Scholarship & Research
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Item Deep Now & The Seed Bank Project(Montana State University - Bozeman, College of Arts & Architecture, 2018) Jones, Rachael Marne; Chairperson, Graduate Committee: Jeremy HatchThe Deep Now & The Seed Bank Project critically examines flaws in Western Society's tendency towards singular perceptual and singular analytical ways of constructing reality. The exhibition is built from cultural signifiers of both loss and hope, expanding on the belief that what we leave behind is an indication of the future. I am among one of the first generations to expect a future in flux, and in order to adapt, our methods of problem-solving need to expand to include both analytical and automatic thinking strategies. As a relatively new civilization that has expanded its influence globally, the instigation of metacognition between the head and the heart could ignite the fundamental psychological shift to understanding deep time within Western Society. Only with a sense of empathy, as well as deep humility for reconciling our place within the larger eco-system of the earth, will the future look brighter for future generations of all life forms. Looking at both analytical and automatic thinking patterns exhibited within Western Society's evolutionary trajectory, this paper posits that both are valid problem-solving strategies depending on context and flexibility. This involves understanding our reality as a construct, fabricated from both cognition and phenomenological experience. Accepting that this construct will demand flexibility in interpretation as the future changes insures a more cognizant relationship with our environment. Deep Now & The Seed Bank Project was formulated with a rich recognition of cultural signifiers that relate how the 20th and 21st century established Western Society's values as well as a self-consciousness of our era. Through flow state drawing processes, artefactual sculpture and ritualistic, reliquarizing seed banks, the work hopes to deviate from apocalyptic visions, while recognizing an eminent paradigmatic shift in the future of Western Society. The exhibition harks to focus clearly on the clues from the past to rebuild a more interconnected and sustainable intention for our projection into space and time.Item Photographic images on ceramic surfaces(Montana State University - Bozeman, 1971) Fuglestad, Renee E.Item Factors that influence the artist and his work(Montana State University - Bozeman, 1970) Urdahl, Marlowe S.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 Ways to get up & out(Montana State University - Bozeman, College of Arts & Architecture, 1974) Frantsen, Scott SwigerMy main concern In my life Is finding the vehicle for getting way up and out Into the air. I want the vehicle (vehicle In this case meaning the means for transporting one's self) to be my vehicle - my own way, my own man-made contraption to get up and out Into the air. I have deep Interests In both static and kinetic vehicles; that Is, I am Involved In the participation of one's self whether It be the control of a kinetic vehicle or the being controlled by a static vehicle. It Is also very Important to me that the vehicle, aesthetically speaking, looks and feels right. For example, for me to get Into a Piper Cub and learn to fly that plane would be all wrong. I want to produce the vehicle and also set the guidelines for that vehicle's operation. Whether It be flying, climbing, being catapulted, etc., I want to be the control. Being In the air has always held a deep fascination for me. Climbing trees In northwest Missouri as a child was about the only way to get to that other plane of perspective; that Important plane for seeing all the things differently that grow so familiar to one who always looks with his feet on the ground.Item Contemporary banners as artistic expression(Montana State University - Bozeman, College of Arts & Architecture, 1967) Gregg, Robert WilliamThs influence of various interests and experiences and the artistic growth of the author, over a four-year period, carried him from painting through an investigation of serigraphy and textile decorating to fabric collage in the form of banners. The problem in this thesis was to show the correlation of painting and the creating of contemporary banners and to present banners as a fine art form.Item The poetic quality of metaphor(Montana State University - Bozeman, College of Arts & Architecture, 1983) Braun, Kenneth JohnThe poetic quality of metaphor is important in my work. The most attractive aspect of metaphor is in the ability of images to make inferences, that are seemingly unrelated to their own physical characteristics. The images then become a vehicle for a shadowed sense or mood that is more poetic than prosaic in feel. I enjoy enhancing this poetic nature by inventing situations or contexts that have a dramatic flavor. I find that the image then projects its own curious reality, separate from mere literal depiction. In some instances, I employ an almost iconographic presentation to my imagery, while in others using a more narrative approach. Both have advantages that allow me to play upon the dramatic element I am fond of exhibiting. The source for my work is more a result of seeking a mood or sense complimentary to my own sensibilities, sometimes alluding to self, other times reflecting a relationship between myself and my immediate environment. The source of my imagery is generally drawn from the world of objects that surround me. It is their common everyday qualities that provide me with a great many possibilities of combination. The character of their combination in my work is exciting to me, in that it frees me from the past experience of forcing a preeminent sense of meaning upon image. The combinations reflected become more a poetic response on my part, to an intuited relationship, oftentimes originating from allowing contrasting or unrelated images to Combine, I also feel that the poetic quality of metaphor in my work induces an observer response, confronting his own sensibilities.Item England's armor : Henry VIII's armor and his wars(Montana State University - Bozeman, College of Arts & Architecture, 2014) Ito, James Nobukichi; Chairperson, Graduate Committee: Todd LarkinHenry VIII, King of England, was a ruler who did not like having second-rate armor among his collection and decided to create his own royal armory so he did not have to rely on other armories across the English Channel. This thesis has been separated into three parts. The first part is an annotated bibliography of all of the sources that I used in the catalog and the essay. They give a summary of what the source contains whether it be a website, journal or book. The second part is the catalog that discusses eleven works of art and their relation to Henry VIII and the English armory at Greenwich. The armor is listed in chronological order from 1500 to 1540 before the armory was founded to the late reign of Henry VIII. Throughout the twenty-eight year reign of Henry VIII English armor design became its own identity, which had originated across the Channel in Southern Germany and Northern Italy. The third part of the thesis is the argument regarding a history painting of Henry's invasion of Northern France in 1513 titled the Battle of the Spurs ca. 1513. Incorporating the catalog and the annotated bibliography, the argument discusses the possible origins of who painted it and what armor the figures are wearing including Henry VIII. It is painting of a historical event, but we need to approach the painting as a mere representation on paint and not fact. That goes the same for the armor. The catalog is meant to help us differentiate German armor from English armor and to give the reader a foundation of what English armor is. The argument also looks to other paintings and prints from Italy, Spain, and Germany to compare the armor and the structure of the landscape, placement of figures and iconography. Armor in England became its own design through Henry VIII's ambition to make England an armor-producing nation.Item Golden surplus(Montana State University - Bozeman, College of Arts & Architecture, 2013) Brown, Katherine Marie; Chairperson, Graduate Committee: Josh DeWeeseGOLDEN SURPLUS brings together the art of ceramics and the ideology of farming. The exhibition prompts viewers to question contemporary agri-business and reflect on the methodology of genetically modifying seed. In my artwork, I aim to express what agriculture used to be, speak about where it is today, and question where it is going because of this technology. Traditionally in the past, seed was passed down from generation to generation. Specific vegetables and fruit were grown at specific times and locations, depending on the season and environment, creating the term 'in-season.' Today, through the development and advancement of technology, and because of the exponential population growth, the American farmer is now producing enough to feed himself and many others. In the twenty-first century we can transfer genes between unrelated organisms; offering no limitations and no restraints. Farmers quickly became scientists, and, today, scientists have now become farmers.Item Threading Between Worlds(Montana State University - Bozeman, College of Arts & Architecture, 2008) Renner, Stephanie Rose; Chairperson, Graduate Committee: Richard HelzerThe artworks in this series are my accounts of a deaf woman's experience in a world that constantly pulls her back and forth between two very divergent sides. The images on each panel tell stories about my subjective experiences and in narrating them, I chose images that are easy to recognize and to interpret about my life as a deaf woman and the obstacles I often face in reconciling the worlds of the deaf and the hearing. The themes of unity and balance are also present, and speak to both my affinity with quilt making in both traditional and modern styles and my personal history of constantly changing positions between the deaf and hearing worlds.