical trip to Lijiang, Yunnan province. The excitement from the perfect resonation and rich historical foundation of a lost culture, made me feel the urge to exploit it in my work and build something upon...

Inherent to my studies is the concept of “neo-folk art”, interpreted as a typical style in the aesthetics of New China, combining the ideas of folk utopia, pop culture and propaganda.

Jasmir Creed

My practice led research is as a painter who explores urban alienation in contemporary transcultural contexts, based on my journeys in my immediate urban environments through depicting the cultural diversity of people including crowds, iconic buildings and sculptures alongside self-portraits...

Leonor Serrano Rivas

2021 – ongoing.

Imagination is everything. I believe in an art practice fully governed by it that impacts actively in society: an artistic approach mediating between a technology-driven troubleshooting and a more holistic understanding of our context. Solutions, more often than not, come...

Bindu Mehra

Women’s voices in India continue to be silenced by the legacy of British colonialism and patriarchal, social, political and economic structures. 

Hugh Nicholson

2022 – ongoing.

During the late 1960s, the crisis of modernism presented a challenge to the bounds and limits of the artwork’s form. In its wake, the expansion of spatially and temporally distributed modes of artistic production, grounded in instructional, contract-based or legal...

Svetlana De Sequeira Costa

My PhD occurs at a historic turning point, as the world is undergoing a multidimensional polycrisis affecting the planetary system and calling for radical shifts in our considerations of the future.

Lucy Helton

This practice-led research project will take a detailed look at humans’ dominant environmental footprint in space which mirrors our technologically mediated exploration and transformation of environments on Earth. 

Zeinab Feiz

Past projects.

Raimi Gbadamosi

1996 – 2001.

The inter-relationship between race, power and language has been chronicled in various forms. And despite attempts at renegotiation, the nature of polemical positioning does not seem to change. Visual polemics finds itself constantly defined and framed by cultural politics, placing...

1998 – 2002

This research project examined the concept of mediated presence through the perception of inanimate images coming to life, and the converse experience of human actors becoming inanimate images, whilst interrogating how this might articulate, substantiate or defy belief.

Mikhail Karikis

2001 – 2005.

Mikhail Karikis' doctoral research was a methodological experiment, which employed academic writing, music composition and art practice to explore notions of the 'self' through the study of voice and sound.

Sonia Bridge

2006 – 2017.

What is at stake within Breer’s process and distinctive employment of cinematic assemblage within the postwar period, is not only the desire to investigate non-traditional sites and techniques and to inclusively claim, say, the moving-image as an artistic medium, but...

Laura Cinti

2006 – 2011.

Laura Cinti is a practicing artist working within the intersections of art, biology and nanotechnology.

2007 – 2012

My thesis examines work by Antonin Artaud, Henry Darger, Marcel Duchamp, and Pablo Picasso, with the intention of subjecting specific works by these artists to critical tests employing the idea proposed by Antonin Artaud's subjectile, that is a paradoxical fusion...

Theresia Peng

2008 – 2013.

An investigatation of questions concerning the cross-cultural analysis and utility of images in Tibetan Tantric Buddhist art, as opposed to political conflicts that often arise in the media now.

2008 – 2014

In this research project I show how a performative, material reading of the artwork provides for an interpretive framework constituted as much by the form, subject matter and context of the artwork, as by the viewer’s embodied experience thereof.

Deborah Padfield

This thesis explores how photographic images can expand pain dialogue in the consulting room to include aspects of experience frequently omitted using traditional measures.

Errol Francis

2008 – 2019.

My thesis is concerned with cultural articulations of space, from the point of view of philosophy and from the perspective of artists responding to museums as key sites of cultural heritage.

Elly Thomas

2009 – 2013.

In this practice-related study I use a range of play theory to examine the creative processes behind the work of Eduardo Paolozzi, Philip Guston and Tony Oursler. All three artists express a need to create a semblance of life.

Kai Syng Tan

Kai Syng Tan's practice-related Fine Art thesis performs a discourse of ‘trans-running’ – running physically and poetically, and running as both subject and approach – as a playful methodology to transform our world today.

Eleanor Morgan

I create videos, sculptures prints and drawings that explore material and mythical entanglements between humans and animals. This has led me to weave silk from living spiders, immerse myself in a giant green sea anemone and create a staring match...

Henrietta Simson

2010 – 2017.

Single point perspective and photographic technologies of sight have been implicated in a dominating western way of seeing, referred to here as 'natural vision' for the past 500 years.

Patricia Townsend

2010 – 2018.

I work with video, photography and installation and am interested in the interface between the external world and the internal world of the imagination. Much of my work explores our emotional relationship with landscape - the ways in which landscape...

Fiona Curran

2010 – 2016.

Fiona Curran's practice-related PhD considers the role of visual and material practices since the 1960s in relation to the environmental impact of new technologies and anthropogenic climate change, focusing on the critical significance of landscape in examining conditions of power...

Aaron Murphy

2011 – 2015.

My practice-led research explores the Jungian idea of synchronicity, and related topics like Tao, coincidence and chance.

Kay Tabernacle

2011 – 2018.

Imagination is neglected in studies of Hannah Höch.  The related ideological and partial interpretation of Höch’s work has resulted in distorted understandings that obscure her aims. Höch theorises imagination as a radical force that can change people’s perception, and in...

Ioana Marinescu

2012 – 2023.

How are places remembered and interpreted? How can we open up a dialogue between past and present, between individual experiences and collective memories?

Florian Roithmayr

2012 – 2017.

Moulding and casting are widely used techniques of modern and contemporary sculptural practices. But their applications are also employed beyond the disciplinary art canon, in areas not immediately associated with art making. The ambition of this research project is to...

2012 – 2016

This research examines the notions of journey, pause and composition through art practice.

Elisabeth S. Clark

2012 – 2021.

My research seeks to further elucidate notions and questions circling the ‘event’ both in contemporary art practices and art writing. But what constitutes an artwork as event? And is the ‘event’ an act or trace or the inevitable dichotomy of...

Naomi Siderfin

2013 – 2023.

What differentiates an artist who develops an identity as a curator as part of a broader artistic practice and a curator who sees his/her practice as art?

Sophie Bouvier Ausländer

2013 – 2019.

What is the particular status of the hand in world making? To what extent can analytic philosophy and phenomenology of perception clarify the image of the world epitomised through sculpture, its becoming, its recovering?

Sarah Fortais

2013 – 2018.

My practice-led research aims to define what it means to call a person or thing ‘cool’. Methodologically, my fine art practice is bricolage: disassembling, repurposing, and modifying objects or ideas to generate new wholes and understanding. As a bricoleur, I...

Onya McCausland

2013 – 2017.

Turning Landscape into Colour is an investigation into the origins of earth pigments -  ‘ochres’ found in landscapes across the UK that considers their significance as contemporary cultural materials.

A digital fine art practice is at the nexus of some powerful dichotomies. The digital vs the analogue, the natural vs the artificial, the subjective vs the objective, the emotions vs reason, and art vs science among them. This research...

Jin Han Lee

2014 – 2021.

My desire to enact a reappraisal of ekphrastic hope and fear is motivated by the differences I have identified between Korean and Western understandings of time in relation to abstract painting, and of how the artist deploys his ‘life experiences’...

Yvonne Feng

2014 – 2019.

My PhD research Tracing the Unspeakable: Painting as Embodied Seeing originates from the dramatic incident of my mother’s imprisonment and my state of disorientation caused by it.

Christina Della Giustina

2014 – 2022.

you are variations is a ten-year study of tree water-cycles in which scientific climate change research has provided environmental data on sap flow that is transposed into a musical score

Meng Ju Shih

2014 – 2017.

I'm interested in place and the relationships it produces between people. I'm curious about how the ownership of culture power in Taiwan has progressed in painting domain, landscape, especially.

For my research project I decided to enliven the German Early Romantics’ enduring search for the Wunderbare and ineffable – symbolized by the Blue Flower – through my own practice.

Anna Bunting-Branch

This thesis considers feminist science fiction as a methodology to approach the question of sexual difference raised by Luce Irigaray.  As something that has not yet happened—the stubborn embodiment of that speculative potentiality of the “what if…?” which resists the...

Dawn Gaietto

2015 – 2019.

What is happening here? [exploits of the nonhuman] is a practice-led research project introducing the proposition of anthrodecentric art as conceptual framework.

2015 – 2018

Identity that refuses to identify,

Philip Thompson

2015 – 2021.

The past ten years has seen a sudden rise in the number of academic texts addressing issues surrounding a digital ontology. Ranging from reproduction (Groys 2008), materiality (Blanchette 2011), error (Nunes 2011), and circulation (Steyerl 2009) understanding the digital world...

Nayoung Jeong

The tension of contemporary life exists as a paradox: In an era of increasing migration, both forced and chosen, we are at once radically global and yet culturally divided. As an artist with international experiences, I have personally navigated national...

Leni Dothan

Through my research I ask if Renaissance art created a set of Visual Contracts, and I hypothesize that its legacy continues to control our social, political, and religious behaviour to this day. Is it possible to challenge representations of women...

2015 – 2020

The Flat Diamond is a conceptual and theoretical object that operates as a proposition and invitation to explore the values of collaborative art practice; the work’s central concern is exploring the roles of the author and of narrative in the...

Drawing from Western and East Asian philosophical traditions, this thesis aims to compare different concepts of ‘Pathos’ as present in Chinese, Japanese and European traditions of art, and in particular photography. 

Nick Laessing

2016 – 2021.

This research project is an artistic investigation into the element hydrogen and its agency in the context of ecological art 2 . In light of the recently proposed Anthropocene epoch, I will produce a series of installation works to test...

2017 – 2022

My PhD research analyses material and process exploration within my art practice and corresponding historical painting context. This research involves the physical analogies of skin and its relevant metaphors and meanings

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Smith, Timothy J. "At the Intersection of Painting and Photography." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1343806810.

Garza-Meza, Laura Elizabeth. "Photography as a spiritual technique." Thesis, Pepperdine University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3558387.

The purpose of this study is to compare the spiritual benefits of practicing photography to the spiritual benefits of practicing prayer, meditation and yoga. Benefits noted were divided into the 4 dimensions of being human: physical, emotional, intellectual, and spiritual. The study considers Mexican leaders' perceptions of photography as a spiritual practice. A total of 105 Mexican leaders answered surveys. Of the 105 leaders, 14 were professors, 30 were entrepreneurs, 46 were business executives and 15 were students and homemakers (listed as "other") varying in ages from 21 to over 61.

The design of this study is descriptive, while the study was quantitative in nature. In preparation for the study, the researcher gathered qualitative information regarding the benefits observed as leaders practice photography. These descriptive answers were then used to create the quantitative surveys for the study.

The data demonstrated that photography can be considered a spiritual technique. First, the spiritual benefits shown from practicing photography mirror, to a large degree, the spiritual benefits reported for practicing prayer, meditation, and yoga. The literature also supports the reported similarities; however, participants do not consciously recognize these benefits. Second, the 4 dimensions of being human (physical, intellectual, emotional, and spiritual) are divided into 5 factors: (a) physical well-being and better decision-making, (b) optimism in life, (c) interrelation with the environment and intellectual development, (d) relaxing, and (e) spiritual growth.

Naude, Irene. "The Ontology of Photography Visually Analysed through the Camera Obscura." Thesis, University of Pretoria, 2017. http://hdl.handle.net/2263/58764.

Shanks, Sarah M. "Re:Visions : A Mother's Secondary Images." Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1417785128.

Zhu, Christine. "Rejecting the front row| Guy Marineau and the evolution of runway photography." Thesis, Fashion Institute of Technology, SUNY, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1603005.

This paper is a review and discussion of the career of French runway photographer, Guy Marineau. It specifically explores his tenure at Fairchild Publications between the years 1975-1985, contextualized by his personal experience and the history of the fashion show. Prior to shooting the runway, Marineau photographed conflicts in Portugal and Israel. Traumatized by war, Marineau, decided to realign his career towards capturing beauty.

Fashion shows emerged around the turn of the century, and press coverage of them has been long fraught with complications due to the threat of copyists reproducing unlicensed designs. During the mid-1950s John Fairchild tirelessly challenged the strict embargo set by the Chambre Syndicale that restricted the immediate release of images taken at couture shows. Yet by the 1960s, the demise of the haute couture was imminent, and couturiers resorted to licensing to keep their houses afloat, which in turn, reestablished their relationship with the press.

Since his start at Fairchild Publications, Marineau approached runway photography through the eyes of a war photographer. Marineau's work improved vastly as he grasped how to shoot fashion shows and was one of the first to challenge the established protocol by leaving his editor for the end of the runway. His photographs kept pace alongside his continuously evolving subject, the fashion show, and with advancements to camera technology. Relatively unknown, Marineau's work remains an undiscovered wealth of fashion history. His photographs are a testament to the once-diverse genre of runway photography that is slowly being replaced by the standardized runway photographs now linked with fashion websites.

Rawles, Erica M. "The Changing Meanings of Memory, Space, and Time in Photography." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/cmc_theses/1520.

Ballard, Heather. "Unfixed." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1524065963902847.

Mercure, Tammy. "Big Rock Candy Mountain: Photographs of the Great Smoky Mountain Tourist Towns." Digital Commons @ East Tennessee State University, 2009. https://dc.etsu.edu/etd/1815.

Powell, Amy L. "Erica and I: A Photographic Battle with Perception." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1285059415.

West, Stephanie Brooke. "Mimicking the Body, Mimicking the Sculpture." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1308083690.

Grenley, Devin. "Women’s Empowerment Through The Erotic." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/292.

D'Onghia, Danielle M. "Windows to Reverie: A Photography Exhibition of Works by Danielle D’Onghia." Ohio Dominican University Honors Theses / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=oduhonors1368528376.

Thomas, Caroline. "Performing the Uncanny: An Exploration of Self Through Alternative Process Photography." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/789.

Kenney, Jeffrey. "Alghe Mist." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/2538.

Sheridan, Jon-Phillip. "Plex." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/2491.

Castoro, Manila. "The decisive moment and the moment in between : Kairos, Tyche and the play of street photography." Thesis, University of Kent, 2016. https://kar.kent.ac.uk/60420/.

Wilson, Kathryn. "Cinematrope." ScholarWorks@UNO, 2013. http://scholarworks.uno.edu/td/1678.

Higgins, Josephine. "Seeing death : portraiture in contemporary postmortem photography." Master's thesis, University of Cape Town, 2013. http://hdl.handle.net/11427/14152.

Hillman, John. "Photography and its failure to represent." Thesis, University of the Arts London, 2018. http://ualresearchonline.arts.ac.uk/13348/.

Roussos, Meg. "BLAZE." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etd/3670.

Cloud, Joshua D. "Making with Caution." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306780837.

Harkin, Patrick. "Prime, Perform, Recover." VCU Scholars Compass, 2017. https://scholarscompass.vcu.edu/etd/5276.

Baczeski, Lillianna Marie. "Dictionary for Looking and Seeing." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1460805733.

Hope, Ashley W. "The Everyday Universe." ScholarWorks@UNO, 2018. https://scholarworks.uno.edu/td/2517.

Nieberding, William J. "Photography, Phenomenology and Sight: Toward an Understanding of Photography through the Discourse of Vision." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1308249027.

Isenogle, Melanie R. "Anna Atkins: Catalyst of Modern Photography Through The First Photobook." Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1522796885194359.

Huang, Yi-hui. "An Interpretivist Study of Knowledge Provided by Seamless Digital-Synthesized Photographs." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1214941623.

May, John Edwin. "The McFarlands: "One Season"." Digital Commons @ East Tennessee State University, 2010. https://dc.etsu.edu/etd/1719.

Ehmann, Christina. "American Splendor." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4102.

Spickard, Kristen R. "Patterns." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1343703458.

Smith, Anthony Earl. "Double Zero." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3837.

Dawes, Jason. "The Value of Everything is Nothing." CSUSB ScholarWorks, 2014. https://scholarworks.lib.csusb.edu/etd/248.

Thompson, Andrew. "Light Sensitive." CSUSB ScholarWorks, 2015. https://scholarworks.lib.csusb.edu/etd/245.

Magill, Carlie Shaw. "Gifford Pinchot's Photographic Aesthetic." The University of Montana, 2008. http://etd.lib.umt.edu/theses/available/etd-05302008-103548/.

Proulx, Janelle. "Necessary Movements." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3382.

Kozlowska, Agnieszka. "Taking photographs beyond the visual : paper as a material signifier in photographic indexicality." Thesis, Northumbria University, 2014. http://nrl.northumbria.ac.uk/16882/.

Doubt, Emma. "Portraiture, material culture and photography in the Cherokee Nation's "first family", 1843-1907." Thesis, University of Sussex, 2018. http://sro.sussex.ac.uk/id/eprint/74674/.

Levacy, Megan Renee. "Eulogy." Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/etd/1265.

De, Panbehchi Maria L. "Nostalgia and iPhone Camera Apps: An Ethnographic Visual Approach to iPhoneography." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4639.

Sullivan, Emily. "Dystopia." [Kent, Ohio] : Kent State University, 2010. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1272398862.

Fine, Jenny. "Performing Tenderness." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1276799884.

Tinaut, Maria. "Construction of an album for oneself." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4818.

Page, Paul Scott. "Maps to Non-Existent Places." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1430858356.

Brown, Christopher Shawne. "Exegesis." Digital Commons @ East Tennessee State University, 2008. https://dc.etsu.edu/etd/1903.

Simon, Janet. "Memoria : an exploration of longing, desire and transcience in the everyday." Master's thesis, University of Cape Town, 2001. http://hdl.handle.net/11427/25865.

Iseman, Stephen Dane. "Showing as a way of saying : the photograph and word combinations of Lewis Hine in support of child labor reform /." Connect to resource, 1993. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1113497089.

Levitsky, Maria. "Invisible Cities: Photographic Fictions of Architecture." ScholarWorks@UNO, 2012. http://scholarworks.uno.edu/td/1457.

Gorham, Elizabeth Trabue. "Boundaries." Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/etd/1395.

Sugla, Sarika Devi. "In search of the spirit." Thesis, The University of Iowa, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1560702.

Escobar, Mayte. "The Body As Border: El Cuerpo Como Frontera." CSUSB ScholarWorks, 2015. https://scholarworks.lib.csusb.edu/etd/247.