This thesis explores holography as an art medium from a conceptual rather than technical perspective. It outlines 20th century theories of art and aesthetics, and suggests terms to describe subcategories of art in display holography, also charting the various types of holograms that exist. A prehistory proposes holographic parallels in the history of art. A summary is given of the history of holography in the visual arts, with a survey of the first and second decades giving turning points in recognition or development. The
advantages and disadvantages of holography as a medium are discussed, along with holographic developments from existing art movements and how artists have used holography. Attention is drawn to survival networks in the holography world that exist for artists in holography. Issues that are controversial in contemporary and holographic art are discussed. These include sections on the position of women, explanations for the art world bias against holography and the scarcity of informed critical writing on the
subject. An indication is given of the technical choices possible in making and displaying holograms.

The second part of the thesis covers work carried out during the PhD project. The overall aim of the project to break down the boundaries between holography and the traditional fine art area of painting, to present male and female stereotypes, is discussed. A commentary on the male Cosmetic Series and other project works is given. Technical procedures are laid down for work in pulsed and continuous wave holography, film handling and colour work, and exhibition presentation. The thesis ends with a conclusion and some brief speculations on the future of holography in general.