Restricted Theses and Dissertations
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This collection is the result of a joint project between the Faculty of Graduate Studies and Libraries and Cultural Resources which provides Graduate students with the opportunity to archive their thesis with University Archives in our digital repository.
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Browsing Restricted Theses and Dissertations by Department "Art"
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Item Embargo A move from the centre - the centrifugal doctrine: an accompaniment to the thesis exhibition(1982) O'Neill, Colleen Susan; Laing, WilliamItem Embargo A survey of soft sculpture, 1965-1975(1975) Margesson, Victoria Walker; Stocking, John R.Item Embargo Accompanying paper to thesis exhibition(1984) Trevelyan, James E. (James Elvin), 1952-; Woodrow, PaulItem Embargo An examination of the role and significance of naturalistic representation in some major movements in twentieth century art(1969) McLean, Elizabeth Helen; Dodd, Eric M.Item Embargo Canadian prairie landscape drawings(1970) Van Wyk, Dirk William; Dodd, Eric M.Item Embargo Considerations: an accompaniment to the thesis exhibition(1982) Gorenko, Richard (Richard W. S.); Deacon, PeterItem Embargo Creative process, tradition, convention: their interrelatedness in the visual arts(1976) Hruby, Malenka Eleonora Emilie; Cromwell, Larry D.The purpose of the study was to investigate the concepts of creative process, tradition, and convention, in the visual arts, and to inquire into their interrelatedness. The study provides working definitions for each of the concepts under consideration and thorough inquiry into their individual natures. The interrelatedness of the concepts has been examined in some aspects of 20th century thought, particularly in relation to the field of visual art. The research consisted of an investigation of the related literature in the fields of art history, art criticism, psychology, philosophy, and science, and inferences have been drawn from each. The conclusions show that there is a definite interrelatedness between the creative process, tradition, and convention as defined in the study; that most advanced creative innovations have to be articulated in a traditional language in order to be understood and appreciated. In addition, it was felt that tradition is subject to scrutiny each time it interrelates with the creative process. Cumulative in nature, tradition constantly broadens its basis to accommodate innovations. Convention results when the successful outcome of such interrelating becomes arrested and perpetuated.Item Embargo "Earth connections: Artists in the land": an accompaniment to the thesis exhibition(2002) Kolvukangas, Ingrid; Arnatt, RayItem Embargo Irony in pop art(1976) Gillett, Ursula Margaret; Dodd, Eric M.Item Embargo Isolation of the human figure in painting(1972) Haeseker, Alexandra Marguerite; Dodd, Eric M.Item Embargo Joy : [an accompaniment to the thesis exhibition](1988) Edgar, Linda Joy; Nishimura, ArthurItem Embargo Landscape photography(1983) Gittings, Kirk; McConnell, Clyde S.Item Embargo M.F.A. graduating paper: an accompaniment to the thesis exhibition(1985) Hume, Vern, 1956-; Woodrow, PaulItem Embargo Printmaking in the media hierarchy bias: an examination of non-aesthetic bias(1979) Allen, George Victor H.; Esler, John K.Item Embargo Supporting paper for thesis exhibition(1981) Wood, Susan, 1953-; Deacon, PeterItem Embargo The objecthood of art(1979) Kawamura, Toya; Kiyooka, Harry M.Item Embargo The Objectification of subjective experience in art(1982) Pyra, Gregory Michael; Hall, JohnItem Embargo The transformative female image in recent selected drawings(1974) Hamill, Roy Erwin James; McConnell, Clyde S.Item Embargo Towards a defintion of new humanistic pictorial art(1982) Stooshinoff, Harry (Harry George), 1956-; Hushlak, GeraldItem Embargo Unique individualism of Marcel Duchamp as illustrated in his life and art(1970) Liske, Neil James; Dodd, Eric M.The purpose of this thesis is to illustrate that the life-style and art of Marcel Duchamp is unique in his development in relation to modern society. Trends that were set in the late nineteenth and early twentieth centuries are important background to Marcel Duchamp's work. Writings in literature, politics, philosophy, and the natural sciences contributed important discoveries and insights into the way man was living and developing because of industrialization. The arts, however, lagged behind in fully comprehending and utilizing the new elements within this rapidly changing process. By the turn of the twentieth century artistic reactions were developing against limited areas of society, but the majority of this work was still done in a traditional framework. Marcel Duchamp was among the few who made a very dominant and radical break with tradition by analyzing elements within society and then illustrating that they did have a significance outside the conventional level of acceptance. His approach was unique in that he objectively contradicted the obvious, and applied an element of doubt to even the most secure and rational elements of science. His approach was intellectual, his major concern individualism, and humour was his most effective tool in uncovering the high seriousness that is so prevalent in modern society. To Marcel Duchamp, art became a way of life. In conclusion, it is hoped that some of his philosophy and attitudes in this regard can be validated to the degree that they may serve as useful guide lines as long as they can be applied to contemporary times.