thesis in art

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 Associated with that thought may be an outdated feeling that your body still remembers. This outdated association can be especially frustrating to the point of extreme procrastination.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 Throw away any pre-conceived and or outdated perceptions of what you think you should do.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

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 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-

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!

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!

Submit a Comment Cancel reply

Your email address will not be published. Required fields are marked *

Notify me of follow-up comments by email.

Notify me of new posts by email.

Welcome to the Blog!

Here you can browse by subject & category! Have a question? Contact me here.

Catergories

• Deaf & Hard of Hearing
• Digital Art
• Street Art & Graffiti
• Useful Articles / Essays

Recent Posts

• New Logo Design for the Gallaudet University Press
• Ryan Seslow Art & Design Services
• Drawing DRAWING DrawING
• Finding Order in the Chaos Art Making Process
• How to Create Stunning Paper Cut-Out Art: Tips and Techniques for Beginners

Search this Site

Subscribe to the ryan seslow art & design blog via email updates.

Enter your email address to subscribe to this blog and receive notifications of new posts by email.

Email Address

× The Sherrill Library will be REMOTE March 4-17 due to construction. Study spaces, computers and printers will be available in the open atrium spaces. Moriarty Library will be open as usual. See library hours below. As always, our web resources are available 24/7. Questions? Our Chat and Ask Us! services are available from Mon-Fri, 10am-6pm.

× the libraries will be closed for martin luther king, jr holiday on monday, january 15. we will return on tuesday, january 16. enjoy the holiday, × spring break: monday, 03/13/2023 - sunday, 03/19/2023: library pickups are by appointment. need an appointment email us at sherrill library: [email protected] or moriarty library: [email protected], × alert mm/dd/yyyy: something is broken please contact us with questions., × alert 12/14/2023: ebsco allsearch is unavailable. we are working to fix this as quickly as we can. in the meanwhile, please try searching for articles from our proquest central database and for ebooks and books from our flo catalog . we're very sorry for the inconveniance. --> × welcome back our remote services guide has everything you need to know about library services we're offering this semester, including research help, study spaces, and more for other campus plans, see the lesley university covid-19 response. any other questions ask us, × welcome back our remote services guide has everything you need to know about library services we're offering this semester, including research help, study spaces, and more any other questions ask us, mfa visual art research.

• Find Background Info
• Find Articles
• Find Dissertations & Theses
• Find Images & Videos
• Citation Help

MFA Thesis: Finding a Balance

Writing an mfa thesis, thesis outlines, mind mapping.

• Group 4 Research Tips

Library & Research Help

• Sherrill Library: 617-349-8850
• Moriarty Library: 617-349-8070
• Text: 617-340-8008
• Research Help:  Ask Us!
• Email:  [email protected]
• Art & Design Research Email: [email protected]

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:

• << Previous: Citation Help
• Next: Group 1 >>
• Last Updated: Jan 12, 2024 10:49 AM
• URL: https://research.lesley.edu/mfa

Moriarty Library

Porter Campus 1801 Massachusetts Avenue Cambridge, MA 02140 617-349-8070

Sherrill Library

South Campus 89 Brattle Street Cambridge, MA 02138 617-349-8850

Have a language expert improve your writing

Run a free plagiarism check in 10 minutes, generate accurate citations for free.

• Knowledge Base
• How to Write a Thesis Statement | 4 Steps & Examples

How to Write a Thesis Statement | 4 Steps & Examples

Published on January 11, 2019 by Shona McCombes . Revised on August 15, 2023 by Eoghan Ryan.

A thesis statement is a sentence that sums up the central point of your paper or essay . It usually comes near the end of your introduction .

Your thesis will look a bit different depending on the type of essay you’re writing. But the thesis statement should always clearly state the main idea you want to get across. Everything else in your essay should relate back to this idea.

You can write your thesis statement by following four simple steps:

• Start with a question
• Write your initial answer
• Develop your answer
• Refine your thesis statement

Instantly correct all language mistakes in your text

Upload your document to correct all your mistakes in minutes

Table of contents

What is a thesis statement, placement of the thesis statement, step 1: start with a question, step 2: write your initial answer, step 3: develop your answer, step 4: refine your thesis statement, types of thesis statements, other interesting articles, frequently asked questions about thesis statements.

A thesis statement summarizes the central points of your essay. It is a signpost telling the reader what the essay will argue and why.

The best thesis statements are:

• Concise: A good thesis statement is short and sweet—don’t use more words than necessary. State your point clearly and directly in one or two sentences.
• Contentious: Your thesis shouldn’t be a simple statement of fact that everyone already knows. A good thesis statement is a claim that requires further evidence or analysis to back it up.
• Coherent: Everything mentioned in your thesis statement must be supported and explained in the rest of your paper.

Prevent plagiarism. Run a free check.

The thesis statement generally appears at the end of your essay introduction or research paper introduction .

The spread of the internet has had a world-changing effect, not least on the world of education. The use of the internet in academic contexts and among young people more generally is hotly debated. For many who did not grow up with this technology, its effects seem alarming and potentially harmful. This concern, while understandable, is misguided. The negatives of internet use are outweighed by its many benefits for education: the internet facilitates easier access to information, exposure to different perspectives, and a flexible learning environment for both students and teachers.

You should come up with an initial thesis, sometimes called a working thesis , early in the writing process . As soon as you’ve decided on your essay topic , you need to work out what you want to say about it—a clear thesis will give your essay direction and structure.

You might already have a question in your assignment, but if not, try to come up with your own. What would you like to find out or decide about your topic?

For example, you might ask:

After some initial research, you can formulate a tentative answer to this question. At this stage it can be simple, and it should guide the research process and writing process .

Here's why students love Scribbr's proofreading services

Discover proofreading & editing

Now you need to consider why this is your answer and how you will convince your reader to agree with you. As you read more about your topic and begin writing, your answer should get more detailed.

In your essay about the internet and education, the thesis states your position and sketches out the key arguments you’ll use to support it.

The negatives of internet use are outweighed by its many benefits for education because it facilitates easier access to information.

In your essay about braille, the thesis statement summarizes the key historical development that you’ll explain.

The invention of braille in the 19th century transformed the lives of blind people, allowing them to participate more actively in public life.

A strong thesis statement should tell the reader:

• Why you hold this position
• What they’ll learn from your essay
• The key points of your argument or narrative

The final thesis statement doesn’t just state your position, but summarizes your overall argument or the entire topic you’re going to explain. To strengthen a weak thesis statement, it can help to consider the broader context of your topic.

These examples are more specific and show that you’ll explore your topic in depth.

Your thesis statement should match the goals of your essay, which vary depending on the type of essay you’re writing:

• In an argumentative essay , your thesis statement should take a strong position. Your aim in the essay is to convince your reader of this thesis based on evidence and logical reasoning.
• In an expository essay , you’ll aim to explain the facts of a topic or process. Your thesis statement doesn’t have to include a strong opinion in this case, but it should clearly state the central point you want to make, and mention the key elements you’ll explain.

If you want to know more about AI tools , college essays , or fallacies make sure to check out some of our other articles with explanations and examples or go directly to our tools!

• Ad hominem fallacy
• Post hoc fallacy
• Appeal to authority fallacy
• False cause fallacy
• Sunk cost fallacy

College essays

• Choosing Essay Topic
• Write a College Essay
• Write a Diversity Essay
• College Essay Format & Structure
• Comparing and Contrasting in an Essay

 (AI) Tools

• Grammar Checker
• Paraphrasing Tool
• Text Summarizer
• AI Detector
• Plagiarism Checker
• Citation Generator

A thesis statement is a sentence that sums up the central point of your paper or essay . Everything else you write should relate to this key idea.

The thesis statement is essential in any academic essay or research paper for two main reasons:

• It gives your writing direction and focus.
• It gives the reader a concise summary of your main point.

Without a clear thesis statement, an essay can end up rambling and unfocused, leaving your reader unsure of exactly what you want to say.

Follow these four steps to come up with a thesis statement :

• Ask a question about your topic .
• Write your initial answer.
• Develop your answer by including reasons.
• Refine your answer, adding more detail and nuance.

The thesis statement should be placed at the end of your essay introduction .

Cite this Scribbr article

If you want to cite this source, you can copy and paste the citation or click the “Cite this Scribbr article” button to automatically add the citation to our free Citation Generator.

McCombes, S. (2023, August 15). How to Write a Thesis Statement | 4 Steps & Examples. Scribbr. Retrieved March 20, 2024, from https://www.scribbr.com/academic-essay/thesis-statement/

Is this article helpful?

Shona McCombes

Other students also liked, how to write an essay introduction | 4 steps & examples, how to write topic sentences | 4 steps, examples & purpose, academic paragraph structure | step-by-step guide & examples, unlimited academic ai-proofreading.

✔ Document error-free in 5minutes ✔ Unlimited document corrections ✔ Specialized in correcting academic texts

• Skip to main content
• assistive.skiplink.to.breadcrumbs
• assistive.skiplink.to.header.menu
• assistive.skiplink.to.action.menu
• assistive.skiplink.to.quick.search

• A t tachments (1)
• Page History
• Page Information
• Resolved comments
• View in Hierarchy
• View Source
• Export to PDF
• Export to Word

Undergraduate Program - Writing a Thesis

• Created by Marcus Mayo , last modified on Jan 31, 2024

Pursuing a Thesis

Senior Concentrators wishing to graduate with honors in the Department must produce a senior thesis and carry academic standing of Group II or better, with a minimum GPA of 3.00 in concentration grades. In deciding whether one wishes to fulfill the honors requirements, students should consider their academic interests, commitment to independent research, and other deadlines and obligations during the thesis year. Many students find the task of producing a substantial piece of critical scholarship interesting and rewarding, but others find the senior thesis can become a frustrating and unwieldy burden. Some students prefer the freedom to take elective courses or savor extra-curricular pursuits during their last year at the College unhampered by the encroaching demands of thesis preparation. In general, it may be remarked that students are unlikely to do well in the honors program who are not already proven practiced writers committed to the process of scholarship; the senior thesis is not the place to acquire basic skills in writing, design, and/or research. In considering the Department's honors requirements, it should be remembered that students with honors grades overall may graduate with University Honors (Cum Laude) even if they do not receive Honors in History of Art and Architecture.

Department Timeline of Thesis Preparation 

A schedule of departmental dates and deadlines relative to the thesis will be available by the beginning of each Fall Term. The thesis writer and faculty thesis adviser should agree on a working schedule which will adequately conform to these deadlines.

Concentrators undertaking a thesis are required to enroll in HAA 99A (fall) and B (spring) for course credit. Students in the architecture track pursuing a design thesis should enroll in HAA 92r (fall) and 99B (spring). Joint concentrators will enroll in the 99 course of their primary concentration.

Overseen by the Senior Thesis Adviser, HAA 99A –“The Senior Thesis Seminar” – will meet several times during the fall semester for two-hour sessions devoted to facilitating the preparation and writing of a thesis. These sessions will cover such topics as compiling a bibliography, using archives, the use of key technology and software, and constructing and presenting an effective argument. All concentrators pursuing a written thesis project are required to enroll in this seminar. Joint concentrators enrolled in another department’s thesis seminar, and HAA design thesis students enrolled in HAA 92r, are welcome and encouraged to attend some or all sessions of 99A in addition to their primary thesis preparation course.

Late in the fall semester, each concentrator pursuing a thesis will deliver a twenty-minute presentation on the thesis topic, illustrated with digitally projected images, at the Senior Thesis Presentations. All departmental faculty and students will be invited to these presentations. By the end of winter break, each student will submit a complete first draft of the thesis, complete with illustrations.

Overview of Key Dates for Thesis Preparation

These dates apply to all HAA students wishing to pursue an honors thesis. For further criteria specific to students preparing a design thesis in the Architecture Track, see Academic Requirements: Design Thesis in the Architecture Track

Please consult the Senior Thesis Seminar Canvas site, or reach out to the Undergraduate Program Coordinator, for specific dates.

Spring Semester, Junior Year

• February: Initial Meeting. Junior concentrators are invited to meet with the Senior Thesis Adviser for an introduction to the senior thesis writing process.
• Early April: Short Proposals Due. Students submit a basic proposal outlining preliminary ideas, along with a list of potential faculty advisers. Faculty advisers are assigned to thesis projects in late April or early May.
• Late April: Applications due for Pulitzer and Abramson Travel Grants. See Undergraduate Prizes, Grants and Opportunities for details on grants and applications. Information on how to apply will be provided by the Undergraduate Program Coordinator. Grant recipients will be notified by email.

Fall Semester, Senior Year

• During the semester, students enroll in HAA 99A or 92r and follow course deadlines (Please consult the HAA 99A and 92r Canvas sites for additional details).
• Students meet regularly with their faculty advisers.
• Early December: Senior Thesis Presentations. All students pursuing a thesis will give a twenty-minute presentation to department students and faculty followed by discussion.

Spring Semester, Senior Year

• Late January: First Draft . Before the spring semester begins, students submit a full draft of the thesis, with illustrations, to the faculty adviser for comments.
• Late February/Early March: Second Draft. Students are encouraged to submit the near-final draft to their faculty adviser for a final review before formal submission to the Department.
• Week before Spring Break: Final Submission Deadline. Late submissions will not be accepted. On the afternoon of submission, all students are invited to attend the Thesis Reception.
• Late March: Gallery-Style public reception and presentation of Design Thesis projects. All architecture track students that have prepared a design thesis will present their work informally at this event. All HAA thesis writers, as well as faculty and graduate students, are encouraged to attend.
• April: Thesis Review and Honors Recommendation . Senior Honors Theses are read and critiqued by Members of the Faculty in HAA (and the GSD and the Harvard Art Museums, where relevant) at the request of the Senior Thesis Adviser. Department Faculty meet to vote on final honors recommendations, after which thesis writers will receive an email from the Senior Thesis Adviser notifying them of their thesis grade and recommendation for honors. Students should speak with their Allston Burr Senior Tutor for the anticipated final honors decision of the College.
• Mid-April: Senior Thesis Poster. All senior thesis writers are expected to prepare a digital file for a 24 x 36” poster summarizing the thesis to be exhibited in the HAA Department for the following academic year. A suggested template will be provided and a workshop will be held in late March for assistance with poster preparation. The printing and associated costs are taken care of by the Department. Examples of previous posters can be found here (AY21-22) and here (AY22-23) .

Senior Thesis Adviser 

The process of taking honors and producing the thesis in the Department is overseen for all concentrators by the Senior Thesis Adviser, Professor Carrie Lambert-Beatty. The Senior Thesis Adviser leads the Fall Term thesis-writing seminar (HAA 99A) and directs the meetings for departmental approval once theses have been submitted. 

Faculty Thesis Adviser 

When submitting their initial proposal in the spring of the junior year, students should include a list of three possible faculty advisers. The Department will then match students with advisers according to student preference and faculty availability. Faculty thesis advisers should generally be full faculty members of the History of Art and Architecture Department, although Harvard museum curators with relevant expertise may also serve as advisers at the discretion of the Senior Thesis Adviser. Students in the architecture track pursuing a design thesis must also secure a second adviser from the faculty of the Graduate School of Design. Joint concentrators will generally select one faculty adviser from each department.

The adviser ought to serve as a critic of synthesized ideas and writings/designs, rather than as a director of the project. The adviser should be chosen with consideration more to compatibility in overseeing the process of the work than to being an expert in the field. If you have trouble identifying an appropriate adviser, please consult with the Senior Thesis Adviser or Undergraduate Program Coordinator before the spring deadline for the Thesis Proposal.

Graduate students in the Department of History of Art and Architecture do not advise Senior Theses.

Program Director, Harvard Undergraduate Architecture Studies Track

Megan Panzano, Program Director of the Harvard Undergraduate Architecture Studies Track, oversees the execution of the two studio courses “HAA 96A – Architecture Studio I: Transformations” and “HAA 96B – Architecture Studio II: Connections”, as well as the senior design-thesis seminar “HAA 92R – Design Speculations.” She is available to consult for general advice on the design-thesis process and in finding a suitable advisor from the GSD. She coordinates the assignment of readers to senior design-thesis projects in consultation with the Senior Thesis Adviser and Undergraduate Program Coordinator.

Undergraduate Program Coordinator

The Undergraduate Program Coordinator, Marcus Mayo, is available to consult at any point regarding general questions about the senior thesis writing process. In conjunction with the Senior Thesis Adviser, they will coordinate the initial meeting of concentrators interested in writing a thesis in the spring term of their junior year. The Undergraduate Program Coordinator collects and distributes thesis proposals, summer funding proposals, advisor assignments, as well as completed theses, grades and reader comments. They hold examples of the written requirements (thesis proposal and prospectus) and of the Pulitzer and Abramson Grant applications which students might wish to consult as paradigms.

Academic Requirements – Written Thesis

The writing and evaluation of the thesis is a year-long process, during which the writer enrolls in a senior thesis preparation seminar (HAA 99A) and meets at scheduled intervals with their faculty adviser to formulate, develop, and ultimately refine their thesis work.

The Department encourages seniors to think broadly and explore a problem of interest. The thesis topic does not necessarily have to be within the writer's declared major field, except when required for a joint concentration, in which case, the topic must address an issue shared by both concentrations. The thesis should demonstrate an ability to pose a meaningful question, present a well-reasoned and structured argument, and marshal appropriate evidence. The student should apply a clear methodology and be aware of the assumptions behind the argument, the possible deficiencies of the sources and data used, and the implications of the conclusions. The various parts of the thesis should cohere in an integrated argument; the thesis should not be a series of loosely connected short essays. A primary expectation of the thesis is that it is a work of independent scholarship, directed and crafted by the student, with the thesis adviser serving in a capacity of "indirect overseeing of the project."

There is no set pattern for an acceptable thesis. The writer should demonstrate familiarity with scholarly methods in the use of sources, but this should not be the sole criterion for evaluation. Of equal if not greater importance is the development of the central argument and the significance of the interpretation. A thesis may be research on a little-studied problem or a perceptive reassessment of a familiar question. A well-pondered and well-presented interpretive essay may be as good a thesis as a miniature doctoral dissertation.

Skill in exposition is a primary objective, and pristine editing is expected. The Department encourages writers to keep to a short page count, so as to craft a clear, concise paper, and further edit it to an exemplary presentation. In general, a History of Art and Architecture thesis will have a text ranging from 20,000 to 25,000 words. Students are encouraged to explore the resources available to thesis writers at the Harvard College Writing Center .

The writer must indicate the source of material drawn from others' work, whether quoted, paraphrased, or summarized. Students who, for whatever reason, submit work either not their own or without clear attribution to its sources will be subject to disciplinary action, up to and including requirement to withdraw from the College.

Academic Requirements: Design Thesis in the Architecture Track

The HAA Architecture Track asks students to select an Area of Emphasis for fulfillment of their degree -- either Design Studies or History and Theory. Students wishing to pursue an honors thesis in the History and Theory Area of Emphasis will usually complete a written senior thesis paper and presentation on the same model as the thesis for general concentrators (see Academic Requirements: Written Thesis ).

Students in the Design Studies Area of Emphasis who wish to pursue a thesis project may choose either a traditional thesis or a design thesis project. Design theses are creative thesis projects featuring a combination of written analysis and visual and physical design materials, as described below.

Course Requirements for Honors Consideration with a Design Thesis

Senior year – fall term.

• HAA 92r Design Speculations Seminar – required
• Course prerequisite: Completion of either HAA 96A (“Transformations”) or HAA 96B (“Connections”) studios.
• This course requires that students secure a pair of faculty advisers – one from Harvard History of Art and Architecture (HAA) Faculty and one from the Harvard GSD to support their research work within the course; course faculty advisers then serve as the faculty thesis advisers for the design thesis.
• Megan Panzano, GSD Architecture Studies Director, and Jennifer Roberts, HAA DUS, can both help make faculty adviser connections for students pursuing this path.
• (optional) HAA 99A Senior Thesis Tutorial – attendance in this seminar is encouraged but not required in parallel with HAA 92r.
• Presentation of design work to HAA and select GSD Faculty as part of HAA Thesis Colloquium in December) – required

Senior Year – Spring Term

• Throughout the semester: Advising meetings with individual faculty advisers to guide production and iterative refinement of design work (architectural analytical drawings and/or physical models), and edits to digital presentation made in fall term HAA Thesis Thesis Presentations.
• March 08, 2024, 12:00 pm EST: Submission of final senior thesis design project including digital images and written text as a single PDF file (see “ Submission Requirements for Honors Consideration ”).
• March 29, 2024 (date subject to change and TBC): Participation in a gallery-style final presentation with faculty and peers after submission of thesis . The design presentations for the gallery-style event should include an updated digital presentation comprised of the project title, author’s name, the most current versions of all elements listed below in the Final Project Requirements (with the exception of the Written Manifesto which should be consolidated to a single slide containing 3-4 sentences of a thesis statement capturing the topic of study, a position on this topic, your claim about design agency to address this topic, and specifically, what design elements you’ve explored in your thesis in this address).  Students may elect to also print or plot selected original design drawings they produced (analytical or projective) from their digital presentation to pin up in the space.  Likewise, students are encouraged to bring any sketch and/or final models they have created to display as well.
• April 8, 2024 : Preparation of a digital file for a 24 x 36” poster summarizing the thesis to be exhibited in the HAA department for the academic year to follow. A suggested template will be provided and a workshop will be held on March 26 (2024, date subject to change and TBC) for assistance with poster preparation. Examples of previous posters can be found here (AY21-22) and here (AY22-23) .

Submission Requirements for the Design Thesis Project (due March 08, 2024, 12:00 pm EST)

A single multi-page PDF file labeled with student’s full last name and first initial should be submitted. It should contain the following elements and should incorporate thesis research and design work from both fall and spring terms.

• Assemble a visual bibliography of references for your research project. The references included should be sorted into categories of your own authoring in relation to the research. Each reference should be appropriately cited using the Chicago Manual of Style, and each reference should also include an affiliated image. The bibliography should include a brief (approx. 200-word) annotation, describing the rationale behind the sorted categories.
• A written design manifesto of a minimum of 2,000 words that concisely articulates the issues, problems, and questions embedded in and engaged by your research project. The manifesto should address:
• Discourse : the role and significance of architecture relative to the project topic of interest, and;
• Context : the relationship of the project topic to broader surroundings which include but are not limited to the discipline of architecture, cultural contexts, technical developments, and/or typologies.
• The final statement should reflect deeply upon the character of the design process for the project, and discuss how the design process reinforced, inflected, or complicated the initial research questions. For most students, this final statement will be an elaboration upon the presentation text prepared for the fall senior thesis colloquium. The final text should capture and discuss the design elements that were further explored in the spring term as means to address initial research questions (i.e. include written descriptions of the drawings and/or physical models produced in relation to the thesis topic).  
• A visual drawing or info-graphic that describes the process of design research undertaken for your topic. This should include the initial criteria developed for evaluating the project, the steps taken in examining the topic, the points in the process where it became necessary to stop and assess outputs and findings, and final adjustments to the methodology as the project neared completion.
• High resolution drawings, animations, and/or diagrams and photographs of physical models  (if applicable)  that were produced through research. These should be assembled in single-page layouts of slides to follow preceding elements listed here.

Grading of the Senior Thesis

Theses are read and critiqued by faculty members applying a higher standard than expected for work written in courses or tutorials. Faculty do make use of the full range of grades, and students should consider that any honors grade is a distinction of merit. If you have any questions, please contact the Senior Thesis Adviser, the Director of Undergraduate Studies, or the Undergraduate Program Coordinator.

SUMMA CUM LAUDE: A summa thesis is a work of "highest honor." It is a contribution to knowledge, though it need not be an important contribution. It reveals a promise of high intellectual attainments both in selection of problems and facts for consideration and in the manner in which conclusions are drawn from these facts. A summa thesis includes, potentially at least, the makings of a publishable article. The writer's use of sources and data is judicious. The thesis is well written and proofread. The arguments are concise and logically organized, and the allocation of space appropriate. A summa is not equivalent to just any A, but the sort given by instructors who reserve them for exceptional merit. A summa minus is a near miss at a summa and is also equivalent to an A of unusual quality.

MAGNA CUM LAUDE: A magna level thesis is a work worthy of "great honor." It clearly demonstrates the capacity for a high level of achievement, is carried through carefully, and represents substantial industry. A magna plus thesis achieves a similar level of quality to a summa in some respects, though it falls short in others; it is equivalent to the usual type of A. A magna thesis is equivalent to an A-. For a magna minus, the results achieved may not be quite a successful due to an unhappy choice of topic or approach; it is also equivalent to an A-.

CUM LAUDE: As is appropriate for a grade "with honors," a cum level thesis shows serious thought and effort in its general approach, if not in every detail. A cum plus is equivalent to a B+, a cum to a B, and a cum minus to a B-. The cum thesis does not merely represent the satisfactory completion of a task. It is, however, to be differentiated from the magna in the difficulty of the subject handled, the substantial nature of the project, and the success with which the subject is digested. Recall that, as students putting extraordinary effort into a thesis most frequently receive a magna, theses of a solid but not exceptional quality deserve a grade in the cum range. When expressed in numerical equivalents, the interval between a magna minus and a cum minus is double that between the other intervals on the grading scale.

NO DISTINCTION: Not all theses automatically deserve honors. Nevertheless, a grade of no distinction (C, D, or E) should be reserved only for those circumstances when the thesis is hastily constructed, a mere summary of existing material, or is poorly thought through. The high standards which are applied in critique of theses must clearly be violated for a thesis to merit a grade of no distinction.

Thesis Readers 

Each thesis will have two readers chosen by the Department. All readers will be asked to submit written comments and grades, which will be factored equally to produce the final grade of the thesis. Individual grades are not released. When grades and comments are distributed, the readers no longer remain anonymous. There exists a procedure by which a writer may request, via the Senior Thesis Adviser, to speak with a reader provided that they are willing to discuss the work in further detail or expound on the written critique.

For joint concentrators, the department will defer the reading process to their primary concentration. Students should reach out to their adviser in their primary concentration for further information.

Grade Report and Honors Recommendation 

At the end of each term, Fall and Spring, the student's progress in the Senior Tutorial (HAA 99) will be graded SAT or UNSAT. At the end of the Department's Honors Review process, the Senior Thesis Adviser calculates a recommendation for Honors based on the factored grades of the thesis and the student's grades in concentration coursework. This recommendation is presented to the Faculty at their meeting in April for review. A faculty vote is taken and this decision is passed as an honors recommendation to the Registrar of the College. For joint concentrators, the faculty will make recommendations to a student’s primary concentration but will defer the final grading process to them. The decision of Final Honors to be granted on the degree is made by the Registrar based on departmental recommendation and the student’s College-GPA. Students should consult with their Allston Burr Senior Tutor to determine what final honors might be anticipated at Commencement.

The needs of the Department for fair deliberation dictate that there may be no report of decisions regarding the thesis until after the Faculty has considered and voted upon each recommendation for honors. After honors recommendations have been voted by the Faculty, students will be notified of the Department's recommendation to the College and will receive an ungraded copy of each evaluation of their thesis. The comments in these evaluations should provide the student with a clear explanation of the strengths and weaknesses of the thesis, bearing in mind the difficulties of the field and the type of thesis submitted, and evaluating what was accomplished in terms of what was undertaken, given the student's limitation of time and experience.

Discontinuance of a Thesis 

The process of writing the thesis is a serious commitment of time and energy for both the writer and the adviser. In some cases, however, it might be agreed that the thesis should be discontinued at mid-year. The Senior Tutorial year may be divided with credit through a procedure in which the student must submit a written paper presenting the project and research to that point.

Examples of Past Theses 

Senior Honors Theses which are written by students who graduate Summa or Magna are deposited in the University Archives in Pusey Library . Copies of theses which are awarded the Hoopes Prize are held in Lamont Library . Students are urged to consult past theses as much can be gained in exploring precedent or seeking inspiration.

• Copyright © 2023 The President and Fellows of Harvard College
• Accessibility
• Privacy Policy
• Terms of Use
• Atlassian Confluence 7.19.17

University of Washington Links

• College of Arts & Sciences
• Directories
• Concentrations
• Photo/Media
• Painting + Drawing
• 3D4M: ceramics + glass + sculpture
• Field Studies
• Student Work
• Study Abroad
• Art History BA
• Art History Minor
• Art History MA Thesis
• Art History MA Practicum
• Art History PhD
• Student Research
• Interaction Design
• Visual Communication Design
• Industrial Design
• Laptop Requirement
• Master of Design
• BDes/MDes Shows
• COVID-19 Updates
• Voicing a Concern
• News + Events
• Exhibitions

Mobile Menu

• Graduate Students
• Visiting Artists + Lecturers
• Seattle Arts + Culture
• Jobs, Internships, and Opportunities
• First Day Attendance
• Final Exam Attendance
• Career Fair
• Design Travel Award Application
• Finding an Internship
• Finding a Job
• Portfolio Advice
• Resume Advice
• Alumni Blog
• Alumni Statistics
• Prevention Plan
• For Students
• Press Releases
• Stay Connected
• Undergraduate Students
• Jobs + Opportunities
• Academic Advising
• Student Voice Project
• Scholarships + Awards
• Advisory Board
• A-Z Directory
• Recent News
• News Archive
• Technology + Equipment
• Rome Center
• Exhibitions, 2022-2023
• Exhibitions, 2021-2022
• Exhibitions, 2020-2021
• Exhibitions, 2019–2020
• Exhibitions, 2018–2019
• Exhibitions, 2017–2018
• Exhibitions, 2016–2017
• Exhibitions, 2015–2016
• Exhibitions, 2014–2015
• Jacob Lawrence Legacy Residency
• The Black Embodiments Studio
• BIPOC Graduate Student Curatorial Fellowship
• Critical Art Writing Group

You are here

• Graduate Programs

Art MFA Thesis

MFA students are required to develop both a visual and a written thesis throughout their second year of study. They participate in the MFA + MDes annual thesis exhibition at the Henry Art Gallery . Some of the MFA programs require an additional show at the end of the 2nd year. The written thesis, 1500 words or greater, must be submitted to the Graduate School using their procedures and guidelines.

• Thesis/Dissertation Graduate School web page.
• Final Submission of Your Electronic Thesis or Dissertation (ETD)

Thesis Committee

During the autumn quarter of their second year, each student is responsible for organizing a thesis committee. The committee must consist of at least two faculty members from their program, one of whom is the committee chair. Students may choose additional committee members in consultation with the chair of their committee. Students work closely with their chair and committee throughout the final three quarters of their project.

You can browse theses submitted by recent graduate students from our MFA programs through the University of Washington Research Works Archive .

•   Home
• University Colleges
• SUNY College at New Paltz

SUNY New Paltz Masters in Fine Art (MFA) Thesis Collection

Filter by category, campus communities in soar.

Publication Date Authors Titles Subjects Department

Search within this collection:

Recent Submissions

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

Export search results.

The export option will allow you to export the current search results of the entered query to a file. Different formats are available for download. To export the items, click on the button corresponding with the preferred download format.

By default, clicking on the export buttons will result in a download of the allowed maximum amount of items.

To select a subset of the search results, click "Selective Export" button and make a selection of the items you want to export. The amount of items that can be exported at once is similarly restricted as the full export.

After making a selection, click one of the export format buttons. The amount of items that will be exported is indicated in the bubble next to export format.

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.

BYU ScholarsArchive

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

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

Advanced Search

• Notify me via email or RSS

ScholarsArchive ISSN: 2572-4479

• Collections
• Disciplines
• Scholarly Communication
• Additional Collections
• Academic Research Blog

Author Corner

Hosted by the.

• Harold B. Lee Library

Home | About | FAQ | My Account | Accessibility Statement

Privacy Copyright

Home > College of the Arts > Art & Design > ART_DESIGN_THESES

Art and Design Theses

Theses from 2023 2023.

Terra Multa , Emily A. Albee

Addressing ecoanxiety through the lens of children’s literature in the elementary art classroom , Dara E. Andre

Interference : Interwoven , Sally C. Garner

Three Tries , GETSAY

Ascension , Alyssa Ann Hood

Cultivate , Katie Kearns

Shapeshifter , Kate Kosek

Homo Ludens , Kengel Maysonet

Class of Beauty: Schooled in the Culture , Azya Lashelle Moore

Pledging Allegiance: The Use of American Flag Imagery by Faith Ringgold and Emma Amos , Santana E. Nash

Relatives , Leeza Negelev

Sending Love Through A Barrel: Investigating the Immigrants’ Experience, From Belonging To Assimilation , Kandi-Lee J. Reid

Design Thinking Process: Visual Art Curriculum Design Tool For Students With Severe and Multiple Disabilities , Kendall LE Siddiqui

Olfactory Vision: Recollection of Visual Information Through Smell in Graphic Design , Monica Suarez Argudin

Into That Resonant Dark , Adam G. Winnie

Life and Death Beyond a "Pre-Invented Existence": The Subversive Possibilities of Abjection in the Work of David Wojnarowicz , Gillian Yee

Theses from 2022 2022

Menudo and Lucky Charms , Felicia Ann Castro

Do you remember the sun...? , Travis Dodd

Unseen , Bethany Grabert

Choose Your Own Adventure! , Jordan Gum

Sin With Me , Nicholas Kakavas

Wax and Mortality: A Transhistorical Study on Wax in Artistic Depictions of Death , Mary Kirkpatrick

The Seven Valleys , Darya Mojtahedzadeh Fard

Artifacts of Industry , James D. Robertson

Sky Garden Graduate Student Housing , Maria Paula Saavedra Rios

Marriages, Mistresses, And Mockery: Gender Roles And Power Dynamics In The Saint-Aubin Livre De Caricatures Tant Bonnes Que Mauvaises , Madison Short

a wheel inside a wheel , Elizabeth Storm

Theses from 2021 2021

The Bold and the Beautiful: Portraiture in Pakistani Truck Art , Farah Ali

Laborare, Vivere, et Ludere , Nathalia Arruda Silva

Fullness , Jamaal Barber

Material Intelligence , Soude Dadras

Nostos , Diane Hiscox

I'm Your Perfect Girl , Melissa Anne Huang

Representation and Participation in Anime , D. Lasseter

Gathering Galax , Albert Lebron

At Work , Kylie Little

Everything and Nothing , Andrew Lyman

Dawn , Hanna Newman

Between what exists , Madeline Pieschel

Knowing Together With An Other , Jessica Self

So It Seems , Kourtney Stone

Eternal Summer , Christina Teruel

Zoetrope Blues , Andrew Tetz

The Kitsch Masterpiece: Odd Nerdrum and the Problem of the New Old Masters , Jordan Walker

Theses from 2020 2020

Heads Up/Heads Down: A Pattern Language for Fostering Thinking in the Workplace , Jill Blass

Airports - Cultural Ambassadors , Valentina Caver

Advenus , Ana M. Coello-Amado

Art-Making as Self-Care in Studio Practice and in the Art Classroom , Shauna Delong

Endless Exuberance , Coorain W. Devin

Hiraeth Never Fades , Jeffrey R. Kuratnick

Abroad , Constanza Loustalet Lopez Aranguren

The Manual for Neocadia , Jack Michael

At Odds , Robert Sturgess

Foundational Curriculum: Integrating Art, Literacy and Social Emotional Learning , Rosie Tempka

Animus , Parker Grace Thornton

Absurd Vessel , Michael Jess Tolley

Theses from 2019 2019

Class Clown , Andrew Adamson

A Series of Quiet Decisions , Aaron Artrip and Aaron C. Artrip Mr.

Living Hysterically , Jessica Caldas

Art Making as a Means of Self-care for the Art Teacher , John Chase Campbell

Using the Visual Arts to Support the Development of Young Refugee Children: A Puppet-Making Workshop , Ghenwa El Souki

Inclusive Art Education as a Tool for Art Museum Experiences , Sonja Fasen

The Devout Griot, Emotional Keeper. , Shanequa S. Gay

Deep Reminding , Amin Ghasemi

In Situ , mohammadjavad Jahangir

The Plastic Ocean: An Art Educator’s Interpretation , Rochelle B. Johnson

Ambiguous Criteria , travis c. lindquist

I know now...I am here , Ana meza

My hideous progeny , Nathaniel Mondragon

The Whole of the Hidden Thing , Linda Maria Ojeda

Dignity , Carla Powell and Carla Powell

Abstract Forms/Explicit Intent: Modernist Monuments of Socialist Yugoslavia in Service of the State , Aaron Kagan Putt

Theses from 2018 2018

A Survey of No Place , Amelia Carley

Home: A Process Based Visual Exploration Of The Sentiment Of Attachment , Demi G. Chandler

Loose Larry: A Binding of Non-Blood Story , Tyler Scott Cieplowski

A thing among things , Kelli Couch

Noble Taste, Noble Style: Exploring the Concept of Vivre Noblement in the Hours of Engelbert of Nassau , Ceallsach VonEhren Crouch

The Elles Series: Henri de Toulouse-Lautrec’s Unusual Approach to Prostitution , Anna Dobbins

Cut + Paste | An Aesthetic Exploration , Kristin Ferro

Yours Truly MF , michelle e. florence and Michelle E. Florence

DONT FEEL TOUCH , Vanessa Jagodinsky

Good Girl: Sweaty Palms and the Smile , Nuni Lee

Sherbet House: Designing Iranian Culture for the United States , Atena Masoudi

GAGA! Interdisciplinary And Integrated Education: Geography, Art, and Global Awareness , Lieu Nguyen

Folded Mystery , maryam palizgir

Antediluvian , Judy Parady

Another Failed Attempt , Aaron Kagan Putt

#Moment: Creating Moments of Truth Through Experiential Interior Design , Jennifer Refsnes

Dwelling on Things , Kirstie J. Tepper

Theses from 2017 2017

Asunder , Rachel Ballard

Vernacular Notions of Reverie: St. EOM’s Pasaquan as a Utopia , Victoria L. Cantrell

Visual Art Curriculum Framework For Small Group High School Instruction: An Art Teacher's Reflections , Penny Lee Colangelo MS

Discount Meat , Larkin H. Ford

4sh: Coping via Crayons, Canvas, and Mixed-Media Artmaking , Whitney Forsh

Autoethnographic Study On The Process Of Creating Studio Work Using Personal Propriospect , Maria T. Garcia

Catalyst , Joseph Hadden

Haunt and Hold , Michelle Laxalt

The Feeling of Being Ok , Benjamin B. Lee

The Mug Shot, Wanted Poster, and Rogues Galleries: The Societial Impact of Criminal Photography in England, France, and the United States From 1839 to 1900 , Samantha Rae Long

A few weeks, maybe months… , Tyler D. Mann

Advanced Search

• Notify me via email or RSS
• Collections
• Disciplines
• Submit ETD (Thesis/Dissertation)

Home | About | FAQ | My Account | Accessibility Statement

Privacy Copyright

Dissertation Consulting Services Since 2004

Our services

• Dissertation Help
• Dissertation Consulting
• Dissertation Editing
• Write My Dissertation

Writing a Masterpiece of an Art Thesis

An art thesis needs to combine both artistic talent and knowledge of theory.

Art Thesis may be written on any topic that can be considered as art or connected with the arts. Art is a very broad subject unlike many other disciplines. It is borderless. Because of this reason there is disagreement as to the definition of art. There is a branch of philosophy that studies about art. Philosophy of art is called aesthetics. Anyway art is generally considered actions performed and the objects created to express and share the thoughts, feelings, emotions and experiences of an artist. The purpose of the artistic creations is to share or stimulate the thoughts, feelings, emotions and sensory experiences. The form of art can be classified under different branches depending on the medium used by the artist to express himself/herself. Branches of art are classified according to the medium.

• Performing arts: Dance, Music, Theatre

• Visual Arts: Painting, Photography, Sculpture, Architecture, Interior Design, Landscaping

• Literature: play, novels, short stories, poetry

Anything can pass as art depending on the artist’s ability, skill and mastery to express or share his/her ideas, feelings, emotions, and experiences with others effectively by creating what he/she calls as a work of art using any medium. Therefore the author of the art thesis also can write on any topic if he/she can prove that topic is connected to the arts. The main idea of the thesis is to study deeply into the topic to find out how it connects with the artistic expression of feelings, emotions and experiences.

Select a Narrow Specific Thesis Idea

Though the art is a broad subject your thesis topic should be narrow enough to tell anything concrete. Traditionally students select projects for their Master in Fine Arts (MFA) degree, and produce works of art to show their insight, mastery and the knowledge on the selected medium, techniques, and the materials apart from their knowledge on the subject area. Other students must do some research to write a thesis to show their academic excellence in the selected area of study. The study has to be original and must make a contribution to the knowledge on the topic. There are some common traditional thesis types for art thesis.

• Monograph is a thesis written on an artist. The thesis may examine some aspect of the artist’s work, and a comparison and contrast with other contemporaries, and connection of character of his expression to his background. For instance a student may choose to write on the “Influence of Greek Orthodox Religious Background to El Greco’s Paintings”. This thesis cannot go out of hand and limited to a very specific area. And there are enough opportunities to study deeply into the subject and this is a subject which is not adequately researched.

• A synthesis essay also can be written on a topic combining two or more theories on a subject area in art. Two opposing views on the same topic can be contrasted and assert your stand on it.

• You can select a theory on art and give a critical overview on it.

If you are settled for a thesis idea, a narrowed down thesis topic and your stand, now you can write the thesis statement. Discuss your professor or the instructor and get the approval for your topic.

Start the Writing with the Thesis Outline

Now you have a firm thesis Statement. You must write down your thesis outline. You must give thought to the type, and means of obtaining of relevant research material. Collect the material and find evidence for proving your art thesis. Follow the normal thesis structure and keep on adding flesh to your outline. Write the introductory chapter giving background information to educate the readers and stating your thesis. Then you may present your case writing one chapter for each of your points or arguments. Your two or three chapters that argue your case must be connected so as to give coherence to the essay as a whole. Keep the most important argument to the last. Final conclusive Chapter must restate your thesis summing up the arguments. Write an abstract of your thesis essay. This should come before the introduction. Many students taking courses in arts may find it difficult to write theses as their medium for self expression may be something else. Nevertheless, they have to get the good grades for their subjects. If you are not confident to write a thesis without any help it is always advantageous to get professional thesis help .

How it works

1 make your order, 2 monitor the progress, 3 download the paper, get dissertation writing help.

• A Remarkable Resource & Solution For Your Dissertation Proposal Topics & Research Proposal
• What to Expect When Defending Your Dissertation
• How to Proofread Fast
• How to write dissertation methodology
• How To Write a Good Dissertation Paper

Testimonials

The topic of my dissertation seemed easy but only at first glance - I couldn't sleep well any more. I was stressed and I felt broken. Phdify saved me from a total disaster, and now I have my PhD.

Most friends of mine encountered the same difficulties. I wrote some chapters by myself, but another chapters were moving on slowly! So, I never hesitated to ask for a help and I've got a great experience at phdify.com!

At one moment I felt an absolute despair to finish my thesis! To my luck a good friend of my gave me this site, and I understood: this is my salvation! Thanks to Phdify team I finished my thesis in time!

Ask support

Get answers Immediately

© Ph Dify 2024. All rights reserved

PhDify.com is owned and operated by RATATATA LTD Registered address: 48, Vitosha Blvd., ground floor, city of Sofia, Triaditsa Region, Bulgaria, 1000.

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 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

• Accessible Formats

Advanced Search

• Notify me via email or RSS
• Expert Gallery
• Online Journals
• eBook Collections
• Reports and Working Papers
• Conferences and Symposiums
• Electronic Theses and Dissertations
• Digitized Special Collections
• All Collections
• Disciplines

Author Corner

• Submit Thesis/Dissertation

Home | About | FAQ | My Account | Accessibility Statement | Privacy | Copyright

©1878 - 2016 Western University

(BE-Yon-d) How to Write Your MFA Thesis in Art (And Beyond)

(Be-Yond) How to Write Your MFA Thesis in Art (And Beyond)

OK, so, its time for an update, perhaps this is a little bit over due? Compassion people, compassion.

The original title of this post is: “How to Write Your MFA Thesis in Fine Art (And Beyond)”, it remains the most visited and frequented blog post that I have written… ever. I originally published this “mini-guide” to my personal website in November of 2014. It remains in the top search results on the subject however something fun happened in recent years. When I later brought the paper over to the Academic Commons it quickly bypassed my personal website and resides as the top search result on google. So, Yay!

The post was written at a time when I was teaching an MFA thesis course between the years of 2011 – 2019. I believe that it still holds a ton of useful value. I want to stretch it further as I feel that this can help anyone with their writing practice. Apply the techniques for a blog post, an essay, a thesis and even the inspiration towards a dissertation. The keyword is practice –

Here is the original post below with a few adaptations for 2020..

I enjoy writing, and I find the process to be fun. Do you? I know that writing takes regular practice and it has always been an essential part of my learning process. Writing helps me to “see” and organize my thoughts. This allows me to edit and become clear about what it is I am expressing and or trying to say. 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, 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 due 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 due 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 wring, but until I experience this from someone, lets make some longer-term plans.

I taught an MFA and MA thesis course from 2011-2019 at LIU Post in NY but this format transcended into my CUNY courses as well. The course put 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 due 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-

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 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 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 you 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(s) 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!

This entry is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license.

Leave a Reply Cancel reply

Your email address will not be published. Required fields are marked *

Notify me of follow-up comments by email.

Notify me of new posts by email.

This site uses Akismet to reduce spam. Learn how your comment data is processed .

Need help with the Commons?

Email us at [email protected] so we can respond to your questions and requests. Please email from your CUNY email address if possible. Or visit our help site for more information:

• Terms of Service
• Accessibility
• Creative Commons (CC) license unless otherwise noted

Thesis Helpers

Find the best tips and advice to improve your writing. Or, have a top expert write your paper.

80 Art History Thesis Topics To Skyrocket Your Grades

An art history paper is just as the name suggests, an academic paper concerned with the history and development of art as a study field. Here, you will explore expert art history research topics for your homework. Are you ready? Let’s get done with it already!

Art History Thesis Topics on the Late Gothic Period

• Significant stylistic changes from the Romanesque style of the 12th century
• The relationship between the great cathedrals of Europe and the late Gothic period
• Monumental sculptures in the cathedrals of Europe
• The relevance of Abbey Church of St. Denis in Gothic architecture
• Gothic art in the Notre Dame in Paris
• Manuscript illustration in the Gothic paintings
• A review of the surviving Gothic paintings

Inspiring Thesis Topics Art History

• The artist’s major influences in a particular piece of art
• The role of recurring subjects in art
• Critically evaluate Lorenzo Costa’s Portrait of a Cardinal in his Study
• Why is photogravure used more than encaustic painting?
• Critical features of Abstract Expressionist painting
• Discuss the common motifs in the embroidery and Scandinavian weaving
• Evaluate the Baroque as a significant period of artistic activity

Art History Senior Thesis Topics

• A review of the images used to communicate messages in art history
• The historical and transcultural contexts of visual works
• The history of feminism art portrayal
• The impact of Marxism ideology on the development of art
• A critical analysis of the aesthetic values of art in homes
• The history of signs and symbols in paintings
• Theories that define the history and development of art

Undergraduate Art History Thesis Topics

• Evaluate the development of art in Ancient Greece
• The role of art in historical analysis and learning
• How different were the artists from the expressionism period?
• The impact of Cubism development on the art world
• How did artists preserve ancient artworks, and why?
• What led to the extinction of the Dadaism art movement?
• A study of Leonardo da Vinci’s life history

Impressive Thesis Topics in Art History

• How do the Eastern and Western artworks of the 18th century compare?
• An analysis of the developments leading to modern art
• Comparison between ancient and contemporary artists
• What is the definition of real art?
• Methods of dissecting a complex piece of art in simple words
• The role of nature and life in influencing art
• How art therapy has developed from ancient cultural practices

Art History Photography Thesis Topics

• How to make a distinction between an American and French art photographer
• Are there distinctions between art and photography?
• Why is photography replacing fine art?
• How the printing press has led to the development of photography
• The cultural revolution and its relationship to art history
• Compare and contrast the relationship between photography and ancient art
• Compare and analyze design styles in Picasso’s blue and rose periods

Popular Art History Thesis Topics

• How science has influenced Ancient Greek sculptures
• What led to the shift of the Roman artistic styles in the 4th century?
• The relationship between The Great Wall of China and art.
• The place and role of women and politics in Ancient Rome architecture.
• Representation of males in Ancient Art.
• How did art influence architectural structures in ancient times?
• Why ancient Rome is full of art

Art History Thesis Topics Greek

• The importance of pottery and vases in ancient Greek art.
• A study of the ancient Greek arts periods: Geometric, Archaic, Classical, and Hellenistic.
• How the Statue of Zeus at Olympia reflects the artistic style of the time.
• Compare and contrast any of these styles of Greek art: the Doric, Ionic, and Corinthian styles of Greek architecture
• Why were Fresco paintings included on or inside many ancient Greek structures?
• Contributions of Polykleitos to the ancient Greek art industry
• What was so unique about Parthenon?

Art History Thesis Topics Impressionism

• The role of impressionists in the art hierarchy
• Why canon and traditions were against impressionism
• The origins of impressionism
• The influence of impressionism on the art process
• A study of the founding members of the Impressionism movement
• Why the pioneers of impressionism used diverse approaches to painting
• The impact of the sketch-like appearance

Modern Art History Topics For High School

• The influence of pop art culture in America
• Materials and styles in Chinese calligraphy
• Evaluate the art of henna in the Middle East, India, and Africa
• Art and cultural inclinations
• Ancient art culture
• The emergence of the Bollywood film industry
• The sense of art in today’s movies and series.’

Ancient Art History Research Paper Topics

• The art of disguising
• Cartoons as a form of art
• Color in art
• Similarities between Picasso and Leonardo Da Vinci
• Is Graffiti vandalism?

Compare and Contrast Topics in Art History

• Baroque vs. Rococo designs
• Renaissance and Baroque Epoch
• Cubism and impressionism
• French vs. American art
• Gothic vs. Neo-Gothic periods

Did you find a professional topic from the list above? If not, you can use our quality thesis writing help online and get your assignment sorted right away. It’s simple, fast, pocket friendly.

Make PhD experience your own

Leave a Reply Cancel reply

Your email address will not be published. Required fields are marked *

A peer-reviewed online journal

18 Theses on Art and Science

Text: Peter Tepe | Section: On ‘Art and Science’

Abstract: Peter Tepe uses the brochure RESISTANCE COGNITION [WIDERSTAND ERKENNTNIS] to express theoretical thoughts on the topic of Art and Science . Both the arts and the sciences reach creative achievements which involve overcoming different kinds of resistance. The empirical sciences (the focus of the text) primarily solve cognitive problems: Aspects of reality are described and, by means of theoretical constructions, explained. The arts, on the other hand, primarily deal with problems of artistic creation within the context of art programmes based on specific values.

To mark its 15th anniversary, the Schering Foundation has published the brochure titled RESISTANCE COGNITION. Discussions with personalities from science and art [ WIDERSTAND ERKENNTNIS. Gespräche mit Persönlichkeiten aus Wissenschaft und Kunst ]. Several texts emphasise that in science as well as in art, the realisation of something new involves overcoming resistance. This is certainly true. My intervention will first of all propose further differentiation when thinking about creativity in the sciences, the arts and other areas of life; more theses will be added later. Other aspects mentioned in the brochure worth reading are left out here.

Introductory quotes

The biophysicist Ilme Schlichting writes:

“[One] challenge within the scientific field is to pursue one’s own research interests without being misled by others […]. Too many thoughts about the future or one’s retirement can have a paralysing effect. In any case, one only realises in hindsight whether a decision was right or wrong. I encounter an extremely delightful form of resistance in my research topics, to which I develop a personal relationship.” (8)

Nobel Laureate Christiane Nüsslein-Volhard expresses a similar opinion:

“In my experience, it is indispensable in both science and art to believe in one’s own concept and to enforce it against any resistance. This may be risky, but worth it if you have a new, original and forward-looking idea. Creativity, a combination of productivity and originality, is not very common in science; many researchers tend to rely on the mainstream, which is safer. […] Most of them base their projects on career considerations, meaning they do what is expected of them and choose the path of least resistance. This is an attitude that seldom results in anything truly new.” (14)

Neuroscientist Ivana Nikić-Spiegel answers the question

“What do you think constitutes an outstanding scientist?”: “Thirst for knowledge, a sceptical mind and infinite patience, which one has to show for the sometimes extremely tenacious processes in the laboratory. What outsiders don’t suspect: Scientists require a lot of perseverance and diligence, as experiments are often frustrating and gruelling at first.” (18)

A central category in the writings of the science-historian Hans-Jörg Rheinberger is “the resistance of the material – something which both artists and researchers struggle with alike”  (28). Artistic and scientific practice

“are both experimental fields that require breaking new ground and initiating things that have never been done before. In the studio as well as in the laboratory, you work your way through the material, ideally encountering connections and phenomena that you would never have dreamed of. Presuppositions are shattered, and one experiences something fundamentally new.” (28)

The artist Hiwa K writes:

“The work becomes interesting to me at the point where the material causes me difficulties and offers resistance; when something is stuck inside that has to be lured out. Then I must do everything it requires of me and, like an obstetrician, bring to light what was not visible before.” (16)

Proposals for differentiation

My first suggestions relate to the sciences. The scientists quoted are active in disciplines which commit to principles of empirical-rational thought — the empirical sciences. They are dealing with aspects of reality of any kind; I exclude logic and mathematics in this context.

Thesis 1 : Principles of empirical-rational thought can be applied in all disciplines that deal with aspects of reality, e.g. also in the humanities. However, not all scientific disciplines follow these principles. Furthermore, only some of these disciplines — not all — operate in a laboratory.

Thesis 2 : The basic form for great innovation of an empirical science begins with the development of a new theory on a specific aspect of reality.  This new theory, according to cognitive criteria, is superior to the pre-existing theories with which it competes. Such a theory has, for example, a higher degree of explanatory power than the other theories, as well as better consistency with the established facts.

Thesis 3 : In order to build an innovative theory of this kind, the psychological belief “in one’s own concept” and the will to “enforce it against any resistance” is necessary. One must “pursue one’s own research interests without being misled by others”. Renewers of this kind are “not very common in science; many researchers tend to rely on the mainstream” i.e. on the work based on already established theories. Anyone who strives to implement a truly innovative approach undoubtedly has more resistance to overcome than someone who aims for smaller advances in knowledge within the framework of an established theory, which of course is also important. To “break new ground and initiate things that have never been done before” requires a certain attitude that is relatively rare. In the case of success “presuppositions are shattered, and one experiences something fundamentally new”.

On the other hand, it must also be considered that not everyone who believes in their own concept and has the will to enforce it against any resistance pursues a theoretical programme whose realisation actually leads to empirical-rational advances in knowledge. It can also be a research dead-end, or an approach that is inferior to the present one. Not all thoughts pursued with great commitment are original and forward-looking.

“Thirst for knowledge, a sceptical mind and infinite patience” are often also prevalent among those who work within the framework of already established theories. A certain “resistance of the material” with which the researcher struggles can be found in all of these forms. Now I turn to art.

Thesis 4 : The basic form for innovation in art is not the development of a new theory about a specific aspect of reality that is superior, in terms of cognitive criteria, to the pre-existing theories with which it competes. In art, the basic form for great innovation is rather the development of a new art programme, opening up many possibilities for implementation and deviating significantly from pre-existing programmes. By an art programme I mean general art goals of a certain kind, which enable a variety of realisations in individual works or projects; these goals do not have to be formulated explicitly; they can also be implicitly effective. The concept of progress is not applicable here, or only in special cases requiring particular analysis.

Thesis 5 : In order to establish an innovative art programme, the psychological belief “in one’s own concept” and the will to “enforce it against any resistance” is also necessary. One must pursue their own artistic interests “without allowing oneself to be led astray by others”. Renewers of this kind are not to be found on every corner of the art world either, but they probably appear somewhat more frequently here than in the academic world. Most artists likewise “tend to rely on the mainstream”, i.e. on work within the framework of already established art programmes, which can lead to important innovations on a smaller scale. To “break new ground and initiate things that have never been done before” requires a certain attitude in art that is relatively rare.

On the other hand, however, also here one must take into account that not everyone who believes in their own artistic concept and has the will to pursue it against resistance follows an art programme that is actually innovative. Not every art project pursued with great commitment is original and forward-looking. Such a commitment can also be found among those who carry out their work within the framework of already established art programmes. A certain “resistance of the material” which artists struggle with must be overcome in all these forms. For many (but not all) artists, the following applies: “The work only becomes interesting to me then, when the material causes me difficulties and offers resistance”.

Cognitive and value-based innovations

In the next step, I put the discussion about creativity and innovation into a larger context:

Thesis 6 : Creative individuals who promote new ideas and try to enforce them against great resistance do not only appear in the sciences and arts but, ultimately, in all areas of life: Craft, industry, ideology, politics, gender relations, sport, etc. The following applies to all: in a particular area, a particular regulation is established to solve particular problems; this has proven worthwhile — at least for some time — and its application has become implicit for many who are active in that area. Now, if an attempt is made to replace the old regulation with a new one, it is to be expected that its implementation will only succeed if we are prepared to engage with overcoming many obstacles. With some modifications, the formulated theses can, therefore, be transferred to other areas of life which I will not go into at this point. Creativity is not exclusive to the arts and sciences.

Thesis 7 : A distinction must be made between innovations in solving cognitive — and their sometimes related technical — problems, and innovations whose primary aim is to enforce certain values. The development of a new political programme is driven by a related set of values which determine what is most important in this dimension — contrary to what was previously thought. Accordingly, the development of a new art programme is driven by a certain set of values which determine what is most important in art practice — contrary to what was previously thought. This difference must be observed on a theoretical level: Whilst the various creative processes do reveal some common elements and structures, there are also important differences specific to each area.

About art and science

In the next step, I focus on the relationship between art and science and consider how general statements about this relationship can be made. In art generally, and in the visual arts in particular, various different art programmes have been and are still being pursued; cf. thesis 4. Artists working expressionistically, for example, pursue a different art programme to those working with a naturalistic approach.

Thesis 8 : When making statements about art, it is a mistake to orient oneself to one specific art programme in an open or covert way, neglecting other art options. This mistake can be avoided by utilising a formal concept of art when defining the relationship between art and science in general terms. This means that art is always the realisation of a certain art programme that can be pursued at different degrees of awareness; the content of the different art programmes, i.e., the general art goals, vary.

The approach described in Thesis 8 can be applied to the sciences: although for the sake of simplicity I shall continue to restrict myself to the empirical sciences.

Thesis 9 : Different science programmes have been and continue to be pursued in those disciplines with a claim to scientific knowledge of aspects of reality. By a science programme I mean general epistemological goals of a certain kind, which enable a variety of realisations in individual scientific projects; these goals do not have to be formulated explicitly; they can also be implicitly effective.

In the next step, I will make a differentiation in order to arrive at the most concise statements possible about the relationship between art and science.

Thesis 10 : A distinction has to be made between two types of past and present scientific disciplines relating to aspects of reality. Whilst the first type is based on principles of empirical-rational thought, the second type is not, or only to a very limited extent: here, principles are used that are more or less in great conflict with those of empirical-rational thought.

According to Theses 8 and 9, it makes sense to first of all interpret the question surrounding the relationship between art and science in this way: What is the relationship between art (understood as the realisation of this or that art programme) and science (understood as the realisation of this or that science programme)? One can go down this path, but I do not consider it particularly productive, as the difference between the two types of scientific disciplines relating to aspects of reality, which are in conflict with one another, is neglected. Therefore, the following path looks more promising.

Thesis 11 : It is proposed to split the initial question on the relationship between art and science relating to aspects of reality into two questions. Question 1: How does art relate to those scientific disciplines that are based on principles of empirical-rational thought? Question 2: How does art relate to those scientific disciplines that are not or only to a limited extent based on principles of empirical-rational thought?

In this text, I will limit myself to the first question. Thesis 4 already includes a first response to this question, referring to the aspect of great innovation. Both art and empirical science reach creative achievements: while new art programmes are developed on the one hand, new theories on aspects of reality, representing empirical-rational advances in knowledge, are developed on the other.

On the relationship between art and empirical science

Thesis 12 : The empirical sciences solve cognitive problems, epistemological problems of a certain kind: The examined aspects of reality are described as precisely as possible according to certain criteria (which are not further discussed here), and the findings are explained with help of theoretical constructions. An innovative empirical theory can better explain its respective aspect of reality according to certain criteria than the pre-existing theories with which it competes.

Thesis 13 : The arts also reach cognitive achievements — to varying degrees  — which cannot be determined in detail at this point. Here, however, we are primarily dealing with solving problems of artistic creation that are related to various art programmes which, themselves, are based on art-related values; cf. Thesis 7. Declaring a found object (objet trouvé) an art phenomenon can be seen as a borderline case in solving a problem of artistic creation.

Thesis 14 : Thus, the basic difference between art and empirical science is that both areas primarily set out to solve different problems: where one focuses on problems of artistic creation, the other deals with cognitive problems of a descriptive-determinative, but above all theoretic-explanatory nature. However, this does not exclude the possibility that an arts practice can also encounter cognitive problems and an empirical scientific practice can also encounter problems of artistic creation; these interrelations require a separate analysis.

On the relationship between science-related art and empirical science

Finally, I will briefly address the relationship between science-related artists (i.e., artists who base their work on theories/methods/results of any scientific field) and the empirical sciences. Sentences from the conversation with Rheinberger, which refer to the exhibition Eavesdropping Fish [Fischen lauschen], serve as a starting point:

“The Swiss media artist Hannes Rickli had latched onto the primary data stream of biologists exploring marine life near Spitzbergen. In this way he was able to take scientific video and audio recordings out of their context and transform them into an artistic research object. With the help of this moment of alienation, he succeeded in eliciting impressive aesthetic effects and new insights from the material.” (28)

Thesis 15 : Rickli draws on video and audio recordings made in a scientific context: he then uses this scientific material to solve certain problems of artistic creation within the framework of his art programme. He thus represents one variant of the science-related artist.

In principle, I am open to concepts of artistic research. When reading relevant texts, however, it has become apparent that the term is used in various contexts that are often not distinguished from one another. Therefore, if no clarification is made, the question “What exactly do you understand by artistic research?” becomes relevant. Thesis 15 now makes it possible to grasp one of these meanings more precisely.

Thesis 16 : The transfer of scientific video and audio recordings into a project of artistic research can be understood as the use of these recordings for a project of artistic creation supported by a particular art programme. Rickli thus succeeded in “eliciting impressive aesthetic effects from the material”.

But does Rickli also arrive at new knowledge? The answer depends on what exactly is meant by knowledge — also here, there is a need for conceptual clarification and a reference to the fact that many different things are referred to as knowledge.

Thesis 17 : If one interprets the concept of cognition to be scientific thought of an empirical-rational nature and its pre-forms in everyday life, then the following applies: The claim that a science-related project of artistic creation reaches new insights in the empirical-rational sense — insights which are directly relevant to the sciences dealing with such aspects of reality — requires examination in each individual case. Such a gaining of insights may be conceivable, but in many cases seems rather unlikely. The following constellation, however, is probably more likely: a science-related project of artistic creation dealing with certain phenomena can help a scientist who is also concerned with these phenomena to come to new ideas, the further pursuit of which then leads to an improved or even completely new theory. It would be worthwhile to examine more closely whether there are cases of this kind and, if so, what the individual effect of art is in encouraging the gain of new scientific knowledge. Furthermore, Rheinberger addresses another way in which science-related art benefits science: “It is important for science to create such points of contact. This opens up the gates to a universe that otherwise remains rather alien to laypersons.” (28)

Thesis 18 : In some cases, science-related art provides the layperson, who may not be able to find direct access to a certain science, with a first access to a universe that seems strange to them.

This is one reasonable option amongst many others.

Picture above the text: Cover picture of the magazine: Resistance Cognition [Widerstand Erkenntnis].

Translated by Rebecca Grundmann.

How to cite this article

Peter Tepe (2020): 18 Theses on Art and Science. w/k–Between Science & Art Journal . https://doi.org/10.55597/e5977

• Artistic Research
• cooperation between artists and scientists
• Empirical Science
• science-related artist

Prof. Dr. Peter Tepe | Herausgeber Der Herausgeber ist für die Gesamtplanung zuständig und koordiniert die drei Bereiche. Außerdem wirbt er neue Beiträger und Kooperationspartner an und beteiligt sich an der redaktionellen Betreuung der eintreffenden Beiträge. Peter Tepe ist Philosoph, Literaturwissenschaftler und bildender Künstler. Er ist auch nach dem Ende seiner Dienstzeit im Institut für Germanistik und im Institut für Philosophie an der Heinrich-Heine-Universität Düsseldorf verankert, betreut noch viele Doktoranden und leitet weiterhin den von ihm 1987 begründeten interdisziplinären Studien- und Forschungsschwerpunkt Mythos, Ideologie & Methoden.

… [Trackback]

[…] Here you can find 19230 more Info on that Topic: between-science-and-art.com/18-theses-on-art-and-science/ […]

[…] Read More Info here on that Topic: between-science-and-art.com/18-theses-on-art-and-science/ […]

[…] Find More to that Topic: between-science-and-art.com/18-theses-on-art-and-science/ […]

[…] Find More on that Topic: between-science-and-art.com/18-theses-on-art-and-science/ […]

[…] Read More to that Topic: between-science-and-art.com/18-theses-on-art-and-science/ […]

Leave a Reply Cancel reply

Your email address will not be published. Required fields are marked *

Privacy Overview

Master of Design in Design for Interactions

Our mdes program supports those with design backgrounds who seek to transform their practice..

The School of Design welcomes students who hold undergraduate degrees in a design-based field and at least one year of professional experience to enroll in our MDes program. If you’re looking to build onto your strong foundation in design by studying the “big picture” aspect of designing for interactions—people, organizations, cultures, contexts, and systems—our MDes program can help you. Throughout the program, you will work with some of the brightest thinkers and most talented practitioners in the field, gaining exposure to approaches, ideas, and methods at the forefront of design. Studies rooted in communication, systems thinking, futuring, speculative design, design technology, ethics, and design research form the basis of the MDes. The curriculum enables us to teach you a rigorous process for documenting, analyzing, and understanding the past and present so that you are well-positioned to propose more desirable systems and interactions for the future.

The diversity of our MDes cohort creates an incredible group of people with whom to learn.

In addition to bringing rich cultural experiences from around the world, our MDes students hold a wide range of professional and academic expertise. Holding undergraduate degrees in design-based disciplines such as communication design, product design, user experience design, architecture, and service design, our MDes students bring their unique perspectives to design coursework, which enriches everyone’s learning. Our requirement for MDes students to have at least one year of professional experience also bolsters our program as students bring valuable lessons learned in practice, such as effective collaboration, to their academic studies.

Our rigorous curriculum balances structure and autonomy.

Spanning four semesters over the course of two years, the MDes program will challenge your thinking of the roles design can and should play in aiding various forms of interactions throughout society. Through individual and team-based projects that focus on the design of services or social innovation concepts, you will learn design principles, approaches, theories, and tools that are essential to designing for interactions. Each semester is comprised of thoughtfully-aligned seminars, studios, and labs that equip you with important knowledge and skills that aid your development as a design leader. Despite designers typically working in service of others and responding to specific prompts, our MDes courses provide you with ample autonomy in directing your individual work. We take this approach because we recognize the importance of your individual interests and strive to support you as you chart your personal path that builds on your unique design background and voice. Given that CMU is a liberal arts research university, students may also appreciate pursuing research opportunities with faculty and taking courses across campus to broaden and deepen their education.

The MDes thesis provides an opportunity for you to conduct rigorous design research.

A unique feature of the MDes program is the design thesis, which is characterized as an independent research and design project that you will conduct under the mentorship of a faculty advisor. The thesis is complemented by a required second-year seminar, elective coursework in the School of Design, and other departments across the Carnegie Mellon campus. In the first year, you'll identify possible thesis topics relative to School of Design faculty expertise, investigate ways of conducting a thesis, construct a researchable question that will frame your project, secure a thesis advisor, and write a proposal for your second year of study. In the second year, you'll conduct intensive research that aligns with an appropriate design process and culminates in a robust design project that addresses your research question. You will also write a document that describes your steps and discoveries. Throughout the process you will participate in public sharing sessions of thesis work, where you will give and receive feedback to further your inquiry and understanding. You can peruse masters theses from students in the School of Design online at KiltHub .

• Beyond Big Beef: Transitions to Food Citizenship Through Community, Ema Karavdic
• Affordances for Multi-device Gestural Interactions in Augmented Reality, Shengzhi Wi
• Amplifying ASL: Designing with Futuring and Inclusion, Mackenzie Cherban
• tac.tic: Tactile design language for indoor-outdoor pedestrian navigation, Chirag Murthy
• Designing for Trust, Meric Dagli
• Building Long-Term Relationships between People and Products through Customization, Ashlesha Dhotey
• Designing for Learning Growth: Encouraging Metacognitive Practice to Support Growth Mindsets in Students, Chen Ni
• Project Care: Empowering Elderly Chronic Disease Patients to Better Understand and Manage Their Treatment Plans Through Enhanced Patient-Centric Services and Systems, Suzanne Choi & Laura Rodriguez-eng

Our MDes equips you with important design skills and knowledge that enable you to realize a lifelong career in design.

The MDes is regarded as a terminal degree in design. As a result, graduates are poised to take on leading design roles in professional practice worldwide. Alumni are also well-positioned to acquire entry-level teaching and research positions at universities. As a graduate, you may also seek to deepen your studies through a design-focused PhD program like ours, or continue your education in areas such as business, human-computer interaction, or public policy. However you chart your path, we are confident that our MDes will provide you with a strong design education that builds on your background and strengthens the positive trajectory for achieving your professional goals.

Master of Design in Design for Interactions (MDes) Curriculum

Fall semester, year 1.

Explore design for interactions, design for services, and design for social innovation and study their potential impact in business and policy. Expand your skills in communication and interaction design.

Investigate the history, current state, and future of interaction design practice and research.

Envision and prototype preferred futures by giving form to the behaviors and interactions of products, services, and systems.

Use design strategies to decode complex information and communicate messages clearly.

Learn to use design tools for physical and digital environments to support your studio projects.

Investigate your personal interests, probe existing theses, and study various ways of conducting a thesis.

Learn about faculty research.

Spring Semester, Year 1

Investigate business and policy opportunities in design for services and social innovation through research-based team project work in your studio course. Work with advisors to prepare your thesis proposal.

Choose to study either Transition Design, Social Innovation or Design for Service.

Tackle a client-sponsored team project using an integrated research and design process.

Learn and apply a range of participatory methods for exploratory, generative, and evaluative research and design.

Construct a researchable question to frame your project, secure an advisor, and plan and propose the research and design approach you'll conduct in your second year of study.

Take a design elective or a course outside of design to complement your skills and knowledge. We recommend courses in policy, business, service or social innovation, interaction or communication design, or professional writing.

Fall Semester, Year 2

Through thesis project work and your choice of electives, craft a generalist degree in design for interaction, or develop a concentration in design for services or social innovation.

Build on the foundation of coursework and studios through thesis research with your advisor. Conduct research and develop creative concepts to investigate a significant challenge, engage with stakeholders in the real world to inspire and evaluate your ideas, and review your progress and evolving body of work with peers and your advisor to inform your subsequent steps.

Survey new models and approaches to interaction design and design for service in professional practice.

Learn research strategies and tools to assist you in your literature and artifact reviews, investigate making as a means of exploring and understanding your topic, and explore ways of visualizing your discoveries to aid your learning and share your findings with others.

Spring Semester, Year 2

Bring your thesis project to fruition by synthesizing your discoveries and disseminating valuable insights that have the potential to benefit others. Take advantage of electives to cultivate your expertise in design for interaction, and design for services or social innovation.

Model, test, and refine, your design concepts that have emerged from your year of deep research and design exploration to deepen your understanding of your topic, synthesize your findings and apply what you learned to your project, document, present, and publicly defend your thesis, and showcase your project as a unique feature of your design portfolio to demonstrate your ability to take on a significant research and design project.

Explore ways of encapsulating your study, synthesizing and structuring your discoveries, and writing and designing your thesis for dissemination.

We invite you to connect with us and learn more about the School of Design and our MDes program.

Check out examples of students’ work . Join us for an online visitors session . Review other areas of our site such as Frequently Asked Questions and Application Process . Plan a visit to Carnegie Mellon and coordinate a tour of the School of Design while you’re here. Contact us to schedule a call with our academic advisor to discuss any outstanding questions that arise. We look forward to meeting you!

• louisville.edu
• PeopleSoft HR
• PeopleSoft Campus Solutions
• PeopleSoft Financials
• Business Ops
• Cardinal Careers

• Undergraduate
• International
• Online Learning

Hite Institute of Art and Design | Department of Art and Design

• BA in Art, Track in Studio Art
• BA in Art, Track in Art History
• BFA in Art, track in Studio Art
• BFA in Art, track in Graphic Design
• BFA in Art, track in Interior Design
• Minor in Art or Art History
• Undergraduate Courses Offered
• MA in Art (Creative) and Art History: Concentration in Art History
• MA in Art (Creative) and Art History: Concentration in Critical & Curatorial Studies
• MA/MPA Critical & Curatorial Studies/Public Administration
• MFA in Studio Art and Design
• Graduate Courses Offered
• Undergraduate Admissions
• Admission to the MA Program
• Admission to the MFA Program
• Visit the Hite Institute of Art + Design
• Scholarship Information
• Upcoming Exhibitions
• Current Exhibitions
• Past Exhibitions
• Hite calendar of events, exhibitions, lectures, & workshops
• Join our Mailing List
• All Exhibitions
• Academic Classrooms & Studio Spaces
• Schneider Hall Galleries
• Cressman Center for Visual Arts
• Bridwell Art Library
• Photographic Archives
• University Art Collection
• The Speed Art Museum
• Portland MFA Studio
• Faculty Directory
• Contact The Department
• Art Library
• / Exhibitions
• / All Exhibitions
• / Spring 2024 BFA Thesis Exhibition

Department of Art + Design | Hite Institute of  ART + DESIGN

104 Schneider Hall University of Louisville Louisville, Kentucky 40292

Main Office Hours

M-F 9:00am to 5:00pm

(502) 852-6794 | Main Office

(502) 852-5914 | Art History

(502) 852-0288 | Cressman Center

[email protected]

Social Media

• Sustainability

Museum of Art

The Bates Museum of Art will be closed from March 5 to April 11, 2024. We look forward to welcoming you to our two spring exhibits on Friday, April 12. You can learn more about all our upcoming exhibitions here .

Joseph Vineyard

My thesis is a digitally drawn 2D animation meant to visualize the feeling of a panic attack by demonstrating the physical effects a person may feel in a more literal manner. It is inspired by my own personal relationship with anxiety and panic attacks. Some of the choices I made were informed not only from my experiences, but how others describe the ways they feel when having a panic attack. This thesis is not meant to be a generalization of how all people may experience panic attacks nor is it inclusive of all ways panic attacks may be presented. Instead, it is meant to give those who have not experienced it a way to visualize what someone may be feeling, as well as provide those who struggle with anxiety and panic attacks to have their experience affirmed and show that they are not alone.

The process behind working in animation requires a large amount of preparation before any work on the animation itself is done. While preparing to work on something that is very personal to me, I was able to reflect on my own experiences with anxiety and panic attacks and how it is conveyed in the state of my body as it tightens and shuts down. I also communicated with people and professionals who discussed their own relationships or understanding of anxiety and panic attacks. Many of them talked about how their bodies feel suffocated and out of control as if something else has taken over, which can be described as a type of fight or flight response to danger or threats. This process allowed me to learn more about myself, other people, and the physical effects of anxiety as a whole, while I worked on character designs and storyboarding.

After character designs and storyboards come the animatics and animation where I am able to map out the shots and movements. At this point I begin to develop the scenes to fit the story and experience that is being told. It takes a lot of work drawing movement frame by frame, cleaning up lines, working with the color of the scenes and character. That being said, it is also the period of time when I start seeing my work come to life and where different thoughts and concepts are altered and improved, as I think of the best ways to bring the audience into the same experience. Art to me is like a gateway into an alternate world, a place for the viewer to get lost in and find an experience that reflects or is unlike their own. It is what I find beautiful and inspiring and the goal that I strive to achieve with my own work. Animation is the medium I chose as it brings life to my ideas and stories through the interdisciplinary skills of drawing, photography, film, sound design, and more.