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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

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How to Write Your MFA Thesis in Fine Art (And Beyond)

Ryan Seslow

Public Paper Draft

I enjoy writing and I find the process to be fun. Do you? I know that writing takes regular practice and it’s an essential part of my learning process. Writing helps me “see” and organize my thoughts. This allows me to edit and become clear about what it is I am expressing. Practicing my writing helps me identify mistakes (the endless typos..) as well as further emphasize what I really want to explore and write about. When a topic of interest strikes me the process is effortless. I notice how I feel about the topic and this is a key factor as to how quickly I will get working on as essay, blog post or tutorial. This is something I have identified in myself over time and through repetition. Writing induces and activates new awareness. In my experiences as a college art and design professor, I have taken notice of a few consistent patterns when it comes to more formal writing, especially a final thesis deadline. For some, the thought of generating a final graduate thesis can be a daunting thought in and of itself. Associated with that thought may be an outdated feeling that your body still remembers. This outdated association can be especially frustrating to the point of extreme procrastination. If you are unaware that you are the cause of this feeling then you will continue to perpetuate it. Sound familiar? If you choose to enroll into an MFA program you will be required to write a final thesis. This will be an in depth description of your concepts, process, references, discoveries, reflections and final analysis. The best part of writing a final thesis is that the writer gets to create, format, define and structure the entirety of it. Throw away any pre-conceived and or outdated perceptions of what you think you should do. You must take responsibility for your writing the same way that you discipline yourself in the creation and production of your art work.

Where do you begin?

Your final thesis is an official archival record of what you have completed, explored and accomplished throughout the duration of your MFA program. Not only will your thesis be written for yourself, it will prove and back up your convictions, theories, assessments and statements for other people. It should be known that the content in this tutorial could also be applied to other writing needs that may be similar to the MFA thesis structure. An MA thesis or undergraduate BFA thesis can also easily follow this format. By all means, you can share it and remix it.

A regular writing practice must be established. This means, you will need to create a plan for how and when practice will take place. The calendar on your mobile device or the computer that you use will work just fine to remind you of these appointments. Thirty minutes of practice twice a week can work wonders in the installation of a new habit. Are you up for that? Perhaps there is a way to make this decision seem effortless, keep reading.

You can get started right away. Technology in this area is very accessible and helpful. With the use of a blogging platform such as WordPress one can privately or publicly begin their writing practice and archiving process. Even setting up a basic default blog will do just fine. You can always customize and personalize it later. If a blog does not interest you (but I do hope it does) a word processing document will also do just fine. Either way, choosing to wait until your final semester to get started is a really bad idea and poor planning. Are there exceptions to this statement? Of course, and perhaps you will redefine my outlook, and prove me wrong, but until I experience this from someone, let’s make some longer-term plans.

I taught an MFA and MA thesis course between 2012 – 2019 at LIU Post  in NY (but this format transcends into my CUNY courses as well) that put an emphasis on content and exposure to help students generate their final thesis. The course revolved around several exercises that contributed to the process as a whole. They were broken down into individual isolated parts for deeper focus. Much like your thesis itself, this process is modular, meaning, many parts will come and work together to make up the whole. One of the first exercises that we do with the class is identify a thesis template format. This is the basic structure that I have students brainstorm via a series of questions that I ask them. Keep in mind; you most likely already have a default version of this template. This could be the writing format that you learned in high school and had redefined by a professor in college. You may have been forced to use it or suffer the consequences of a poor grade solely on that formatting restriction. This feeling and program may still be running inside you. So how do we deal with this? Together as a class we discuss and record the answers directly onto a dry erase board (or word document will also do just fine) I ask one of the students to act as the scribe to record the list manually while notes are also individually taken. I later put the information into a re-capped blog post for our class blog. Are you surprised that I use a blog for my class?

The Format-

The format for an MFA thesis in Fine Art (applied arts & digital) will in almost all cases coincide with a final thesis exhibition of completed works.   This formats fits accordingly with the thesis exhibition in mind.   This is a criteria break down of the structure of the paper. It is a simplified guide. Add or remove what you may for your personal needs.

• Description/Abstract:  Introduction. A detailed description of the concept and body of work that you will be discussing. Be clear and objective, you need not tell your whole life story here. Fragments of your current artist statement may fit in nicely.
• Process, Materials and Methods:  Here you will discuss the descriptions of your working processes, techniques learned and applied, and the materials used to generate the art that you create. Why have you selected these specific materials and techniques to communicate your ideas? How do these choices effect how the viewer will receive your work? Have you personalized a technique in a new way? How so? Were their limitations and new discoveries?
• Resources and References:  Historical and cultural referencing, artists, art movements, databases, and any other form of related influence. How has your research influenced your work, ideas, and decision-making process? What contrasts and contradictions have you discovered about your work and ideas? How has regular research and exposure during your program inspired you? Have you made direct and specific connections to an art movement or a series of artists? Explain your discoveries and how you came to those conclusions.
• Exhibition Simulation:  You will be mounting a final thesis exhibition of your work. How will you be mounting your exhibition? Why have you selected this particular composition? How did the space itself dictate your choices for installation? How will your installation effect or alter the physical space itself? Will you generate a floor plan sketch to accompany the proposed composition? If so, please explain, if not, also explain why? What kind of help will you need to realize the installation? What materials will you be using to install? Do you have special requirements for ladders, technologies and additional help? Explain in detail.
• Reflection:  What have you learned over the course of your graduate program? How has the program influenced your work and how you communicate as an artist? What were your greatest successes? What areas do you need to work on? What skills will you apply directly into your continued professional practice? Do you plan to teach after you graduate? If so, what philosophies and theories will you apply into your teaching practice? Where do you see your self professionally as an artist in 3-5 years?

Individual Exercises to Practice-

The following exercises below were created to help practice and expand thinking about the thesis format criteria above. It is my intention to help my students actively contribute to their thesis over the course of the semester. The exercises can be personalized and expanded upon for your individual needs. I feel that weekly exercises performed with a class or one on one with a partner will work well. The weekly meetings in person are effective. Why? Having a classroom or person-to-person(s) platform for discussion allows for the energy of the body to expose itself. You (and most likely your audience) will take notice as to how you feel when you are discussing the ideas, feelings and concepts that you have written. Are you upbeat and positively charged? Or are you just “matter of fact” and lifeless in your verbal assertions? Writing and speaking should be engaging. Especially if it is about your work! The goal is to entice your reader and audience to feel your convictions and transcend those feelings directly. Awareness of this is huge. It will help you make not only edits in your writing but also make changes in your speaking and how you feel about what you have written.

• The Artist Interview – Reach out to a classmate or an artist that you admire. This could also be a professor, faculty member, or fellow classmate. It should be one that you feel also admires or has interest in your work if possible. Make appointments to visit each other in their studios or where ever you are creating current work. This can even be done via video chat if in person visits cannot be made. In advance prepare for each other a series of 15-20 questions that you would like to ask each other. Questions can be about the artist’s concepts, materials, process, resources and references about their works. Questions may be about how they choose to show or sell their work. Personal questions about the artist’s outlook on life, business, and wellbeing may come to mind and may also be considered. Record and exchange each other’s responses in a written format. You will make a copy for yourself to retain. Re-read and study your responses to the questions that the artist asked you. This will be helpful for you to read your spoken words coming from another format of communication. Do you find that you speak the same way that you write? Where do these words fit into the thesis criteria format above?
• The Artist Statement & Manifesto – Of course this will change and evolve over time but it is a necessary document that you will update each year as you evolve and grow. In one single page generate your artist statement or manifesto. Who are you? What is your work about? What are you communicating with your current work, projects and why? Who is your audience? How is your work affecting your audience, community and culture? Manifestos are usually published and placed into the public so that its creator can live up to its statements. Are you living up to yours? Keeping this public is a good reminder to walk your talk. Where do these words fit into the thesis criteria format above?
• Reactive Writing – Create a regular online space, document or journal to generate a chronological folio of reactive writing. Visit museums, galleries, lectures and screenings regularly. If you live outside of a city this may require a bit of research, but if you are in NYC this is all too easy. Bring a sketchbook and take notes! For each experience share your impressions, thoughts, feelings and reactions. Describe what you witness. Be objective down to the smallest details that have stayed with you. Reflect and find similarities and contrasts to what you are working on. Use this exercise as a free writing opportunity. Write with out editing or with out any formatting restrains, just express yourself in the immediacy that you feel about your experiences. At the end of each month (or designate a class for this aspect of the exercise) sit down and re-read your passages. Select the reaction(s) that you resonate with the most. Edit and format this selection into a more formal essay paying proper attention to a formatting style, grammar, punctuation and spelling. Where do these words fit into the thesis criteria format above?
• Tutorials  & How To Guides – Writing tutorials and how-to guides are great ways to practice getting really clear about what you are doing. It helps you cultivate your vocabulary and describe the actions that you are performing with specific detail. It puts you in a position to list your steps, process, materials, and references and explain what the contributing contextual aspects are. Try this with a specific project or with the art that you are currently creating. Are you painter? Explain how you create a painting from start to finish. This includes the very first spark that inspires the idea for the painting, as well as how it will be installed, packaged, transported and exhibited. Details matter. Are you sculptor working in woodcarving? Explain the process from start to finish. Ask a fellow artist if you can sit in on his or her process and record what you experience. This is a really fantastic and fun exercise. It also contributes greatly to creating lesson plans for teaching. (I’m actually obsessed with this exercise a little bit.) Where do these words fit into the thesis criteria format above?
• Reviews & Critiques – Much like the reactive writing exercise above, generating reviews and critiques will foster great ways to find insight into your own work. With regular practice you will find common threads of thought and subject matter. You will discover similar referencing and contrasts. This can easily be done in two ways. You can visit specific museums, galleries, lectures and screenings to write about that excites you. This already puts a positive charge on the act of writing itself. I also suggest that you contrast this with subject matter and content that also does not agree with you. We want to be able to fully express what we do not like as well. Understanding why helps us become clear in our choices. Understanding this helps strengthen our position on what we do want to write about and what we want our audience to understand. It allows us to explore dichotomies. The second way to further exercises in writing reviews and critiques is to speak about them. Speaking about art in person is a great way to further the clarification of your writing. Where do these words fit into the thesis criteria format above?

Further Experimentation-

The spoken word versus the act of writing? I have come across many students and colleagues who find that they write much differently than they speak. I feel that writing needs to have a consistent flow and feel fluid to keep its reader engaged. Speaking well and articulating oneself clearly is also something that takes practice. I have found that sometimes recording my words and thoughts via a voice transcribing application is helpful to get ideas out and into a more accessible form. A lot of transcribing software is free for most mobile devices. Much like voice recording the powerful enhancement is to see your words take form after you have said them. You can simply copy and paste the text and edit what is valuable.

This essay is also a work in progress. It’s an ongoing draft in a published format that I will continue updating with new content and fresh ways to simplify the exercises.

I appreciate your feedback!

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• Pamm [missing word] 1. Artist Interview- Do you find that (you) speak the same way that you write? July 15, 2018 at 1:38 pm Reply
• Ryan Seslow Hi Marilyn! I see you! So weird, this is the first comment that has appeared on the paper. I have gotten several e-mails about past comments but still cant see where those are, lol! :)) September 18, 2018 at 1:05 pm Reply

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SAIC Thesis Repository

The SAIC Thesis Repository archives theses, graduate projects, and related materials produced by the students of the School of the Art Institute of Chicago. Access restrictions vary based on the requests of the individual authors, but descriptive information and abstracts are accessible for all. Paper copies of theses from 2013 through 2018 are available in the John M. Flaxman Library. Students, Faculty, and other members of the SAIC Community can access all theses by clicking the Log in link at the top right of any page and entering your ARTIC username and password.

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Welterer Primary Creator Author: Duffy, Fiona Description There are seven sacraments in Catholicism. Reconciliation is one of two healing sacraments. It comprises four parts: contrition, confession... Thesis Degree Bachelor of Fine Arts with an Emphasis in Writing Access Conditions (Term) Embargo/Online Only

Towards Ecological Kinship: The Potentials of Laure Prouvost's Deep See Blue Surrounding You / Vois Ce Bleu Profond Te Primary Creator Author: Haratonik, Tess Meahan Description This thesis focuses on Laure Prouvost’s installation, Deep See Blue Surrounding You / Vois Ce Bleu Proufond Te Fondre, in the French... Thesis Degree Dual Degree: MA in Arts Administration & Policy & MA in Modern and Contemporary Art History Access Conditions (Term) ARTIC Log-in

An Archival Queery: An Argument for LGBTQ Brick and Mortar Archives Primary Creator Author: Nagel, Emily Description The history of LGBTQ people in the United States has remained largely inaccessible to the American public. With anti-sodomy laws, book... Thesis Degree Dual Degree: MA in Arts Administration & Policy & MA in Modern and Contemporary Art History Access Conditions (Term) Embargo/Online Only

The Divine Play between Self and Other Primary Creator Author: Mancenido, Aidyn Lorraine Description "The Divine Play between Self and Other" is an auto-ethnographic look at cross-cultural encounters between self and other. In addition to... Thesis Degree Low-Residency Master of Fine Arts Access Conditions (Term) ARTIC Log-in

Simultaneity and Amplification in Sound-Based Art Primary Creator Author: Rodgerson, Keith Description This thesis examines how resonance (the prolongation of sound by reflection from a surface or by the synchronous vibration of a neighboring... Thesis Degree Low-Residency Master of Fine Arts Access Conditions (Term) Embargoed

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SUNY New Paltz Masters in Fine Art (MFA) Thesis Collection

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Corpus Ex Machina: a biomechanically collaborative exploration of the corporeal fantasies of artificial intelligence: MFA Thesis - Painting & Drawing

Fractured horizon: MFA Thesis - Photography and Related Media

Intimate exchanges: MFA Thesis - Printmaking

Take a breath: MFA Thesis - Sculpture

Transcendence: post-Catholic healing: MFA thesis - Photography and Related Media

Ethereal lines: MFA Thesis - Metal

Diasporican: MFA Thesis - Sculpture

At the gate of dawn: MFA Thesis

How are you?: MFA Thesis - Metal

Personal preparedness in the nuclear age: MFA Thesis - Printmaking

Layers of self - an unfolding conversation through painting, encaustics and doll making: MFA Thesis - Painting & Drawing

“Romantic Painter”: MFA Thesis - Painting & Drawing

Adorned with rattles: meditations on indigenous sonorism, communal healing, and nature : MFA Thesis - Photography and Related Media

Dark garden: MFA Thesis - Photography and Related Media

Bloom: MFA Thesis - Ceramics

Slippery spaceIsI: MFA Thesis - Metal

Plain sight: MFA Thesis - Sculpture

$P4RKL3 FiLTH CLOUD NiN3 queerness of the in between: MFA Thesis - Metal  

Birds, buttons, brontosauruses, and belugas: MFA Thesis - Printmaking

Mobility blues: MFA Thesis - Painting & Drawing

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MFA Thesis: Finding a Balance

Writing an mfa thesis, thesis outlines, mind mapping.

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Writing an MFA thesis is a delicate balance between maintaining focus on your process and your art, while also using research and citations to put your art into a larger context with evidence as support for your claims.

Think of two extremes.   People write completely narrative theses, like this one . Other people write long, well-researched art history theses, like this one .  In the Lesley program you're aiming for somewhere in the middle, but you all might vary in how close they are to one or the other.

• HOW TO WRITE YOUR MFA THESIS IN FINE ART (AND BEYOND) A professor's tips and suggested exercises to help with writing

If you aren't sure how you want to organize your thesis, try mind mapping your ideas to find connections (scroll down for videos!) or read other MFA theses to see how other people organize a thesis.

Abstract vs. Practical

Notice how all the examples below compare in their organization (check out their table of contents!), even when dealing with a similar topic or medium!

• Example: Practical Organization This MFA thesis, written by Robert Bradley at The University of Texas Rio Grande Valley, is organized practically, with a section for each medium, a section on process, and a section on influences.
• Example: Abstract Organization This MFA thesis, written by Jin Lee at Illinois State University, is broken up by abstract headings. Instead of practical headings like "Materials" "Process" "Influences" the artist uses abstract ideas as her organization, like "Beginnings" and "Being Seen".

Notice how the two theses below both center around art and trauma, but how they organize their thesis is different. 

• Ceramics MFA Thesis, written by Alex Bailey at Southern Illinois University This one has a more practical organization. It is organized based on the artist's life and the chronology of healing, with sections called "One: Lived Experience", "Two: Trauma, Damage", "Three: Mending, Coping", "Four: Restoration".
• Visual Arts MFA Thesis, written by Angel Estrella at Clemson University This thesis has a more abstract organization, with sections called 'Seeing Feeling", "The Body Remembers", and "Inside-Out". The more practical information, like clay recipes, is includes as an appendix.

Process-Based Art

If your art is very focused on your process, you may want to find a way to put more focus on that in your thesis. You can have a section of your thesis about your process but for some people their work is very process-based so they speak to process throughout the thesis.

• Digital Production Arts MFA Thesis, written by Thomas Scott Rapp at Clemson University This thesis has a very practical organization, but it's focused on the preparation and process of creating. There is a section for background, one for influences, and one for production, and the results aren't discussed until the end. This puts the focus on the process and technique while still designating space to discuss the final product.
• The Pain that Love Produced Moton, Barrymore A. Illinois State University Check out the section "MEANING OF MATERIALS & RELATIONSHIP BETWEEN FORM AND PROCESS"
• My Culture Art in Healing Action Chavarria, Fabian. The University of Texas Rio Grande Valley, Process is discussed thoroughly in specific sections like: PROCESS AND MEDIA, MIX MEDIA, SCULPTURE, & INK ON CANVAS
• Curating Memories; Art as a Collection of Loss and Nostalgia Feagin, Christle Dawn. Azusa Pacific University There are intrinsic relationships between artists, their collections, viewers, cultures, and nostalgic memories resulting from loss. This thesis probes these deep-rooted connections by examining how early traumatic experiences inform not only the objects an artist collects and uses in their art, but also how viewers and culture perceive these creations.

Mind mapping is a great way to organize your thoughts visually.  There are digital tools you can use ( check out this list of 5 ) but it's usually more effective to create one on paper by hand.  They can be used for:

Studying:   Map a textbook chapter or lecture notes to better understand, remember, and make connections

Writing Papers : Map out your thoughts to generate a topic or thesis question, outline your supporting research, and find connections to help you with transitions

Presentations : Present information visually, so that the audience can see how your ideas are organized and connected

See mind mapping in action:

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PARSONS FINE ARTS

2023 bfa thesis exhibition.

• Alessandra Del Gatto
• Alessandra Rake
• Anukriti Agrawal
• Camille Morillo Aquino
• Caroline Galderisi
• Caroline Kindelt
• Chantal Shen
• Chelsey Davillier
• Ella Rose Ledyard
• Ellie Anhalt
• Emmanuel Jakob Auerbach-Baidani
• Gabrielle Tiongco
• Geeweon Min
• Grayson Colbert
• Hank Olyphant
• Hayley Rebecca Antonelli
• Ieva Lygnugaryte
• Julissa Norman
• Kyle Penner
• Margaux Halloran
• Megan Lewis
• Opal Wortmann
• Patricia Geyerhahn
• Priscilla Villacres
• Rosabel Ferber
• Sanaa DeBose
• Shaoyu Zhang
• Sienna Eve Bent
• Tarshaa Krishnaraj
• Tiyana Mitchell
• Trinity Fima
• Yiying Wang

Fine Arts BFA Program School Of Art, Media, And Technology Parsons Festival

Opening: Tuesday May 16th 6-9pm Exhibition dates: May 16-21th, 2023

Parsons Fine Arts 25 East 13th Street, 4th & 5th Floors New York, NY 10003

Parsons is pleased to announce the 2023 BFA Fine Arts Thesis Exhibition opening Tuesday, May 16th, 6-9 pm. Graduating students will exhibit their thesis projects in painting, sculpture, video, installation, and other media, showcasing the depth and breadth of their approaches to artmaking.

Artists: Alessandra Del Gatto, Alessandra Rake, Andy Wei, Anna Scola, Anukriti Agrawal, Camille Morillo Aquino, Caroline Galderisi, Caroline Kindelt, Cece Choe, Chantal Shen, Chelsey Davillier, Chloe Yoon, Dixie Law, Ella Rose Ledyard, Ellie Anhalt, Emma Kanne, Em[m]anuel Auerbach-Baidani, Gabrielle Tiongco, Geeweon Min, Gordon Ng, Grayson Colbert, Hank Olyphant, Hayley Antonelli, Ieva Lygnugaryte, Ingrid Lu, Jane Buffo, Jane Ha, Jude Welch, Julissa Norman, Kaye Weber, Kyle Penner, Koh Maeda, Lia Sachs, Lily Wyle, Margaux Halloran, Megan Lewis, Melanie Wu, Miao Yu, Opal Wortmann, Patricia Geyerhahn, Paula Wang, Priscilla Villacres, Rosabel Ferber, Sanaa Debose, Shaoyu Zhang, Sienna Eve Bent, Tarshaa Krishnaraj, Tiyana Mitchell, Trinity Fima, Vic Walsh, Viva Vilar, Yiying Wang

BFA Fine Arts Thesis Papers

Alongside studio projects, students develop their research and writing, which culminates in a Thesis Paper. These papers reflect each artist’s practice, highlighting their specific set of interests and concerns. A compilation of papers can be downloaded from the link above.

About BFA Fine Arts Parsons Fine Arts BFA students are exposed to a wide range of innovative studio practices through our interdisciplinary program and our renowned Visiting Artist Lecture Series. Students not only learn traditional techniques but are supported in working innovatively and pushing the boundaries of what contemporary art can be. Parsons Fine Arts provides a potent learning community through its commitment to diversity among faculty and students. Housed within both Parsons School of Design and The New School University, the Fine Arts program is uniquely positioned within a progressive educational environment. Research and scholarship are a fundamental part of our curriculum and are reflected in our students’ ability to critically consider their practice within a global context.

To learn more about the program, please contact the Co-Directors of the Program, Selena Kimball and Rit Premnath .

About Parsons School of Design Founded in 1896, Parsons has served as a pioneer in the field of Art and Design for more than a century. Based in New York and internationally active, the school offers undergraduate and graduate programs in the full spectrum of design disciplines. Critical thinking, research and collaboration are at the heart of a Parsons education. An integral part of The New School, Parsons builds on the university’s legacy of progressive ideals, scholarship and pedagogy. Parsons graduates are leaders in their respective fields, with a shared commitment to creatively and critically addressing the complexities of life in the 21st century. In recent years, QS World University Rankings, a London-based higher education organization, named Parsons the number one College for Art and Design in the United States, and number two internationally.

Chadwick A. Boseman College of Fine Arts

Master of fine arts thesis, the master of fine arts thesis is a cohesive body of creative works in studio art accompanied by a written exposition of ideas and analysis placed in associated context..

The creative visual work is considered to be of primary importance. It is required that the candidate support position and hypothesis with secondary source materials. The studio work of the candidate is expected to be stylistically cohesive and should demonstrate a mastery of studio art-making methods, materials, and processes.

The thesis subject matter may be found in personal autobiographic, ethnographic, historic, and/or conceptual frameworks.

It is required that the subject be focused, thereby, in the professional judgment of the thesis committee, be manageable within the time period allocated.

The proposed work of the thesis, as outlined by the candidate, should be brought to fruition in three semesters.

The written thesis must be unanimously accepted by the committee and should bear the signature and date of the acceptance by all members. Copies are physically and digitally archived in the Art Department Office.

The thesis faculty advisor works closely with the thesis committee chair, a senior faculty member in the field of concentration or sub-field will be responsible for the flow of documents, communication among the committee members, and progress reports to the Department Chair and faculty. The committee chair recommends that candidate to the faculty for approval for awarding the MFA degree.

Thesis Defense and Final Graduation Requirements

Once the student’s graduate advisor and thesis committee agree that the thesis is complete and that the scholarship and body of work meet departmental and graduate school requirements, the thesis defense will be scheduled and the university community will be invited to attend.

The thesis defense begins with a 30- to 40-minute oral presentation that describes the research and conclusions augmented with slides, thesis artwork, and other pertinent materials. The candidate then responds to questions posed by the thesis committee after which visitors are invited to ask questions.

Upon completing the final thesis manuscript, successfully defending the research and its conclusions, and submitting three copies of the thesis to the Department Chair, the student is recommended to the Dean of the Graduate School of Arts and Sciences for final clearance for graduation.

In the event, the student does not successfully accomplish the above requirements the candidate must register for Thesis V (1 credit) until the requirements are met.

Home > FACULTIES > Visual Arts > VISUALARTS-ETD

Visual Arts Theses and Dissertations

This collection contains theses and dissertations from the Department of Visual Arts, collected from the Scholarship@Western Electronic Thesis and Dissertation Repository

Theses/Dissertations from 2023 2023

sweeping the forest floor of frequencies , Maria A. Kouznetsova

Achy Awfulness , Rylee J. Rumble

Nonstop Digital Flickerings; , Sam Wagter

Theses/Dissertations from 2022 2022

Credulous Escapism , Brianne C. Casey

At Dusk , Michelle Paterok

Theses/Dissertations from 2021 2021

Marvelous Monsters , Thomas Bourque

On Ground , Matthew Brown

Pharmakon: From Body to Being , Jérôme Y. C. Conquy

The Other Neighbour of El Otro Lado , Anahi Gonzalez Teran

Neoliberalism, Institutionalism, and Art , Declan Hoy

Strings of Sound and Sense: Towards a Feminine Sonic , Ellen N. Moffat

Cyber Souls and Second Selves , Yas Nikpour Khoshgrudi

The No No-Exit Closet: An Alternative to No-Exit Pathways , Faith I. Patrick

Fleet: Nuances of Time and Ephemera , Rebecca Sutherland

Theses/Dissertations from 2020 2020

The Hell of a Boiling Red , George Kubresli

still, unfolding , Ramolen Mencero Laruan

Theses/Dissertations from 2019 2019

Spanning , Mary Katherine Carder-Thompson

The Medieval Genesis of a Mythology of Painting , Colin Dorward

Philosophical Archeology in Theoretical and Artistic Practice , Ido Govrin

Bone Meal , Johnathan Onyschuk

Inventory , Lydia Elvira Santia

Collaborative Listening and Cultural Difference in Contemporary Art , Santiago Ulises Unda Lara

Absence and Proximity , Zhizi Wang

Theses/Dissertations from 2018 2018

Then Again, Maybe I Won't , Claire Bartleman

and where is the body? , Tyler Durbano

Next to a River: Mobility, Mapping, and Hand Embroidery , Sharmistha Kar

Interfaces of Nearness: Documentary Photography and the Representation of Technology , Mark Kasumovic

Buffer , Graham Macaulay

The English Landscapes in the Seventeenth Century , Helen Parkinson

SuperNova: Performing Race, Hybridity and Expanding the Geographical Imagination , Raheleh Saneie

Slower Than Time Itself , Matthew S. Trueman

Skim , Joy Wong

Theses/Dissertations from 2017 2017

Gardening at Arm's Length , Paul Chartrand

Lesser Than Greater Than Equal To: The Art Design Paradox , Charles Lee Franklin Harris

Skin Portraiture: Embodied Representations in Contemporary Art , Heidi Kellett

Midheaven , Samantha R. Noseworthy

Drum Voice , Quinn J. Smallboy

Theses/Dissertations from 2016 2016

Beyond the Look of Representation: Defamiliarization, Décor, and the Latin Feel , Juanita Lee Garcia

Emphatic Tension , Mina Moosavipour

Symbiotic: The Human Body and Constructs of Nature , Simone Sciascetti

Thin Skin , Jason Stovall

On Coming and Going , Quintin Teszeri

Theses/Dissertations from 2015 2015

Crowdsourcing , Sherry A. Czekus

From Dust to Dust , Lynette M. de Montreuil

Hand-Eye , Michael S. Pszczonak

Abstraction And Libidinal Nationalism In The Works Of John Boyle And Diana Thorneycroft , Matthew Purvis

Tangled Hair: Uncertain Fluid Identity , Niloufar Salimi

Liminal Space: Representations Of Modern Urbanity , Matthew Tarini

Theses/Dissertations from 2014 2014

Creative Interventions and Urban Revitalization , Nicole C. Borland

What Lies Behind: Speculations on the Real and the Willful , Barbara Hobot

Turning to see otherwise , Jennifer L. Martin

Come Together: An Exploration of Contemporary Participatory Art Practices , Karly A. McIntosh

A Photographic Ontology: Being Haunted Within The Blue Hour And Expanding Field , Colin E. Miner

Matters of Airing , Tegan Moore

Liquidation , Amanda A. Oppedisano

Just As It Should Be: Painting and the Discipline of Everyday Life , Jared R. Peters

Clyfford Still in the 1930s: The Formative Years of a Leading Abstract Expressionist , Emma Richan

From 'Means to Ends': Labour As Art Practice , Gabriella Solti

Across Boundaries , Diana A. Yoo

Theses/Dissertations from 2013 2013

Following the Turn: Mapping as Material Art Practice , Kyla Christine Brown

Queer(ing) Politics and Practices: Contemporary Art in Homonationalist Times , Cierra A. Webster

Some Theoretical Models for a Critical Art Practice , Giles Whitaker

Lines of Necessity , Thea A. Yabut

Theses/Dissertations from 2012 2012

Out of Order: Thinking Through Robin Collyer, Discontent and Affirmation (1973-1985) , Kevin A. Rodgers

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Sounding the climate crisis: time and the more-than-human in contemporary folk music in scotland and england , indigenous landscapes in caspana: exploring a ch'ixi epistemology , new pulsar generator (nupg): compositional practice, digital sound synthesis model and their temporalities , 'we are such stuff': shakespeare and material culture in eighteenth-century england , wellbeing as a decision making criterion in urban park design: assessing urban parks on their effect on user wellbeing , forgotten images still resisting time: writing the london bomb damage photograph archive 1940 - 1945 , medicine and modernity: fifty years of nhs hospital building in scotland, 1948-1998 , farc musicians' musical identities and political identities through their music: analysis of their narratives, musical practices and songs in the colombian peace post-agreement , drawing-with eye-tracking technology: an exploratory art-based research investigating the adaptation of eye-tracking methodology as a contemporary artistic drawing practice , staging the carnivalesque: seditious strategies in print and performance from simplicissimus to berlin dada, 1896-1920 , differential space in underused town centres: community appropriation of space through creative practices of arts-led urban regeneration , spatial narratives of happiness in everyday environments , humour in fifteenth-century france: a study of visual evidence , policing as material form: public works and local government in the transition from colony to nation in chile, 1786-1833 , diversity on display: a study on gentry-class women and their painting practice in the jiangnan region of high qing china , untangling collaboration: a critical study on the relationship between natural fibres artisans and designers in chile , incorporation of polyphony into russian sacred music , transmuting values in artificial intelligence: investigating the motivations and contextual constraints shaping the ethics of artificial intelligence practitioners , archive of gestures , architecture of error: matter, measure and the misadventures of precision .

MFA Graphic Design Thesis (2022)

Mfa graphic design thesis show (2022), frame/work/site.

April 13 – 29, 2022

Faye G., Jo, and James Stone Gallery

Frame/work/site.

Graphic design is a frame for content and ideas. It is a focused lens with a clearly articulated point of view; as a device and approach to content, graphic design determines what is made visible, shared, presented, and communicated. The design methodologies developed in the MFA Graphic Design program at Boston University shape meaning, produce knowledge, and consider the act of framing as a critical tool.

Graphic design is a framework. As an essential supporting apparatus that makes communication accessible and engaging, graphic design occurs across a myriad of ever-changing platforms and mediums. From print to screen to immersive physical installations and augmented reality, from the time-tested formats of the past to the innovative technological platforms of tomorrow, evidence of graphic design’s presence is pervasive.

Graphic design is work. The practice of design is a synthesis of conceptual thinking and invention combined with physical labor and craft to achieve a specific desired outcome. Designers labor, spending countless hours on iterations, revisions, consultations, and refinements, sometimes taking a project completely apart and starting over. The work is not solitary but is a response to—and collaboration with—a range of stakeholders, always with an audience in mind. This exhibition is work: a collaboration and collective effort of a remarkable group of designers from China, the Dominican Republic, India, Palestine, the Philippines, the United Arab Emirates, and the United States. It presents original work by eighteen individuals, brought together through a unified expression and concept. This talented cohort reframed each piece of work in this exhibition for this site, this precise space and time.

This exhibition is a worksite. The gallery becomes a place of activity, where work is produced and presented. Graphic design in this context is both made visible and displayed, providing a glimpse into the larger bodies of work each designer generated over the last two years. Each designer embarked on a course of shared and individual study; identifying and refining visual and critical approaches to graphic design production, research, and inquiry. They’ve shared knowledge, theorized, prototyped, and supported each other, providing advice, insight, and inspiration.

And it is here on this site, in a gallery inflected by nods to the conventions of construction worksites, that the public can engage with new directions in contemporary graphic design. This space becomes a location to invoke questions—about design’s relationship with reimagined book forms and distribution channels, social media, the metaverse, cultural identity, aesthetic style, memory, talismans, abstraction, material culture, experimental typography and form-making, tools, pedagogy, limitations, failure, wellness, mental health, and much more. The collection of thesis work shared in this exhibition demonstrates engagement across disciplines and diverse areas of practice and promises to be a foundation for sustained professional practice.

Kristen Coogan Associate Professor of Art, Graphic Design

Christopher Sleboda Associate Professor of Art, Graphic Design

Thesis Website

See the work of the 2022 School of Visual Arts Master of Fine Arts Graphic Design Thesis Show

Featuring work from 2022 MFA candidates in Graphic Design, Painting, and Sculpture at Boston University College of Fine Arts School of Visual Arts. Published on the occasion of the 2022 Boston University CFA School of Visual Arts MFA Thesis.

Designed by MFA candidates Chuck Gonzales, Chen Luo, Reshma Vijayan, Jaylen Wang

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MFA Graphic Design Thesis (2021)

MFA Graphic Design Thesis (2023)

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2021 MFA Painting Thesis Exhibition

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Related events, 2024 mfa visual narrative thesis exhibition, 2024 mfa sculpture thesis exhibition, 2024 mfa painting thesis exhibition, 2024 mfa graphic design, print media & photography thesis exhibitions, cfa kahn career entry awards reception, cfamily jam, cfa stress reliever, 2024 ba art thesis exhibition.

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MFA Thesis & Exhibition

The MFA graduate program culminates with an MFA thesis exhibition from each student. This is an opportunity to apply theory and method in a project, formulating a question and developing a potential answer. You'll explore the broader implications of your practice through aesthetic, social, political, economic, and scientific considerations. At SMFA, a thesis is never a definite conclusion, but a moment within the student's artistic development that demonstrates the ability to continue work outside the confines of the institution.

In addition to the exhibition itself, the thesis contains a written component and a final defense with a three-member thesis committee, which includes faculty and a visiting juror. The student's 1000-word thesis statement serves as a clear and coherent textual narrative of their process, research, and intention within their artistic practice. The thesis statement is intended to be developed and revised throughout the course of the thesis year.

The Thesis Committee is comprised of two graduate faculty advisors (the student's primary graduate studio advisor and a second graduate studio advisor) and is established in the fall semester of the student's second year. Of critical importance is the third member of the committee, who must be an arts or field-specific professional from outside SMFA at Tufts.

Past committee external reviewers: Makeda Best, Harvard Art Museums, 2019 Ellen Tani, Institute of Contemporary Art, 2019 Daisy Nam, Carpenter Center for Visual Arts, Harvard University, 2019 Sam Toabe, University of Massachusetts, Boston Art Galleries, 2019

The final thesis review with the student's committee takes place during the final Thesis Exhibition. Graduate Advisors serving on the student's Thesis Committee have the responsibility of extending or withholding credit for the exhibition. They award a grade of Satisfactory or Unsatisfactory, and each committee member provides a written evaluation.

The final exhibition propels graduates into the contemporary art community and launches their professional career as artists. Credit for the exhibition is awarded by the SMFA at Tufts Thesis Committee, which is comprised of the student's academic advisor, a member of the graduate studio faculty, and an external advisor. Please note that participation in the final MFA exhibition can only take place once an MFA candidate has met all graduation requirements.

Past MFA Thesis Exhibitions

2022 mfa thesis exhibition: forever in ten days.

Forever in Ten Days features the work of 13 graduating master of fine arts students from the School of The Museum of Fine Arts at Tufts.

Learn More about the 2022 exhibition

2022 MFA Thesis Exhibition: You're on Mute

You're on Mute features the work of 12 graduating master of fine arts students from the School of The Museum of Fine Arts at Tufts.

2021 MFA Thesis Exhibition:  Waiting Room

Waiting Room features the work of eight MFA students.

Learn more about the 2021 exhibition

2020 MFA Thesis Exhibition: As Above, So Below

As Above So Below presents the work of 17 MFA candidates who completed their thesis work in the midst of the COVID-19 2020 global pandemic.

Learn More about the 2020 exhibition

2019 MFA Thesis Exhibition:  no time for laundry

The phrase “no time for laundry” humorously sums up the singular focus of an MFA Thesis student’s life. School, art and political engagement swallow up daily life leaving little time for much else.

Learn more about the 2019 exhibition

2018 MFA Thesis Exhibition:  (T)HERE

(T)HERE  represents the collapse of “here” and “there” into one unified paradigm. The artists see our globalized world as both “here” and “there”; that problems of the past are the problems of today. It acknowledges that the contemporary moment synthesizes the mainstream and the periphery, theory and experience, history and future.

Learn more about the 2018 exhibition

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Slade School of Fine Art

Mphil/phd research, active projects.

Malgorzata Dawidek

2015 – ongoing.

My artistic work is focused on the conflict between the condition of the human body and discursive language. My research provides an overview of the phenomenon of the human body as a textual form, repository for memories and emotions. I...

Eloise Fornieles

2016 – ongoing.

The research investigates whether performed acts of ‘Queer Extimacy’ can generate new narratives and voices on the gender spectrum, using my own experience of gender and my subsequent performances as an example.

Katarzyna Depta-Garapich

2017 – ongoing.

My practice-led research project “Neither Subject nor Object”: Reciprocal Readymade in Times of Useful Art explores ‘use value’ of art in the context of site specific interventions. The investigation examines the intersection of art and society, collective approaches to art...

Ellie Doney

We too are stuff , but as humans, we are no longer held to be alpha matter . This practical research project travels the boundaries of our bodies through the materials we ingest and reflect, noticing our temper and terroir.

Egidija Čiricaitė

2018 – ongoing.

My practice-related research furthers the discussion on artists’ books — and it’s peripheries, such as visual poetry — using the relevance theory of language interpretation as a framework to expand the conversation on multimodal art objects.

Anneke Kampman

This PhD seeks to understand the capitalistic functions of the music-video form, interpreting its distinctive mode of audio-visuality as characteristic of new forms of commodity production.

Hermione Spriggs

“Anthropologists don’t believe in things, they believe out of them.” Roy Wagner

Alfonso Borragan

The project proposes an artistic reading of stone ingestion while questioning the pathologizing of this practice by psychology. It contemplates the mouth as a site of profanation as well as a mediating device of possession, digestion and knowledge.

Jumana Emil Abboud

2019 – ongoing.

My PhD will investigate the role of folk tales as an empowerment device; empowering people, and people affected by conflict in particular.

Shino Yanai

This PhD research project aims to critique the power of the state and the aesthetics of nationalism.

Vaishali Prazmari

Thousands of artworks generated by the 1001 Arabian Nights, focusing on memory, magic and marginalia.

Robert Mead

Moving through the strata of my paintings digs up histories and ghosts of our past which linger in the changing landscapes of today.

Shao-Jie Lin

2020 – ongoing.

This practice-led Fine Art PhD researches the concept of freedom of movement, aiming to address the Universal Declaration of Human Rights and prevent hidden injustices developing into a new hierarchy.

Nastassja Simensky

My current PhD research explores the potential of collaborative fieldwork between artists and archaeologists. In addition, this project asks how the development of place-specific and collaborative methods ‘in the field’ enable new ways of highlighting current discourses around nuclear energy...

The research started from a magical trip to Lijiang, Yunnan province. The excitement from the perfect resonation and rich historical foundation of a lost culture, made me feel the urge to exploit it in my work and build something upon...

Inherent to my studies is the concept of “neo-folk art”, interpreted as a typical style in the aesthetics of New China, combining the ideas of folk utopia, pop culture and propaganda.

Jasmir Creed

My practice led research is as a painter who explores urban alienation in contemporary transcultural contexts, based on my journeys in my immediate urban environments through depicting the cultural diversity of people including crowds, iconic buildings and sculptures alongside self-portraits...

Leonor Serrano Rivas

2021 – ongoing.

Imagination is everything. I believe in an art practice fully governed by it that impacts actively in society: an artistic approach mediating between a technology-driven troubleshooting and a more holistic understanding of our context. Solutions, more often than not, come...

Bindu Mehra

Women’s voices in India continue to be silenced by the legacy of British colonialism and patriarchal, social, political and economic structures. 

Hugh Nicholson

2022 – ongoing.

During the late 1960s, the crisis of modernism presented a challenge to the bounds and limits of the artwork’s form. In its wake, the expansion of spatially and temporally distributed modes of artistic production, grounded in instructional, contract-based or legal...

Svetlana De Sequeira Costa

My PhD occurs at a historic turning point, as the world is undergoing a multidimensional polycrisis affecting the planetary system and calling for radical shifts in our considerations of the future.

Lucy Helton

This practice-led research project will take a detailed look at humans’ dominant environmental footprint in space which mirrors our technologically mediated exploration and transformation of environments on Earth. 

Zeinab Feiz

Past projects.

Raimi Gbadamosi

1996 – 2001.

The inter-relationship between race, power and language has been chronicled in various forms. And despite attempts at renegotiation, the nature of polemical positioning does not seem to change. Visual polemics finds itself constantly defined and framed by cultural politics, placing...

1998 – 2002

This research project examined the concept of mediated presence through the perception of inanimate images coming to life, and the converse experience of human actors becoming inanimate images, whilst interrogating how this might articulate, substantiate or defy belief.

Mikhail Karikis

2001 – 2005.

Mikhail Karikis' doctoral research was a methodological experiment, which employed academic writing, music composition and art practice to explore notions of the 'self' through the study of voice and sound.

Sonia Bridge

2006 – 2017.

What is at stake within Breer’s process and distinctive employment of cinematic assemblage within the postwar period, is not only the desire to investigate non-traditional sites and techniques and to inclusively claim, say, the moving-image as an artistic medium, but...

Laura Cinti

2006 – 2011.

Laura Cinti is a practicing artist working within the intersections of art, biology and nanotechnology.

2007 – 2012

My thesis examines work by Antonin Artaud, Henry Darger, Marcel Duchamp, and Pablo Picasso, with the intention of subjecting specific works by these artists to critical tests employing the idea proposed by Antonin Artaud's subjectile, that is a paradoxical fusion...

Theresia Peng

2008 – 2013.

An investigatation of questions concerning the cross-cultural analysis and utility of images in Tibetan Tantric Buddhist art, as opposed to political conflicts that often arise in the media now.

2008 – 2014

In this research project I show how a performative, material reading of the artwork provides for an interpretive framework constituted as much by the form, subject matter and context of the artwork, as by the viewer’s embodied experience thereof.

Deborah Padfield

This thesis explores how photographic images can expand pain dialogue in the consulting room to include aspects of experience frequently omitted using traditional measures.

Errol Francis

2008 – 2019.

My thesis is concerned with cultural articulations of space, from the point of view of philosophy and from the perspective of artists responding to museums as key sites of cultural heritage.

Elly Thomas

2009 – 2013.

In this practice-related study I use a range of play theory to examine the creative processes behind the work of Eduardo Paolozzi, Philip Guston and Tony Oursler. All three artists express a need to create a semblance of life.

Kai Syng Tan

Kai Syng Tan's practice-related Fine Art thesis performs a discourse of ‘trans-running’ – running physically and poetically, and running as both subject and approach – as a playful methodology to transform our world today.

Eleanor Morgan

I create videos, sculptures prints and drawings that explore material and mythical entanglements between humans and animals. This has led me to weave silk from living spiders, immerse myself in a giant green sea anemone and create a staring match...

Henrietta Simson

2010 – 2017.

Single point perspective and photographic technologies of sight have been implicated in a dominating western way of seeing, referred to here as 'natural vision' for the past 500 years.

Patricia Townsend

2010 – 2018.

I work with video, photography and installation and am interested in the interface between the external world and the internal world of the imagination. Much of my work explores our emotional relationship with landscape - the ways in which landscape...

Fiona Curran

2010 – 2016.

Fiona Curran's practice-related PhD considers the role of visual and material practices since the 1960s in relation to the environmental impact of new technologies and anthropogenic climate change, focusing on the critical significance of landscape in examining conditions of power...

Aaron Murphy

2011 – 2015.

My practice-led research explores the Jungian idea of synchronicity, and related topics like Tao, coincidence and chance.

Kay Tabernacle

2011 – 2018.

Imagination is neglected in studies of Hannah Höch.  The related ideological and partial interpretation of Höch’s work has resulted in distorted understandings that obscure her aims. Höch theorises imagination as a radical force that can change people’s perception, and in...

Ioana Marinescu

2012 – 2023.

How are places remembered and interpreted? How can we open up a dialogue between past and present, between individual experiences and collective memories?

Florian Roithmayr

2012 – 2017.

Moulding and casting are widely used techniques of modern and contemporary sculptural practices. But their applications are also employed beyond the disciplinary art canon, in areas not immediately associated with art making. The ambition of this research project is to...

2012 – 2016

This research examines the notions of journey, pause and composition through art practice.

Elisabeth S. Clark

2012 – 2021.

My research seeks to further elucidate notions and questions circling the ‘event’ both in contemporary art practices and art writing. But what constitutes an artwork as event? And is the ‘event’ an act or trace or the inevitable dichotomy of...

Naomi Siderfin

2013 – 2023.

What differentiates an artist who develops an identity as a curator as part of a broader artistic practice and a curator who sees his/her practice as art?

Sophie Bouvier Ausländer

2013 – 2019.

What is the particular status of the hand in world making? To what extent can analytic philosophy and phenomenology of perception clarify the image of the world epitomised through sculpture, its becoming, its recovering?

Sarah Fortais

2013 – 2018.

My practice-led research aims to define what it means to call a person or thing ‘cool’. Methodologically, my fine art practice is bricolage: disassembling, repurposing, and modifying objects or ideas to generate new wholes and understanding. As a bricoleur, I...

Onya McCausland

2013 – 2017.

Turning Landscape into Colour is an investigation into the origins of earth pigments -  ‘ochres’ found in landscapes across the UK that considers their significance as contemporary cultural materials.

A digital fine art practice is at the nexus of some powerful dichotomies. The digital vs the analogue, the natural vs the artificial, the subjective vs the objective, the emotions vs reason, and art vs science among them. This research...

Jin Han Lee

2014 – 2021.

My desire to enact a reappraisal of ekphrastic hope and fear is motivated by the differences I have identified between Korean and Western understandings of time in relation to abstract painting, and of how the artist deploys his ‘life experiences’...

Yvonne Feng

2014 – 2019.

My PhD research Tracing the Unspeakable: Painting as Embodied Seeing originates from the dramatic incident of my mother’s imprisonment and my state of disorientation caused by it.

Christina Della Giustina

2014 – 2022.

you are variations is a ten-year study of tree water-cycles in which scientific climate change research has provided environmental data on sap flow that is transposed into a musical score

Meng Ju Shih

2014 – 2017.

I'm interested in place and the relationships it produces between people. I'm curious about how the ownership of culture power in Taiwan has progressed in painting domain, landscape, especially.

For my research project I decided to enliven the German Early Romantics’ enduring search for the Wunderbare and ineffable – symbolized by the Blue Flower – through my own practice.

Anna Bunting-Branch

This thesis considers feminist science fiction as a methodology to approach the question of sexual difference raised by Luce Irigaray.  As something that has not yet happened—the stubborn embodiment of that speculative potentiality of the “what if…?” which resists the...

Dawn Gaietto

2015 – 2019.

What is happening here? [exploits of the nonhuman] is a practice-led research project introducing the proposition of anthrodecentric art as conceptual framework.

2015 – 2018

Identity that refuses to identify,

Philip Thompson

2015 – 2021.

The past ten years has seen a sudden rise in the number of academic texts addressing issues surrounding a digital ontology. Ranging from reproduction (Groys 2008), materiality (Blanchette 2011), error (Nunes 2011), and circulation (Steyerl 2009) understanding the digital world...

Nayoung Jeong

The tension of contemporary life exists as a paradox: In an era of increasing migration, both forced and chosen, we are at once radically global and yet culturally divided. As an artist with international experiences, I have personally navigated national...

Leni Dothan

Through my research I ask if Renaissance art created a set of Visual Contracts, and I hypothesize that its legacy continues to control our social, political, and religious behaviour to this day. Is it possible to challenge representations of women...

2015 – 2020

The Flat Diamond is a conceptual and theoretical object that operates as a proposition and invitation to explore the values of collaborative art practice; the work’s central concern is exploring the roles of the author and of narrative in the...

Drawing from Western and East Asian philosophical traditions, this thesis aims to compare different concepts of ‘Pathos’ as present in Chinese, Japanese and European traditions of art, and in particular photography. 

Nick Laessing

2016 – 2021.

This research project is an artistic investigation into the element hydrogen and its agency in the context of ecological art 2 . In light of the recently proposed Anthropocene epoch, I will produce a series of installation works to test...

2017 – 2022

My PhD research analyses material and process exploration within my art practice and corresponding historical painting context. This research involves the physical analogies of skin and its relevant metaphors and meanings

Fine Art: Master's Thesis Projects

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Pratt Shows: Fine Arts BFA Drawing Thesis Exhibition Week 6 of 6

April 22 – April 26, 2024 9:00 AM – 5:00 PM

Dekalb Gallery

The Fine Arts BFA Drawing Thesis exhibition is the annual showcase and celebration of student work by Pratt Institute’s Department of Fine Arts.   In this culminating exhibition, each student will present a body of work created during their senior year.

BFA Drawing Thesis Exhibition Dekalb Gallery

On View: March 19–April 26, 2023,  Gallery hours: Monday – Thursday from 9am – 5pm

Week 1, March 19–23: Michaela DiPaola, Veronica Londono, and Yamila Mondragon Week 2, March 25–29: Sky Rattray, Ruby Murnik, and Cyrus Berlinerblau Week 3, April 1–5: Grayson Stearns, Jlynn Torres, and Rafael Zygmuntowicz Week 4, April 8–12: Piper Turosak, Aaron Hall, and Karma AlHashemi Week 5, April 15–19: Viancha Antonucci, Michael Kleban, and Isaiah Lauderdale Week 6, April 22–26: Caitlin Faughnan, Clara Lu, and Mallory Ahearn

Pratt Shows are public exhibitions and presentations by Pratt Institute’s graduating students in 30+ different fields, now through May.

Access to Pratt Programs and Activities

Pratt strives to make all programs, services, and activities accessible, and will provide assistance to accommodate any individuals with disabilities. Security personnel, located at booths at 200 Willoughby Avenue and other campus locations, are available for assistance. Additional accessibility resources are available at  www.pratt.edu/accessibility .

• Washington State University

Master of Fine Arts Thesis Artist Talks and Reception Friday, April 5, 2024, 3:00-6:00 p.m.

Demonstration and Performance with Reika Okuhara and Mozi Jones Saturday, April 6, 2024, 2:00-3:00 p.m.

Performances by Mozi Jones

Thursday, April 18, 2024, 2:00 p.m., The Vanity Exercise Friday, May 3, 2024, 1:00-3:00 p.m., Carnie’s Routine Maintenance Saturday, May 18, 2024, 11:30 a.m., Clown around with the Popcorn Clown! Saturday, June 8, 2024, 1:00-3:00 p.m., Carnie’s Routine Maintenance

This annual showcase is the culmination of three or more years work by the Master of Fine Arts graduate candidates. With its wide range of art-making approaches, the thesis exhibition provides a stimulating experience for faculty, students, and museum visitors. This year’s MFA candidates are Mozi Jones and Reika Okuhara.

Organized by the Jordan Schnitzer Museum of Art WSU. Funding for this exhibition is provided by the Samuel H. and Patricia W. Smith Endowment, the Art Department, and friends of the museum.

About the Artists

Traveling from many places to join the cohort at WSU, these student-artists have engaged in an intense interdisciplinary studio program. They met regularly with faculty members for group and individual critiques. Visiting artists and scholars provided diverse one-on-one insight into their creative work. Each artist sharpened their confidence, convictions, and skills. Their MFA Thesis Exhibition is a focused conclusion, yet it also marks an exciting transition toward their professional careers.

The Jordan Schnitzer Museum of Art WSU is located in the Crimson Cube (on Wilson Road across from Martin Stadium and the CUB) on the WSU Pullman campus.

• Reika Okuhara
• Interactive, immersive, innovative: MFA Thesis Exhibition returns to on-campus museum

Artists and Artworks

To view images of the artists and selected artworks from their exhibition, click on the arrows after each image, or click the individual work to scroll through full size images of the works.

WSU Pullman is located on the ceded lands of the Nimíipuu (Nez Perce) Tribe and the traditional homelands of the Palus Band of Indians. We acknowledge their presence here since time immemorial and recognize their continuing connection to the land, to the water, and to their ancestors. 

I Keep the Ladders Clean: 2024 MFA Thesis Exhibition

by Contemporary Art Museum

Mon, Apr 22, 2024

10 AM – 5 PM EDT (GMT-4)

USF Contemporary Art Museum

4202 E Fowler Ave, Tampa, FL 33620, United States

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CCA’s blend of theory and practice inspires students at every level to make work that matters. Select your status to learn about the application process, requirements, and deadlines, as well as contact information should you need any support along the way.

The future is here

Brand-new workshops, classrooms, and community spaces open fall 2024 >

Talented teens take home gold

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Artwork media and images courtesy of the artists.

MFA Fine Arts Exhibition: Part Two

Attend the final showcase of thesis work at the Wattis >

Design by Kim West (BFA Graphic Design 2002) of altrstudio.co.

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• university of new orleans
• campus news
• the uno st. claude gallery presents ‘blind spot’

CAMPUS NEWS: APRIL 15, 2024

Mfa thesis exhibition, the uno st. claude gallery presents ‘blind spot’.

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Paige DeVries’ “A Room with a View” is part of her MFA thesis exhibition at the UNO St. Claude Gallery in New Orleans.

The UNO St. Claude Gallery in New Orleans presents Paige DeVries’ Master of Fine Arts thesis exhibition titled “Blind Spot.” Her paintings and photography address ideas of the sublime in the suburban and urban landscape.   DeVries’ work demonstrates how domestic spaces, like the exterior of a home or yard, are intimate portraits of humanity and the environment. The paintings and photographs use unconventional color and intimate imagery to blur the line between the banal and the provocative in New Orleans neighborhoods.

The exhibition, which opened April 13 with a reception and gallery walk through with DeVries discussing her work, will be on display through May 4. Gallery hours are Saturdays and Sundays, 12–5 p.m. The exhibition is free and open to the public. The UNO St. Claude Gallery is located at 2429 St. Claude Ave., New Orleans.

DeVries lives in New Orleans and will earn an MFA from the University of New Orleans in May 2024. She is a current artist-in-residence at the New Orleans Museum of Art and upcoming resident at the Joan Mitchell Center. Her work has been featured in New American Paintings and shown at the Ogden Southern Museum of Art and Contemporary Arts Center of New Orleans. DeVries has an upcoming solo exhibition at Good Children Gallery in July 2025 where she is a gallery member.

For more information contact the artist at (406)-274-0885, email her at [email protected] or visit www.paigedevries.org .

UNO-CHART Helps Craft State Hazard Mitigation Plan

College Sports Executive Kiki Baker Barnes To Serve as Spring 2024 Commencement Speaker

UNO Presents the 2024 Dr. Ivan Miestchovich Economic Outlook & Real Estate Forecast Seminar on April 9

BFA Illustration Thesis Show

Posted in: Announcements

The Department of Art & Design is proud to present the BFA Illustration Thesis Show, showcasing the talent and creativity of our graduating seniors. The exhibition of students’ work will be displayed in the Finley Gallery from April 24th through April 30th. The closing reception will be on April 30th from 1pm till 5pm.

Come experience the culmination of the artistic journeys of the Illustration students. Witness the array of illustration styles and themes, crafted by graduating seniors, showcasing their talents across various mediums including Visual Development, Comics, Children’s Books, Graphic Novels, Storyboards, Advertising Art, and more. Join us in celebrating the creativity and dedication of these emerging illustrators as they unveil their exceptional works to the world.

Students Participating from Illustration: Myah Bautista, Madison Condon, Kate Dawson, Omar Dourmani, Thalia Duverger, Dominique Egalite, Lorelai McAndrews, Jake McCutcheon, Molly Mitchel, Zachary Rios, Taylor Rossin, Louis Shen, Emily Smolock, Sara Smolock, Anais St Amant, Sonny Voyack, Geliza Paunan, Luke Dillon, Salena Indarjit, Raphael Santiago, Tarnchanok Chada, Skell Longfield, Katie Hodges, Alyssa Mercado, Camila De Los Santos, & Norberto Linao

BFA Illustration Thesis Show Exhibition

• Finley Gallery, Finley Hall
• Exhibition dates: April 24th – April 30th, 2024
• Closing Reception: April 30th, 1:00 – 5:00 pm
• Light refreshments will be served

Fifth-Year Thesis Final Pinup

April 19, 2024

This week, the Cowgill Lobby housed the last fifth-year thesis presentations of the semester. Faculty and students engaged in numerous discussions about the extensive investigations conducted over the past year. Following this, the students will compile their ideas into thesis books as a final documentation of their work. We wish our fifth-year thesis students luck as they wrap up their undergraduate education and move forward into the professional world! 🎉

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