Scholarship & Research
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Item We: stitching together communities and the self master of fine arts exhibition and analysis(Montana State University - Bozeman, College of Arts & Architecture, 2022) Yonke, Angela Jean; Chairperson, Graduate Committee: Jeremy HatchIn this thesis I created work which visualizes the complexity, support, and importance of community, seeing one another's perspectives, and discussed self-care, our disposable culture by using materials which have symbolic meaning, and were relatable to the viewer. I structured the show to encourage play, engagement, and a desire to connect through use of semiotic visuals and simple directions. I took on the role of director and producer to inspire collaboration and connection within the exhibition. I used everyday window screen material to create clothing for participants to try on. The screen was embroidered with yarn to represent different emotional states through fiber mark making and color. People were invited by strategically placed icons and photographic imagery to try on the items and figuratively try on others' thoughts in an attempt to connect, reflect, and associate the skin of a building to their own body and perspectives. Examples of mending on the screens and photographs of my sewing club stitching on each other presented opportunities to talk about repair and valuing of possessions and the self. Using overlapping screens to create moire patterning, I alluded to the power of people to enrich and transform lives when we interact and overlap, and to see others as windows of opportunity. I presented a community knowledge sharing project, with an online archive and individual visual component, for neighbors to learn from each other and build community, my own shared skill being clothing mending. Gallery-goers were welcomed to add to a collaborative embroidery piece, take screen patches home to mend their own screens, and pose for photographs of themselves in the clothing. I witnessed participants positively interacting with the work. I measure its success by the conversations started and reactions shared regarding ideas which this body of work stimulated by attending and bodily experiencing the show. Further evidence can be seen in the online sharing of the work, and continued stories relayed to me. In this thesis paper I intend to delve more deeply into my research, symbolic use of materials, and conceptual basis for the work.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 Photographic images on ceramic surfaces(Montana State University - Bozeman, 1971) Fuglestad, Renee E.Item American Paintings(Montana State University - Bozeman, College of Arts & Architecture, 2004) Covert, Jeremy; Chairperson, Graduate Committee: Robert SmithOnce I have decided on an image I take a photograph. The color and surface of the photographs are manipulated when I change them into paintings. For each painting, this manipulation is slightly different. For example, in some works I like to paint with a dark blue palette with bright oranges for high lights. This is a dramatic change of the colors from what was recorded in the actual photo. At other times, I paint by following the color structure of the photo. Sometimes I simplify information from the photo. The brushstroke is left, to be seen. Additionally, I choose the color for each of the objects, and how thick and how crude the brush stroke is. It is my feeling that this mark of my hand is what elevates this object from a reproduction of a photo to an emotionally charged and special object. I paint this way intuitively. I keep the same value and form as the photo and synthesize a new color scheme and surface to make it a unique image. I paint the scenes of every day life because I can relate ideas, and emotions regarding what it means to be a person. The paintings show human activities and interactions in our culture. The average day in our life defines us as people. I want to paint images that make others think and feel. I want them to relate my work to who they are and what they do.Item Nude to line(Montana State University - Bozeman, College of Arts & Architecture, 2004) Laudon, Rachel S.; Chairperson, Graduate Committee: Robert R. SmithThe subject of each image is the nude. When shooting I used two models and focused on the details of line and contrast between the two bodies. While nude imagery lends itself well to the entire range between literal representation and abstraction, I concentrated on creating abstract compositions of line and form. I have always been fascinated by the reoccurrence of patterns of line and form in both the human body and nature. I have photographed different scenes on different scales in nature and after viewing the final prints, the repetitive shapes and lines, specifically the soft, subtle, and seemingly perfect curve reveals itself. While the sexual essence of classic nude imagery, utilizing the whole of the human body, is often obvious and unmistakable, in this body of work I sought to capture a more ambiguous and androgynous sexuality. I sought to capture pure sexual essence. Both humans and the nature around them exude a similar sexual or sensual essence that becomes obvious to me while I am shooting that expresses itself in recognizable forms from sand dunes to flowers. By ever increasing the size of the images, the grain of the image begins to separate which aids in the conception of lines, shapes and forms I see in nature. The grain of an enlarged image creates some distortion making it difficult to distinguish what part of the body one is viewing. This produces a sense of mystery, which flows within the same path as the ambiguity of line in nature. I have sought to produce a line the human eye can follow from one image to the next by use of composition, physical placement of each image, and the lack of any foreign objects such as; frames, glass, nails and other traditional methods of displaying photographs. The images become a single installation of the essence of natural sexuality and sensuality. The sheer size of the images intensifies that essence.