{"id":{"repo_id":"wvu","oai_identifier":"oai:researchrepository.wvu.edu:etd-2142"},"canonical_url":"https://search.dev.ndltd.org/etd/wvu/oai:researchrepository.wvu.edu:etd-2142","repository":{"repo_id":"wvu","name":"West Virginia University","base_url":"https://researchrepository.wvu.edu/do/oai/"},"display":{"title":"Mapping Appalachia","abstract":"The complexities of natural and human events that make up the history of a place also create components of its image. Images, even those that are meant to describe limited, specific information, often reveal more than that which they were designed to tell. The maps that have been used in conjunction with traditional notions of landscape painting suggest that there is no single way to understand a place. They also hint of something ineffable but true emerging from their forms. The history of movement of people and natural forces, the arriving and leaving of individuals and cultures change the landscape. Their stories are evident in their forms. The paintings in this series are both physical and conceptual ideas of the place in which I live. The manipulation of paint, the rubbing, digging, and extraction of surface areas are not meant to imitate the landscape, but instead, to sense it.","abstract_html":"The complexities of natural and human events that make up the history of a place also create components of its image. Images, even those that are meant to describe limited, specific information, often reveal more than that which they were designed to tell. The maps that have been used in conjunction with traditional notions of landscape painting suggest that there is no single way to understand a place. They also hint of something ineffable but true emerging from their forms. The history of movement of people and natural forces, the arriving and leaving of individuals and cultures change the landscape. Their stories are evident in their forms. The paintings in this series are both physical and conceptual ideas of the place in which I live. The manipulation of paint, the rubbing, digging, and extraction of surface areas are not meant to imitate the landscape, but instead, to sense it.","abstract_has_math":false,"creators":["Boggess, Jennifer Hall"],"institution":null,"degree_name":"MFA","degree_level":"Thesis","degree_discipline":"Painting","degree_department":null,"school":null,"contributors":["Christopher Hocking."],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2000,"date_issued":"2000-12-01T08:00:00Z","date_published":"2000-12-01T08:00:00Z","updated_at":"2026-07-24T06:15:23Z","subjects":["Fine arts"],"languages":[],"rights":[],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier","label":"Identifier","values":["https://researchrepository.wvu.edu/etd/1139"],"render_values":[{"text":"https://researchrepository.wvu.edu/etd/1139","href":"https://researchrepository.wvu.edu/etd/1139","code":true}]}]},"links":{"outbound_url":"https://doi.org/10.33915/etd.1139","outbound_label":"DOI","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Christopher Hocking."]},{"key":"dc:creator","label":"Author","values":["Boggess, Jennifer Hall"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.available","label":"Dc Date Available","values":["2019-01-17T08:00:00Z"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Painting"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Thesis"]},{"key":"thesis:degree_name","label":"Degree Name","values":["MFA"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Fine arts"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["https://doi.org/10.33915/etd.1139","https://researchrepository.wvu.edu/etd/1139"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["The complexities of natural and human events that make up the history of a place also create components of its image. Images, even those that are meant to describe limited, specific information, often reveal more than that which they were designed to tell. The maps that have been used in conjunction with traditional notions of landscape painting suggest that there is no single way to understand a place. They also hint of something ineffable but true emerging from their forms. The history of movement of people and natural forces, the arriving and leaving of individuals and cultures change the landscape. Their stories are evident in their forms. The paintings in this series are both physical and conceptual ideas of the place in which I live. 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