does fine arts have thesis

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 Associated with that thought may be an outdated feeling that your body still remembers. This outdated association can be especially frustrating to the point of extreme procrastination.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 Throw away any pre-conceived and or outdated perceptions of what you think you should do.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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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.

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Master of Fine Arts

Research paper/thesis guidelines, length of research paper.

The Master of Fine Arts thesis can take one of two forms:

creative work and research paper, culminating in a substantial exhibition, performance or
installation of works in a joint show of candidates at the end of candidature, together with a research paper of 10,000–12,000 words and oral presentation, or
thesis of 35,000–50,000 words in the field of art theory, art history, cultural studies or professional studies in visual art.

At least seven (7) weeks prior to the oral examination, a candidate presents one electronic copy of the research paper. Candidates proceeding by thesis only option submit one electronic copy of the thesis by their latest completion date. The required word count includes the introduction, main text and conclusion. It does not include the summary (abstract), foreword, captions, footnotes, bibliography and in most cases appendices.

Inclusions in the research paper/thesis

Each examination copy of a research paper shall contain:

research paper text;
a 300-word summary of the work (creative and written) presented for examination. The summary consists of two parts: an abstract of the content of the research paper and, where possible, a brief description of the creative work presented for examination
if available, a full visual documentary record of the work presented for examination. In addition to the documentary record of work presented for examination, a candidate may also present other material generated in the course.
a catalogue of work presented for examination as a typed list of the works, presenting such information as the title, media and dimensions of work (height before width before depth). This catalogue should also be included as an appendix within the research paper.

Footnote and bibilography style

You are expected to follow an appropriate and consistent convention of source citation and referencing. The Chicago Manual of Style 17th A is the preferred style at Sydney College of the Arts. For full details and citation examples, the SCA Library has a subscription to the online manual. It can be accessed via Unikey at http://ezproxy.library.usyd.edu.au/login?URL=http://www.chicagomanualofstyle.org/16/contents.html You can also use the print copy of The Chicago Manual of Style in the SCA Library Reserve collection or the online guide. The Chicago 17th A style is also available in EndNote bibliographic software. You may consult other recent style manuals. Whichever convention you adopt, you must employ it consistently.

If you are considering engaging an editor to proof your thesis, please ensure you have read Part 1 of the University’s Thesis and Examination of Higher Degrees by Research Procedures 2015 .

Presentation

All candidates must submit an electronic copy of the research paper. Electronic copies must be submitted as one PDF document. Other formats will not be accepted. The research paper must have a cover page clearly identifying the name of the candidate, the title of the research paper/thesis and the year of submission. In the main body of the research paper/thesis one-and-a-half spacing is preferred, but double-spacing is acceptable. Single-spacing may be used only for appendices and footnotes. The margin on each sheet shall be not less than 40 mm on the left-hand side, 20 mm on the right-hand side, 20 mm at the top and 20 mm on the bottom. Beginning with the first page of the Introduction pages shall be numbered consecutively, using Arabic numerals. The title page shall contain the research paper/thesis title, the candidate’s name, the title of the degree, the year of submission and the name of University of Sydney. Except with the approval of the supervisor, images, illustrations, charts, tables, etc., shall be included in the text immediately after the first reference to them, as right-hand pages with the caption at the bottom, or if necessary, on the page facing the figure.

Examples and suggested sequence of preliminaries

This section deals with requirements for the preliminary pages of the research paper and gives standard format examples of these. Candidates are asked to observe their content and general layout, as well as the sequence of the following material.

The title page should include the following:

Sydney College of the Arts
University of Sydney
Name of your degree (Master of Fine Arts or Doctor of Philosophy)
Type of your submission (Research Paper or Thesis)
Year of submission
Title of your paper

This volume is presented as a record of the work undertaken for the degree of Master of Fine Arts at Sydney College of the Arts, University of Sydney.

Acknowledgments (optional).

List of Illustrations

Foreword (optional)

Introduction.

Chapter One (chapters may have titles)
Chapter Two, etc
Endnotes if footnotes have not been used

Bibliography

Appendix (optional)
Catalogue of Work Presented for Examination

List of Images

Occupies a separate page between the Statement and the Table of Contents page. Please keep it short. “...I wish to acknowledge the help given to me in this project by my supervisors / consultants / colleagues / family ...etc.” When a research paper has had the benefit of editorial advice then the name of the editor and a brief description of the service rendered should be printed as part of the list of acknowledgements or other prefatory matter near the front of the work, as outlined in Part 1 of the University’s Thesis and Examination of Higher Degrees by Research Procedures 2015 .

List of illustrations

Occupies a separate page: Figure 1. Title of Work, Name of Artist, Page No. Figure 2. Figure 3. etc.

Description of creative work. Please indicate date and place of exhibition; number of works; media; if relevant, title of exhibition; brief descriptive statement; and other relevant data. This is not the exhibition catalogue. Abstract of research paper. The abstract forms part of the Summary, and simply states the problem or project addressed and a brief description of the method used in undertaking this project (a condensed summary or synopsis of the sequence and conclusions of the study).

A foreword is optional and is generally to be avoided. It may be a statement about personal aspects of candidate’s project (i.e. why the candidate undertook it), about special assistance received, the context (social, political, etc) of the candidate’s work or other matters. It ought to be brief, less than one page.

The following notes on the Introduction are adapted from Anderson, Durston and Poole, “Thesis and Assignment Writing”: “An introduction should be written with considerable care, with two major aims in view: introducing the problem in a suitable context, and stimulating the reader’s interest. If introductions are dull, rambling, and lacking in precision, direction and specificity, there is little incentive for the reader to continue reading. An introduction may be chapter length and usually contains the following:

a complete and concise statement of the subject being investigated for the general purpose of the study;
a justification for the study, establishing the importance of the topic or material. It is appropriate at this juncture to indicate the limitations of the project and to define terms used in the study that have a special meaning or significance for the investigation;
a preview of the organisation of the rest of the paper to assist the reader in grasping the relationship between the various parts of the paper;
a clear indication of the methodology of the paper that is, whether it is a documentation of studio works, an essay, some combination of these, or some other. An introduction is usually written early, then completely rewritten after the main text has been finalised.”

Main body of text

Because of the diversity of research topics occurring within separate disciplines, it is not possible to specify directions for organising the main body of a research paper or thesis. However, there are certain general principles, which should be followed:

organise the presentation of the documentation or findings in a logical and sequential way, developing the project aims stated in the introduction.
substantiate arguments or findings.
be accurate in documentation.
every effort should be made to write clearly and within a logical framework. This organisation may be assisted by a division of the material into chapters with headings and subheadings and a sequential organisation and development of material.

Examples and sequence of end papers

The following notes on the Conclusion are adapted from Anderson, Durston and Poole, “Thesis and Assignment Writing”: “The conclusion serves the important function of bringing together the whole report. In summary form, the developments of the previous chapters should be succinctly restated, important findings discussed and conclusions drawn from the whole study. In addition, the writer may list unanswered questions that have occurred in the course of the study and which require further research. The conclusion should leave the reader with the impression of completeness and of positive gain. As with the introduction, the conclusion usually forms a separate chapter.”

These are placed at the foot of each page or each chapter; or as a group after the Conclusion as endnotes.

This may be divided into ‘Books’ and ‘Periodicals’ sections, or may be integrated.

Optional. Includes material (possibly by another author), which is of importance to the preceding text. Should be brief. Highly relevant material included here only because it cannot be integrated into the main text.

Optional. The candidate’s professional resume may be included giving information on exhibitions, publications, collections, and awards in standard form. Should be brief.

A record of all images and other visual documentation materials as a typed list of works, presenting such information as the title, media and dimensions of work (height X width X depth)

Catalogue of work presented for examination.

Where possible include a full visual documentary record of the work presented for examination. If not all work presented in the exhibition cab be fully documented prior to submission of the examination copy, include images of work created during the candidature and process documentation of the work in the exhibition.

Final lodgement

After receiving notification that you may proceed to final lodgment, you must provide the University with a digital copy of the final, awarded version of your thesis. You will need to choose the appropriate level of access, and convert their thesis and any supporting files into the appropriate file format. The digital format for text is PDF. Formats for other thesis components (such as moving image files) will be outlined in guidelines. The final copy of a research paper shall contain:

a full visual documentary record of the work presented for examination. This documentation should be included in the thesis as an appendix. All work presented in the exhibition should be fully documented, including images of the installation of each work, details of major works (as required) and several views of three-dimensional works. If the final exhibition included moving image of time-based components, video documentation must also be provided. In addition to the documentary record of work presented for examination, a candidate may also present other material generated in the course.
a catalogue of work presented for examination as a typed list of the works, presenting such information as the title, media and dimensions of work (height before width before depth). This should also be included in the thesis as an appendix.

The Student Guide for formatting your final thesis is available from the HDR Administration Centre.

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MFA Overview

Master of Fine Arts Program Guide

Tree with autumn leaves in front of Denny Hall

Timeline and Satisfactory Progress

The degree should be completed within six full-time quarters (or their part-time equivalent). Completing the MFA degree within that time period constitutes satisfactory progress.
In each of the first three quarters in residence, students must complete a creative writing workshop and receive a grade of 3.0 or higher.
The Preliminary Critical Essay must be submitted by February 1st of the second year in residence and receive a "Pass" or "Satisfactory Progress" from the entire Thesis Committee before the Preliminary Creative Manuscript can be submitted.

Requirements

The requirements for the Master of Fine Arts degree include workshops and seminars , preparation of a Preliminary Bibliography , a Creative Manuscript , a Critical Essay , and an Oral Presentation .

Fifty-five credits of English graduate courses are required for the MFA, apportioned as follows: 20 credits in creative writing workshops (one may be outside the student's genre); 15 credits in advanced literature seminars (5 credits of which must be a seminar numbered 506-510, 550, 551, or 581); 5 elective credits (5 graded credits of Internship [601] can count for degree credit); and 15 thesis credits.

Thesis Committee

The Thesis Committee guides the student's work on both the Critical Essay and the Creative Manuscript. The Thesis Committee typically consists of two Creative Writing Graduate faculty members – one Supervisor and one Reader. The Supervisor works closely with the student on their thesis throughout their second year, while the Reader serves as a second set of eyes on the student’s work.

The Director of the Creative Writing program will meet with first year students early in Spring Quarter to go over the process of selecting a Thesis Committee and answer any questions. By May 7th of the first year in residence, the student will supply the program coordinator with a ranked list of three Creative Writing Graduate faculty members they would like to serve on their thesis committee. These should be faculty members from the student's genre. The requests will be compiled and submitted to the appropriate faculty group, and the results will be emailed to the students by the end of May.

During their second year in the program, students will receiving an ENGL 700 (thesis credits) form from [email protected] prior to registration opening each quarter. Students who wish to enroll in thesis credits during a given quarter should complete the form by providing a brief explanation (2-5 sentences) outlining the work that they plan to conduct on their thesis during that quarter. Students should then send the completed form to both [email protected] and their thesis committee chair. Committee chairs then provide approval of the credits with an email confirmation or a signature directly on the form. A maximum of 10 thesis credits can be taken in a single quarter.

Preliminary Bibliography for the Critical Essay

A preliminary bibliography and a brief, one paragraph statement on what the critical essay will be about must be submitted to the Thesis Committee and [email protected] no later than October 31st of the second year in residence. This list should include 20 to 30 books, falling into three categories: specialization or core (substantial representation of an author, approach, or form of particular interest to the student); a survey of the genre or contexts; and works of criticism. This reading list and the statement amount to a plan of study, and should guide the student's research toward the MFA essay. The Committee returns the Preliminary Bibliography with comments and recommendations within two weeks.

Critical Essay

This 20-30 page essay should address the student's relationship to their reading based on the student's own writerly concerns and studies. It cannot be construed only as an act of literary criticism or scholarship, though some students choose to include conventional literary studies. The essay must ultimately, however, address the issue of the writer's relationship to (and peculiar slant on) the larger context in which they produce art—the map of a particular literary landscape and their position on that map. This map, of course, can also include specific cultural forces and traditions shaping that landscape. These essays should function to benefit the thesis student--as an investigation into the particular writerly concerns of its author--and because of this they will develop somewhat holistically from your conversations with your thesis advisors. A good question to ask your reader or supervisor: what are your particular requirements for the critical essay? Each professor has different expectations for your required reading and ultimate critical thesis draft and it’s important for you to understand these early on in the process.

A draft of the Critical Essay must be submitted to the Thesis Committee Supervisor no later than January 8th of the second year in residence. The Supervisor will provide feedback within two weeks. The official Preliminary Critical Essay must be submitted to the entire Thesis Committee and [email protected] no later than February 1st of the second year in residence. The Committee returns the Preliminary Critical Essay with comments, recommendations, and a grade of Pass, Satisfactory Progress or Non-Satisfactory Progress within two weeks.

The Final Critical Essay must be submitted to the Thesis Committee and [email protected] no later than April 15th of the second year in residence. The Committee reads the Final Critical Essay and returns it with comments and a grade of High Pass, Pass or Fail within two weeks.

Creative Manuscript

A minimum of 30 poems, or 5 short stories and/or personal essays (at least 100 pages), or 150 pages of a novel or book-length essay

The Preliminary Creative Manuscript may only be submitted after the Preliminary Critical Essay has received a grade of "Pass" or "Satisfactory Progress" from the entire Thesis committee. It must be submitted to the Thesis Committee and [email protected] no later than March 15th of the second year in residence. The Committee returns the Preliminary Creative Manuscript with comments, recommendations, and a grade of Pass, Satisfactory Progress or Non-Satisfactory Progress within two weeks.

The Final Creative Manuscript must be submitted to the to the Thesis Committee and [email protected] no later than May 15th of the second year in residence. The Committee returns the Final Creative Manuscript with comments and a grade of Pass or Fail within two weeks. Once the entire Thesis Committee has approved the Final Creative Manuscript, the student is ready to give the Oral Presentation.

Oral Presentation

The Oral Presentation should be scheduled with the Creative Writing office when the Final Creative Manuscript is submitted. The Oral presentation lasts 60 minutes and should be understood as the culminating performance of the last quarter in residence. It will consist of a discussion of the Creative Manuscript and the Critical Essay with the Thesis Committee and may include a reading from the Creative Manuscript. The Thesis supervisor obtains the Master's warrant from the English Graduate Office before the presentation begins. At the end of the Oral presentation, the Master's warrant is signed and the student should obtain the necessary signatures on the Committee Approval Form.

Students should communicate with their committee members to arrange a date, time, and modality for the presentation, (in-person, hybrid, or 100% remote), and email [email protected] no later than May 29th to finalize the presentation schedule.

Presentations can be scheduled as soon as the Final Critical Essay and Final Creative Manuscript have been approved by the Thesis Committee. The final date that the Oral Presentations can be completed is the last day of the quarter.

Modality for English Master's Oral Presentations

Beginning in Spring Quarter 2022, all English department oral thesis presentations may be held in person, hybrid, or virtually. It is essential that everyone communicate clearly and well in advance about all forms of in-person meetings. A thesis presentation is an important, celebratory, once-in-a-lifetime occasion. Students and their mentors should be able to engage fully and deeply in conversation about the work without any participant being distracted by circumstances that might make them uncomfortable.

The department will not require the student and/or committee members to wear masks during a thesis presentation. However, the student and/or committee members may ask each other to wear masks, and are strongly encouraged to communicate preferences in advance. Additionally, the student and/or committee members may choose to participate virtually for any reason, including others’ decisions regarding mask wearing.

Please note: A student’s choice to participate in person or remotely will not impact the result of their presentation.

In-person oral thesis presentations

If a student wishes to have their presentation in person, the department will typically reserve the A-13 conference room. This room has windows that may be opened for ventilation. Any participant in the presentation (including the student) may choose to open the windows at any time. If a student would like to have their in-person presentation in another location, they will need to discuss this with their committee and make the room reservation themselves.

If a student would like to reserve Padelford A-13 as the location for their presentation, please email [email protected] with details. Students are free to conduct in-person presentations in other locations, but they will need to reserve those spaces themselves.

Virtual defenses

If the student prefers to have their presentation fully virtual, the English department is happy to facilitate virtual presentations via Zoom.

If a student plans to do a hybrid or 100% remote presentation, please email [email protected] with the link that will be used.

Thesis Committee Approval Forms

Students should download and print the Thesis Committee Approval Form before their oral presentation. If the presentation will be in-person, students will need to bring a paper copy to the presentation and obtain the physical signatures of their committee members. If they are unable to obtain physical signatures due to a hybrid or 100% remote presentation, please use Page 2 of the form.

Applying for the Degree

Master’s Requests & Warrants

The deadline for submitting a Master’s request in MyGrad is no later than 11:59pm on the last day of Spring Quarter . However, students will need to submit this request prior to the date of their oral presentation in order for the English Graduate Advising Office to generate and send their warrant, on which they will need to collect signatures from their committee members . Students can submit their Master’s request at the beginning of Spring Quarter, and they should try to have their Master’s request submitted as soon as possible so that the warrant can be processed and returned to them.

Students might also want to review the Graduation Checklist for Thesis Master’s Students section on the UW Grad School site.

Students should download and print the Thesis Committee Approval Form before their oral presentation.

Once students have completed the form and received their committee members’ signatures, they will need to submit it to the UW ETD Administrator/ProQuest site no later than 11:59pm on the last day of Spring Quarter .

Thesis Submission

Students will need to submit either their critical or creative thesis to the Graduate School through ProQuest by 11:59pm on the last day of Spring Quarter . It is strongly encouraged that students not wait until the last minute to submit their thesis in case any technical issues arise. Students who do not submit their thesis by the deadline may pay a $250 fee to be granted a 2-week grace period within which to submit their thesis. More information about thesis submissions can be found at the Grad School Thesis/Dissertation page . If a student will be unable to submit their thesis by the grace period deadline, they will need to register for courses in the quarter in which they plan to submit it.

Please also visit the ETD Formatting Guidelines page to review the thesis formatting requirements.

The Graduate School must approve the online thesis application. They email students indicating if everything has passed.

Students should not assume that filing their thesis and approval form means they are finished. The Graduate School may request formatting or other changes before they will approve graduation.

** Application for the MFA degree must be filed online with the Graduate School no later than the first four weeks of the quarter of graduation .

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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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Doctoral Programme in Fine Arts

The Academy of Fine Arts offers doctoral education that emphasises high-quality artistic work and related research in the field of fine arts.

Why study here?

Come and conduct research at the Academy of Fine Arts, where art and the artist are the focal points. Research subjects – whether embodied in the research question or the method, material or objective of research – cover the meaning, practices, techniques and methods of art, as well as the principles and institutional arrangements that determine the production, reception, training and application of art.

About the studies

Doctoral studies provide students with the abilities and the opportunity to conduct independent and creative artistic research. Artistic research is a field of multidisciplinary research that focuses on the artist and art. Graduates of our programme are artist-researchers who develop and renew arts, as well as the making, research and teaching of arts. The programme admits new students every other year.

They engage in a diverse and critical dialogue with the different actors in society. As experts in their field, they create art and produce information, knowledge, and insights based on art-related practices that can be applied in the arts and also in other sectors of society.

Our doctoral programme develops the artist-researchers’ ability to apply their skills as artists, researchers, teachers, and experts.

Structure of the degree

The Doctor of Fine Arts degree extends to 240 ECTS credits, which corresponds to four years of full-time studies.

The degree consists of the doctoral thesis project (170 cr) and doctoral studies in fine arts (70 cr), which includes 60 cr of mandatory studies and 10 cr of elective studies.

Teaching during the academic year takes place over 7 intensive seminar weeks and is arranged together with the Theatre Academy’s Performing Arts Research Centre (Tutke). The more detailed course information can be found in the study guide .

Thesis project

The doctoral thesis project in fine arts can include art exhibitions, exhibition curating, individual artworks, artistic processes or experimental arrangements and their articulation, conceptualisation and theorisation. Typically, a doctoral thesis project consists of one or several visual art components (a maximum total of 140 cr) as well as a written component (30-170 cr). In addition, the thesis project must be available as an electronically archivable documentation. The artistic components are public artistic research findings. The written component runs parallel to the visual art components and justifies the research approach and goals in relation to other research and practices within the field. On a discretionary basis, the doctoral thesis project can also consist exclusively of research in written form.

Professor, Academy of Fine Arts, Academy of Fine Arts
+358503473969
[email protected]

Maiju Loukola

University Lecturer, Artistic research Academy of Fine Arts, Academy of Fine Arts
+358504720344
[email protected]

Denise Ziegler

Professor, Artistic research Academy of Fine Arts, Academy of Fine Arts Visiting researcher, Academy of Fine Arts, Academy of Fine Arts
+358504080197
[email protected]

Contact information for the doctoral programme

Further information about the admission process.

[email protected]

Other inquiries concerning doctoral education and research at the Academy of Fine Arts

Minna Luomala Planning officer (doctoral education) [email protected] tel. +358 50 4018 630

Michaela Bränn Specialist (research) [email protected] tel. +358 40 63 13 553

More about the research and study activities

Target degree and length of study.

Doctor of Fine Arts (DFA)

You can apply to

Application period.

The next application period will be in autumn 2024. The studies begin in autumn 2025.

Application languages

English, Finnish, Swedish Read more about the language skill requirements

Tuition fee

There is no tuition fee in the doctoral programme.

Supervising teacher

Mika Elo Professor

Academy of Fine Arts

Masters of Fine Arts (MFA) in Prose and Poetry | Northwestern SPS - Northwestern School of Professional Studies

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Program Overview

Mfa in prose and poetry.

Northwestern’s part-time Master of Fine Arts in Prose and Poetry program provides students the opportunity to grow as artists within the specializations of fiction, nonfiction, popular fiction, poetry, and publishing and professional development. A dual-genre specialization is also offered. The small-group workshop format allows for individual attention from published, award-winning faculty . Students also have the opportunity to learn the ropes in teaching writing, publishing, and editing. Flexible scheduling – with courses offered evenings and weekends on Northwestern’s Chicago and Evanston campuses as well as online and in hybrid format – gives students the opportunity to balance their professional, personal and writing lives. While earning their degrees, students connect with other writers at readings and other events in an artistic community that extends beyond the University into Chicagoʼs vibrant literary scene.

About the MFA in Prose and Poetry

Prose and poetry program goals, curriculum for mfa in prose and poetry, mfa in prose and poetry courses, prose and poetry faculty, mfa in prose and poetry admission, tuition and financial aid for prose and poetry, registration information for prose and poetry, careers in prose and poetry.

I feel like there's a distinctive Chicago quality to the program, a kind of Midwestern stealth sheen of genuine kindness that nourishes some wild, subversive, tremendously exciting work. It's a unique combination, and one singularly fertile for creativity.”

Students form lasting bonds with each other and with their professors. The years students have spent in the SPS creative writing program, some have told me, are the most creatively rewarding ones they've experienced.”

Teaching in Northwestern's part-time writing program has been a career highlight for me. The program is enriched by its students who come from various backgrounds and careers. The diversity of passions, insights and life experiences helps to create a truly unique and rewarding learning experience.”

To help students determine the strengths and weaknesses of their writing, and learn how to evaluate criticism of their work
To teach students how to take their writing apart, re-think and revise it
To show students how to experiment with different styles and forms
To guide students in creating a publishable manuscript or portion of one
To teach students how to read literature as a writer and a critic
To train students to teach creative writing, informed by current pedagogy and classroom experience
To give students the opportunity to edit an international literary magazine with their peers
To provide students with the tools to create strong applications for jobs in teaching, publishing, and editing

The 15-course curriculum includes workshops in a concentration, electives, and two thesis courses to complete the MFA program experience. Required courses vary by specialization .

Electives are chosen from the graduate course offerings in the Master of Arts in Literature program, creative writing special topics courses (MCW 490) and the seminars and internships (practica) in teaching and publishing. Since good writers also need to be good readers, students must take electives in literary studies. Recent electives include courses on reading poetry; the narrator in fiction, nonfiction and poetry; and writing humor. Independent studies round out the program and provide an opportunity to strengthen writing portfolios.

The final project of the MFA program is a creative thesis, an original work of high literary merit (judged on the basis of art as well as craft). The creative thesis is structured and revised under the supervision of a faculty member (or faculty mentor) and a second reader. The project may be one long piece or a series of shorter pieces. It may include or be an expansion of work written during the student's course of study as long as it represents a culminating effort to shape stories, prose pieces, a long piece, or a group of poems into a coherent, self-sufficient work. This large-scale project supplements the smaller-scale study of craft with the invaluable experience of creating a larger work. And for students who plan to pursue book-length publication after graduation, the master's creative thesis may be the first version of a work in progress.

Explore MFA in Prose and Poetry Courses . You can narrow your course search by day, location or instructor.

Learn from a faculty of esteemed writers in small-group workshops where instructors facilitate discussions that help students examine and address strengths and weaknesses in their writing as well as open up possibilities for re-thinking and revising. Get to know the instructors on our Prose and Poetry Faculty page.

Candidates for admission to the MFA program must hold a bachelor's degree from a regionally accredited institution or its foreign equivalent and possess a strong academic record, preferably in English, writing or related fields. In evaluating MFA applicants, the admissions committee will look for evidence of the ability to create a more sustained final project, for interest in an interdisciplinary program and for interest in learning how to teach. For a complete list of requirements, see the admission page for SPS graduate programs.

Students interested in the Litowitz Creative Writing Graduate Program should visit the Weinberg College of Arts and Sciences website for admission information.

Tuition for the MFA in Prose and Poetry program at Northwestern is comparable to similar US programs. Financial aid opportunities exist for students at Northwestern. Complete details can be found on the Prose and Poetry Tuition and Financial Aid pages.

Already accepted into the MFA in Prose and Poetry program? Get ahead and register for your classes as soon as possible to ensure maximum efficiency in your progress.

COURSE SCHEDULE & REGISTRATION
REGISTRATION POLICIES & CONTACTS

Northwestern University’s MFA in Prose and Poetry is an arts degree. Students pursue the degrees in order to become better writers, able to create prose and poetry that draw on a full range of the craft. On a more practical level, MFA students become better writers, which prepares them for a variety of careers. For details visit the Prose and Poetry Career Options page.

Find out more about Northwestern's MFA in Prose and Poetry

Research Proposal Writing for Fine Arts and Music

Where to Start?

Phase 1- Go deep!

Phase 2- give yourself some structure, phase 3- writing your research question, phase 4- finalising your research question, research methodologies, key research texts.

Graduate Research
Talk to a Librarian

Where to Start- Forming a Research Question

Your creative project is well underway and now it is time to research and write about it. But how do you turn your ideas into a research question?

Use the tabs on this page to work through Phases 1, 2, 3 and 4 . These may help you identify themes and questions you would like to explore in your project, and how to turn these into successful library search strategies.

The library also has many resources available to help you learn more about Practice-Based Research and other research methodologies. There are links to these in the Research Methodologies and Key Research Texts tabs.

1) Reflect on your current creative project. Write down your motivations and aims for creating the project. Write down any significant discoveries you have made along the way.

2) Ask yourself, have there been any issues arising from the project that I could research? These issues may be based around the concept, themes or technical aspects of your work or a combination of these.

3) If you are struggling to identify any issues, talk with peers who know your work and ask them for feedback. Explain to them your motivations, aims and discoveries. Ask them if your work effectively achieves what you set out to do. Write down any issues related to your work that come from this discussion.

4) Based on the issues you and your peers have identified, select one or two issues that are the most interesting and important for you. These issues will form the basis of your research question.

1) Using the 1 or 2 issues you have identified, you can narrow the focus of your research question. Here are a few questions to ask:

Time period (Is my work related to a specific period?)
Person (Is my work related to a specific director, composer, choreographer, performer or writer?)
Technical tool (Does my work use any particular technique?)
Social or political issue (Does my work address a social issue such as war, disease, love, race or sexuality?)
Contemporary issue (Does my work explore an issue in contemporary music theatre? Eg. music, writing, performance venues, lyrics, acting or dancing)
What kind of role does my creative project have in the broader context of contemporary music theatre?

2) Make a list of responses to these questions. Select which responses are most interesting and relevant to your creative project.

You will now have a narrower idea for your research question.

1) Play around with your research question. Write it down as a question or statement in a number of different ways. Try to get to at least ten different statements, but no pressure! Not all of them will be good. You might:

Change around the phrasing of the issue
Change your original words for synonyms
Say the question out loud
Explain it to one of your peers and write down your explanation.

2) Highlight the questions that seem clearest to you.

3) Forget about your question or topic for 24 hours. Instead, reflect on your creative project, watch some documentation or perform part of the project.

4) Return to your list of questions with fresh eyes. Make a list of the best three questions/topic sentences. If you have already identified that one question is the best one for you, stick with that one.

1) For each question, spend 10 minutes searching Discovery . Use an Information Search Planner to help you search effectively (download one from the link below).

2) Assess the results of your searches as you go and use these results to help you choose one of your three questions. Ask yourself:

Is there a lot of information available on this topic?
Has my question already been answered?
Who is writing about the topic of my question?
Which of my searches is finding results that are the most interesting and relevant to my creative project?

3) By answering the questions above, you will be able to select a suitable question. If not, reassess your question and repeat Phase 2 onwards. Alternatively, you may wish to discuss your question with your lecturer or supervisor.

REMEMBER: Your question will change over time. When you are making work and researching, your ideas will change and your question can too!

Research Methods

The Library collections offer many resources on research methods. Doing a simple keyword search in the Library Catalogue will give you a list of many. You can use the keywords below as a starting point:

Practice-led research
Practice based research
Research-led practice
Artistic research

You can also modify your search to limit it to resources held at Southbank Library, or to our Online Resources if you're interested in an ebook.

Subject Headings in the Catalogue

The links below will launch a search in the library catalogue for specific subject headings:

Arts -- Research

Qualitative Research

Quantitative Research

Mixed Methods Research

Research Method

SAGE Research Methods

SAGE Research Methods is a research tool to help you design your research project. Search by keywords or use the visual interface in the Methods Map . Its main focus is research in the social sciences.

SAGE Research Methods SAGE Research Methods is a research methods tool which links SAGE’s renowned book, journal and reference content with truly advanced search and discovery tools. Researchers can explore methods concepts to help them design research projects, understand particular methods or identify a new method, conduct their research, and write up their findings. SAGE Research Methods Cases is a collection of case studies of real social research that faculty can use in their teaching. Cases are original, specially commissioned, and designed to help students understand often abstract methodological concepts by introducing them to case studies of real research projects.

Next: Graduate Research >>
Last Updated: Mar 13, 2024 10:20 AM
URL: https://unimelb.libguides.com/proposalwritingcreativearts

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

by RYAN SESLOW | Nov 10, 2014 | Art , Design , News , Teaching , Useful Articles / Essays | 55 comments

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 writing helps me identify mistakes 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, how about you? Writing induces and activates new awareness. In my experiences as a college art 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 during the duration of your MFA program. Not only will your thesis be written for yourself, but also 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 dates and times. 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 use of a blogging platform such as word press 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 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 teach an MFA and MA course at LIU Post in NY that puts an emphasis on content and exposure to help students generate their final thesis. The course revolves around several exercises that contribute to the process as a whole broken down into individual isolated parts. 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 I do with this 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 of you. So how do we deal with this? Together as a class we discuss and record the answers directly onto a chalkboard (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 individually taken also. I later put the information into a re-capped blog post on our class blog. Are you surprised that I use a blog for my class?

The Format-

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 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 on Skype, a Google hang out or face-time if an 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 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 without editing or without 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 you writing. Where do these words fit into the thesis criteria format above?

Further Experimentation-

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!

short-link to this post :: https://www.ryanseslow.com/YMgUl

55 Comments

Thanks for sharing this. I have 3 semesters to go and was already beginning to panic over the idea of writing a thesis this will help me to begin to organize my thoughts. I have promised myself I wouldn’t procrastinate.

Sounds good Chris Ann! I will see you in the ART550 course this coming fall!

I will definitely make use of your template when trying to organize my thesis draft that I will be sending you this weekend! Thanks again for posting this and for making is straight forward and simple by narrowing it down to the most important stuff. I think what at least I suffer from most is that I find it hard to break apart the paper and instead I see it as a big scary one, which doesn’t exactly make it easier to write. So, thanks! 😀

Thanks Sofie! Glad to help!

Thank you for making this public! I enjoy writing, but “written thesis” is so daunting, especially without any sort of guidelines. I feel empowered.

Thanks so much Elyse!

Thank you so much for this! I’m only entering my second year as a BFA student and thought that I should start practicing when it comes to writing a thesis. I stumbled upon your article and I find that your guidelines and exercises helpful.

Greetings from Malaysia. 🙂

Thanks so much Jessieca! Good Luck, keep me posted if I can help further.

Thank you Ryan,

I am in my final semester of a low residency MFA program. It is a brand new MFA and we had lots of growing pains. While I have been “journalling” all along, we did not get any guidelines for our thesis until a few weeks ago. The panic is real. Your article is very helpful.

Thanks so much Anita. Im glad you have found this essay as I wrote it to offer help, and create dialog here! The beauty of writing the MFA thesis is the freedom one gets to really dig into their 2-3 year specified process and format the structure itself. This structure can be transparent and also retained. I believe that many programs follow a similar format as they encourage their students to cultivate self-motivation and also the inventiveness one needs to stand out in contrast to the other 25,000 plus people who complete MFA degrees each year. This is my opinion, but how uninteresting would it be for everyone to follow the exact same format? What would be learned that way? Perhaps we all need to re-write our thesis every few years to measure our growth as we expand and evolve. 🙂

Thank you so much for this. I’m only in my second semester of the MFA program. However, they’ve been urging us to start early. They haven’t given us any tools for actually HOW to do this besides the technical format. I find this article to be super helpful. Do you have any tips for how to incorporate the writing into a blog? It would be an interesting way to document my growth over the next two years.

Thanks so much LaKaye! Indeed, this seems to be a common concern as programs tend to give a vague or limited “technical abstract” of what they may want but don’t seem to clearly offer techniques and exercises to help achieve this. Perhaps this is intentional, and or a metaphor for students to take action. Im sure your professors would help you if you were to approached them specifically with this in mind. You could be the one who helps generate a template (like this one above) for other incoming students. Let me know if I can help you and your classmates do this? The idea is to get the student pro-active, and to take inspired responsibility for creating and crafting the final thesis in their personal style. One thing is for sure, waiting for your final semester to get started would be a terrible idea. I highly suggest starting a blog to use as a means of practice, exercise, assessment, promotion, discussion and archiving! My friends at reclaim hosting ( reclaimhosting.com ) have a great rate for students to register a unique domain name and host their websites for less than $35.00 for the year. This is an incredible rate! Setting up a self hosted wordpress blog is a powerful tool. (I can share a video tutorial with you on how to do this as well) Blogging is a great way to get into the practice of consistent, free and expressive writing. Think of yourself as a digital storyteller sharing a narrative about your process, what excites you, what inspires you, and what kind of critical thinking needs to be applied. The how’s and why’s of our experiences are where we dig into the core of understanding our intentions and what we are communicating in our work. Perhaps, making your MFA thesis an actual blog is an asset because it shares your transparency in the process and helps others see your example. I intended for this tutorial do that 🙂

I’m loving the idea of keeping record on my blog! Thank you for your very kind and thoughtful reply. I plan to share this information with my classmates.

My Pleasure! Thanks so much for reaching out and sharing!

While reading your words I kept answering “yes” to your questions. Yes the thought of writing a thesis is daunting and yes I have been procrastinating because of it. After reading the post in its entirety I feel relieved. I also feel empowered and ready to tackle this. Thank you, Ryan!

Excellent, Meghan! Lets do it!

Thanks so much Meghan. For many years I was greatly affected by bad past writing assignments and experiences that stayed with me. Especially the ones where bad grades were given. It wasn’t for the lack of grammar or punctuation but the lack of interest in writing about topics that were not interesting. Discovering and creating a technique for oneself is a big part of what has helped me. There is an abundance of contrast out there. Example after example of what to do, and also not to do. Ultimately one must create what works for them, and in the process be able to explain the story that led up to the changes that were made. Im not saying this template will work for everyone, it wont, but I do hope it will be a supporting contrast for those seeking to improve their writing skills. Step by step, with practice.

This outline doesn’t take the edge off for me. While the guidelines to creating a body of literary documentation are quite helpful, this also creates more anxiety as my mind spins in conflict. I understand the reason for documenting a body of artistic work. It makes sense to journal in some way as to make new discoveries and reflect on choices, purpose, and motivation. What I am troubled by is the structure of the paper itself and the expectation of the reader. For me, it is not about the audience primarily. I hope to convey my intention through art and words if only to understand myself and track growth. A critique on what I write about and in a format that is not natural rather imposed, triggers feelings of unease. I myself do not wish to become a corrosion of conformity.

So well said! And the growth will be so very present! The beauty of this kind of paper is the writer’s journey to create the structure in the process and make the needed revisions over time. My template is the one that I created to help myself while in my own process, and I hope it also helps anyone else who may resonate with it. I would never suggest that anyone follow one specific template. We must discover and feel it out. I love the idea of making connections to things via our feelings. We will talk about this in class much more too. The first time I wrote a thesis it took me about a year to understand how I thought about my work. I then discovered when the thesis paper was completed and turned in, time would pass, and it would no longer represent the work I was doing. Change and growth found me in such a graceful way. The paper was a tool and learning metric of growth. It taught me that I would grow, and I would be able to watch that growth. I also taught me that re-inventing ourselves can be done through creating exercises and challenges set up for ourselves. And, if we help others in the process we all learn so much more about ourselves and each other. Thanks so much!

친애하는 교수님께, 먼저 감사의 뜻을 보내고 싶습니다.저에게 큰 용기와 힘을 주셔서 온 마음과 정신을 다하여 최선의 노력을 할 각오를 주셨습니다.저에게는 예술의 학문을 전진해 나가는 것이 저의 절실한 희망이며 최대의 성취고 사회를 돕는 사람이 되려고 교수님게 저의 소망의 의지를 보냅니다. 다시금 감사합니다.

Chie 대단히 감사합니다. 최대한 많이 도와 드리겠습니다. 당신은 훌륭한 일을하고 있습니다! 웹 사이트 번역 기능이 잘 작동합니다. 곧 뵙죠.

Because English is the second language of many international students, learning to write properly for me is terribly difficult. Im very grateful to you Ryan, your article gave me many hints to writing paper. It lets me know where to start, and how to write. In fact, I usually write essays feeling afraid and not getting the main idea across to the reader. I also often write in subtitles, I think this is my biggest weakness, I cannot find my own writing direction. It seems that I need to first outline an outline to write the thesis properly.

Yes! Writing your MFA thesis in your second language is ambitious and wonderful! I am happy to help and we will work hard on this together! Lets first discuss the main idea surrounding your thesis work this week! See you soon!

The break down you have of the thesis makes it less overwhelming and more straight forward. It creates an organization that allows me to really focus one piece at a time. It also allows me see that I still have some figuring out to do but I am excited and hopeful to figure it all out!

Thank you Grace! Simplifying and then continuing to simplify over time has been my greatest asset. Organizing fragments into short lists helps me put a focus of specific points. I build from there and edit after. Less can pave the way for more in some cases. This guide is still in review and I continue to add and reduce from it.

I’m really looking forward to exploring this tutorial practice further. I’m used to jotting ideas and steps in different notepads and iPhone notes but pushing myself to sit and focus and write a step by step practice is extremely helpful. Last night I wrote a tutorial on using acrylic paint after having used oil paint for so long. Breaking down my own process already has me thinking of new ideas I want to try out. I can already see this will help me explain techniques to students in the future in a more effective way too so thank you! I take for granted some small steps that others might find valuable. I myself love when an artist shares their process sparing no details! Formulating guides as a habit will hopefully help me understand my own goals as an artist and also serve as a reminder if I start working differently. As far as the thesis outline goes, I’m thrilled to have this template to stir up ideas to brainstorm while working on new projects. Breaking it down makes it far less intimidating, thank you!

Laura, excellent! I would love to see the tutorial! And indeed, you should share the tutorial online! Transparency is a great teacher, it helps consider that there is always someone who can learn from our sharing!

I have also learned that sometimes all it takes for getting more transparency out of people is by simply asking! I have reached out to quite a few of my favorite artists and online personalities and asked them for a description of their process, most of the time it has worked!

“Thrilled” is a great word to apply to Thesis writing! Awesome! Looking forward to your work Laura!

This outline has made my life so much easier! I am less nervous about starting my thesis. Thank you so much for posting this, it will definitely be something that I will keep coming back to as I prepare my thesis. Writing something like a thesis is very overwhelming to me because English is my second language. I’m worried that I will not be able to share my thoughts exactly, but at least now my format won’t be wrong!!

Excellent! Thank you Hyon! Yes, we will be able to express all of thoughts and ideas perfectly. It will take practice and we will work on this together and in our class! Exciting times!

Thank you for sharing this invaluable content, I am presently doing my MFA at Ulster University. As fine art students we are taught to think subjectively and think reflexively. When I approach my thesis I really struggle with the concept of writing objectively and constantly find myself writing in the first person. Do you have any advice with regards how I can write more “academically”, my subject matter is extremely personal and I am finding due to the nature of the contentious issues I am trying to process, I cannot convincingly depersonalize my writing and thought process.

Thanks so much Gerard, I will respond back with some more info soon! Yes I can advise further.

Hi Ryan, Sorry to bug you. If you could spare a moment and send me any literature that could help me with writing in the third person it will be most valuable. Regards Gerard

Hi Gerard, Thanks for the note, Im super curious as to how you will use the info? Would you be writing your MFA thesis from a third person perspective? Shoot me an e-mail to discuss a bit more. ryan(at)ryanseslow.com

This was much needed! I am beginning to write an abstract for a conference about one of my works. After I began I was wondering if the outline for a standard research paper would even really apply for artwork? After doing some searching I came across this article. Thank you!

I know it will come in handy when I have to write my final thesis too!

Great! Thanks, keep me posted if I can help further. 🙂

Thank you so much for giving world such important and valuable information. i am right now working on my thesis work in fin arts diploma and i really needed this 🙂 once again thank you. Fatima from Pakistan.

Thank you so much Fatima! :))

I am procrastinating on MFA thesis writing as I type! The reminder to treat my writing as I do my art practice is so needed, as is the breakdown of what to include. Thank you!!!!

Excellent! Thanks so much and let me know if I can help further!

Reading this post put my mind at ease about writing my thesis. Previously, I had thought of it as page after page of new ideas i would have to come up with. This post showed me that those ideas are already there, I just have to get them out there on paper. This post showed me where to look for inspiration and how everything can fit together to make a final product.

Excellent! Our class will help via the exercises for sure! You will enjoy the process and the commitment to a single idea.

Writing for me has always been a terrible experience. I am not good at using grammatical rules and just forget about spelling. I am so thankful that spell check is in almost every operating system now. So in short I have always hated writing and would have much rather drawn a picture of what I needed to report on.

When reading through your essay I found that your introduction really brought me in. I don’t really think of writing as a way to organize my thoughts. I have always done that through a picture, so thinking about it that way was very interesting to me. I also did not think of my thesis as a way of documenting and recording my MA program until now. I think that having this paper will be a good way of keeping a record of what I have accomplished during my time at LIU Post. Additionally, it will be helpful to use the thesis as a guide. Rules and clear instructions help me work better and faster. Breaking apart the entire paper into smaller sections is very helpful in providing direction.

Since I still have another year before graduating, creating the exhibition simulation may be difficult to do, because I do not know what gallery it will be displayed in, how many pieces I will have etc. I do not know where my work will be placed yet but I can try to come up with an idea of what I would like and work from there. Furthermore, I have never written an artist manifesto. The thought of presenting one to a group of people is intimidating to me. As a teacher talking to large groups of people about general knowledge is something that I do frequently, but I feel like a manifesto is almost like bearing your soul to the world. I think maybe this can be a good way for me to become more confident in myself. Even though writing is hard for me I look forward to the critiquing process so I can improve my writing skills and convey my message through the written word.

Great, well said here! Practicing various techniques in both short and medium sized exercises works wonders!

Ryan first off thank you for being so thorough and creating almost a recipe for our thesis’. This entire process can really seem anxiety provoking but breaking it down into these terms makes it seem much more manageable. “By the inch it’s a cinch, by the yard its hard” is a quote that I love that reminds me of the reactive writing assignment. Taking sometime to write every month seems a lot more palette able! I also enjoy the recommendation of using an app to write your thoughts. I think I am a much better speaker than writer… I think most people are! If writing were easy we would all have a couple books under our belt! I have also been inspired, by “Resources and References:…” (under the format) into my current work. I have been almost working backwards thinking about the historical and cultural references of an idea i would like to convey to spring board into some art making!

I like the idea of doing the paper over the course of time, I feel like its a good way to stay organized and a good way to have it develop over time. When a writing piece is able to develop over time, rather than rushed it is able to reach its fullest potential; your able to think idea’s through and are able to go back and edit. I was wondering, what if you don’t have any historic references?

Yes indeed! Practice and patience plays a big role in the process, as does revising the results. Historic references are your influences. What artists and art movements have affected you and your thinking? How have these artists and art works made you see the world in a new way? This is where brainstorming and researching plays a big a role. We can get very specific about this, step by step.

Thank you for creating a breakdown to make the task of writing a thesis paper a little less scary. Writing it section by section at a time will be more helpful than to just sit down and try to write it down all at once. I’m still apprehensive on some areas of the paper but this process will alleviate some of the stress and allow me to organize my thoughts better.

Yes, step by step, 🙂

Well said! Section by section with an emphasis on each specific section takes away the anxiety of the whole outcome.

I remembered in my undergraduate year, few graduate friends were telling me about how stressful about writing the thesis. I really can tell that they look more aged before they start writing the thesis. This is the biggest reason that why the thesis scared me. I am neither speaker nor writer, I am not good at any of these two things. I am more about the middle level. So if I have to compare these two, writing skill is better. I very glad to see in the first few paragraphs about the benefits of the writing process and strongly agree that writing can help me to see and organize my thoughts, and be more clear about the content I want my readers to have. Also, very thankful to break the huge thesis into 5 small pieces in general. And fill these 5 small pieces with some little questions that can be easily answered individually. It really encourages me that maybe I can write a thesis too. I understand that I still will face many difficulties like language. But I know I will be very proud of myself that I using my second language to write the thesis at the end of this semester.

Yes! Writing your thesis in your second language is ambitious and amazing! I know that you will you do a great job. Plus, you are not graduating this comingMay of 2019, this will be a simulation and a great practice experience for you.

Thank you for this information. It is thorough and concise.

I have an idea about what I would like to do for my thesis show. The research is almost completed. The work is being created, so I can definitely describe the work and materials.

I am struggling with how to describe my space and the display. I feel it may be to far in advance to describe it. Or should I talk about how I wish I can display it, although that may change?

Yes, lets discuss it now and build off of the ideas that already come to mind. Even if they are a snippet of words and short sentences, we start by getting something into a tangible form. We can always expand from a result produced. You are going to rock it!

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The experience of writing a practice-based thesis in Fine Art and Design

--> Borg, Erik.W. (2009) The experience of writing a practice-based thesis in Fine Art and Design. PhD thesis, University of Leeds.

This study describes the writing processes of Ph. D. candidates in Fine Art Practice and Design. These disciplines are relatively new within universities and have little history of research and writing at doctoral level. Through the experience of the participants, the study illuminates the complexities and difficulties of appropriating an existing genre to fit new purposes. This study takes an academic literacies approach, derived from literacy practices. The approach views writing as a situated practice that is best observed through extended ethnographically-based engagement in sites of literacy-in-action. However, literacy practices exist in a wider context that can be understood as a network that both enables and limits local literacy practices. Among the actors maintaining the network surrounding and enmeshing the local literacy practices are a variety of discourse communities that use a multifaceted genre like the doctoral thesis to further their own purposes. The study reports on two sites of literacy-in-action, one a seminar for doctoral candidates in Fine Art Practice, and the other a seminar for candidates in Design. Each site constituted a case that was studied for over three years, looking at the difficulties that candidates faced in each site. These case studies are placed in a wider context of writing in fine art and design in order to understand the factors that shaped the texts that the candidates wrote. The study shows that, while candidates worked to assemble distinct individual and disciplinary identities in both Fine Art Practice and Design, the candidates in Fine Art Practice particularly struggled to find research methodologies and written textual forms that would adequately represent their understanding of current art practices.

--> uk_bl_ethos_522924 --> -->

Filename: uk_bl_ethos_522924.pdf

Embargo Date:

You do not need to contact us to get a copy of this thesis. Please use the 'Download' link(s) above to get a copy. You can contact us about this thesis . If you need to make a general enquiry, please see the Contact us page.

Fine Arts: Theses

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Master of Fine Arts theses in the library

How can i read the master's theses documentations.

Institutional repository Taju : Uniarts Helsinki's institutional repository Taju contains full-text theses (pdf) completed after 2015 if the author has given permission for their publication. Theses saved in Taju can also be read remotely. From 2023 onwards you can read all master’s theses either in Open Access or Limited Access

Library: At the moment Master's theses completed at the Academy of Fine Arts between years 2021-2022 are stored in Sörnäinen Campus Library, but later on they will be transferred to the Uniarts Helsinki Archive. Theses are not available on loan or inter-library loan.

Works stored in the library can be recognised in Arsca web library by their location and class indicated as ”Sörnäinen Campus Library, Closed Stacks Theses, Not for home loan” and ”Srn 22.02”.

Theses 2020-2022 are stored in the collaboration space KO-165 on the top floor of the library. To read them, you must make a booking in the printed calendar which is displayed outside the door of the shared space and replaced every week on Mondays. The booking must be within the opening hours of the library's customer service. Check the up-to-date opening hours in Arsca . In other words, theses can only be viewed during the opening hours of the library's customer service, even if the room itself can also be booked for self-service use.

If you wish to read certain theses, make your reservation no later than 12 noon on the morning of your visit. To reserve materials to view, click on the “contact us” button beside the document’s record in Arsca or send a message to the library ( [email protected] ), in which you list the works you wish to view as follows: author's family name, year (for instance: Mäkinen, 2021). If you only wish to browse theses stored in the cabinet in general, you do not need to make a material reservation in advance; booking the space is enough.

Years 2014-2019: Reference data for documentation is available in Arsca

The oldest theses from 1995–2013 are not listed in Arsca. Their reference data can be found on a separate list in Taju.

Searching theses in databases

How to find master's thesis documentations.

The documentations in full-text (pdf) are available via University of the Arts Helsinki Taju repository

Search example: start the search from the Taju search page: word search: surname Collection: current collection

The reference information of the Master's Thesis documentations (starting 2014) are available i n Arsca .

Please use Arsca search (top right on this page):

Search example 1: Search with the following phrase: " kuvataiteen maisterin opinnäytetyö "
Search example 2: Search with: " kuvataiteen maisterin opinnäytetyö " tila-aika
(alternatively you can add word: kuvanveiston, taidegrafiikan, maalaustaiteen, praxis)
After you have received your search result use Narrow Search options, for example Language to limit your results to English documentations.

Publishing guide

Instructions for publishing theses.

Publishing guide : Submitting theses to Taju

In questions related to writing your proficiency demonstration, you will get help from your thesis supervisor or your academy's study services. The library helps in questions related to submitting your work into Taju through [email protected] .

Instructions for compiling a list of references and information on reference techniques for Academy of Fine Arts students

ImagOA guide - Open science and use of images

Master's theses in the Uniarts Helsinki Archive

Master of fine arts theses available to order from the uniarts helsinki archive.

Master's theses older than three years are transferred to the Uniarts Helsinki Archive. To view them, you can submit a request for archived materials to Sörnäinen Campus Library. Theses are not available on loan or inter-library loan. Theses saved to Uniarts Helsinki's institutional repository Taju can also be accessed remotely.

The location and class of a thesis transferred to the Uniarts Helsinki Archive in Arsca search service are shown as “Uniarts Helsinki Archive, Not for home loan” and ”Arkisto KuvA Opinnäytteet”.

To reserve archived materials you would like to view, click on the “Contact us” button beside the record of the document in Arsca or send a message to the library ( [email protected] ), in which you list the works you would like to access.

You should be prepared to wait for a few days for archived material. We will send you an e-mail when the material is available at Sörnäinen Campus Library. The material is not available on loan or inter-library loan.

Please note that:

archived materials may not be taken out of the library
archived materials are only available during the opening hours of the library’s customer service
the use of archived materials may be subject to restrictions, which we will tell you about when the materials are handed over
the reading time of archived materials is two weeks.

Academy of Fine Arts dissertations

Most of the Academy of Fine Arts doctoral thesis are available in full-text in Uniarts Taju repository .

All reference data for documentations of the Academy of Fine Arts doctoral thesis is available in Arsca

ProQuest Dissertations & Theses

The ProQuest Dissertations & Theses Global: Humanities and Social Sciences collection contains approximately one million theses projects in full from around the world, a majority being doctoral theses. An indispensable help when working on your thesis.

Theses from other Finnish universities

The reference information on other Finnish universities’ theses and dissertations can be found in National Finna search service

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Last Updated: Dec 29, 2023 2:44 PM
URL: https://libguides.uniarts.fi/FineArts

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BFA Thesis (2022)

School of visual arts bfa thesis show (2022), connection lines.

May 10 – 20, 2022

Faye G., Jo, and James Stone Gallery

Adaptability, resilience, and connectivity – all are traits embodied by the artists in Connection Lines. These artists, 2022 BFA graduates, demonstrate deep care for their work and community which manifests in intrepid painting, drawing, design, sculpture, and installation. These artists are linked by a sense of interdependence in their work; collectively, through a range of interdisciplinary approaches, they consider shared experiences that shape their artistic vision.

The use of lines – literal or figurative – connects this group. Lines of thread become outward-reaching shadows. Lines of unexpected or time-tested materials become a choreography of vibrating shapes. Lines that squiggle and twist play with our perception. These lines are made through careful processes and rituals that inform practices, materiality, and aesthetics. These pliable connection lines connect these students as they stretch beyond school into their work as artists and designers.

– Leah Triplett Harrington (Curator, Here + There)

Thesis Website

See the work of the 2022 School of Visual Arts BFA Thesis Show

Featuring work from 2022 BFA candidates in Graphic Design, Painting, Printmaking, 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 BFA Thesis, May 2022.

Related Work

BFA Thesis (2021)

BFA Thesis (2020)

MFA Graphic Design Thesis (2022)

BFA Thesis Show (2023)

MFA Painting & Sculpture Thesis (2022)

MFA Painting Thesis (2020)

MFA Sculpture Thesis (2020-2021)

MFA Graphic Design Thesis (2021)

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BU School of Visual Arts presents BFA Thesis Show 2022: Connection Lines

2020 BFA Thesis

MFA Thesis Exhibition 2022 Boston University School of Visual Arts

2022 School of Visual Arts MFA Thesis Exhibitions

2018 MFA Thesis Exhibitions

2020 MFA Thesis

BFA Thesis Exhibition Offers Mesmerizing Look at Seniors’ Work

Breaking Out: School of Visual Arts BFA Thesis 2021

2021 MFA Painting Thesis Exhibition

Related events, tuesday night lecture series and multiple formats keynote speaker: ashley james, multiple formats: contemporary art book symposium, multiple formats: contemporary art book fair, 2024 mfa visual narrative thesis exhibition, 2024 mfa painting thesis exhibition, 2024 mfa graphic design, print media & photography thesis exhibitions, tuesday night lecture series: anne wu.

Citation guidelines for thesis projects at the Academy of Fine Arts

Instructions for compiling a list of references and information on reference techniques for Academy of Fine Arts students.

Published 23.12.2022 | Updated 23.12.2022

Why is it important to follow referencing practices?

Our ideas are always based on something that already exists. We construct our individual and unique form of existence, as well as our thoughts, by absorbing information that is layered and intertwined in the world and connecting it with our personal experiences and insights. Indeed, one of the goals of the thesis project is to allow the student to contextualise their artistic practice and thinking in relation to the field of art. Consequently, the student’s text should make it clear which authors have supported their thinking and artistic practice, been their sources of inspiration, and paved the way for their work. 

References tell the reader where the idea or information presented in the text is originally from. A reference can be a book, an online publication, or a fine arts exhibition, for instance. The citation system is intended to identify the author’s original ideas, insights, and applications and to keep them distinct from the work done by others. Furthermore, when the citation is provided to the reader, they can locate the cited source, and if necessary, check whether an idea proposed by the author is valid or not. Citations also lead the reader to the source to find additional information on the topic. 

By making your sources explicit, your text becomes more transparent, and credit is given where credit is due. Imagine that you are looking at a forest view. You have found a spring in the forest from which you have had your fill. The spring has provided you with what you need, and now you want to show others how to find it. For this purpose, you need to build a sign, in other words a citation, which tells the readers where they can find the spring and how they can get there. This allows others to make use of what you have discovered. 

Quote or paraphrase the source text

There are different ways to use text and materials produced by other authors: you can either quote a piece of text directly or paraphrase the relevant content. In each case, you must indicate the source by adding a citation to the text. 

When a text that has been produced by another author is quoted directly (i.e., cited), the quotation must always be a verbatim reproduction of the original text. If part of the original text is omitted, the omitted part must be indicated, with three dots, for example: (…).  

A short quotation may be embedded in the text, in which case it is separated from the body text with quotation marks. If the quote exceeds three rows in length, it must be indented; it is not necessary to use quotation marks in the indented text. A reference must always be inserted at the end of the cited text (more on this below). 

It is also possible to refer to another author’s text by paraphrasing it and summarising only the relevant parts of the source text. Quotation marks are not used in a quote like this, but a reference must be added after the paraphrased section. 

A cited or paraphrased piece of text can be introduced with a short reporting clause, e.g., According to Konttinen…; Siukonen thinks that…; …, concludes Rantanen. 

Referencing practices

There are several citation styles and style guides. Which style guide is followed depends on the field of study and the specific publication, for example. These guidelines are based on the Chicago Manual of Style, which is widely used in the humanities and the arts. These guidelines are recommended for use in the thesis projects produced at the Academy of Fine Arts, but you can also follow other style guides if you have used them before. The important thing is to choose one citation style and to follow its norms consistently. 

The difference between the different citation styles is in the details: The name of the author and the publication year may be ordered differently, and the norms concerning punctuation and italics are different. However, all citation styles are based on the same principles. The citation system can be divided in two parts: citations in the text and a reference list. The reference list catalogues all sources that have been used in the text, while a citation refers to one or several sources. 

Citations and the reference list must match each other

Each citation must be included in the reference list, and each entry in the reference list must correspond to a citation in the text. 

You can also provide a list of sources and literature that have been important to you during the thesis project, but which are not directly referenced in the text. You can list sources like these under a separate heading, e.g. “Background Literature”. However, the most unambiguous way to cite sources is to follow the citation + reference list practice introduced above. 

The reference list includes comprehensive details about all references used in the text, while the citation only includes minimal information. Some publications do not make use of the reference list; in cases like these, the full reference is included in the citation. In thesis projects, however, the citation + reference list convention is followed. 

A citation can either be an in-text citation, a footnote, or an endnote. These terms indicate where the citation is placed in the text: in-text citations are placed in the body text, footnotes on the bottom margin, and endnotes at the end of the text. 

Note that these footnotes and endnotes are not the same as footnotes/endnotes that are used to expand upon a particular section of text. Explanatory notes like these should be used sparingly. As a rule of thumb, if something is considered important, it should be discussed in the body text; if it is not important, there is no need to discuss it at all. However, explanatory notes can be used creatively and experimentally to pursue a specific effect or as part of the content of the work. 

Examples and instructions for compiling lists of references

The list of references may also be called works cited, bibliography, sources or literature. The reference list is placed at the end of the document. It includes the comprehensive details of each reference cited.

Depending on the thesis project, it may be sensible to provide separate lists for, e.g., printed sources and other sources; written and audio-visual sources, etc., but this is typically not necessary in a master’s thesis project. 

If some information cannot be found, it must obviously be excluded. Sometimes it is necessary to express overtly that the source does not have page numbers, particularly if you quote directly from the source. In a case like this, you may write “no page numbers” after the reference entry. E-books, for example, may not always have page numbers (or the page numbers may vary). In a case like this, you can refer to a chapter/section of the book, for example. 

The entries in the reference list are arranged in alphabetical order. If you cite more than one work by the same author, their publications are listed in temporal order. If the author has published more than one work in the same year, the works are distinguished from each other by adding a letter of the alphabet to the publication date. 

Bishop, Claire. 2005. Installation Art. A Critical History. London: Tate Publishing. Bishop, Claire. 2012a. Artificial Hells. Participatory Art and the Politics of Spectatorship . London: Verso. 

Bishop, Claire. 2012b. Digital Divide, Artforum September, 434–41.

One or several authors

When there is one author, the order is as follows:  .

Last name, First name. Year. Title of publication. Place of publication: Publisher.  
For example: Kivi, Jussi. 2004. Kaunotaiteellinen eräretkeilyopas . Helsinki: Kustannus Oy Taide and Academy of Fine Arts.

When there are several authors: 

Last name, First name; First name2 Last name2 & First name3 Last name3. Year. Title of publication. Place of publication: Publisher.

If necessary, you should also provide the name of the translator, publication series, edition number, and the original publication year (in parentheses) if the original publication was published a long time ago. 

For example:

Woolf, Virginia. 1990 (1929). Oma huone . Finnish translation by Kirsti Simonsuuri. Helsinki: Kirjayhtymä.

Publication by an institution

An institution may also be listed as an author. Then the publication may be listed in the list of references as follows:  

Ministry of Education and Culture. 2021. Taide, kulttuuri ja moninainen Suomi. Kulttuuripolitiikka, maahanmuuttajat ja kulttuurisen moninaisuuden edistäminen -työryhmän loppuraportti. Publications of the Finnish Ministry of Education and Culture 2021:2. Helsinki.

Publication with no author

If the publication has no author, list it in the list of references as follows: 

Title of publication. Year. Place of publication: Publisher. 
For example: Nykysuomen Sivistyssanakirja: Vierasperäiset Sanat . 1992. Helsinki: Finnish Literature Society.

Edited volume

An edited volume includes individual articles written by several authors. List the publication in the list of references as follows: 

Last name, First name; First name2 Last name2 & First name3 Last name3 eds. Year. Title of publication. Place of publication: Publisher. 
For example: Kantonen, Lea & Martta Heikkilä eds. 2010. Ankaraa ja myötätuntoista kuuntelua: Keskustelevaa kirjoitusta paikkasidonnaisesta taiteesta . Helsinki: Academy of Fine Arts.

Article or chapter in an edited volume

List an article that has been published in an edited volume in the list of references as follows: 

Last name, First name. Year. Title of article. In Title of Edited Volume . Eds. Last name, First name, First name Last name & First name Last name. Place of publication: Publisher, page numbers of the article. 
For example: Arlander, Annette 2010. Performanssi, performatiivisuus, ruumiillisuus ja tapahtuma. In Ankaraa ja myötätuntoista kuuntelua: Keskustelevaa kirjoitusta paikkasidonnaisesta taiteesta. Eds. Lea Kantonen & Martta Heikkilä. Helsinki: Academy of Fine Arts, 86–94.

Journal article

List an article published in a journal as follows: 

Last name, First name. Year. Title of article. Name of the Journal Volume: issue, page numbers.  
For example: Kari, Irmeli. 2009. Naistoimijuuden sulkeumia ja avaumia alueella ja työssä. Naistutkimus– Kvinnoforskning 22:4, 43–44.

List a thesis in the list of references as follows: 

Eriksson, Elissa. 2017. Master of Fine Arts thesis. Academy of Fine Arts of the University of the Arts Helsinki, Degree Programme in Time and Space Arts. Available online at https://taju.uniarts.fi/handle/10024/6307 .

Video, film and other audio-visual publications

The information relating to the source follows the same principle as all other publications: author’s/writer’s name, year of publication, title of publication, publisher/producer – to the extent this information is available. 

Akers, Matthew. 2012. Marina Abramovic. The Artist Is Present . USA: Music Box Films.

Alternatively, the entry can be based on the artist’s name, if this is more important in your context: 

Marina Abramovic. The Artist Is Present . 2012. Directed by Matthew Akers. USA: Music Box Films.

Online publications

Provide information on the source as follows: 

Name of the author or writer, and person/organisation responsible for the website, publication date, URL and date of citation.

The URL will be added to the reference list, not to the citation. Please note that a URL cannot be used as a reference on its own. In other words, if you read a book, an article, or a thesis etc. online, remember to add the URL and the date when you accessed the source to the reference list. If necessary, the publication format should also be mentioned in the reference entry (e.g., blog, video, podcast). 

Examples: 

Karttunen, Sari. 2015. Laajentuva taiteilijuus – yhteisötaiteilijoiden toiminta ja identiteetti hybridisaatio-käsitteen valossa. Tahiti 5(3) http://tahiti.fi/01-2017/tieteelliset- artikkelit/laajentuva-taiteilijuus-–-yhteisotaiteilijoiden-toiminta-ja-identiteetti-hybridisaatio- kasitteen-valossa/ Accessed 1/11/2021. 
Jones, Jonathan. 2009. Fourth Plinth: A Monument to Bad Art, The Guardian 18/9/2009. http://www.theguardian.com/artanddesign/jonathanjonesblog/2012/nov/27/antony-gormley- model-of-hype. Accessed 12/2/2012. 
Juva, Kersti. 2013. Haltiat ja örkit. Kotus blog 31/7/2013. http://www.kotus.fi/index.phtml?8958_m=10229&8958_o=5&s=4333. Accessed 7/2/2017. 
Amos Rex. Bill Viola: Inner Journey. Exhibition 22/9/2021–27/2/2022 https://amosrex.fi/nayttelyt/bill-viola/ Accessed 21/11/2021. 
Or you can arrange the reference according to the name of the artist or exhibition:  Bill Viola: Inner Journey. Exhibition. Amos Rex 22/9/2021–27/2/2022. https://amosrex.fi/nayttelyt/bill-viola/ Accessed 21/11/2021. 
Sokkotanssi 1999. Film. Directed by Matti Ijäs. Yle Areena online service. http://areena.yle.fi/1-1187485. Accessed 26/1/2017. 
Dylan, Bob. 1963. Blowing in the Wind. Video. Bob Dylan TV 1963, YouTube video platform, published on 11/9/2012. https:/ /www.youtube.com/watch?v= v WwgrjjIMXA. Accessed 30/1/2017. 
Mihin menet Eurooppa? Kolmannen maailman puheenvuoroja. Radio programme 28/4/2016. Yle Areena online service. http://areena.yle.fi/1-3344828. Accessed 26/1/2017. 
Yle Selkouutiset 2017. Facebook post 25/1/2017. htt ps://www .fa cebook.com/yleselkouuti se t/?hc_ref=NEWSFEED&fref=nf. Accessed 26/1/2017. 
Tienari, Janne & Susan Meriläinen. 2021. Globaali johtaminen ja talous . 5th revised edition. Alma Talent. Helsinki. E-book. Accessed 12/11/2021. 
Doe, John 2017: Email subject line. Private email message 6/2/2017. Recipient of the message: Jane Doe.

Personal communication

Anttonen, Einari, personal communication with the writer 7/2/2016.

Course, lecture, seminar, etc.

Kumpulainen, Hannele. Egg Yolk Tempera, Academy of Fine Arts, 26/11–14/12/2012. 

Instructions for citations

These are the instructions for citing a publication included in the reference list. 

The citation consists of the author’s last name and year of publication. Page numbers that refer to the cited text may also be added to the citation. For example:

Kantonen & Heikkilä 2010. Arlander 2010, 86–87. 
Rantanen 2012. 
Bishop 2012a, 11–40. 
Amos Rex 2021, OR: Bill Viola 2021. (if the entry in the reference list is arranged this way)

The first word of the entry in the reference list is also the first word of the citation: The citation is then Bishop 2005, and the entry in the reference list is Bishop, Claire. 2005. Installation Art. A Critical History. London: Tate Publishing. 

You can place the citation in an appropriate place in the body text in parentheses (in-text) or use a footnote (or an endnote). 

How to create footnotes and endnotes in Microsoft Word

Click the point in the text where you want to add the footnote. Click References and then Insert Footnote. Make sure that you have chosen to use footnotes and that the number format is set to 1, 2, 3… (or customise the format according to your preferences). Click Insert. A superscript number will now appear in the text, and a section for the citation will open in the bottom margin: this is where you should insert the relevant information of the citation. 

Examples of an in-text citation and a footnote: 

According to Claire Bishop (2012, 236–238), the most important qualities of participatory art are authenticity and a proximity to everyday reality introduced by people who are part of the work. 
According to Claire Bishop, the most important qualities of participatory art are authenticity and a proximity to everyday reality introduced by people who are part of the work. 1  
The concepts of “outsourced” and “delegated performance” refer to a situation where an artist employs non-professionals to perform instead of the artist. Their job is to “play themselves”. (Bishop 2012, 220–239.) 
The concepts of “outsourced” and “delegated performance” refer to a situation where an artist employs non-professionals to perform instead of the artist. Their job is to “play themselves”. 2

Bibliography
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Referencing guides

Dissertations / Theses on the topic 'Art ; Fine art'

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Consult the top 50 dissertations / theses for your research on the topic 'Art ; Fine art.'

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Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.

King, Abigail Graham. "Community Art as an Interdisciplinary Challenge to Fine Art." Miami University Honors Theses / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1123084206.

Lang, Martin. "Militant art." Thesis, University of Kent, 2015. https://kar.kent.ac.uk/50237/.

Findlay, Judith. "Fine art as performance : a definition of the discipline (a study of the fine art world in the art school)." Thesis, University of Strathclyde, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.366768.

Leung, Yin-ling Carol. "Academy of fine arts." Hong Kong : University of Hong Kong, 1994. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25944873.

Morris, Simon David Chester. "Bibliomania and related fine art practice." Thesis, University of Leeds, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.434240.

Michael, Michael John. "Ex Nihilo : emptiness and art." Master's thesis, University of Cape Town, 2006. http://hdl.handle.net/11427/8198.

Lech-Piwowarczyk, Ewa. "Language and the definition of art: Analytic and continental discussion of the nature of art." Thesis, University of Ottawa (Canada), 1993. http://hdl.handle.net/10393/6684.

Andersen, Evan. "An analysis of the art image interchange cycle within fine art museums /." Online version of thesis, 2010. http://hdl.handle.net/1850/11981.

Hanes, Jay Michael. "Collaborative activist art : A Case Study /." The Ohio State University, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487859313348013.

Kuizon, Jaclyn. "Fine Art and Clandestine Identity: American Indian Artists in the Contemporary Art Market." W&M ScholarWorks, 2011. https://scholarworks.wm.edu/etd/1539626648.

TEIXEIRA, GUILHERME NOBREGA. "PATTERN RECOGNITION APPLIED IN FINE ART AUTHENTICATION." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2002. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=2912@1.

Berman, Alan. "Generative adversarial networks for fine art generation." Master's thesis, University of Cape Town, 2020. http://hdl.handle.net/11427/32458.

Thomas, Vincent. "Is Fine art a viable alternative investment?" Master's thesis, Vysoká škola ekonomická v Praze, 2012. http://www.nusl.cz/ntk/nusl-134942.

Hill, Robert William. "Works of art as commodities : art and patronage : the career of Sir Dudley Carleton 1610-1625." Thesis, Southampton Solent University, 1999. http://ssudl.solent.ac.uk/2450/.

Balaskas, Vasileios (Bill). "Mapping utopian art : alternative political imaginaries in new media art (2008-2015)." Thesis, Royal College of Art, 2017. http://researchonline.rca.ac.uk/2844/.

Glah, Catherine. "Coping-The Art of Depression." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1263.

McMorran, Susan Mary. "Interactive painting : an investigation of interactive art and its introduction into a traditional art practice." Thesis, Northumbria University, 2007. http://nrl.northumbria.ac.uk/3125/.

Monnier, Antoinette. "The interrelationship of graphic design and fine art /." Online version of thesis, 1995. http://hdl.handle.net/1850/11969.

Kreamer, Lisa Marie. "Undergraduate art students: Influences affecting the career decision to major in art." Thesis, The University of Arizona, 1997. http://hdl.handle.net/10150/278611.

Garvin, Christopher Paul. "In Search of a More Accessible Art." The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu1394721054.

Kaufmann, Shayla. "Marginalized students accessing museum art education programs." Thesis, Boston University, 2014. https://hdl.handle.net/2144/21185.

Dawson, Jane. "Visceral and behavioural responses to modern art : influence of expertise, type of art and context." Thesis, Northumbria University, 2016. http://nrl.northumbria.ac.uk/30240/.

Sarut, Paula. "Thou Art That." Digital Commons @ East Tennessee State University, 2009. https://dc.etsu.edu/etd/1811.

Macedo-Lamb, Silvana Barbosa. "From fine art to natural science through allegory." Thesis, Northumbria University, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.410383.

Boulton, David. "Fine art image classification based on text analysis." Thesis, University of Surrey, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.252478.

Singleton, Joe. "Ascension: A Fine and Performing Art Scholar Thesis." Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/honors/17.

Tingley, Edward. "Game of knowledge: The modern interpretation of art." Thesis, University of Ottawa (Canada), 1995. http://hdl.handle.net/10393/9820.

Locke, Lana. "The feral, the art object and the social." Thesis, University of the Arts London, 2017. http://ualresearchonline.arts.ac.uk/13476/.

Castronovo, Anthony Joseph. "Lift: Public Art and the Activation of Space." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1418835875.

Bright, Matthew Jerome. "Disparate Realities." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1366385044.

Petrosky, Natalie E. "Little Moving Windows." Kent State University Honors College / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1344224872.

Harrison, Paul Liam. "Desiqns for Life : Art Science and Collaboration A practice-led study in fine art printmaking." Thesis, University of Dundee, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.521694.

Hincks, Anthony. "Modernism and the crisis in art : the structure of fine art practice : a sociological account." Thesis, University of Leicester, 1988. http://hdl.handle.net/2381/34519.

Scott, Nadine Althea Theda. "Fine art as an expression of religion in the Jamaican culture : implications for art education /." The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392715688.

Shepley, W. A. "Installation art practice and the 'fluctuating frame'." Thesis, Manchester Metropolitan University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.325422.

Scott-Cumming, Patricia. "Socialising the archive : art and archival encounters." Thesis, University of the Arts London, 2017. http://ualresearchonline.arts.ac.uk/13462/.

Jeppesen, Travis. "Towards a 21st century expressionist art criticism." Thesis, Royal College of Art, 2016. http://researchonline.rca.ac.uk/1812/.

Tolley, Rebecca. "Review of Art Full Text." Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/etsu-works/5640.

Hsieh, Su-Lien. "Buddhist meditation as art practice : art practice as Buddhist meditation." Thesis, Northumbria University, 2010. http://nrl.northumbria.ac.uk/1942/.

Yamamoto, Hiroki. "The art of decolonisation : on the possibility of socially engaged art in the postcolonial context of East Asia." Thesis, University of the Arts London, 2018. http://ualresearchonline.arts.ac.uk/13478/.

Patel, Jaimini. "Modes of presence in the contemporary sculptural encounter." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:b9380ce7-3422-4d65-8dd3-13e6b15ae454.

Watrous, Shawn. "Undersound: An Investigation of Painting as a form of Expression." Kent State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=kent1366359903.

Gallegos, Jason S. "An Art Unconfined." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1253706484.

Gretarsdottir, Tinna. ""ART IS IN OUR HEART": TRANSNATIONAL COMPLEXITIES OF ART PROJECTS AND NEOLIBERAL GOVERNMENTALITY." Diss., Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/67865.

Leung, Yin-ling Carol, and 梁燕玲. "Academy of fine arts." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31982062.

Fadorsen, Stephanie Alexandra. "American Art Pottery: Ohio's Influence on Transforming a Local Craft into a World Renowned Fine Art." Kent State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=kent1342890450.

이윤영 and Yoon Yung Lee. "The Joseon Fine Art Exhibition under Japanese colonial rule." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/196493.

Brighton, Christopher Reding. "Research in fine art : an epistemological and empirical study." Thesis, University of Surrey, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.305776.

Adams, Irena Zdena. "Exploration of water-based inks in fine art screenprinting." Thesis, University of Ulster, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.263243.

Strednansky, Susan E. "Balancing the Trinity the Fine Art of Conflict Termination /." Maxwell AFB, Ala. : Air University Research Coordinator Office, 1998. http://www.au.af.mil/au/database/research/ay1995/saas/strednse.htm.

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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

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What We Know About Trump’s Failure to Arrange a Half-Billion-Dollar Bond

Donald J. Trump’s lawyers told a judge that their client could not come up with the collateral needed to stave off efforts to collect a $454 million judgment. He has six days left.

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Donald J. Trump, in a navy suit and red tie, speaks behind a barricade in a courtroom hall.

By Kate Christobek and Ben Protess

It’s crunchtime for Donald J. Trump.

By Monday, March 25, the former president must secure an appeal bond for roughly half a billion dollars in his civil fraud case in New York, and his ability to do so was called into question this week.

In a court filing, Mr. Trump’s lawyers revealed that he had been unable to secure an appeal bond despite “diligent efforts” that included approaching about 30 bond companies.

While Mr. Trump this month managed to post a $91.6 million bond in his defamation case against the writer E. Jean Carroll, securing the deal at the 11th hour from a large insurance company , he lacks the assets needed to secure the far bigger guarantee for the fraud case.

If he cannot produce the bond in time, Mr. Trump faces the possibility of financial disaster and humiliation. New York’s attorney general, Letitia James, who brought the fraud case, would be entitled to collect the $454 million and could seek to seize Mr. Trump’s New York properties or freeze his bank accounts.

And Mr. Trump’s money problems spread well beyond New York. As the presumptive Republican nominee for president, he is facing increased pressure to raise money to fund his campaign, lagging behind his opponent, President Biden, in fund-raising.

In recent days, The New York Times has received many questions about Mr. Trump’s financial woes. Here are answers to several:

What was Trump accused of?

Ms. James took Mr. Trump, his company and his adult sons to trial last fall, accusing them of fraudulently inflating the value of his golf clubs, office buildings and other properties to the tune of about $2 billion.

Mr. Trump exaggerated the property values, and in turn his own net worth, to obtain favorable loan terms from banks and insurers, according to Ms. James.

At the trial, which lasted months, Ms. James’s lawyers showed that Mr. Trump’s company had ignored appraisals and manipulated numbers to sometimes absurd heights.

For example, the former president had valued his triplex apartment in Trump Tower on Fifth Avenue as if it were 30,000 square feet for years. It was actually 10,996 square feet.

Mr. Trump lost the trial. The judge overseeing the case — there was no jury — ruled in favor of Ms. James.

How was he punished?

The judge, Arthur F. Engoron, came down hard on Mr. Trump, imposing a judgment of $355 million plus interest, amounting to $454 million.

The judge also imposed a range of penalties that could curb Mr. Trump’s influence over his family business, barring him from serving as a top executive at a New York company for three years.

What comes next?

Mr. Trump has appealed the judgment.

Although he does not have to pay Ms. James’s office the $454 million while he appeals, he is on the hook to either cut a check to the New York State Court system for the full amount himself, or, more likely, obtain an appeal bond.

What is an appeal bond?

In this case, it would be a document in which a bond company promises to pay the $454 million judgment, plus interest, if Mr. Trump were to lose his appeal and fails to pay.

To obtain a bond of such size, Mr. Trump would need to pledge a significant amount of collateral to the bond company — about $557 million, his lawyers said — including as much cash as possible, as well as any stocks and bonds he could sell quickly.

He would also owe the bond company a fee that could amount to nearly $20 million.

Does he have enough cash to obtain one?

Short answer: No.

A recent New York Times analysis found that Mr. Trump had more than $350 million in cash as well as stocks and bonds, far short of the $557 million he would need to post in collateral.

In a court filing on Monday, Mr. Trump’s lawyers said they had contacted more than 30 bond companies, and none had agreed to do a deal.

But I thought he was a billionaire?

While Mr. Trump has long bragged about his wealth, his true financial position remains something of a mystery. And most of his wealth is tied up in his real estate holdings, which bond companies don’t typically accept as collateral.

He also has less liquid collateral available today than he did even a few weeks ago. Earlier this month, Mr. Trump had to post a $91.6 million bond in the defamation case he lost to E. Jean Carroll. For that, he most likely had to pledge more than $100 million in collateral to Chubb, the insurance company that provided the bond. That money cannot be used as collateral for a second bond.

What is the deadline for the bond?

Mr. Trump asked an appeals court either to pause the fraud judgment while he appeals it, or to accept a lesser bond of $100 million. The court could rule this week.

Although Ms. James could have moved to collect the $454 million immediately, she offered a 30-day grace period, which ends on March 25.

Ms. James could still grant additional time for Mr. Trump to pay or show mercy to the former president by offering a counterproposal.

What other options does Trump have?

If the appeals court denies his bid for a pause, and he still can’t find a bond by March 25, he might appeal to the state’s highest court.

Assuming that fails, he could quickly sell one of his properties or other assets, or seek help from a wealthy supporter. He might also try to obtain a loan from a bank, which he could then post as collateral for a bond.

And if all else fails, he could have the corporate entities implicated in the fraud case file for bankruptcy, which would automatically halt the judgment against those entities. But Mr. Trump is likely to balk at bankruptcy, and even if he were to pursue that path, it is not a panacea.

Ms. James’s judgment would not be halted against Mr. Trump himself, and she would most likely seek to hold him accountable for his company’s debts.

How could the state collect?

If Mr. Trump misses the March 25 deadline, Ms. James will be free to collect the money owed to the state.

It could get ugly for Mr. Trump.

Although Ms. James can’t put Mr. Trump in jail — because it is a civil case, not a criminal one — she still has plenty of leverage. With help from a local sheriff, she could freeze some of his bank accounts.

And if she wanted to take a more aggressive posture, she could even try to seize some of the properties involved in the case, including his office tower at 40 Wall Street in Lower Manhattan.

One swift option would be for her to place a lien on the buildings. Actually seizing them through the courts and the foreclosure process could take significant time.

Ms. James probably would not be entitled to seize assets unrelated to the case, though that and similar questions might require litigation to resolve.

Could Trump use campaign money to pay?

Probably not.

A super PAC supporting Mr. Trump’s candidacy can raise unlimited amounts of money, but it is legally banned from coordinating with him and cannot pay the judgment.

And although the former president has used a political action committee under his control to pay for lawyers and witnesses in his legal cases, that group lacks the kind of money needed to address the $454 million penalty.

He is now scrambling to raise campaign cash as he faces a significant financial deficit. Mr. Biden’s campaign recently announced that it had entered March with $155 million cash on hand. Mr. Trump’s campaign and the Republican National Committee had about $40 million total on hand at the end of January, though the Trump campaign has not released a more recent total.

What else is happening on March 25?

Mr. Trump also has a crucial hearing in his Manhattan criminal case, which could be the first prosecution of a former American president.

The Manhattan district attorney, Alvin Bragg, filed charges against Mr. Trump that accuse him of covering up a sex scandal involving a porn star to bolster his 2016 presidential campaign. The case is now proceeding to trial.

Jury selection was originally scheduled to start on March 25, but the trial was delayed late last week after the disclosure of more than 100,000 pages of records that had been in the possession of the federal prosecutors.

While the documents have now been turned over, Mr. Trump’s lawyers were given until mid-April to review the papers.

Justice Juan M. Merchan set the March 25 hearing to determine if the trial should be delayed further and to rule on Mr. Trump’s motion for an outright dismissal.

The Manhattan case is among four criminal prosecutions Mr. Trump faces.

Ben Protess is an investigative reporter at The Times, writing about public corruption. He has been covering the various criminal investigations into former President Trump and his allies. More about Ben Protess

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What Happens If Trump Can't Get a Half-Billion-Dollar Bond?
Donald J. Trump's lawyers told a judge that their client could not come up with the collateral needed to stave off efforts to collect a $454 million judgment. He has six days left.