thesis about digital art

• Bibliography
• More Referencing guides Blog Automated transliteration Relevant bibliographies by topics
• Automated transliteration
• Relevant bibliographies by topics
• Referencing guides

Digital Commons @ SIA

Home > STU_PUB > STU_THESES

Theses/Dissertations from 2024 2024

Gentrification Trends and Their Effects on Graffiti and Street Artists Residing in New York City, Miami, and Los Angeles , Rachel Baer

Marisol Escobar: What happened to Marisol Escobar? , Leon Levy Blohm

The Great Mess of Auction Catalogues , Hector Yuyang Chen

Pearls of Power: Navigating Empire and Kingship in the Nineteenth Century in Qing Dynasty China and Victorian England , Jinrui Chen

A Comparative Analysis of Shanghai’s and Hong Kong’s Art Market Post Pandemic , Weiran Chen

Art and Entertainment Collaboration: the Benefits and Challenges of Auction Houses Crossover Collaborations in the Global Art Market , Yushi Chen

Unveiling Urban Photographs: The Evolution of Street Photography Through Cameras, the New York Photo League, and Visionaries Lisette Model and Helen Levitt , Isabella Danesi

Shaping a Sustainable Tomorrow: Envisioning the Future of the Art World for Cultivating an Environmentally Friendly Globe , Dylan DeGraff

An Analysis on the Philippine Art Market: History, Factors, and Practices Influencing its Present Art Economy , Sara de Ocampo

Art and the Brain: An Interdisciplinary Journey Through its Multifaceted Dimensions , Bianca Di Donna

Standardizing Records: Library Cataloging versus the Museum , Chiara Di Muccio

A Comprehensive Study: Exploring the Impact of Commodity: Attributes on Art Consumption and Purchase Decisions , Yuqi Duan

Envisioning Dynamic Cultural Platforms: Strategic Integration of Contemporary Art in Japan's Socio-Economic Landscape , Shota Hachisako

When Divergent Worlds Collide: Dr. Santiago Ramón y Cajal’s Influence on the Surrealism Movement , William J. Hardman III, MD

The Unconscious Mind: Psychoanalysis and Art , Carlie Hoffer

Warhol Uncovered: From Byzantium to Pop , Kassandra Ibrahim

Analyzing Communication and PR Strategies in the Korean Art Market , Se Hyun Kim

“How did Guernica become the important painting and the universal symbol it is today?" , Or Lebel

From East to West: The Impact of Chinese Artists on the French Art Scene and Vice Versa , Sarah Lee

A Rising Tide Lifts All Boats: Cultural Capital and Corporate Strategy within the Korean Art Market , Stephen Lee

Preventive Conservation of Easel Paintings for Collectors in China: Navigating challenges and Exploring Feasible Solutions , Di Lu

The Interplay of Hollywood's Golden Age and the Evolution of the Jewelry Industry: A Historical and Cultural Analysis , Man Luo

Redefining Exhibition in the Digital Ecosystem: Case study on teamLab’s Immersive Art Experience , Josephine Ng

The Socio-Political Barriers that Make Art Restitution an Impossible Enterprise in Hungary , Natalia Pakh

Study on the Trends and Strategies of the Contemporary Art Market in Korea: A Comprehensive Study of the Korean Art Market from Historical Roots to Contemporary. , Sohee Park

Transcendent Boundaries: the Impact of Art Festivals on Rural Revitalization in East Asia , Yili Peng

A Critical Analysis of Burgeoning Artificial Intelligence Trends Through the Lens of Contemporary Art , Crawford Peyton

The Case of the Euphronios Krater: Issues of Provenance and Recommendations for Cultural Heritage Institutions , Elizabeth A. Reedy

The Effects of AI Image Synthesis on Graphic Design , Ji Ren

The market for Winston Churchill’s paintings: An exploration of history, politics, provenance, and friendships , Arabella Repard

Evolving Artscape: The Role of the Contemporary Art Market in Saudi Arabia’s Socio-Economic Transformation , Lucrezia Boissier Rossanigo

Navigating Boundaries: Challenges and Strategies in Exhibiting Brazilian Art Globally , Bruna Ribeiro Schnor

Paths to The Abstraction: Kandinsky and Rothko , Vera Schueler

Reinterpreting the Original: How Appropriation Shapes the Way We View Art and its Icons. , Cailin Shannon Sung

Beyond Aesthetics: Antoni Gaudí's Revolutionary Use of Biomimicry, Biomorphism, and Biosynchronization in Architectural Design , Yechan Sung

Ethical Dilemmas in Art Advisory Services: Navigating Influence in the Art Market , Noah G. Tyler

The Development and Impact of Jingdezhen’s Ceramic Live Streaming , Yiyi Wang

Digital Reproduction: The Degradation of Art Viewership , Zoe Wallis Weingarten

Navigating the Art Landscape: Unraveling the Identity Crisis of Dallas as an Art City and Charting a Path to Global Recognition , Mary Willis

Towards Sustainable Exhibition Practices: Assessing and Enhancing Sustainability in Art Exhibitions , Cato Wong

Navigating the Currents: An In-Depth Survey on the Dynamics of the African Contemporary Art Market - A Comparative Analysis of 1-54 African Art Fair and Auction Houses as Pioneering Market Leaders , Ensui Wu

The Impact of AI in Gaming Industry , Huang Xiaorong

“I Can Do That”: Conceptualism in the Digital Age , Nan Jane Xiong

The Long Road Home: the State of Looted Chinese Cultural Artifacts in American Collections and a Roadmap for Restitution , Lulu Yang

Himalayan Murals, Himalayan Buddhist Murals: Styles, Symbolic Themes and Historical Evolution , Jiazhen Zhang

Theses/Dissertations from 2023 2023

Bank art advisory: American v. Italian , Gloria Cavaciuti

Analysis on the Overseas Market Performance of Porcelain and Its New Situation in the Context of Global COVID-19 Epidemic , Tianxiang Chen

Keith Haring and Jean-Michel Basquiat: Visionaries of the Legendary Art Movement of the Eighties in Downtown, New York City , Ritu Cipy

Lost Innocence: Women, Power, and Art in Victorian England , Jia Jing Ding

Manifesting Magic: Occultism and Feminism in the Art of Leonora Carrington and Remedios Varo , Margaret Dirschl

The Controversy of the Female Nude Body within Performance Art of the 1960s and 1970s , Jennifer Fialkowski

The Women of Impressionism: The Influence of Berthe Morisot, Mary Cassatt, and Eva Gonzalès on the Art Market , Caroline Finden

Would you rather be the head of a lion or the tail of a mouse? A comparative study of the art markets in London and New York , Clio Giner Garcia

Djurberg & Berg: A Relationship Saga , Johanna Graflund

Analysis of the Integration of high-tech Virtual Technology to improve the audience's experience: Taking China Exhibition Hall as Examples , Zizhou Guo

“I’ve Been Working My Ass Off For You To Make That Profit”: Fundamental Information for The Self-Advocation of Emerging Artists , Layne Hubble

Becoming Asia’s Next Art Hub: A Reflection on the Rise of the Contemporary Korean Art Market , Jihyun Hur

The Study of Reciprocal Impact between Dehua and European Porcelain: An Analysis of the Influence on Porcelain Making Skills, Shapes, and Decoration Styles , Xuening Hu

Monumentality of the Artist Chapel: Dissecting Light, Color, Spirituality, and Permanence , Katherine Isler

Present and Future of Impact Investing in Arts: Catching Momentum , Olga Korneeva

On Curation: A Hermeneutical Approach , Elisabeth Yumin Kröber

The Evolution of Marketing Tools at Auction Houses. Case: The Last Leonardo , Margherita Magnino

Black Lives Matter & Contemporary African American Art: An Auction market analysis. , Montserrat Miranda Ayejes

Artists in Legacy-Land: Endowing Foundations to Balance Market and Philanthropic Activity , Lucas Mischler

Collecting an Empire: Stolen Heritage of Indigenous Australians , Kyla Moore

From Exclusivity to Ambiguity: Rethinking Contemporary Ink Art and its Methodology , Ruqin Mu

The Artist as Surveillant: The Use of Surveillance Technology in Contemporary Art , Claire O'Neill

Art Investment Funds and NFTs , Francesca Osborne

The Impact of the Fashion Industry in 19th Century Paris on Impressionist Painting , Puja Patel

Effectively Preparing Art Students for Artistic Careers: A Study on Art Schools’ Relation to the Art Market and their Approaches to Preparing Students for Career Navigation , William Stewart

The Application and Impact of Digital Technology in Jewelry Art , Lai Tai

State of the Arts: The Contemporary Arts Ecosystem in the Republic of Ireland , Clare Tayback

The Wave of Digital Revolution: New Trends in the Emergence, Participation, and Presentation of Metaverse Art , Zijian Zhang

Spirituality and Abstract Art , Hao Zheng

Theses/Dissertations from 2022 2022

The art market’s inflection point: the inception of modern art investment , Maria B. Abraham

Lauder Art Collections: Two Brothers, Two Collections, One City , Carol Bradford Abruzzo

The Influence of the American Film Noir on Fine Arts in Los Angeles , Paige Berlin

The Private Art Collector’s Foundation in France: Issues and Implications for the Cultural Landscape , Milena Berman

Paris is Always a Good Idea: Study into Paris’ Potenial to Regain a Place at the Top of the European Art Market , Laura Bishai

‘What A Woman Can Do:’ Analyzing Correlation between Historiography of Italian Female Artists and Auction Prices , Paige Boucher

Beyond Conversation to Acquisition: What Museums are Purchasing and Why: The Impact of Contemporary Discourses on the Canon of Art , Karen Budgor

Selling Transcendence: The Rise of Experience and the Big Business of Immersive Art , Emeline Callaway

The Printmaking Boom and its Effect on the Future for the Market for Prints and Multiples , Helen H. Condo

How NFTs Are Driving the Latest Evolution of Art from Physical to Digital in a Pandemic Age. , Isabel Dominguez de Haro

Looking South: The Increased Visibility of Modern Latin American Art , Sofía Festa

A Eurocentric Model: The Metropolitan Museum of Art’s Westernization of the “Other” , Chloe Greisman

The Paradox of Scarcity: A Look at the Old Masters Evening Sales from 2014 to 2022 in London and New York , Erin Haydon

The Search for a Quintessentially French Style: The Reactionary Nationalism of French Art Nouveau (1890 – 1900) , Bailey Johnston

Aboudia: a new generation artist from Côte d’Ivoire , Richard Montoux

Linda Nochlin Finding Feminism: Early Education to Early Career , Natalie Parent

History of Fashion Installations as Art Exhibitions and Their Impact on the Public’s Perspective on Culture and Community , Arabella Riley

Lucretia Van Horn: The Artist’s Meaningful Impact on the Development of Modernism in the Bay Area , Annie K. Roddy

Valuations Achieved at the Sale of Royal Jewels from the Bourbon Parma Family , Reka Szterenyi

Impediments to Art Market Growth: Understanding Germany’s Disproportionately Small Art Market Share , Anthony von Steuben

Factors behind the successful positioning of Mexico City as an International Contemporary Art Center , Alma Roberta Zertuche Cantu

Theses/Dissertations from 2021 2021

Antiquities and the Art Market: Forever Divided or Will Ancient Art Find Its Place in an Evolving Contemporary Art Market? , Yvette Abiuso

The Cottages That Almost Were Not Saved: A Preservation Perspective on Three Newport Mansions , Julia Boron

Perspectives on Consciousness-Raising: A Modernist Intersectional Feminist Agenda , Ariana Cacoulidis

The Melancholy of Misunderstanding: An analysis of Marcel Duchamp’s Effects on the Development of Art in Conversation with Contemporary Artist Urs Fischer , Elizabeth Chander

Revisiting Appropriation in Contemporary Art: Art and Law Analysis , Won Sun Choi

Provided by the Sotheby's Institute of Art New York Library

Advanced Search

• Notify me via email or RSS
• Collections
• Disciplines

Author Corner

• Submit Research

Home | About | FAQ | My Account | Accessibility Statement

Privacy Copyright

• Skip to main content
• Accessibility information

• Enlighten Enlighten

Enlighten Theses

• Latest Additions
• Browse by Year
• Browse by Subject
• Browse by College/School
• Browse by Author
• Browse by Funder
• Login (Library staff only)

In this section

Digital art in digital libraries: a study of user-oriented information retrieval

Konstantelos, Leonidas (2009) Digital art in digital libraries: a study of user-oriented information retrieval. PhD thesis, University of Glasgow.

This thesis presents an empirical investigation of the problems of including pictorial digital art in the context of Digital Libraries (DLs). The rational for this work is that digital art material is a significant source of learning and research, provided that it is systematically collected and maintained in structured electronic repositories. The thesis addresses a fundamental question: How to provide description and retrieval services, which are based on the needs of digital art user communities? This raises three research issues. One is the need to combine DL collections into meaningful and functional content. The second is the importance of a user-oriented approach to designing and developing Digital Libraries. The third is the requirement for continuing access to digital art as a record of modern culture.

These questions are explored through a needs assessment targeted to Arts & Humanities scholars, digital artists and representatives of the DL community. A data collection methodology is developed, based on the principles of Social Informatics and a case study of evaluation efforts in extant projects. The results from this process demonstrate that the scholarly value of digital art can be established by aggregating material from various repositories into a unified dataset. The results also identify specific documentation and retrieval issues deriving from inclusion of digital art in a DL environment that necessitate further investigation. To this end, a review of sixteen digital art online resources is conducted which reveals ad-hoc collection strategies and metadata deficiencies. The work presents a prototype Digital Library for enhancing the educational outcome of digital art. The application is used as an implementation platform for material aggregation and augmented documentation through the Media Art Notation System (MANS). The summative evaluation findings confirm that the suggested solutions are highly rated by the targeted audiences.

The thesis makes a contribution to academic knowledge in situating the representation of digital art within modern society. By critically examining the unique requirements of this material using the resources of social theory, the thesis represents a contemporary and pragmatic perspective on digital media art. In a well-structured Digital Library, the scholarly potential of digital art is much greater than the currently employed ad-hoc context. This work offers a sustained reflection and a roadmap for selecting and consistently applying a strategy that aims to continually improve the quality of digital art provision.

Actions (login required)

Downloads per month over past year

View more statistics

The University of Glasgow is a registered Scottish charity: Registration Number SC004401

Secondary Menu

• Thesis Guidelines

Criteria for MA Thesis, Digital Art History/Computational Media 

Updated march 2022.

The MA thesis consists of two parts, an essay and a digital project. The essay should be approximately 50+ pages, depending on the topic, and must establish:

• the scholarly question
• the historiography of the topic
• and the goals and purposes of the digital contribution, with a particular focus on how the digital intervention contributes to or changes the character of the research question.

A thesis must be fully and carefully annotated and include a substantial bibliography. Each essay must have an introduction, analysis, and conclusion.

The thesis must also include documentation of the digital/computational media component of the thesis, as well as the digital project itself. This documentation may be added as an appendix to the written essay, or contained in a thesis chapter.

Together the scholarly essay and the digital project form a final portfolio to be submitted at the conclusion of the program. As the culmination of their work, students are also expected to present their final projects formally to the Digital Art History/Computational Media Faculty and the public.

A thesis must consist of a study of some aspect of art history, material, or visual culture based on library and (where relevant) field research, and must have a substantial computational media practice component.  It is not simply a description, but rather an analysis and interpretation that seeks to focus the digital contribution towards a research question that can have a public-facing component.  The computational media project should help make an argument or explore a concept more effectively than a stand alone written essay. While some projects will tilt more towards academic and scholarly questions and representation, others will focus more on the technology and its affordances for an example project prototype. Thesis projects might arise out of your own previous scholarly work, current or new research, and/or as an offshoot of an existing Wired or CMAC Lab project. Collaborative elements are possible, but your thesis will be judged on your own, clearly defined written and digital contributions. Regardless of the emphasis, students are expected to do a "literature review" of the conversation they are entering in terms of prior and current approaches to their selected topic. Students may choose to use any combination of the digital tools listed at the end of this document, or additional tools with the approval of the Thesis Committee members.

A typical outline might include:

• Introductory chapter outlining the problem or topic
• Research-based historical background and/or computational media field survey addressing the question 
• Overview of your own digital project and contribution
• Documentation and reflection on your project and possible next steps for its implementation

For examples of past DAH/CM MA projects, consult Proquest from the Duke Libraries website.

The thesis is an independent scholarly contribution that demonstrates the utility of computational media technologies for a historical, cultural, artistic, or social question. The student must demonstrate an ability to gather, analyze, and interpret research data using the specialized literature in the particular field of study and theoretical perspectives that are current in the research area.

Criteria for Assessment

• Clear statement of the research question and goals of the project
• Form, quality and depth of the written documentation, presentation and intellectual argument
• Form and quality of the digital component; success and clarity in relation to the stated goals of the project (for example: public outreach; mapping or modeling a research question)
• Analysis and conclusions
• Clear and articulate description of the research methodology
• Demonstration of competence in the discipline
• Clear and complete documentation of process and final project

Format of the Project

The essay must conform to the criteria of the Graduate School and have been submitted within the designated time frame for a degree to be awarded in December.

Other Critical Deadlines

Internal Program Deadlines

• October/November of Fall of First First Semester: initial proposal meetings for Year 1 students
• End of Semester of Fall of First Semester: preliminary outline & list of resources (suggested)
• February 14 of Second Semester: first draft proposal due
• February 14-April 15: revisions, advice, meetings with prospective committee members
• April 11 of Second Semester: detailed chapter-by-chapter proposal/plan due, with prospective committee members identified
• May 1 of Second Semester : Summer Research Plans submitted to the Department and advisor as part of continuing fellowship application; tentative decision about defending in Fall or Spring of the following AY should be made at this time
• December Graduation: October 1 of Third Semester OR  May Graduation: February 1 of the Fourth Semester   full draft submitted to the advisor; consultation with other committee members recommended throughout the process - students anticipating a May Graduation should still submit a Completion Plan by October 1

Graduate School Deadlines

•  See the  Graduate School website  for the latest info, especially Graduation Deadlines  - Graduate School deadlines takes precedence and are not flexible. The digital component must be included with the thesis on a cd or via link to a persistent, Duke archival site (not attached only to your netID).

Proposal Outline Details

This document must clearly state the research goals, the digital tools to be used, and provide a preliminary 1-page bibliography. Students must demonstrate that they are prepared to do the project, both in terms of content and technical expertise, and provide a preliminary outline for the paper, with a proposed timeline for completion of the different component parts. A primary advisor and possible additional committee members and advisors should be identified at this time.  The schedule must be shared with the research committee and contain specific dates for completion and review, keeping in mind the overall Graduate School Calendar. See Thesis Proposal Outline for details.

The Thesis Committee

In the second semester of Year 1, after the formal proposal has been revised and accepted in March, the official committee of three faculty will be established. They will both serve as advisors and will review the final project at its completion. Students are encouraged to identify and contact potential committee members during the first semester  - faculty teaching topical and technical classes are likely candidates for committees, but you may also look further afield, especially for subject-area advice. Note that some faculty and staff may not be members of the graduate faculty but can serve as additional advisors  beyond the core committee of three. (See the Graduate School list of Graduate Faculty to determine who is eligible to serve on your committee. You should also consult the DGS for final approval of your committee members.) The committee will meet with the candidate periodically and establish the plan for the summer research, the digital component, goals for the project, and a schedule of work until final submission. In most cases, the thesis research credits in semesters three and/or four will be taken with the primary advisor and other committee members, though students may also take or audit additional classes in the third semester if they need more credits or want to acquire additional skills. 

Sample Tools Summary for the MA

Core topics:.

• Content Management Systems / Blogging (WordPress)
• Digital Collections (Omeka/Neatline)
• Basic GIS/Mapping (ArcGIS, qGIS, OpenStreetMaps)
• Basic Data Visualization (Tableau, D3, web applications such as Palladio)
• Video Production (iMovie)
• Image Manipulation (Photoshop)
• 3D Modeling (Sketchup)
• 3D Acquisition (Photogrammetry, Laser Scanning)

Specialized Topics:

• HTML/CSS/JavaScript/JQuery
• Physical Computing/Sensors
• Advanced Audio/Video production
• Text Analysis/Mining
• Others on on approval of the Thesis Committee
• CMAC Brochure
• PhD Program Background
• Our Facility
• Digital Humanities at the John Hope Franklin Humanities Institute
• IDM Major & Minor Requirements
• Computational Media IDM Advising Form
• Undergraduate Certificate in Information Science + Studies
• Grading and Evaluation
• Assistantships
• Progress Report
• Language Requirements
• RCR Training
• Practice Projects
• Preliminary Exam
• Dissertation
• Time Limits
• Sample Courses
• PhD Mentoring and Climate/Culture
• Program Requirements
• Advising and Thesis Committee
• Thesis Proposal Outline
• Thesis Defense
• Graduate Certificate
• Living in Durham
• Apply to the MA or PhD Program
• All Courses
• Independent Study and Lab Practicum
• Below 500 Level Courses for Graduate Students
• Core Graduate Faculty
• Affiliated Faculty
• Technical and Research Consultants
• Franklin Humanities Institute Partners
• Graduate Students
• For Current Students
• Assisting Duke Students

• Request Information

ART 8000 Thesis Research: Digital Art

After passing to thesis and selecting a thesis committee, graduate students enroll in ART 8000 Thesis Research: Digital Art with the chair of the thesis committee. Students are expected to write an articulate proposal outlining creative, formal, and research goals for the thesis year. Their work culminates in a written thesis and a professionally mounted solo exhibition.

Elisa Fabris Valenti

En to pan from Elisa Fabris Valenti on Vimeo .

untermensch from Elisa Fabris Valenti on Vimeo .

ART 4230 Virtual Space & Motion

Virtual Space & Motion builds on the 3D modeling skills developed in ART 2230 Virtual Space, bringing virtual elements into a context outside of Maya. The course focuses on group projects and honing skills in the 3D pipeline. Particular attention is placed on time-base narratives and creating digitally animated shorts using 3D graphics. Students learn about 3D painting, 3D sculpting, motion capture, particle systems, and compositing. It is highly recommended that students have a foundation in 3D modeling before taking this course. Students will examine past animators and their methods in order to inform their creative decisions and will also look at contemporary forms of animation from media, entertainment, advertising, and the fine arts. While learning about technique and craft, students will also explore the role of the virtual in society.

ART 4290 Digital Art Synthesis

Digital Art Synthesis is an advanced studio focused on the completion and presentation of a large scale digital media project.

CityScape by Sean McIntosh

Jared Hornsby – WREN from Digital + Art on Vimeo .

Metamorphosis from Kevin Dupuy on Vimeo .

The Exodus from Erik Duncan on Vimeo .

ART 2220 Moving Image

ART 2220 Moving Image offers an introduction to digital video production and editing systems. Concepts covered in the course include basic compositing and motion graphics.

Ethan Casiello – Game On from Digital + Art on Vimeo .

Pierrot Lunaire #05 Valse de Chopin – Ethan Casiello from Digital + Art on Vimeo .

Kelly Kral – Baton Rouge Poverty from Digital + Art on Vimeo .

Jared Hornsby – SaySomething from Digital + Art on Vimeo .

ART 2050 Digital Art I

Digital Art I introduces students to basic design principles and terminology within the digital environment. This course covers the technologies and production processes used to successfully create and complete digital art and design projects, from brainstorming of concepts, to scanning, importing, creating, printing, executing and presenting works.

Zooplankton  by  Ethan Engemann on Vimeo .

ART 2230 Virtual Space

This course offers an introduction to modeling and animation using three-dimensional objects and spaces in a virtual environment.

ART 4541 Special Studies: Motion Design

This course is an introduction to methods and processes of creat­ing motion graphics for broadcast and cinema. Students explore the relationship between still- and time-based design elements—such as type, image, composition, pacing, rhythm, sequencing, and sound—to create graphic communications. Students explore the variable of mo­tion in a series of narrative graphic design projects that build in complex­ity over the course of the semester. They work in analog and digital formats, using valuable tools and software programs such as Adobe Photoshop and Adobe After Ef­fects to create motion graphics that complement their individual aesthetic.

The Dance by Jeremy Grassman from Richard B. Doubleday on Vimeo .

Kelly Kral in Less Than A Minute by Darin Tran from Richard B. Doubleday on Vimeo .

Sweet Tooth by Christina Chang from Richard B. Doubleday on Vimeo .

ART 2392 / ART 4391 Digital Printmaking

ART 2382 Digital Printmaking offers an overview of digital printmaking practices, blending technological innovations with traditional printing methods. Through a structured series of projects, students work in the digital environment using Photoshop, Lightroom, and Maya, as well as other digital platforms, to generate imagery for their prints. Students work on three individual projects—one each in screen print, photo-lithography, and digital inkjet output—in preparation for a culminating project employing each of the media and technologies introduced in the course.

In ART 4391 Advanced and Alternative Digital Printmaking , students pursue experimental work in various digital print media. Building on the knowledge, skills, and imagery developed in Digital Printmaking, this course focuses on personal explorations in digital media, platform, and print output. This course is best suited to the needs of advanced printmaking and digital art undergraduate students as well as graduate students from photography and graphic design. It may be incorporated into BFA or MFA thesis projects as a corollary to focused research and practice.

ART 4020 Special Topics: Interactivity and Art

In this course, students explore meaning through interactivity while pursuing independent and group projects that use digital media to create an interactive experience.

sketching abstractions from H. Cole Wiley on Vimeo .

Interactive Book from Digital + Art on Vimeo .

Academia.edu no longer supports Internet Explorer.

To browse Academia.edu and the wider internet faster and more securely, please take a few seconds to  upgrade your browser .

Enter the email address you signed up with and we'll email you a reset link.

• We're Hiring!
• Help Center

The Aesthetics of Digital Art.pdf

This is an edited version of the Introduction to my book Digital Art, Aesthetic Creation: The Birth of a Medium, published by Routledge in their Advances in Art and Visual Studies series, 2019. In the book, the chapter is entitled ‘Introduction: The Possibility of Art’. If you wish to cite this discussion please refer to the version as presented in the book . The discussion here justifies why digital art can be regarded as an authentically artistic mode of creation, and considers aspects of its creativity.

Related Papers

Terry Flaxton

As far back as the introduction of the Greek myths – and specifically that of Echo and Narcissus (where Echo is Sound and Narcissus is image) appreciation of the nature of art has been derived from archaic and classical values that promote the idea of interpretation as a meaningful metric of the value of an idea or an object. In his ‘Poetics’, Aristotle posited that diegesis (Echo) is the reporting or narration of events, contrasted with mimesis (Narcissus) which is the imitative representation of them: the distinction is often cast as that between ‘showing’ and ‘telling’. Together with discrimination and comprehension, both of these functions are part of the mechanism of interpretation. When Gutenburg created the printing press which enabled the beginnings of the mass production of text, the concept of reading and interpreting gained even greater historical purchase due to the encoding of meaning in actual objects: books. ‘Interpretation’ was given even greater power within the rise of modernism with the intervention of the Frankfurt School, which fore-grounded the idea of the ‘interpretation’ of art as meaningful and significant. Walter Benjamin reframed and reinterpreted the medieval belief of the power of the relic of the Saint in his famous question: Can the aura of the original be found within its replica? This question is even more pertinent now when art is created within the digital realm and must be reframed once again: Can the aura of the original exist at all, given there is no difference between the original and its copies? By examining new ideas of ‘entrainment’, where immersivity, resonance, synchronicity and direct response become the factors that reveal the potency of art, In this paper I re-examine how art or media events can function without dependence on the idea of interpretation.

Trends, Experiences, and Perspectives in Immersive Multimedia and Augmented Reality

Emilia Simao

In this chapter, the authors discuss the use of digital media in the creation of digital art, questioning the evolution of the relationship between technology and concept in communication through art. The intersection of new media and digital art have been opening interesting and seductive new horizons and in parallel, the concept, the understanding, the legitimacy of artistic creation, the role of the artist and the role of the spectator are also redefined. Based on two experimental works of the artist Henrique Silva, the authors analyze and reflect on the relationship of technology, art and virtuality, focusing on concepts like experience, sensory, immersion, communication and interaction in artworks created through digital media.

Handbook of Research on Computational Arts and Creative Informatics

Adérito Fernandes-Marcos

Art Beyond Digital

Dominique Moulon

Digital technology has interfered in all the spheres, private, public and professional, of our society and shaped them. Artists have always used the techniques or technologies of their time to express themselves. To each appropriated innovation thus corresponds a range of works. Yet, it takes time for the art world to integrate new practices and new media. Impatient, the most fervent advocates of digital art have structured themselves into international communities by organizing dedicated events. Their practices have now matured and the public is culturally ready to welcome their creations as it already does in festivals. At the same time, we notice the first signs of digital acceptance in art, both in institutions and in the contemporary art market.

The Encyclopedia of New Media Art: Volume 2: Artists & Practice

Mark Cypher

Digital aesthetics is characterized by a diversity of approaches that stem from the constantly evolving nature of new media and aesthetics. What qualifies as digital or its umbrella term, ‘new media technologies’, is continually changing and covers various applications and theories from art, science and industry. Aesthetic discourse is concerned with the experience of the world and its effect on the embodied subject (Karatzogianni and Kuntsman 2012). Anna Munster argues that aesthetics ‘cannot remain undisturbed by the machine’ since its influence manifests and augments itself in our perception and associated responsibilities (2006: 151). I argue that the relations inherent to the processes of new media influence, mediate and sensitize us to digital artworks and their associated aesthetic, perceptions and ethical and political affects (Felski 2020). This will require taking into account the material-discursive dimensions of digital media and how they work in relation to the generative possibilities of the body and its sensations.

Proceedings of the 5th conference on Creativity & cognition - C&C '05

Pamela Jennings

Heidegger Circle Proceedings

Roisin Lally

Screen Thought Journal

Shaun Wilson

This article will examine the changing role of digital aesthetics in art and screen in a context of Metamodernism. As the problem of a structure of feeling will be argued as lacking the formalism of its cultural predecessors, the rapid proliferation of artificial intelligence as both a creative producer and distributor will be framed as an 'autonomous other' to hypothetically attest to the defunct of human orientated born digital artefacts. As much as this proposition is akin to a re-examination of metamodernity, a proposed formalism thought of as a structure of reason is as determinant to the shaping of digital aesthetics as the deployment of opposition in an era of self-aware pictorial networks.

Ellen Harlizius-Klück

A digital representation is one based on countable, discrete values, but definitions of Digital Art do not always<br> take account of this. We examine the nature of digital and analogue representations, and draw from a rich pre-industrial and ancient history of their presence in the arts, with emphasis on textile weaves. We reflect on how this approach opens up a long, rich history, arguing that our understanding of digital art should be based on discrete pattern, rather than technological fashion.

Alistair Stray

My intentions on writing this essay are to create a post-structuralist framework for informing my own practice as a digital artist, filmmaker and musician. As digital space is commonly perceived as a purely symbolic space (non-material, and by extension thereby providing non-destructive transformations), it is often interpreted as being a space that provides the artist with more creative freedom, and this led me to start by exploring a nominal definition of creative freedom. Using Deleuzian terminology I go on to describe the conditions on, and the constraints that are existent on, the creative process. I then make an attempt to identify any peculiar differences that exist for an artist working within digital space, and any differences that manifest themselves in digital art forms.

Loading Preview

Sorry, preview is currently unavailable. You can download the paper by clicking the button above.

RELATED PAPERS

Marijke Goeting

Lumina Journal

Computers & Graphics

CLCWeb: Comparative Literature and Culture

Montse Arbelo

angi patton

Hanna Melissa Sorbito , Allana Rufo , Carla Jennidy Mallari , Maru Janben Macabontoc

Handbook of Multimedia for Digital …

Nelson Zagalo

Secretaria Ciac

in "Mimesis Journal"

Giulio Lughi

The Art Bulletin

Kate Mondloch

Editor Ijasre

roger malina

Christiane Paul

xtine burrough

Emanuele Arielli

Triyono Bramantyo

IEEE Computer Graphics and Applications

Lona Gaikis

Jonathan Hook

Fibreculture Journal

Warwick P Mules

Journal of Art & Architecture Research Studies - JAARS

Gamal Elkheshen

YLEM Journal

Loren Means

Clive Palmer (National Teaching Fellow)

RELATED TOPICS

•   We're Hiring!
•   Help Center
• Find new research papers in:
• Health Sciences
• Earth Sciences
• Cognitive Science
• Mathematics
• Computer Science
• Academia ©2024

Information

• Author Services

Initiatives

You are accessing a machine-readable page. In order to be human-readable, please install an RSS reader.

All articles published by MDPI are made immediately available worldwide under an open access license. No special permission is required to reuse all or part of the article published by MDPI, including figures and tables. For articles published under an open access Creative Common CC BY license, any part of the article may be reused without permission provided that the original article is clearly cited. For more information, please refer to https://www.mdpi.com/openaccess .

Feature papers represent the most advanced research with significant potential for high impact in the field. A Feature Paper should be a substantial original Article that involves several techniques or approaches, provides an outlook for future research directions and describes possible research applications.

Feature papers are submitted upon individual invitation or recommendation by the scientific editors and must receive positive feedback from the reviewers.

Editor’s Choice articles are based on recommendations by the scientific editors of MDPI journals from around the world. Editors select a small number of articles recently published in the journal that they believe will be particularly interesting to readers, or important in the respective research area. The aim is to provide a snapshot of some of the most exciting work published in the various research areas of the journal.

Original Submission Date Received: .

• Active Journals
• Find a Journal
• Proceedings Series
• For Authors
• For Reviewers
• For Editors
• For Librarians
• For Publishers
• For Societies
• For Conference Organizers
• Open Access Policy
• Institutional Open Access Program
• Special Issues Guidelines
• Editorial Process
• Research and Publication Ethics
• Article Processing Charges
• Testimonials
• Preprints.org
• SciProfiles
• Encyclopedia

Article Menu

• Subscribe SciFeed
• Recommended Articles
• Google Scholar
• on Google Scholar
• Table of Contents

Find support for a specific problem in the support section of our website.

Please let us know what you think of our products and services.

Visit our dedicated information section to learn more about MDPI.

JSmol Viewer

Drawing in the digital age: observations and implications for education.

1. Introduction

2. four drawing events, summer 2018, 2.1. thinking through drawing.

The model is asked to take a very active pose for a minute or less … As the model takes the pose … you are to draw, letting your pencil swing around the paper almost at will, being impelled by the sense of action you feel. Draw rapidly and continuously in a ceaseless line, from top to bottom, around and around, without taking your pencil off the paper. Let the pencil roam, reporting the gesture. You should draw, not what the [subject] looks like, not even what it is, but what it is doing . Feel how the figure lifts or droops—pushes forward here—pulls back there—pushes out here—drops down easily there. Suppose that the model takes the pose of a fighter with fists clenched and jaw thrust forward angrily. Try to draw the actual thrust of the jaw, the clenching of the hand. A drawing of prize fighters should show the push , from foot to fist, behind their blows that makes them hurt. (ibid., p. 14–15)

2.2. Artistes et Robots

2.3. space-time geometries and movement in the brain and in the arts 9, 2.4. drawing lab paris, cinéma d’été 10, 3. conclusions, 3.1. drawing in contemporary culture and education, 3.2. drawing as thinking, and drawing on the whole, 3.3. toward a comprehensive model of drawing instruction for the digital age, 3.4. “machine as artist” with implications for drawing instruction in the digital age, conflicts of interest.

• Balchin, W. G. V. 1972. Graphicacy. Geography 57: 185–95. [ Google Scholar ] [ CrossRef ]
• Barrett, Dan. 2013. Creativity: A Cure for the Common Curriculum. The Chronical of Higher Education . Available online: https://www.chronicle.com/article/The-Creativity-Cure/138203/ (accessed on 31 December 2018).
• Basta, Sarina. 2015. TRANSMISSION recréation et répétition . Paris: Beaux-Arts de Paris Editions. [ Google Scholar ]
• Brew, Angela. 2015. Learning to Draw: An Active Perceptual Approach to Observational Drawing Synchronizing the Eye and Hand in Time and Space. Ph.D. Dissertation, University of the Arts London, London, UK. [ Google Scholar ]
• Chabrier, Renaud, and Carsten Janke. 2017. The comeback of hand drawing in modern life sciences. Nature Reviews; Molecular Cell Biology 19: 137–38. [ Google Scholar ] [ CrossRef ] [ PubMed ]
• Drawing Research Network. 2018. Available online: http://www.drawing-research-network.org.uk (accessed on 11 January 2019).
• Edwards, Betty. 1979. Drawing on the Right Side of the Brain . Los Angeles: Tarcher. [ Google Scholar ]
• Efland, Arthur D. 1990. A History of Art Education . New York: Teachers College Press. [ Google Scholar ]
• Findlay, John M., and Iain D. Gilchrist. 2003. Active Vision . Oxford: Oxford University Press. [ Google Scholar ]
• Gardner, Howard, and Katie Davis. 2013. The App Generation . New Haven: Yale University Press. [ Google Scholar ]
• Garner, Steve. 2011. Understanding Graphicacy. In Idator Online Conference: Graphicacy and Modeling . Edited by Eddie Norman and Niall Seery. Loughborough: Design Education Research Group. [ Google Scholar ]
• Goldstein, Carl. 1996. Teaching Art: Academies and Schools from Vasari to Albers . Cambridge: Cambridge University Press. [ Google Scholar ]
• Graves, Michael. 2012. Architecture and the Lost Art of Drawing. New York Times . February 9. Available online: https://www.nytimes.com/2012/09/02/opinion/sunday/architecture-and-the-lost-art-of-drawing.html (accessed on 31 December 2018).
• Henshilwood, Christopher S., Francesco d’Errico, Karen L. van Niekerk, Laure Dayet, Alain Queffelec, and Luca Pollarolo. 2018. An abstract drawing from the 73,000-year-old levels at Blombos Cave, South Africa. Nature 562: 115–18. [ Google Scholar ] [ CrossRef ] [ PubMed ]
• Kaiser, David. 2005. Physics and Feynman’s Diagrams. American Scientist 93: 156–65. [ Google Scholar ] [ CrossRef ]
• Levin, Helen. 2002. A Response to William Mitchell on “The Death of Drawing”. Leonardo 35: 117–18. [ Google Scholar ]
• Lewis-Williams, David. 2002. The Mind in the Cave . London: Thames & Hudson. [ Google Scholar ]
• Maynard, Patrick. 2005. Drawing Distinctions . Ithaca: Cornell University Press, p. 7. [ Google Scholar ]
• Mitchell, William J. 1989. The Death of Drawing. UCLA Architectural Journal 2: 64–69. [ Google Scholar ]
• Nicolaides, Kimon. 1941. The Natural Way to Draw . Boston: Houghton Mifflin Co. [ Google Scholar ]
• Noton, David, and Lawrence Stark. 1974. Eye Movements and Visual Perception. In Readings from Scientific American: Image, Object, and Illusion . Edited by Richard Held. San Francisco: W. H. Freeman and Company. [ Google Scholar ]
• Petherbridge, Deanna. 2010. The Primacy of Drawing . New Haven: Yale University Press. [ Google Scholar ]
• Pevsner, Nikolaus. 1973. Academies of Art, Past and Present . New York: De Capo. [ Google Scholar ]
• Revit. 2018. Available online: https://en.wikipedia.org/wiki/Autodesk_Revit (accessed on 30 December 2018).
• Ruskin, John. 1837. The Elements of Drawing . London: Smith, Elder, and Co. [ Google Scholar ]
• Sale, Teel, and Claudia Betti. 2008. Drawing: A Contemporary Approach . Belmont: Thomson-Wadsworth. [ Google Scholar ]
• Schjeldahl, Peter. 2018. Out of Time: Hilma of Klint’s visionary painting. The New Yorker , October 22. [ Google Scholar ]
• Sheer, David Ross. 2014. The Death of Drawing: Architecture in the Age of Simulation . New York: Routledge. [ Google Scholar ]
• Simmons, Seymour. 1988. Bringing Art to Mind: Theory and Practice in the Teaching of Drawing. Ph.D. Dissertation, Harvard Graduate School of Education, Cambridge, MA, USA. [ Google Scholar ]
• Simmons, Seymour. 2012. Philosophical Dimensions of Drawing Instruction. In Thinking through Drawing: Practice into Knowledge . Edited by Andrea Kantrowitz, Angela Brew and Michelle Fava. New York: Teachers College. [ Google Scholar ]
• Simmons, Seymour. 2017. C. S. Peirce and the Teaching of Drawing. In Peirce on Perception and Reasoning . Edited by Kathleen A. Hull and Richard Kenneth Atkins. New York: Routledge. [ Google Scholar ]
• Simmons, Seymour. Forthcoming. Drawing Instruction for Cognition, Creativity, and Communication across the Curriculum: The Case for Learning to Draw in the Digital Age . New York: Routledge.
• Sze, Mai-Mai. 1959. The Way of Chinese Painting . New York: Random House. [ Google Scholar ]
• Tversky, Barbara. 2011. Visualizing thought. Topics in Cognitive Science 3: 499–535. [ Google Scholar ] [ CrossRef ] [ PubMed ]
• Twain. 2018. Available online: https://www.quora.com/Why-did-Mark-Twain-say-The-rumours-of-my-death-have-been-greatly-exaggerated (accessed on 31 December 2018).
• Victoria, and Albert. 2018. Available online: http://www.vam.ac.uk/content/articles/w/what-is-drawing/ (accessed on 31 December 2018).
• Walters, Joseph, Matthew Hodges, and Seymour Simmons. 1988. Sampling the Image: Computers in Arts Education. The Journal of Aesthetic Education 22: 99–110. [ Google Scholar ] [ CrossRef ]
• Winner, Ellen. 1986. Where pelicans kiss seals. Psychology Today 20: 24–35. [ Google Scholar ]
• Yale. 2013. Available online: https://news.yale.edu/2012/02/03/yale-school-architecture-symposium-asks-drawing-dead (accessed on 15 September 2018).

Click here to enlarge figure

Share and Cite

Simmons, S. Drawing in the Digital Age: Observations and Implications for Education. Arts 2019 , 8 , 33. https://doi.org/10.3390/arts8010033

Simmons S. Drawing in the Digital Age: Observations and Implications for Education. Arts . 2019; 8(1):33. https://doi.org/10.3390/arts8010033

Simmons, Seymour. 2019. "Drawing in the Digital Age: Observations and Implications for Education" Arts 8, no. 1: 33. https://doi.org/10.3390/arts8010033

Article Metrics

Article access statistics, further information, mdpi initiatives, follow mdpi.

Subscribe to receive issue release notifications and newsletters from MDPI journals

The evolution and development of pop art in the visual field of digital art design

• November 2022
• Journal of Education Humanities and Social Sciences 4:121-124
• CC BY-NC 4.0
• This person is not on ResearchGate, or hasn't claimed this research yet.

Discover the world's research

• 25+ million members
• 160+ million publication pages
• 2.3+ billion citations
• Eleanor Petit
• Wang Mengqi
• Feng Xinqun
• Recruit researchers
• Join for free
• Login Email Tip: Most researchers use their institutional email address as their ResearchGate login Password Forgot password? Keep me logged in Log in or Continue with Google Welcome back! Please log in. Email · Hint Tip: Most researchers use their institutional email address as their ResearchGate login Password Forgot password? Keep me logged in Log in or Continue with Google No account? Sign up

BYU ScholarsArchive

Home > Fine Arts and Communications > Visual Arts > Theses and Dissertations

Visual Arts Theses and Dissertations

Theses/dissertations from 2014 2014.

A Maoli-Based Art Education: Ku'u Mau Kuamo'o 'Ōlelo , Raquel Malia Andrus

Accumulation of Divine Service , Blaine Lee Atwood

Caroline Murat: Powerful Patron of Napoleonic France and Italy , Brittany Dahlin

.(In|Out)sider$ , Jarel M. Harwood

Mariko Mori's Sartorial Transcendence: Fashioned Identities, Denied Bodies, and Healing, 1993-2001 , Jacqueline Rose Hibner

Parallel and Allegory , Kody Keller

Fallen Womanhood and Modernity in Ivan Kramskoi's Unknown Woman (1883) , Trenton B. Olsen

Conscience and Context in Eastman Johnson's The Lord Is My Shepherd , Amanda Melanie Slater

The War That Does Not Leave Us: Memory of the American Civil War and the Photographs of Alexander Gardner , Katie Janae White

Theses/Dissertations from 2013 2013

Women and the Wiener Werkstätte: The Centrality of Women and the Applied Arts in Early Twentieth-Century Vienna , Caitlin J. Perkins Bahr

Cutting Into Relief , Matthew L. Bass

Mask, Mannequin, and the Modern Woman: Surrealism and the Fashion Photographs of George Hoyningen-Huene , Hillary Anne Carman

The End of All Learning , Maddison Carole Colvin

Civitas: A Game-Based Approach to AP Art History , Anna Davis

What Crawls Beneath , Brent L. Gneiting

Blame Me for Your Bad Grade: Autonomy in the Basic Digital Photography Classroom as a Means to Combat Poor Student Performance , Erin Collette Johnson

Evolving Art in Junior High , Randal Charles Marsh

All Animals Will Get Along in Heaven , Camila Nagata

It Will Always Be My Tree: An A/r/tographic Study of Place and Identity in an Elementary School Classroom , Molly Robertson Neves

Zofia Stryjeńska: Women in the Warsaw Town Square. Our Lady, Peasant Mother, Pagan Goddess , Katelyn McKenzie Sheffield

Using Contemporary Art to Guide Curriculum Design:A Contemporary Jewelry Workshop , Kathryn C. Smurthwaite

Documenting the Dissin's Guest House: Esther Bubley's Exploration of Jewish-American Identity, 1942-43 , Vriean Diether Taggart

Blooming Vines, Pregnant Mothers, Religious Jewelry: Gendered Rosary Devotion in Early Modern Europe , Rachel Anne Wise

Theses/Dissertations from 2012 2012

Rembrandt van Rijn's Jewish Bride : Depicting Female Power in the Dutch Republic Through the Notion of Nation Building , Nan T. Atwood

Portraits , Nicholas J. Bontorno

Where There Is Design , Elizabeth A. Crowe

George Dibble and the Struggle for Modern Art in Utah , Sarah Dibble

Mapping Creativity: An A/r/tographic Look at the Artistic Process of High School Students , Bart Andrus Francis

Joseph as Father in Guido Reni's St. Joseph Images , Alec Teresa Gardner

Student Autonomy: A Case Study of Intrinsic Motivation in the Art Classroom , Downi Griner

Aha'aina , Tali Alisa Hafoka

Fashionable Art , Lacey Kay

Effluvia and Aporia , Emily Ann Melander

Interactive Web Technology in the Art Classroom: Problems and Possibilities , Marie Lynne Aitken Oxborrow

Visual Storybooks: Connecting the Lives of Students to Core Knowledge , Keven Dell Proud

German Nationalism and the Allegorical Female in Karl Friedrich Schinkel's The Hall of Stars , Allison Slingting

The Influence of the Roman Atrium-House's Architecture and Use of Space in Engendering the Power and Independence of the Materfamilias , Anne Elizabeth Stott

The Narrative Inquiry Museum:An Exploration of the Relationship between Narrative and Art Museum Education , Angela Ames West

Theses/Dissertations from 2011 2011

The Portable Art Gallery: Facilitating Student Autonomy and Ownership through Exhibiting Artwork , Jethro D. Gillespie

The Movement Of An Object Through A Field Creates A Complex Situation , Jared Scott Greenleaf

Alice Brill's Sao Paulo Photographs: A Cross-Cultural Reading , Danielle Jean Hurd

A Comparative Case Study: Investigation of a Certified Elementary Art Specialist Teaching Elementary Art vs. a Non-Art Certified Teacher Teaching Elementary Art , Jordan Jensen

A Core Knowledge Based Curriculum Designed to Help Seventh and Eighth Graders Maintain Artistic Confidence , Debbie Ann Labrum

Traces of Existence , Jayna Brown Quinn

Female Spectators in the July Monarchy and Henry Scheffer's Entrée de Jeanne d’Arc à Orléans , Kalisha Roberts

Without End , Amy M. Royer

Classroom Community: Questions of Apathy and Autonomy in a High School Jewelry Class , Samuel E. Steadman

Preparing Young Children to Respond to Art in the Museum , Nancy L. Stewart

DAY JAW BOO, a re-collection , Rachel VanWagoner

The Tornado Tree: Drawing on Stories and Storybooks , Toni A. Wood

Theses/Dissertations from 2010 2010

IGolf: Contemporary Sculptures Exhibition 2009 , King Lun Kisslan Chan

24 Hour Portraits , Lee R. Cowan

Fabricating Womanhood , Emily Fox

Earth Forms , Janelle Marie Tullis Mock

Peregrinations , Sallie Clinton Poet

Leland F. Prince's Earth Divers , Leland Fred Prince

Theses/Dissertations from 2009 2009

Ascents and Descents: Personal Pilgrimage in Hieronymus Bosch's The Haywain , Alison Daines

Beyond the Walls: The Easter Processional on the Exterior Frescos of Moldavian Monastery Churches , Mollie Elizabeth McVey

Beauty, Ugliness, and Meaning: A Study of Difficult Beauty , Christine Anne Palmer

Lantern's Diary , Wei Zhong Tan

Text and Tapestry: "The Lady and the Unicorn," Christine de Pizan and the le Vistes , Shelley Williams

Theses/Dissertations from 2008 2008

A Call for Liberation: Aleijadinho's 'Prophets' as Capoeiristas , Monica Jayne Bowen

Secondhand Chinoiserie and the Confucian Revolutionary: Colonial America's Decorative Arts "After the Chinese Taste" , Kiersten Claire Davis

Dairy Culture: Industry, Nature and Liminality in the Eighteenth-Century English Ornamental Dairy , Ashlee Whitaker

Theses/Dissertations from 2007 2007

Navajo Baskets and the American Indian Voice: Searching for the Contemporary Native American in the Trading Post, the Natural History Museum, and the Fine Art Museum , Laura Paulsen Howe

And there were green tiles on the ceiling , Jean Catherine Richardson

Four Greco-Roman Era Temples of Near Eastern Fertility Goddesses: An Analysis of Architectural Tradition , K. Michelle Wimber

Theses/Dissertations from 2006 2006

The Portrait of Citizen Jean-Baptiste Belley, Ex-Representative of the Colonies by Anne-Louis Girodet Trioson: Hybridity, History Painting, and the Grand Tour , Megan Marie Collins

Fix , Kathryn Williams

Theses/Dissertations from 2005 2005

Ideals and Realities , Pamela Bowman

Accountability for the Implementation of Secondary Visual Arts Standards in Utah and Queensland , John K. Derby

The Artistic and Architectural Patronage of Countess Urraca of Santa María de Cañas: A Powerful Aristocrat, Abbess, and Advocate , Julia Alice Jardine McMullin

Advanced Search

• Notify me via email or RSS

ScholarsArchive ISSN: 2572-4479

• Collections
• Disciplines
• Scholarly Communication
• Additional Collections
• Academic Research Blog

Author Corner

Hosted by the.

• Harold B. Lee Library

Home | About | FAQ | My Account | Accessibility Statement

Privacy Copyright