Art and Designhttp://hdl.handle.net/10211.3/56502024-03-29T05:02:51Z2024-03-29T05:02:51ZPhotographic ceramic printingSantigian, Ronald A.http://hdl.handle.net/10211.3/2023912020-04-20T23:07:06Z1972-01-01T00:00:00ZPhotographic ceramic printing
Santigian, Ronald A.
Due to the very nature of the photographic process, the images rendered represent slices of reality expressed in microseconds of time. A new form of reality is created that is inconceivable to us in terms of normal time continua. It is as though once the shutter is released and the film is exposed, any ensuing rendition of the image is doomed to become a mere applique to some other reality. Inherent in the resolution of this project is the attempt to make the photograph an inexorable part of a reality beyond its own.
1972-01-01T00:00:00ZTwo spalliere by Jacopo del Sellaio illustrating the story of Cupid and PsycheWichman, Douglas Jonathanhttp://hdl.handle.net/10211.3/1934222020-04-20T23:07:06Z1970-01-01T00:00:00ZTwo spalliere by Jacopo del Sellaio illustrating the story of Cupid and Psyche
Wichman, Douglas Jonathan
The study has attempted to answer the following basic questions: (1) How were the panels understood in Sellaio's time? (2) What background information is available concerning the artist, his style, and the works as spalliere which would help in understanding the panels? (3) How can the panels best be understood and appreciated today? The answer to question one, contained in Chapter 3, includes the description of the elements within the panels, the discussion of the story and allegory of Cupid and Psyche, and the interpretation of the allegory. The answer to question two is presented in Chapter 2, entitled "Background Information." Chapter 4 attempts to answer question three, the major question of the study. The thesis of this study is that the panels' contemporary importance for the art historian lies in the way they reflect the transition between the Middle Ages and the Renaissance, including such features as changes in artistic methods, the striving to imitate classical antiquity, and philosophic changes such as the advent of humanism, Neoplatonism and secularism.
1970-01-01T00:00:00ZA dimensional photographic mural: the design and constructionMcMahan, Robert Lhttp://hdl.handle.net/10211.3/1933322020-04-20T23:07:06Z1970-01-01T00:00:00ZA dimensional photographic mural: the design and construction
McMahan, Robert L
The objective was the development of a photographic mural and a structure that would effectively display the mural, a composite of photographs. The subject was the human body photographed in high contrast. In photographing the body at a close range, areas ordinarily ignored were significantly isolated. The mural itself did not serve as surface for a relief, as originally proposed, but became the focus for the development of a multi-dimensional photographic form (with the omission of any surface variation that would serve on1y to detract). The illusion of depth, created by the mural, will be finalized within the observer, being dependent upon his visual involvement.
1970-01-01T00:00:00ZImagery in the art of the 60's: a survey and exhibitionGaroian, Charleshttp://hdl.handle.net/10211.3/1898712020-04-20T23:07:05Z1969-01-01T00:00:00ZImagery in the art of the 60's: a survey and exhibition
Garoian, Charles
The purpose of the project was to show how contemporary artists, and their working environment, have influenced the values of the 1960's. Today's artists seem to have developed a form of imagery that is termed "The New Reality" of life. The contemporary Pop and Punk artists have regained an interest in literal forms . . . not for traditional realistic purposes hut simply as viable material. This interest manifests itself both in the sensuous qualities of certain materials like rubber and fur; uses for their own sakes, and in grand, imposing scale . . . The Dadaists, especially Marcel Duchamp and Fernand Leger, were the predecessors of this contemporary attitude. Leger came to the United States, saw the technological objects that were produced and studied their aesthetic value. Duchamp advocated the ready-made as an art object. Dada's real contribution . . . , indirectly to Pop, was that it opened wide the doors unlocked by Cubism. These doors led to an 'anything goes' freedom of materials and subject matter. It is hypothesised that one of the sources for contemporary imagery has been the communications media of today. In the past the artist and society were mainly influenced by philosophies and literary materials of many regional areas. Today, because of the mass media of television, movies, Telstar,etc., a new source of imagery may have become an equally strong visual stimulus. Ours is a brand-new world of allatonceness (all-at-once-ness). Time has ceased, space has vanished. We now live in a global village ... a simultaneous happening. We are back in acoustic space. We have begun again to structure the primordial feeling, the tribal emotions from which a few centuries of literacy divorced us. The assumption concerning the effect of mass media has been explored with reference to a survey as described in that section of this paper dealing with the research design. The art forms produced for the project will provide visual examples of related phenomena and attempt to extend them to a logical conclusion in terms of their visual nature.
1969-01-01T00:00:00Z