Department of Art and Art History

Permanent URI for this community

https://hdl.handle.net/10217/100328

These digital collections include theses, dissertations, capstones, and student publications from the Department of Art and Art History. Also included is a collection of paintings and drawings by Professor Emeritus John F. Kutzik. Due to departmental name changes, materials from the following historical department are also included here: Art.

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Now showing 1 - 20 of 1294

Open Access
A discussion of traditional art categorization and new ideas for a more equitable way of classifying art
(Colorado State University. Libraries) Komitor, Deb, author
Open Access
A disobedient mediation
(Colorado State University. Libraries, 2021) Bagdon, Andrea, author; Osborne, Erika, advisor; Bernagozzi, Jason, committee member; Ryan, Ajean, committee member; Little, Ann, committee member
Historically within the canon of art, specifically painting, the female form and ultimately female identity was understood in binary terms as being an opposite of the heroic male, conveyed as a commoditized trope of the feminine. There was a disruption to the canon of art in 1968 with the invention of the handheld Sony Portapak camcorder. Many female artists adapted video into their artmaking practice for its ability to become an effective communication medium. In its infancy, the medium of video was not yet dominated by male artists and was not taught in most art institutions. Thus, it represented a medium untainted by the baggage of art history. As a result, experimental video became a feminist medium which offered an alternative form of mediation to subvert the patriarchal artistic canon. Artists have the potential to be researchers of perception and Art can become an agent of mediation to breakdown subjective social orders that cloud our consciousness. My work aims to decode and expose the abstracted systems of femininity and the domestic by using the image processing mediums of video and paint. My paintings and videos unveil multiple emotional states from the same female-identifying psyche in order to examine intimate scenes of self-conflict which have been brought on by obsessive cultural programming. By using uncomfortable representations of the domestic and the figure I also intend to highlight the psychological trauma and disrupt the patriarchal lens that is inherent within the canon of art.
Open Access
A facility without its own territory
(Colorado State University. Libraries, 2011) Straub, Edwina, author; Lundberg, Thomas R., advisor; Coronel, Patricia D., committee member; Ryan, Ajean Lee, committee member; Sparks, Diane, committee member
Dipping into the reservoir of tacit knowledge, the phenomenon in art that is created through the "knowing of that" or embodied knowledge. The integration of experience and perception is where the motivations of my art making comes from. It is through the manipulation of fiber that I am able to transform its essence into something extraordinary. Through the process of dyeing, sewing and cutting I create patterns in space. Through the integration of their shadows into the artwork, I create the ephemeral character of my art. The hand-cut modules are sewn in a grid. Through the full integration of the grid into the artwork, in part as scaffold and in part as element of the artwork, I create a dynamic composition of movement.
Open Access
A green flash
(Colorado State University. Libraries, 2008-2009) Kutzik, John F., 1936-, artist
Open Access
A historical view of printmaking through slides
(Colorado State University. Libraries, 1999) Nakoa, Elizabeth J., author
Open Access
A last conversation
(Colorado State University. Libraries, 1975) Kutzik, John F., 1936-, artist
Open Access
A look at three contemporary draughtsmen: Michael Mazur, John Paul Jones, and Sidney Goodman
(Colorado State University. Libraries, 1989) Hickel, Joseph Scott, author
Open Access
A page of entertainers
(Colorado State University. Libraries, 1974-1984) Kutzik, John F., 1936-, artist
Open Access
A personal symbolism
(Colorado State University. Libraries, 1984) Ash, Lori Jean, author; Dormer, James T., committee member; Orman, Jack L., committee member; Ellerby, David A., committee member; Lakin, Barbara L., committee member
To view the abstract, please see the full text of the document.
Open Access
A Psychosomatic condition: prints as symptoms
(Colorado State University. Libraries, 2015) Conley, Allison, author; Dormer, James, advisor; Plastini, Johnny, advisor; Lehene, Marius, committee member; Kneller, Jane, committee member
To transcend my standard way of art making, I have revoked all intent or previous purpose. I work intuitively, reacting to each mark as it is placed and developing an image on the matrix rather than the mind. This mode evokes internal conflict to spill into the physical world, as they are not allowed to dawdle in the mind. The resulting images are psychosomatic: they are the physical symptoms that manifest from an underlying mental disturbance. They are not the cause of the problem, only the residue created from the mind taking form.
Open Access
A question of character: 'visibility' in the portraits of John Singer Sargent
(Colorado State University. Libraries, 1993) Ferguson, Ann A., author
Open Access
A road: poetry in painted landscape
(Colorado State University. Libraries, 1992) Haskins, David, author; Dietemann, David L., advisor; Yust, Dave, 1939-, committee member; Ellerby, David A., committee member; Tremblay, Bill, committee member
Landscapes reflected through the passing of time, light that is real "now", is only a memory a second later. Those memories that catch my mind's eye are what I attempt to hold, to examine, to understand through the painting process. My paintings allow those memories to become real once again and revisited.
Open Access
A search for spiritual integration
(Colorado State University. Libraries, 1997) Keyton, Lisa M., author; Yust, Dave, 1939-, advisor; Dietemann, David L., committee member; Gill, Ann M., committee member; Erskine, Nancy, committee member
My paintings are about a spiritual journey. They act as a visual description as well as a vehicle for the journey itself. For me this journey has included an exploration of utopian visions and a spiritual ideal, as well as the struggle to integrate spirituality into my life. I consider contextual issues and the process of painting as being equally important and integral aspects of these paintings. Contextually this body of work represents an exploration into a "sense of place" and "ambiguous organic forms". This sense of place or environment is not physical, it is a phenomena I perceive while I am in a meditative state. The ambiguous organic forms in my paintings act as metaphors representing myself. Introducing these forms into a sense of place allows me to explore the relationship I have with my spiritual issues and my environment. For me the processes involved with painting helps facilitate the retrieval of memories, emotions and sensations, it soothes, stimulates and mesmerizes, creating a haven for expressing the inner recesses of my soul.
Open Access
A student guide to the use of soft grounds in intaglio printmaking
(Colorado State University. Libraries, 1984) Ash, Lori Jean, author
Open Access
A thing of things: Critter comfort
(Colorado State University. Libraries, 2024) Hagerman, Haley Leilani, author; Plastini, Johnny, advisor; Reip, Dave, committee member; Moore, Emily, committee member; Cooperman, Matthew, committee member; Harrow, Del, committee member
This paper explores physical and theoretical layers behind the thesis show Critter Comfort which ultimately aims to immerse and enrapture the viewer in overwhelming giving. Split into four parts, the paper starts with the first two sections give with a more empirical mindset of the installation through exploring the situation of a museum setting, and the art thing(s) on display. Parts three and four deal with the intangible of what goes into creating art with tension, and the quintessential part beauty plays on a surface and metaphysical level. Ultimately this paper is an indulgent explanation of exactly why I made the type of installation I did for my thesis capstone show: to create and share what I find beautiful.
Open Access
A timeless vision
(Colorado State University. Libraries, 1996) Niles, Kathryn M., author; Dormer, James T., advisor; Ellerby, David A., committee member; Mitchell, Carol A., committee member; Simons, Stephen R., committee member
Landscape and figure are timeless, universal, and venerable motifs that compel constant and continued examination. This group of works employs form, movement, and spatial relations that are elements evident in both themes. I approach my subjects with a history of memories, an awareness of my surroundings, and my psychological state at the moment. These portrayals of life as I experience it may, in a sense, all be seen as self-portraits.
Open Access
A tree is a butterfly
(Colorado State University. Libraries, 1983) Kutzik, John F., 1936-, artist
Open Access
Aaron Cooper: capstone
(Colorado State University. Libraries, 2015) Cooper, Aaron, artist
The artist's statement: As a designer, I am a firm believer in creating a bold statement. In order to create a clean design, you must also "un-design," removing any elements that are unnecessary. With design I am able to form an underlying grid, where every element finds itself aligned with another element or shape on the page. I often simplify objects into their most basic elements in order to create an interesting, uncluttered design. I utilize type in a large amount of my work. I enjoy typography as an art as well as a means of communication. By contrasting bold type with thinner alternatives one can lead the viewer's eye throughout the page. Highlighting important information in a contrasting font can create an interesting design element to designate a bold focal point on the page to draw the viewer into the piece. I begin a piece by sketching out some basic layouts by hand. This helps me to get an idea of the best way to align the information in an eye- catching way while remaining legible and easy for the viewer to follow and it also allows me to get out all of my ideas while building off of others. After I have worked out these ideas manually, I bring them to life on the computer. During this process I will often find that my original idea on paper does not perfectly translate when the exact proportions are presented. The layouts are adjusted to the needs of the design. My favorite software is Photoshop because it allows for alignment as well as many tools such as filters and effects in order to achieve the perfect project allowing for endless inspiration and possibilities. When creating my designs I begin with establishing which piece of information should be the focal point of the piece. I then place the other elements on the page asymmetrically aligning with specific points on the focal point, as well as aligning with the other images and text used throughout the piece. I believe that the best designs appear to have their components distributed randomly throughout the page; but one finds that every element is specifically aligned to another found in the piece. My work describes me as an artist as well as a person. As a stubborn perfectionist, my designs reflect my personality by carefully placing components in relation to one another while maintaining an edginess that makes them unique. I have always attempted to add an element of my eccentricity into my work to show a piece of myself through my designs. In something as simple as my magazine spread, although it is extremely precise and technical, I tried to use bold and colorful photos to liven the design and show my personality. However, I believe that a design must ultimately speak for its self to be considered truly successful. If I have done a good job on my work, my personality should be able to shine through the typography and reflect me as a designer.
Open Access
Abbie Downes: capstone
(Colorado State University. Libraries, 2015) Downes, Abbie, artist
The artist's statement: Within this body of work I aim to touch on the idea of anonymity: the lack of individual features. I express this idea quite literally with the removal of facial features from my models. Yet, each of them is like a book, complex with their own unique story. We are told as children to never judge a book by its cover, yet as time goes on that idea seems to wear off. My work deals with the trouble we all face when it comes to relating to others and the initial stages of all relationships we form throughout our lives.
Open Access
Abbie Downes: capstone
(Colorado State University. Libraries, 2015) Downes, Abbie, artist
The artist's statement: My work deals with how I perceive the world around me, as most art does for artists. When it comes to printmaking I find I represent the natural world around me using two different methods. As a travel junkie I am always longing for my next trip and studying the world I live in. A section of this body of work includes simple, bright designs that represent specific landscapes around the world from warm desert lands to harsh cool mountains. I also explore the style of maps and create my representation of countries around the world using fine lines and bold color blocks. Both styles depict how I view the natural world and the constant beauty that existed long before us.