Scholarship & Research
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Item Right here / over there(Montana State University - Bozeman, College of Arts & Architecture, 2018) Rudolph, Kelsie; Chairperson, Graduate Committee: Josh DeWeeseI am curious to find the places where all of humanity fundamentally overlaps, whether that is through feelings or objects or both. Through an elongated process of sensory observation, we can retain this knowledge for the long-term. Here there is more time and room to search for commonalities across cultural and social systems. Finding commonalities between myself and the people, places and objects I interact with is grounding. These experiences provide me with the emotionally loaded act of feeling. The objects within the exhibition are an abstract visualization of an inner presence experienced in my own search for commonalities between various cultural systems, human interaction, and material complexities.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.Item The Corn Palace is blue, or, Interiors I know(Montana State University - Bozeman, College of Arts & Architecture, 1992) Jacobson, David PaulThe primary abstract component in my paintings and pastels is the intensity of color that is provided by my responses to light. The hues and geometric shapes of light and architecture subdue the illusion of three dimensional space: distant light - walls and ceilings - advance, while foreground - floors and furniture - recede. I design these architectural elements and paint them in colors that will facilitate a coexistent duality of flatness and perspective depth. To achieve harmony in this contrast of illusion, I use both simple and complex processes. By sketching, drafting, and xeroxing, I investigate light and value, composition and color. The results of these explorations are skeletons for my paintings and pastels. I then translate these preliminary ideas into more complete pieces by using first opaque and then transparent layers of paint or pastel to achieve intense, but balanced color effects. The spaces I portray are de-humanized even in my initial sketchings. Occupants in these public spaces have no importance to me. In this respect, I am a minimalist. My work manifests a personal and abstract narrative which consists of color, shape, geometry and design. The human element is, and is provided by, the viewer.Item Floor piece suite : a re-examination of three historical visual devices(Montana State University - Bozeman, College of Arts & Architecture, 1978) Bruhl, Winferd GilbertItem Untitled(Montana State University - Bozeman, College of Arts & Architecture, 1999) Ahnen, Phillip S.This work is carved using different axes, a process that does not allow modeling, and involves no “finishing touches”. Using these tools, I engage abstraction, and work to reveal myself through the clay. To me, the work is primarily about the nature of clay as a malleable material; it is about the permanent record of my actions left in the wet clay, and vocabulary of expressive mark-making. Secondary to abstraction, is the figure. The figure is the lure for the viewer to engage my abstractions. The human form is common to everyone, and in this scale invites the audience into its personal space. At the' same time, these sculptures are nameless, and faceless, which affords each viewer the opportunity to feel the body before them as if it were their own.Item Using experience as a way to make pictures(Montana State University - Bozeman, College of Arts & Architecture, 1986) Reuter, Beth M.My present work deals with minimal and at times abstract images of animals combined with a visceral handling of paint. it is most important that the images are recognizable as animals, not what type of animal they may be. For me, painting elements of dally life is a continual and ongoing proposition. I deem importance to the visually recurring everyday experience. Animals are an important part of my life;, therefore, they are currently the mainstay of my art. In the act of painting, artists use their own collection of experiences as a base for expression. Therefore, the art is an extension of the artist. My images appear from a very thin and gradual layering of paint, just as people are made up of layers of their past. We retain past experiences and may recall a previous event or create a visual picture at any given moment.Item Drift, ascend(Montana State University - Bozeman, College of Arts & Architecture, 2013) Mongeon, Jessica Lynn; Chairperson, Graduate Committee: Rollin BeamishI aggregate multiple experiences into large-scale India ink and acrylic paintings on paper, building up calligraphic marks, and large strokes of color to create a visual journey through the veil of time, distance and action. My paintings are based on personal experiences of hiking and backpacking in alpine environments. This thesis examines the influences of history, art, science and culture on an individual's understanding of nature, especially in America. The role of illegible writing is also discussed in relation to my paintings, as well as other artists who have influenced my artwork formally and conceptually. I believe that nature has an intrinsic value that should be celebrated and protected. As viewers begin to understand their emotions and perceptions in relation to nature, perhaps they will discover something new about themselves.