| dc.contributor.advisor | Bitters, Shawn | |
| dc.contributor.author | Dunigan, Myles | |
| dc.date.accessioned | 2018-01-30T03:08:07Z | |
| dc.date.available | 2018-01-30T03:08:07Z | |
| dc.date.issued | 2017-05-31 | |
| dc.date.submitted | 2017 | |
| dc.identifier.other | http://dissertations.umi.com/ku:15257 | |
| dc.identifier.uri | http://hdl.handle.net/1808/25804 | |
| dc.description.abstract | This project is an examination of the roles that visual technologies and history play in the contemporary landscape image. Specifically, the work focuses on using the failures of production and imaging to produce an analogue to ‘natural’ space, exploring how this failure can ultimately become a pathway to the sublime or beautiful. Conducted with a hybrid process that combined three-dimensional, digital modeling, photography, and printmaking, the work examines the visual impact and historical expectations that these media possess across a variety of formats and installation strategies. | |
| dc.format.extent | 19 pages | |
| dc.language.iso | en | |
| dc.publisher | University of Kansas | |
| dc.rights | Copyright held by the author. | |
| dc.subject | Art criticism | |
| dc.subject | Art | |
| dc.subject | Digital modeling | |
| dc.subject | Landscape | |
| dc.subject | New Media | |
| dc.subject | Printmaking | |
| dc.subject | Sublime | |
| dc.title | Everything Always-Already Ends | |
| dc.type | Thesis | |
| dc.contributor.cmtemember | Coburn, Daniel | |
| dc.contributor.cmtemember | Rosenthal, Benjamin | |
| dc.thesis.degreeDiscipline | Visual Art | |
| dc.thesis.degreeLevel | M.F.A. | |
| dc.identifier.orcid | | |
| dc.rights.accessrights | openAccess | |
