
Art, Art History and Design, School of
Theses, Dissertations, and Student Creative Activity, School of Art, Art History and Design
1) it is optional, not required (the ProQuest deposit is required); and
2) it will be available to everyone on the Internet; there is no embargo for dissertations in the UNL DigitalCommons.
Master's candidates: Deposit of your thesis or project is required. (If an embargo, [restricted access] is necessary, you may deposit the thesis at http://digitalcommons.unl.edu/embargotheses/ — but only after getting the prior approval of your department and the Graduate Office; contact Terri Eastin).
Artists: Please include examples of your artwork. It can be inserted into the Word file that contains your abstract, or put in a separate Word (or PDF) file that can be added as a "supplemental" or "additional" file. Or individual files (jpg, tif, gif, mpg, wmv, etc.) can be added as "additionals". There is a box to check on the submission form, and the system comes back and asks you to upload as many as you need.
All depositors: We try to observe a 24-hour "cooling off" period to give you opportunity to correct those "oops" issues that seem to emerge just after deposit.
Upon deposit, you will immediately receive an email that your submission has been received (and this is what you need to show the Graduate Office).
However, you can still log back in and select Revise and upload a new version with your advisor's name spelled right, or your mother thanked in the Acknowledgments, or whatever you're stressing about.
After about a day, your submission will be "published" or "posted", making it available to the Internet; you will get another email to that effect, and your submission can no longer be changed--by you.
If further changes are needed, these can be made by sending a revised file to the administrator < proyster@unl.edu > requesting replacement of the current online version. DO NOT RESUBMIT YOUR THESIS / DISSERTATION. That creates duplicate records, confusion, wasted effort, frustration, sadness, tears, and causes kittens to get sick.
Finally: Congratulations; you are almost there. Click the "Submit your paper or article" link at the bottom of the gray box at left. Follow the instructions. You should be able to copy (Ctrl-C) and paste (Ctrl-V) most fields.
You are the sole author; your advisor is not considered a co-author.
Your institution is "University of Nebraska-Lincoln" (not "at Lincoln" or ", Lincoln").
You do not need to repeat your name and title in the Abstract field; just the body of the abstract.
When you reach the question "Was this submission previously published in a journal?", just skip that part.
Be sure to click the "Submit" button at the bottom. Files upload at the rate of about 5 Mb per minute, so if you have an ungodly large file, it may take a bit of time.
If your file exceeds 40 Mb, think about reducing its size--there are many ways; Google "reduce pdf file size" to find some.
Okay, get started. That thesis is not going to submit itself.
2023
bound by matter, Carlie Antes
Until Morning, Asher Berard
Silhouette, Andy Bissonnette
The Midwestern Aristocracy: Anders Zorn's Portraits in Gilded Age St. Louis, Rebekah Hoke Brown
am i another you?, Laura Diane Cobb
QUALIA, Maxwell Henderson
magic mirrors, Jamie Ho
All I Am, All I Am Not, Courtney Kuehn
Why sweep the cinders…, Gretchen Larsen
Spit Brimming with Futures, Penny Molesso
Spectacle in the Roman Imperial Funeral Procession, William Smith
2022
me tengo que ir, Eddy Leonel Aldana
It Won’t Be Easy, Allison Arkush
Idylls, Madison Aunger
I Want to Go Home, Amber Boris
A Natural History (Built to be Seen), Austin Cullen and Austin Wray Cullen
Brick Collage, Dehmie Dehmlow
Salt in Our Bones, Hannah Demma
The Ghosts Shed Tears, Sarah Jentsch
2021
Short Stories, Tall Tales, Chance Lure Allen
Slowly but Surely, Katie Bosley
Tomorrow is the Worst Day Since Yesterday, Matthew Carlson
Devastation Experienced When Two Individuals Stop Kissing One Another, Isaiah Jones
Things Change, Julia Leggent
Take Your Time, Terry A. Ratzlaff
The Use of Egyptian Blue in Funerary Paintings from Roman Egypt, Margaret Sather
Growth, Taylor Sijan
The Weight of It All, Amythest Warrington
2020
Gendering Art History in the Victorian Age: Anna Jameson, Elizabeth Eastlake, and George Eliot in Florence, Antje Anderson
Eat My Quartz, Neil Celani-Morrell
What the Eyes See and the Mind Knows, Amanda Durig
Cornucopia, Patrick Hargraves
I Poked You Where We Were Connected, Sophia Ruppert
2019
Of Water Jars and Women: A Re-evaluation of Fountain House Imagery on Late Archaic Black-Figure Hydriai, Christopher Askew
ENTANGLED, Katherine Cox
Crushing Caution, Lindsey Day
Patronage and Portable Portraits: Early English Miniatures: 1520-1544, Ashley Owens
A Walk Through Shadows, Nicholas Sheldon
This is Just to Say, Iren Tete
Restorative, Mallory Trecaso
Malleable Perspectives, Erik White
2018
The Adjacent, Phoebe Jan-McMahon
IN BETWEEN, Wansoo Kim
A Synthesis of Structures, Patrick Kingshill
Re-Making The Mark, Zora Murff
It Can't Leave You The Way It Finds You, Kyle Nobles
Pottery and Purpose: Using GIS to Evaluate the 'Scroll' Jars at Qumran, Patricia A. Patton
Time and Lines, Richard Pecos Pryor
Someday I'll Find the Sun, John-David Richardson
Between Global and Local: Geometric Patterns of Gallic Roman Mosaics, Rebecca Salem
A Certain Kind of Woman, Emily Wiethorn
CHIMERA rising, Rosana Ybarra
2017
Domestic Curiosities, Larry D. Buller
SUBSTRATO PARA DEVANEIOS, Louise Deroualle
Object Landscape, Stuart B. Gair
The Quick and The Dead, Robert Hall
pause, Bryon Hartley
The Origins and Identity of Roman Mithraism, Charles R. Hill
Viewing Heaven: Rock Crystal, Reliquaries, and Transparency in Fourteenth-Century Aachen, Claire Kilgore
Ephemeral Permanence, Emily Reason
Shattered Ceilings: Roof Tile Analysis on Survey Archaeology Projects, Rebecca Salem
The Talismanic Seal Stone of Crete: A Re-evaluation., Catherine Stram
Deconstructing Ideas of Utility through the Making of Ceramic Vessels, Iren Tete
Whitetail, Michael Steven Villarreal
Two-faced and Vulnerable, Stephanie Wright
The Rug's Topography, Rana Young
2016
Insight: An Invitation, Joyce Bingeman
Land/People, Amanda R. Breitbach
Don't Worry, Patricia L. Davis
Ripple, Surge, Release, Meryl E. Engler
Zero Street, Keith Graham
Until It Doesn't, Kendall Johnson
When The Wind Stops, Qwist Joseph
Tangled Knot Tied, Shalya Marsh
Representing Propaganda: Anti-Tyrannical Art of the Greek, Roman, and French Populist Agendas, Katherine Norgard
Maybe the Gate Could Be a Fan, Erin L. Schoenbeck
Esprit de Corps, Shalbey L. Workman
2015
Constructing Helen Frankenthaler: Redefining a 'Woman' Artist Since 1960, Alexandra P. Alberda
Line Language, Albert Avi Arenfeld
Between Historical Truth and Story-Telling: The Twentieth-Century Fabrication of “Artemisia”, Britiany Daugherty
Man to Man, Chadric Devin Harms
Inner Struggle, Hiromi Iyoda
On Nine Mile, Allen Morris
Dear, Whoever You Are, I Don't Care Who You Are, Adrienne Smart
Lucas Cranach's Samson and Delilah in Northern European Art, Jacqueline S. Spackman
Half-Light, Kelly A. Stading
Unknown, Gabrielle E. Valdez
2014
Form in Place, Normandy Alden
Constructions of Black Identity in the Work of Glenn Ligon and Kara Walker, Shadé R. Ayorinde
The Imperial Temple at Antiochia ad Cragum: Aspects of Architecture and Iconography, Geraldine S. Dobos
Iterations, Thomas Lowell Edwards
A Language In Becoming, Camille C. Hawbaker
A Collection: Simulations of the Home, Liana M. Owad
Serpentine Imagery in Nineteenth-Century Prints, Paula A. Rotschafer
Carrying Water: A M.F.A. Thesis Exhibition by Aaron Sober, Aaron M. Sober
Closely Distant, Crisha Yantis
Square With the World, Dustin Andrew Young
2013
Your Turn, Samuel J. Berner
Half True - All Real, Matthew G. Blache
PATH - LOSS, Gregory S. Cook