master of fine arts thesis examples

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Visual Arts Theses and Dissertations

Theses/dissertations from 2014 2014.

A Maoli-Based Art Education: Ku'u Mau Kuamo'o 'Ōlelo , Raquel Malia Andrus

Accumulation of Divine Service , Blaine Lee Atwood

Caroline Murat: Powerful Patron of Napoleonic France and Italy , Brittany Dahlin

.(In|Out)sider$ , Jarel M. Harwood

Mariko Mori's Sartorial Transcendence: Fashioned Identities, Denied Bodies, and Healing, 1993-2001 , Jacqueline Rose Hibner

Parallel and Allegory , Kody Keller

Fallen Womanhood and Modernity in Ivan Kramskoi's Unknown Woman (1883) , Trenton B. Olsen

Conscience and Context in Eastman Johnson's The Lord Is My Shepherd , Amanda Melanie Slater

The War That Does Not Leave Us: Memory of the American Civil War and the Photographs of Alexander Gardner , Katie Janae White

Theses/Dissertations from 2013 2013

Women and the Wiener Werkstätte: The Centrality of Women and the Applied Arts in Early Twentieth-Century Vienna , Caitlin J. Perkins Bahr

Cutting Into Relief , Matthew L. Bass

Mask, Mannequin, and the Modern Woman: Surrealism and the Fashion Photographs of George Hoyningen-Huene , Hillary Anne Carman

The End of All Learning , Maddison Carole Colvin

Civitas: A Game-Based Approach to AP Art History , Anna Davis

What Crawls Beneath , Brent L. Gneiting

Blame Me for Your Bad Grade: Autonomy in the Basic Digital Photography Classroom as a Means to Combat Poor Student Performance , Erin Collette Johnson

Evolving Art in Junior High , Randal Charles Marsh

All Animals Will Get Along in Heaven , Camila Nagata

It Will Always Be My Tree: An A/r/tographic Study of Place and Identity in an Elementary School Classroom , Molly Robertson Neves

Zofia Stryjeńska: Women in the Warsaw Town Square. Our Lady, Peasant Mother, Pagan Goddess , Katelyn McKenzie Sheffield

Using Contemporary Art to Guide Curriculum Design:A Contemporary Jewelry Workshop , Kathryn C. Smurthwaite

Documenting the Dissin's Guest House: Esther Bubley's Exploration of Jewish-American Identity, 1942-43 , Vriean Diether Taggart

Blooming Vines, Pregnant Mothers, Religious Jewelry: Gendered Rosary Devotion in Early Modern Europe , Rachel Anne Wise

Theses/Dissertations from 2012 2012

Rembrandt van Rijn's Jewish Bride : Depicting Female Power in the Dutch Republic Through the Notion of Nation Building , Nan T. Atwood

Portraits , Nicholas J. Bontorno

Where There Is Design , Elizabeth A. Crowe

George Dibble and the Struggle for Modern Art in Utah , Sarah Dibble

Mapping Creativity: An A/r/tographic Look at the Artistic Process of High School Students , Bart Andrus Francis

Joseph as Father in Guido Reni's St. Joseph Images , Alec Teresa Gardner

Student Autonomy: A Case Study of Intrinsic Motivation in the Art Classroom , Downi Griner

Aha'aina , Tali Alisa Hafoka

Fashionable Art , Lacey Kay

Effluvia and Aporia , Emily Ann Melander

Interactive Web Technology in the Art Classroom: Problems and Possibilities , Marie Lynne Aitken Oxborrow

Visual Storybooks: Connecting the Lives of Students to Core Knowledge , Keven Dell Proud

German Nationalism and the Allegorical Female in Karl Friedrich Schinkel's The Hall of Stars , Allison Slingting

The Influence of the Roman Atrium-House's Architecture and Use of Space in Engendering the Power and Independence of the Materfamilias , Anne Elizabeth Stott

The Narrative Inquiry Museum:An Exploration of the Relationship between Narrative and Art Museum Education , Angela Ames West

Theses/Dissertations from 2011 2011

The Portable Art Gallery: Facilitating Student Autonomy and Ownership through Exhibiting Artwork , Jethro D. Gillespie

The Movement Of An Object Through A Field Creates A Complex Situation , Jared Scott Greenleaf

Alice Brill's Sao Paulo Photographs: A Cross-Cultural Reading , Danielle Jean Hurd

A Comparative Case Study: Investigation of a Certified Elementary Art Specialist Teaching Elementary Art vs. a Non-Art Certified Teacher Teaching Elementary Art , Jordan Jensen

A Core Knowledge Based Curriculum Designed to Help Seventh and Eighth Graders Maintain Artistic Confidence , Debbie Ann Labrum

Traces of Existence , Jayna Brown Quinn

Female Spectators in the July Monarchy and Henry Scheffer's Entrée de Jeanne d’Arc à Orléans , Kalisha Roberts

Without End , Amy M. Royer

Classroom Community: Questions of Apathy and Autonomy in a High School Jewelry Class , Samuel E. Steadman

Preparing Young Children to Respond to Art in the Museum , Nancy L. Stewart

DAY JAW BOO, a re-collection , Rachel VanWagoner

The Tornado Tree: Drawing on Stories and Storybooks , Toni A. Wood

Theses/Dissertations from 2010 2010

IGolf: Contemporary Sculptures Exhibition 2009 , King Lun Kisslan Chan

24 Hour Portraits , Lee R. Cowan

Fabricating Womanhood , Emily Fox

Earth Forms , Janelle Marie Tullis Mock

Peregrinations , Sallie Clinton Poet

Leland F. Prince's Earth Divers , Leland Fred Prince

Theses/Dissertations from 2009 2009

Ascents and Descents: Personal Pilgrimage in Hieronymus Bosch's The Haywain , Alison Daines

Beyond the Walls: The Easter Processional on the Exterior Frescos of Moldavian Monastery Churches , Mollie Elizabeth McVey

Beauty, Ugliness, and Meaning: A Study of Difficult Beauty , Christine Anne Palmer

Lantern's Diary , Wei Zhong Tan

Text and Tapestry: "The Lady and the Unicorn," Christine de Pizan and the le Vistes , Shelley Williams

Theses/Dissertations from 2008 2008

A Call for Liberation: Aleijadinho's 'Prophets' as Capoeiristas , Monica Jayne Bowen

Secondhand Chinoiserie and the Confucian Revolutionary: Colonial America's Decorative Arts "After the Chinese Taste" , Kiersten Claire Davis

Dairy Culture: Industry, Nature and Liminality in the Eighteenth-Century English Ornamental Dairy , Ashlee Whitaker

Theses/Dissertations from 2007 2007

Navajo Baskets and the American Indian Voice: Searching for the Contemporary Native American in the Trading Post, the Natural History Museum, and the Fine Art Museum , Laura Paulsen Howe

And there were green tiles on the ceiling , Jean Catherine Richardson

Four Greco-Roman Era Temples of Near Eastern Fertility Goddesses: An Analysis of Architectural Tradition , K. Michelle Wimber

Theses/Dissertations from 2006 2006

The Portrait of Citizen Jean-Baptiste Belley, Ex-Representative of the Colonies by Anne-Louis Girodet Trioson: Hybridity, History Painting, and the Grand Tour , Megan Marie Collins

Fix , Kathryn Williams

Theses/Dissertations from 2005 2005

Ideals and Realities , Pamela Bowman

Accountability for the Implementation of Secondary Visual Arts Standards in Utah and Queensland , John K. Derby

The Artistic and Architectural Patronage of Countess Urraca of Santa María de Cañas: A Powerful Aristocrat, Abbess, and Advocate , Julia Alice Jardine McMullin

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MFA Thesis: Finding a Balance

Writing an mfa thesis, thesis outlines, mind mapping.

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

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

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

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

Abstract vs. Practical

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

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

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

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

Process-Based Art

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

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

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

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

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

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

See mind mapping in action:

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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.

Table of contents

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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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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MFA Thesis & Exhibition

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

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

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

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

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

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

Past MFA Thesis Exhibitions

2022 mfa thesis exhibition: forever in ten days.

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

Learn More about the 2022 exhibition

2022 MFA Thesis Exhibition: You're on Mute

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

2021 MFA Thesis Exhibition:  Waiting Room

Waiting Room features the work of eight MFA students.

Learn more about the 2021 exhibition

2020 MFA Thesis Exhibition: As Above, So Below

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

Learn More about the 2020 exhibition

2019 MFA Thesis Exhibition:  no time for laundry

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

Learn more about the 2019 exhibition

2018 MFA Thesis Exhibition:  (T)HERE

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

Learn more about the 2018 exhibition

MFA Graphic Design Thesis (2021)

Mfa graphic design thesis show (2021), the printer is broken.

March 26 – April 6, 2021

Faye G., Jo, and James Stone Gallery

The late 20th and early 21st century marked a revolution in graphic design, as rapid advances in technology transformed the field’s practice. This digital evolution offered new tools to graphic designers, along with access to online and virtual spaces, new arenas that take design far beyond its print-based roots. In this exhibition, 17 designers from seven countries present a body of work that—while showcasing their original voices and personalized approaches to graphic design—also collectively reflects on the effects and influence that technology exerts on the discipline. With an unreliable tool as a framing metaphor, the exhibition’s works grapple with the uncertainty, anxiety, and opportunity of the current moment while also showcasing form-based and conceptual inquiries into how graphic design can articulate, challenge, motivate, provoke, illuminate, comfort, and question.

The Printer is Broken  focuses a lens on the versatility of the tools, methods, and platforms of graphic design, centering the erratic nature of equipment as a potentially crucial factor to consider in the design process. Relationships with technology and tools underpin contemporary graphic design. By exploring when these relationships become problematic, the exhibition highlights the possibilities of disruption along with the beauty of unexpected errors, serendipitous discoveries, and innovative thinking when circumstances suddenly change. The same tools that enable and empower the designer have inherent limitations. Resilient and creative responses to these limitations can be rooted in personal experience and deeply held beliefs while also drawing on accumulated skills and knowledge. There may be no singular correct response in the face of a breakdown or malfunction, but rather various strategies and in-the-moment assessment, often leading to critical inquiry and further investigation. The misprints and projections of  The Printer is Broken  symbolize the intrinsic unpredictability of dynamic design processes. The works on display expose how the eccentricity of tools used to produce graphic design ultimately shapes form and impacts meaning.

– Christopher Sleboda , Associate Professor of Art, Graphic Design

Reem Alsanea, Jenna Benoit, Yiwei Bo, Claire Bula, Mahnoor Butt, Chrissy Casavant, Yike Chen, Kari Everson, Arielle Epstein, Kateri Gemperlein-Schirm, Taiyo Hasegawa, Byori Hwang, Faith Huishi Li, Sohini Mukherjee, Michael Rosenberg, Sloane Schuchman, Yuanwei Xu

Virtual Tour

2021 MFA Graphic Design Thesis Exhibition Conveys a Message of Togetherness and Adaptability

Featuring work from 2021 Master of Fine Arts candidates in Graphic Design, Painting, and Sculpture at Boston University College of Fine Arts School of Visual Arts. Published on the occasion of the 2021 School of Visual Arts MFA Thesis, May 2021. Designed by Reem Alsanea, Claire Bula,Christine Casavant, Arielle Epstein, Kari Everson, Kateri Gemperlein-Schirm, MichaelRosenberg, Sloane Schuchman. Edited by Madeline Kloss Johnson, Exhibition photography by Julia Featheringill.

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Info & Credits

Photos by Cydney Scott

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Art History Research at Yale: Dissertations & Theses

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WHAT EXPERT RESEARCHERS KNOW

A thesis is typically the culminating project for a master's degree, while a dissertation completes a doctoral degree and represents a scholar's main area of expertise. However, some undergraduate students write theses that are published online, so it is important to note which degree requirements the thesis meets. While these are not published works like peer-reviewed journal articles, they are typically subjected to a rigorous committee review process before they are considered complete. Additionally, they often provide a large number of citations that can point you to relevant sources. 

Find Dissertations & Theses at Yale

Dissertations & Theses @ Yale University A searchable databases with dissertations and theses in all disciplines written by students at Yale from 1861 to the present.

Yale University Master of Fine Arts Theses in Graphic Design​ Finding aid for Arts Library Special Collections holdings of over 600 individual theses from 1951 to the present. The theses are most often in book format, though some have more experimental formats. Individual records for the theses are also available in the library catalog.

Yale University Master of Fine Arts Theses in Photography Finding aid for Arts Library Special Collections holdings of over 300 individual Master of Fine Arts theses from 1971 to the present. The theses are most often in the format of a portfolio of photographic prints, though some theses are also in book form. Individual records for the MFA theses are also available in the library catalog.

Find Dissertations & Theses Online

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Art History MA Thesis: Thesis

View examples of in-progress and completed theses from School students and alumni.

Before beginning work on a master’s thesis, the student must receive the Supervisory Committee's approval of a written proposal. The thesis may be an extension of a seminar paper, and it must demonstrate the student's ability to conduct rigorous research, indicate familiarity with bibliographical and reference materials, and show a capacity for the synthesis and critical evaluation of the material under consideration. A complete draft of the thesis approved by the Chair of the Supervisory Committee must be delivered to each member of the committee at least 30 days before the date of the Final Examination.

Supervisory Committees

Students should consult with the Graduate Program Coordinator and the faculty member of the field in which the student wishes to write a thesis to determine the appropriate chair of the Supervisory Committee. In consultation with the committee chair, the student forms a Supervisory Committee consisting of three faculty members, two of whom must be current members of the Art History faculty, including the committee chair. Adjunct or Emeritus faculty may serve on committees if the committee also includes two regular members of the Art History faculty. One or more members of the committee may be selected from a field other than art history if appropriate to the subject. The Supervisory Committee will be available for consultation with the student and will be responsible for final evaluation of the thesis. The Graduate School does not require notification of the membership of this committee. The committee chair shall keep written records concerning any formal agreements or stipulations regarding the student’s program of study and thesis.

Final Examination

The final examination is an oral defense of the candidate's thesis conducted by the Supervisory Committee. The Supervisory Committee must certify the results of the final examination. At the final examination, the graduate student and at least one Art History faculty member from their committee (or a substitute from the Art History faculty, if necessary) should be physically present when any members participate through audio or electronic conferencing.

Degree Application

Students must apply online to the Graduate School for a master’s degree in the quarter in which they expect to graduate; check the Graduate School website for deadlines . The filing of the online application (warrant) is the responsibility solely of the student, who must be registered for the quarter in which the degree is expected. Master's degree applications are valid for one quarter only; if requirements for the degree are not completed during this quarter the student must file a new application. The thesis must be submitted electronically to the Graduate School by the last day of final examinations of the quarter in which degree requirements are completed. Students will need to apply online in MyGrad for their degree updates and forms and to schedule their defense date. The application for graduation must be completed at least three weeks prior to the defense. The Master’s Supervisory Committee Approval Form and the warrant, generated by the online application, need to be submitted with original ink signatures of all committee members; when this is not possible, email approvals are permitted by the Graduate School. For further instructions, see the Graduate School website .

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Previous MFA Theses

• KiltHub (Carnegie Mellon) This link opens in a new window Provided by the University Libraries, KiltHub is the comprehensive institutional repository and research collaboration platform for research data and scholarly outputs produced by members of Carnegie Mellon University and their collaborators. To view MFA theses, search for "Master of Fine Arts (MFA)" and filter by item type=thesis.
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Home > FACULTIES > Visual Arts > VISUALARTS-ETD

Visual Arts Theses and Dissertations

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

Theses/Dissertations from 2024 2024

Eyes Open in the Dark , Brittany A. Forrest

Contemporary Painting: Autopoietic Improvisation and a Relational Ecology , Philip James Gurrey

Theses/Dissertations from 2023 2023

sweeping the forest floor of frequencies , Maria A. Kouznetsova

Achy Awfulness , Rylee J. Rumble

Nonstop Digital Flickerings; , Sam Wagter

Theses/Dissertations from 2022 2022

Credulous Escapism , Brianne C. Casey

At Dusk , Michelle Paterok

Theses/Dissertations from 2021 2021

Marvelous Monsters , Thomas Bourque

On Ground , Matthew Brown

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

The Other Neighbour of El Otro Lado , Anahi Gonzalez Teran

Neoliberalism, Institutionalism, and Art , Declan Hoy

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

Cyber Souls and Second Selves , Yas Nikpour Khoshgrudi

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

Fleet: Nuances of Time and Ephemera , Rebecca Sutherland

Theses/Dissertations from 2020 2020

The Hell of a Boiling Red , George Kubresli

still, unfolding , Ramolen Mencero Laruan

Theses/Dissertations from 2019 2019

Spanning , Mary Katherine Carder-Thompson

The Medieval Genesis of a Mythology of Painting , Colin Dorward

Philosophical Archeology in Theoretical and Artistic Practice , Ido Govrin

Bone Meal , Johnathan Onyschuk

Inventory , Lydia Elvira Santia

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

Absence and Proximity , Zhizi Wang

Theses/Dissertations from 2018 2018

Then Again, Maybe I Won't , Claire Bartleman

and where is the body? , Tyler Durbano

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

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

Buffer , Graham Macaulay

The English Landscapes in the Seventeenth Century , Helen Parkinson

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

Slower Than Time Itself , Matthew S. Trueman

Skim , Joy Wong

Theses/Dissertations from 2017 2017

Gardening at Arm's Length , Paul Chartrand

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

Skin Portraiture: Embodied Representations in Contemporary Art , Heidi Kellett

Midheaven , Samantha R. Noseworthy

Drum Voice , Quinn J. Smallboy

Theses/Dissertations from 2016 2016

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

Emphatic Tension , Mina Moosavipour

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

Thin Skin , Jason Stovall

On Coming and Going , Quintin Teszeri

Theses/Dissertations from 2015 2015

Crowdsourcing , Sherry A. Czekus

From Dust to Dust , Lynette M. de Montreuil

Hand-Eye , Michael S. Pszczonak

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

Tangled Hair: Uncertain Fluid Identity , Niloufar Salimi

Liminal Space: Representations Of Modern Urbanity , Matthew Tarini

Theses/Dissertations from 2014 2014

Creative Interventions and Urban Revitalization , Nicole C. Borland

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

Turning to see otherwise , Jennifer L. Martin

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

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

Matters of Airing , Tegan Moore

Liquidation , Amanda A. Oppedisano

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

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

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

Across Boundaries , Diana A. Yoo

Theses/Dissertations from 2013 2013

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

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

Some Theoretical Models for a Critical Art Practice , Giles Whitaker

Lines of Necessity , Thea A. Yabut

Theses/Dissertations from 2012 2012

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

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Master of Fine Arts

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Finding Theses and Dissertations

• These and Dissertation Databases
• Examples of Non-traditional Theses and Dissertations

Finding Graduate Theses

Theses (plural version of thesis) is the generic term, however if you need to distinguish between the two different types: they are referred to as master’s theses and doctoral dissertations.

Emily Carr University Masters Theses, 2008 - to date

Theses written in support of all Emily Carr University Master degrees are available in electronic format and can be located by in the Graduate Theses Collection in the ECU institutional repository,  eCollections . Theses can also be found in the Library catalogue. In the eCollections theses collection you can limit by year of graduation, topic of theses, or the area (i.e. Art, Design, Low-Residency). Theses written between 2008-2010 are also available in print in the Library.

There may be a time lag between the completion of a thesis and the publication and uploading in the library system. Also, some graduate students choose not to publish their thesis support document. If you cannot find a recent thesis, please ask at the Research Help Desk or contact the  library .

Theses Canada

Theses Canada Portal  to search for theses in the Library and Archives Canada collection. Approximately 50,000 theses available electronically.

NSCAD University Masters Theses  A collection of digitized Master of Art Education, Master of Design, and Master of Fine Art theses and artist statements from 1975 to present.

OCAD University Open Research Repository  A collection that includes theses and major research projects (MRPs) produced by graduate students at OCAD University.

International Theses

American Doctoral Dissertations 1933-1955  is a digitized index of nearly 100,000 dissertations by title, author and school, from an important twenty-two-year time period in American history.

DART-Europe  is a partnership of research libraries and library consortia who are working together to improve global access to European research theses. DART-Europe is endorsed by  LIBER  (Ligue des Bibliothèques Européennes de Recherche), and it is the European Working Group of the  Networked Digital Library of Theses and Dissertations  (NDLTD).

EBSCO Open Dissertations  More than 1 million records from over 26 universities worldwide are included in this open resource. Time span is from the early 20th century to the present. This database is continually growing through regular updates and new partnerships with graduate degree-granting institutions. This resource includes American Doctoral Dissertations 1933-1955.

Feminist Art Hosted by N.Paradoxa and KT Press  Theses and dissertations written about feminist art and contemporary women artists. KT Press encourages adding your own or that of a colleague to the list. Over 1100 theses listed here.

Networked Digital Library of Theses and Dissertations ( NDLTD), an international organization dedicated to promoting the adoption, creation, use, dissemination, and preservation of electronic theses and dissertations (ETDs).

Locating theses other ways

If you are looking for a thesis that’s not available through the Emily Carr Library or through the above sources, we provide interlibrary loan services for theses from other institutions. Borrowing a thesis will depend on the policy of the lending library and not all institutions lend their theses.

You can search for other theses through  WorldCat ,  Google Scholar , or search other university library catalogues.

UBC Library has created a more in depth guide to  Finding Theses and Dissertations.

The following examples are theses and dissertations that don't follow the traditional conventions of an academic paper in terms of format, style, or medium.

Examples at ECU

Betts, C. D. (2022). A THESIS PAPER TO FULFILL THE REQUIREMENTS FOR THE DEGREE OF MASTER OF DESIGN. doi:10.35010/ecuad:17645

Small, K. (2019). Ethical Sellout: Refining Standards of Ethics in the Commercial Design Industry. doi:10.35010/ecuad:15088

Yazdani, R. (2019). Dialogues in Silence. doi:10.35010/ecuad:15090

Zahra, S. M. (2022). Healing Through Making. doi:10.35010/ecuad:17680

Examples at other institutions

Emerging Dissertation Approaches Designs

Innovative Dissertations

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• Last Updated: Sep 10, 2024 5:14 PM
• URL: https://guides.ecuad.ca/mfa