MA in Art History: Coursework theses completed 2011
Dana Rehn, The image and identity of the alchemist in seventeenth-century Netherlandish art
Sonia Pakinyat, The moral meaning of mirrors in representations of Renaissance women
Margot Osborne, Progressives and provincialism: The role of art criticism in the advocacy of modern art in Adelaide from 1940 to 1980
Jade Wildy, Shades of green: Changes in the paradigm of environmental art since the 1960s
Kimberly Clements, Islamic influences on the making and meaning of the medieval mosaics in St Mark’s Basilica
Tai Spruyt, From the camera to canvas: the influence of photography on modernist figurative painting in the 1960s and the 1970s
2010
Jane Llewellyn, The rise of modernism and its impact on the commercial gallery system internationally and in Australia
2009
Elsa Grabowska-Baldino, Knights and Noblesse in mid to late nineteenth century: a Polish crusade in art
Zoe Freney, Imaging the sacred chamber: the representation of women and their power at the court of Emperor Akbar (1556-1605) in the miniature painting’s of Akbar’s workshop and Mughal Marian imagery
Geraldine Slattery, Examining the female principle in the context of Hindu and Buddhist iconography of a Nepalese Tantric sculpture
Jennie Young, Continuity and change in Kuninjku art
2008
Roger Bannister, A bio-aesthetic analysis of three contemporary Aboriginal paintings from the Central Deserts of Australia, 2008
James Cooper, The rise of the viewing public in nineteenth century Europe as a principal determinant of the course of modern art and the avant-garde, 2008
Melanie Cooper-Dobbins, Wayward Wives and Deviant Mistresses: François Boucher’s mythological women of the Rococo, 2008
Elspeth Pitt, Stanley Spencer's Christ in the Wilderness series, 2008
Lauren Sutter, Capturing the Adelaide Metropolis: the photography of Ernest Gall and Harry Krischock (1860s-1940s), 2008
Max Tomkins, Is the Screen the Museum of the 21st Century?, 2008
2007
Tony King, “Imp of the perverse”: George Finey’s early years, 2007.
Lesley Allen, Adelaide’s public monuments 1903-41 and the construction of culture, 2007
Lihua Jiang, Music for painting’s sake: the alternative approach for abstraction, 2007
Safrizal Shahir, Islamic art from Southeast Asia: prominent or periphery? A case study of a pair of doors for a Royal Compound (Lawon Kori) dated from the sixteenth century from the Art Gallery of South Australia, 2007.
2006
Ann Axelby, Tjala Arts’s importance in the resurgence of men’s painting in the Anangu Pitjantatjara Yankunytjatjara Lands, 2007.
Rosanna Barson, Diane Arbus and Susan Sontag: for or against? The wrestle of photographic interpretation in the light of The Revelations exhibition, 2007.
Kate Chattaway, An investigation into thirteenth to sixteenth centuries Sawankhalok naga and makara finials in the Thai ceramics collection of the Art Gallery of South Australia, 2007.
Maria D’Ieso, Traversing the imaginary landscape: an investigation of a pair of Japanese screens – legendary landscape with temples and shrines c. 1630, 2007.
Cheri Donaldson, Deep and defiant: Dusan and Voitre Marek; two European émigré artists in postwar South Australia, 2007.
Sean Farran, A parallel interrogation of culture: art forgeries in the age of authorial demise, 2006.
Alison Fowler, Ships ahoy! The symbol of the ship in Indonesian textiles, 2007.
Julia Lim, Julie Dowling: whose story does she tell?, 2007.
Gary Morgan, Two views of Venice: the Venice prints of Whistler and Mortimer Menpes, 2007.
Gloria Strezelecki, Kathleen Sauerbier: a catalogue raisonne, 2007.
Deborah Wallman, The evolution of Maccasan narratives in Yolngu art of Arnhem Land –form and function, 2007.
2005
Nerina Dunt, The rise of urban Indigenous art in response to colonialism, 2006.
Karen Hewitt, Colin Coulihan; unveiling an Australian modernist painter, 2006.
Rosemary Heysen, Nora Heysen in the Pacific 1953-1962, 2006
Jenny Kalionis, The resurgent body: a reaction to politics or digital disembodiment? An investigation of Mike Parr’s work since 2000, 2006.
Kate Moskwa, Subverting the domestic: constructing the new female uncanny in contemporary art, 2006.
Sera Waters, Invoking disaster: visions of the monstrous and the catastrophic in Japanese visual culture from the Edo and postwar periods, 2006
Judith Worrall, Skangaroovian funk: provincialism or not?, South Australian non-functional ceramics in the 1970s, 2006.
2004
Tansy Curtin, Contemporary German photography and American realism: is colour the only link?, 2004.
Karen Finch, Schulim Krimper: modern furniture designer, 2004.
Susan Foster, Contemporary Indigenous art reflecting the place of prison experiences in Indigenous life, 2004
Jennifer Harris, “Flowing water and lofty mountains”: Ichikawa Beian: Calligrapher and Scholar, 2004.
Amelia Matthews, The expression of identity and cultural continuity in the work of the Lockhart River Art Gang, 2004
Tomoko Nakayama, The post-war Japanese avant-garde movements: the distinct phase of anti art 1954-1970. Gutai, Neo-Dada, Hi Red Centre and Mono-ha, 2004.
Cherie Prosser, Going for the Baroque: the use of neo-baroque aesthetics in contemporary photomedia, 2004.
Mary Rivett, Yilpinji Art ‘Love Magic’: Changes in Representation of Yilpinji 'Love Magic' objects in the Visual Arts at Yuendumu, 2004
Janet Worth, The distinctive fish motif on a 14th century Iranian bowl in the Art
Gallery of South Australia’s William Bowmore Collection of Islamic ceramics,
2004.
2003
Elise Kamleh, A piece of a ceramic puzzle: a fifteenth century Vietnamese wall tile from Java, 2003
Ann Preston Flint, Dora Chapman: artist, teacher, wife, a career thwarted or a career achieved?, 2003
Fiona Sherwin, Harry Pelling Gill: a practising artist, 2003
Lesley Smith, Aboriginal textile art: Ernabella batiks and the screen printed fabrics of Tiwi design, 2003
2002
David Heinrich, Max Klingers’ Intermezzi; a critical analysis, 2002.
Jill Swan, The Berkeley, Hill and Gilbert families: Images of childhood and domesticity in colonial South Australia, 2002.
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