Theses and Dissertations at Montana State University (MSU)
Permanent URI for this collectionhttps://scholarworks.montana.edu/handle/1/733
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Item Common ground: finding an American aesthetic in ceramics through the history of wilderness and ceramic art in America(Montana State University - Bozeman, College of Arts & Architecture, 2021) Botelho Alvarez, Alejandro Manuel; Chairperson, Graduate Committee: Josh DeWeeseMy quest to find a unifying principle that constitutes 'American ceramics' has led me to survey the histories of studio ceramics in America and Wilderness and Nature in America. I've discovered resounding similarities between the two: both were responses to a flagging sense of identity and a hope to (nostalgically) confirm and promote certain values and worldviews (over others). Both our relationships with nature and American studio ceramics are monolithic in their founding ideals and have persisted into the 21st century; both have been fundamental in my upbringing and have codified my own worldview. However, I've become sensitive to the fact these particular values are rooted in privilege, are fundamentally exclusionary, and are ripe for a reexamination. In this paper I propose that we revisit the bearing of the values that wilderness and the aesthetic judgements of ceramics in the early 20th century have on society today. It does not mean that these traditions should be totally abandoned. Instead, I am convinced that a more pluralistic and inclusive approach to both is a more holistic way forward. By appraising the histories of wilderness and ceramics in America I hope to uncover some of the unrecognized people and cultures that have been deliberately redacted from the history. In so doing, I expect to find similarities and trends within the existing canon that are commonly celebrated and introduce the forgotten traditions back into the fold, such that it might lead to a new vision for American ceramics. In conclusion, I hope that this rediscovered American aesthetic might be the framework in which I create my own body of work, with a particular appeal towards process rather than form, as a criterion of excellence. With an understanding that American studio pottery has many different traditions to pull from that are still being 'digested', but that these diverse inspirations is not a weakness, but a strength.Item Ontogenesis(Montana State University - Bozeman, College of Arts & Architecture, 2019) Sprenger, Megan Gwynn; Chairperson, Graduate Committee: Jeremy HatchWhen one experiences place, do they comprehend what they are experiencing and think nothing of it, or do they find themselves lost in their own contemplations of place? In my research, I will discuss the importance of place and how it is a mirrored developed experience with that of the city and of self. This is done through the notions of space, place, and time. I have painstakingly constructed a body of work that relates these three important factors of humankind's growth and experience through the use of ceramics, wood, and other mixed media materials. It is my intention to bring to light the systems in which this mirrored development exists. Each section interweaves my own personal experiences. Interweaving research I have done through phenomenology, urban planning and human develop[ment].Item Coping with the landscape: an aesthetic analysis of the intermediate zone(Montana State University - Bozeman, College of Arts & Architecture, 2018) Parker, Ryan Keith; Chairperson, Graduate Committee: Jim ZimpelNumerous studies have been conducted into the aesthetics of landscape, both through objects (sculptures and installations) and through pictorial devices (painting, printmaking, photography, etc.). The fact being that, as long as the horizon line is interrupted these studies by artists will continue in hope of understanding and changing their own reality. Aligning with the history of the photographic land survey, the emphasis of this work is to direct the reading of landscapes towards an aesthetic analysis of the modern mobile landscape. Considering the accumulation of capital as the driving force of the aesthetic change in the landscape, this analysis will focus on the geography of the highest concentration of visible indicators, the intermediate zone. Within this transitional space, as is similarly true with ecological systems, the highest concentration for diversity has the ability to manifest at the edges of converging zones, due to the overlapping of multiple systems in one geographic locality. Accumulation of indicators, both those failing in the system and those entering the system will be present. Recognizing that this survey considers the use and misuse of utilitarian objects and architecture as a method of evaluating time, purpose, and relative availably to the general population, it will present an argument for the intentional denial of the legibility for this landscape, leading to a further lack of understanding within the general population. This result will further lead to the alienation of the population from its landscape.Item The gradual instant(Montana State University - Bozeman, College of Arts & Architecture, 2016) Osman, Michelle Jocelyn; Chairperson, Graduate Committee: Sara MastUsing visual imagery of my perceived environment allows me to map the intersection between unease with my surroundings and a deep connection to them at the same time. This work forces me to address questions of how I choose to interpret my environment. Integrating transitory clouds formations with signs of the built environment locates the work in an ephemeral and contemplative non-space.Item Montana industrial landscapes : reflections on place(Montana State University - Bozeman, College of Arts & Architecture, 2004) Salix, Nolan G.; Chairperson, Graduate Committee: Harold SchlotzhauerAs a painter I am intrigued with large scale industrial sites that have transformed or are transforming the Montana landscape. I am drawn to their monumental scale as well as the visible alteration of earth that occurs at such sites. Montana’s industrial history is easily visible in the presence of both working and abandoned old structures as well as in the physical alterations left by various extraction industries. The superfund site in Butte and the controversial tire-burning plant in Trident are both examples of natural places transformed into industrial landscapes. After observing these sites for hours or days, I begin to look past the negative content traditionally associated with such sites. My impressions instead become more deeply realized as I recognize the formal beauty inherent in the site itself. Many of these sites may be sources of harm or death to various life forms, yet they are also exquisite in color and captivating in design. My use of non-traditional media and technique is inspired by the industrial materials and processes used by the industries at the sites. I use these materials and techniques in order to simulate the history of the site. For example in the Berkley Pit an image of a large copper mine, the site is represented by panels of copper that cover the entire painting surface. I mimic the historical practice of mining by chemically altering the copper with various patinas and violating the integrity of the surface by physically removing part of the copper. In the painting, Phillips\Exxon, motor oil and roofing tar give the artwork the aroma and texture representative of an actual oil refinery. My work demands that the viewer contemplates the Montana industrial landscape in a manner previously inexperienced. The scale of my paintings is large in order to present the materials in a manner that expresses the immensity of the place. Working on such large panels, often six by eight feet in size, demands a large amount of physical effort and skill when working outside in the harsh winter climate of Montana. Often, a natural weather pattern, such as wind, rain and snow, creates an effect on my paintings by physically altering my applications during the paintings development. Working in plein air has pushed my painting style to become more experimental and physically engaging which has resulted in a deeper understanding of the landscape. Both my chosen materials and my naturalistic approach to painting help to represent the physical essence of the Montana industrial landscape. Though these sites may be seen as dirty, and even ugly to some, there is an aesthetic beauty inherent in these landscapes that compels me to look deeper.Item Glimpses of my journey(Montana State University - Bozeman, College of Arts & Architecture, 1994) Thorn, Richard LeeI am an explorer. I work in a personal and private way, which enhances my own journey of exploration and discovery. My site-interactive ceramic sculptures intensify the bond of energy that exists between myself and nature, revitalizing me and reaffirming that which I know to be true or of value. I deliberately create startling or unsettling conditions that are intended to provide a glimpse into unexplored inner realms, challenging myself and viewers to engage in exploration. My work is not a finished product, but a continuing process. The process begins with my exploration of the surrounding mountains, with my search for sites with which I feel an inner connection. This exploration inspires the construction of site-interactive sculptures which I call Spirit Vessels: ceramic sculptures which function as containers for my spirit and as focal points for my thoughts and energy. I choose shapes, colors, textures and a scale which unify the vessels with their sites. I return often to the sites, frequently bringing back rocks to guide me in the treatment of each work’s surface. At times, I texture my work with these rocks by pounding or pressing them into the wet clay.Item Portrait of a city(Montana State University - Bozeman, College of Arts & Architecture, 1967) Campeau, Raymond W.Item The far field(Montana State University - Bozeman, College of Arts & Architecture, 2000) Carter, Denise F.The “far field” is a place where the familiar merges with the unknown. It is a field where neglected cultivation melds into untamed ditches and brambles. It is here that the artificial commingles with the natural to create new forms and environments. All human making is a transformation of the natural world. The sculptures in this exhibition are the result of my interest in physically manipulating natural materials to create forms that retain and reflect the intrinsic qualities of the organic and the artificial. My intent with this work is to create forms that seem to span both the natural and manmade worlds.