The purpose of this paper is to record for all interested persons the available facts concerning the life and works of Earl Heika, Montana artist/sculptor. Heika, who lived most of his life in Great Falls, Montana, depicted Western subjects in his art.

I wanted to produce a body of work related to the problem of decontextualizing objects. By challenging the object's habitual associations, I hoped to provoke a new set of relationships for the viewer. I kept a journal of personal information, dreams and events, that might later provide imagery for and insights into the work. My goal in the endeavor was to acquire concision and complexity in imagistic language, a language in which the definite and the indeterminate would coincide very simply to provoke a variety of unexpected associations.

The ancient artist's influences can still be felt in today's craftsmen. For example, the contemporary weaver Sheila Hick's prayer rugs are an assimulation of the textile techniques of ancient Peru, Persia, and India, and the macramed forms of the contemporary Spanish artist, Aurelis Munoz, are suggestive of the woven huts of many primitive cultures. Because of this influence upon the current investigation, the evolvement of weaving and its techniques, as well as the three-dimensional techniques of basketry, in different parts of the world and in different historical periods are reviewed briefly.

The purpose of this project is to provide a record, much like the ones left to us by Michelangelo and Leonardo da Vinci, of the personal influences which motivated the present artist to function productively as a sculptor for a period of one semester: from September 1, 1975 through December 12, 1975. The methods involved in charting such artistic transpirations consisted of two types: a written diary, daily recorded, which indicated the progress, regression, frustration, inspiration, and perceptions which were experienced by the artist during the three-month period; and a series of personal, emotional self-enquiries.

This research surveys ideology and iconology in the presentation of the autobiographical and biographical female nude as envisioned by American women artists in the painting, drawing and printmaking media from 1969 to 1983. Contemporary dialogue by critics, artists and feminists on the definition of feminine content led to the articulation of the undraped nude torso as the central icon of the study. This static icon was pushed through a variety of styles into multi subtleties of iconology. The female nude by women artists is autobiographical even in biography emphasizing self-identification and authenticity. General constraints were placed on the survey the definability or explicit articulation of the female torso as opposed to suggestive imagery, the time frame in which the nude was created, and the chosen media for study. Art historical methodology was employed to descriptively examine image and intent of the nude presentations in references through time as well as visual traditions of symbology. This survey began at the turn of the century for historical background to emphasize the greater proliferation of the nude from 1969 to 1983. There were limitations specifically associated with the earlier time frame (1900-1969)--the lack of art educational opportunities for the female student, the socio-political …

The purpose of this study is to analyze trailer homes being produced in the United States in 1953 in order to determine how they might be made more livable and functional.

This thesis investigates how the visual arts philosophy promulgated in the 1960s by the Second Vatican Council of Roman Catholic Churches is manifested by commissioned artists for a particular parish. The primary data were the new sanctuary and the artworks, which include stained glass by Lyle Novinski, a carved-glass Marian Shrine by Claire Wing, bronze Stations of the Cross by Heri Bartscht, and wooden medallions depicting two saints carved by Don Schol. This paper reviews pertinent ecclesiastical doctrines along with interpretational publications, physically and iconographically describes the sanctuary and artwork, and considers aspects of the relationship between patron churches and the artists they commission.

This study examines the development of Edward Larrabee Barnes's design concepts for the Dallas Museum of Art, from preliminary concepts and program statements by Director Harry Parker and Dallas Museum trustees, through initial planning and architect selection, to site selection, the Program and Space Study, Barnes's early conceptual plans, and his Dallas Arts District master planning. Influences on Barnes's work and his career development leading to the Dallas commission, his most ambitious museum to date, are examined. Discussion and documentation of design development is based on schematic studies, presentation drawings, models, and trustees' minutes. Design changes during construction and all phases of expansion planning are also discussed. The conclusion summarizes historical influences on the design and Barnes's fulfillment of program concepts.

Because the Dallas Museum of Art has not compiled a catalogue of its graphic collection, the researcher has written a comprehensive catalogue of the museum's prints in conjunction with a history of printmaking from 1400 to 1700. The sources of data include observation of the prints plus catalogue raisonnés of major printmakers, and books and articles on printmaking. The thesis is organized as follows: a history of printmaking, which is divided into three chapters, Woodcut, Engraving, and Etching, and a catalogue which cites the pertinent data on each print. Gaps in the collection and recommendations for future acquisitions are discussed in the preface to the catalogue.

This study is a report of the results of an investigation into the extent to which native materials were used in the antebellum buildings of Harrison County, Texas; the way in which they were used; and the aesthetic implications of their use. It was hoped that this research might fill a gap in the art and architectural history of Texas, since nothing has been written on this specific subject except a few articles and unpublished papers dealing with certain houses individually or with log construction in general.

This study investigates the liturgical attire of the Church of England from the seventeenth through the nineteenth century, by studying the major Anglican vestments, observing modifications and omissions in the garments and their uses, and researching the reasons for any changes. Using the various Anglican Prayer Books and the monarchial time periods as a guide, the progressive usages and styles of English liturgical attire are traced chronologically within the political, social and religious environments of each era. By examining extant originals in England, artistic representations, and ancient documentation, this thesis presents the religious symbolism, as well as the artistic and historical importance, of vestments within the Church of England from its foundation to the twentieth century.

A major figure to emerge in the history of American photography is Carlotta Corpron (1901-1987), who taught art at Texas Woman's University in Denton, Texas from 1935-1968. The rediscovery of her abstract images created during the 1940s reflects the growing recognition of the experimental photography at the New Bauhaus in Chicago from 1937-1946. Corpron's abstract photographs were stimulated by her interaction with Lazlo Moholy-Nagy and Gyorgy Kepes. Corpron was an innovator in the development of abstract photography in the United States. This thesis connects her work to that of Moholy-Nagy and Gyorgy Kepes as well as other major figures in American photography of the twentieth century.

In this study the public-school buildings of Denton are examined for evidences of modern architectural design. Chapter I serves as an introduction. Chapter II presents a history of the Denton Public Schools. Chapter III presents standards for evaluating modern school architecture. Features of existing school buildings, built earlier than 1964, which, in character, exemplify modern architectural design are described in Chapter IV. The three school buildings built since 1946 and the one under construction are described in detail and evaluated according to the standards given. Representative photostatic reproduction and photographs illustrate the text. In Chapter V a summary of the study is given and conclusions are presented.