Swords have been used throughout history as weapons of war, as symbols of power and wealth and as national and religious icons. Unlike other weapons however, the sword did not simply fade into the background as technological improvements caused the martial value to lessen. The primary purpose of this paper is to look at the development of the sword as an object of art, specifically in the countries of Spain and Japan, after the invention of the firearm. A brief history of the development of the sword from the earliest manifestations through the Iron Age is provided as way of introducing the subject. The researcher then delves into the specifics of the development of the sword in Spain and Japan. Areas of focus include the martial uses, aesthetic values and cultural influences affecting the overall formation of sword cultures in both countries. The transformation of the sword from a weapon of war to a showpiece of craftsmanship and artistic expression after the introduction of the firearms is then discussed in detail. This discussion includes not only Spain and Japan, but neighboring regions as well. Why this transformation took place and who or what were the primary reasons for it are specific topics of interest in this section. The researcher concludes that the sword, the weapon upon which empires rose and fell for centuries, has moved into the realm of cultural icon. Increased sale values at auction, the infusion into popular media, such as books, movies and video games, and the growing number of collectors and aficionados all serve as indicators of a thriving global sword society.

This thesis parses two early paintings by the Venetian High Renaissance artist Titian. The discussions analyze the circumstances and patronage, compositional elements, iconography, and meanings of each work that lead through a maze of often contradictory art historical scholarship. This journey concludes by my proffering greater insights for each extraordinary painting by this internationally renowned artist. The earliest extant work by Titian--St. Peter Enthroned, with Donor and Pop--is a wonderful, if somewhat awkward, completion of a commission begun by Giovanni Bellini. Dating controversies over the centuries are examined, and a secure time-frame of 1506 to the first half of 1507 is advanced. Differences of opinion over the meaning of the work are also analyzed, and I propose that it served as an ex voto for the patron, Jacopo Pesaro, as prideful recognition of his commission as papal admiral in the Christian crusade against the Turks. The depiction of citizen patrons in devotional art did not belong to an established Venetian tradition, but to one with which Pesaro became familiar during his service at the papal court in Rome, where it was widespread. This patron used art as a means to promote his ambitions, and Titian used it to demonstrate his ability to compete with Giovanni Bellini. The second work examined, the Pesaro Altarpiece, had a long creative gestation which included several changes in composition that culminated in a new standard for pale--"altarpieces" and sealed Titian's reputation as the leader of the Venetian school. This painting, in situ at the Frari, is part of a wall altar dedicated to the Immaculate Conception, adjacent to the Pesaro family tombs. The painting can only be appreciated by understanding its different meanings to Jacopo Pesaro, the rest of the Pesaro clan, the Confraternity of the Immaculate Conception, and the Franciscans of the Frari. This thesis demystifies and disproves some art historical interpretations that have confused understanding of Titian's artistry and the significance of the painting.

The issue of Modern societys detachment from nature and a sense of place are the inspiration for this body of work. The use of aerial landscapes relates to the concept of our increasing disconnection from nature and our environment. Viewers float above the landscape and are not part of it. They can become involved visually but are not connected by a traditional point of view. There is evidence of humanity, but it is impersonal, paired down to simple shapes and brush strokes. By pulling back and showing humanity as a smaller part of the earth, like ants leaving trails in the dirt. I seek to give perspective and call attention to our relationship to the world in which we live.

The paintings in this masters thesis exhibition represent my daily encounters over the past three years. The hurricanes of 2005 made me realize how nature can be ugly and destructive one day and peaceful and beautiful the next. My paintings are abstractions of imagery representing the disrupted landscapes and personal obstacles left behind by the storms, along with my optimistic vision of a harmonious world. I describe my experiences through the search for a delicate sense of balance that excites and then quiets the mind. The painting is created through an intense interaction between me, the materials and the surface, creating something new and unique. My abstractions are full of energy, color and texture that represent days of turmoil to days of complete relaxation.

This paper is an exploration into the lives of the people who were affected by Hurricane Katrina. Being one of those people, I can greatly empathize and understand the myriad of emotions that families endured during this tumultuous time. My intentions are to bring the viewer into a fragment of what it was like to live through such a tragedy.

"Land Alive!" is best described a multimedia work. The produce of travels to the area of the Mississippi River delta, along with text-based research, formed the materials from which two evenings of participative performance were crafted. Personal narratives were used alongside evaluations of administrative programs, and the space in the Backyard Gallery was transformed using shovels, buckets, and teamwork. Found chairs, rope, and other objects, through ritualized interaction, became an aesthetic formation; everyone present worked together in the assembly of a boat, which contained the results of these interactions between myself, six volunteers, and an audience turned participants. The evenings were an opportunity for individuals to come together, connect to each other, and share a different kind of encounter with the Mississippi River delta. This was an interdisciplinary undertaking; my training as a studio artist was complimented with the study of performance, physical science, and sociology, The goal of this project was to propel new kinds of ideas into old and difficult problems.

I have traveled to and lived in many different countries outside my native country of Korea. These opportunities have allowed me to meet diverse people and learn about their unique cultures. While living in the United States, I have experienced culture shock in such everyday activities as observing students eating food during class, wearing pajamas at school, and other similar displays of informal behavior. I was taught to follow Confucian ideas; the basic principles being to respect one¡¯s elders and to be considerate of other people. Compared to Korean culture, Western culture seems very open-minded and individualistic. Adjusting to the West has challenged me to negotiate conflicting impulses to reveal or conceal my emotions. I have experienced both confidence and insecurity speaking English and I have felt a sense of belonging and isolation, resulting from my appearance as an Asian. Having these experiences, I have come to realize that invisible barriers exist between me and other people from different cultures. Before coming to the United States, I ascribed commonplace stereotypes to Americans. I believed that they all possessed guns, were tall and big, and ate hamburgers everyday, etc. These stereotypes and cultural barriers may have been created not only by cultural differences, but also through my own preconceptions. The Korean culture that I grew up in has impeded my full comprehension and assimilation into Western culture. I want to integrate the traditions of my Korean culture with aspects of western culture in order to illustrate how both cultures are a part of me. Through the use of many different display techniques, I have created partially permeable barriers, such as a fence, a door and blinds from ordinary Korean objects like Kimchi jars, rice bowls, side-dish plates, and spoons. I have also invented a pattern as a hidden icon. I want to understand and make elements of Western life my own in the process. My thesis exhibition demonstrates this desire by creating partially open barriers to signal my cultural adjustment to life in the West.

This thesis project was an exploration of narrative artwork through installation. Throughout the exhibit, I used multi-panel wall pieces, traditionally bound books, and fake walls to create an unbound book for the viewers to walk through. The pathway through the gallery provided my plotline; the works manipulated the pacing of this plot through their size and placement on the wall, with careful attention given to changing perspectives through the height of the hanging, as well as adjusting time by varying the space between the panels. Multiple print mediums were used in an effort to change the tone between pieces. This was a first attempt at installation that provided numerous ideas for changing the style of this exhibit and potentially new installations.

My work utilizes the metaphor of the family garden gone wild to represent growing up in a difficult family environment. The plants struggle in an environment that turns the typical, quiet backyard garden into a chaotic jungle. This body of work illustrates a variety of printmaking techniques such as mezzotint, silkscreen, drawing, and etching. The vibration and saturation of intense colors create imaginary plants that are highly illusionistic. The troubled environment is represented by the nocturnal background.

My thesis show, A Sweeter Life: A Celebration of Desserts is an exploration in using clay to create a celebratory event. Throughout my graduate studies I have been interested in creating memorable moments for my audience through the use of functional ceramic objects. The utilitarian forms are inspired by specific foods. This body of work celebrates the pleasures of springtime desserts through the use of unique table settings. Each setting has its own theme of fruit or delicacy to highlight the joy of desserts. I am interested in how desserts can be enhanced by their serving pieces and how a collection of desserts can relate to each other in shape, size and color. Through this interaction, the serving objects create a memorable experience for the audience. The exhibit comprises of a collection of five different circular dessert tables. The circle is a foundation for all of my dessert table settings because of its inherent connection to the idea of a cycle. I am interested in the importance of cycles within our lives and their possibilities for marking time, place, and recalling memory. In considering how cycles can mark time, I have chosen to work with seasonal cycles, focusing on spring. Throughout my life I have felt as if I have perpetually wanted to exist in the springtime because the sentiments that are associated with the spring season give rise to the feelings of renewal, freshness, and hope. These are all feelings that I cherish and have inspired the ceramic work I create.