Thesis (doctoral)--University of London, 1994. / BLDSC reference no.: DX197084.

Thesis (M. Phil.)--University of Hong Kong, 2002. / Includes bibliographical references (leaves 245-264).

Thesis (M.S.)--Central Connecticut State University, 2002. / Thesis advisor: Cassandra Broadus-Garcia. " ... in partial fulfillment of the requirements for the degree of Master of Science in Art Education." Includes bibliographical references (leaves 120-121). Also available via the World Wide Web.

Thesis (M. Ed.)--Kutztown State College. / Source: Masters Abstracts International, Volume: 45-06, page: 2749. Typescript. Includes bibliographical references (leaves 89-93).

In Spanish Town, the fabrics of the patterned streets are cross-stitched with roots of mature trees providing an airy canopy to the neighborhood below. I live in a space on the second floor of a cubed structure situated only a few steps between a small one-way street and a row of unkempt brush imitating a flowerbed. With its relationship to the street, the house seems to stand above the surrounding pitched roofs of one-story rectangles. Behind the house, you will find a light blue-gray staircase ascending to a small porch floor mounted in the trees. There is something warm and restorative about living on a staircase of trees in the oldest neighborhood in Baton Rouge. One characteristic of Spanish Town is that newly renovated houses in the neighborhood stand next to other crumbling ones. In a sense, the neglected houses are reminders of the rich history of the neighborhood. By painting cross-slanted shadows, I am representing mystery associated with my memories of the neighborhood. In Belinda Thompsons book Vulliard, she described how Edouard Vuillard had a rare ability to evoke the atmosphere of space, to get beyond the superficial, and approach the mysterious core of reality (Thomson, 7). In most of my paintings, there are examples of hiding places, or holes. These spaces are normally indentations in the architecture of the neighborhood, such as windows and doors, the crawl-spaces under the houses. This body of work shows the beauty of shadows and holes when combined with exaggerated light and color contrasts. A home is a geometrical site, a conventional hole that we furnish with pictures, objects and wardrobes within a wardrobe (Bachelard, Jolas, Stilgoe, 27). These mysterious places in the paintings are examples of the term Between-Space. Another example of the term is the literal space between foliage where you can see the sky as negative space. I focus on these pockets of light and space when Im painting trees and plants. My paintings focus on the unique character of the neighborhood as well as the scale of the individual. They portray a preservation of my experience as a resident of Spanish Town.

I am an identical twin. The connection I share with my twin sister is intense and immediate. But now, we live over 800 miles apart. This Is My Attempt To Hold On serves as a visual metaphor for the longing for the undiluted rapport we have when we are together, and the frustrations of communicating with her through a digital device. I am constantly dissatisfied with my attempts to connect with her. I watch myself, my words, and my thoughts become diffused through the pixels. The work exists as composites of various mediums, creating a dialogue between photography, printmaking, sculpture, video and performance.

This thesis investigates the link between art and fashion photography in the work of Peter Hujar and Nan Goldin, both of whom commented on the nature of gender identity. There is an extensive body of fashion-inspired images by both of these East Village photographers that falls into this category. The pictures they produced of gender-nonconforming individuals serve to comment on the restrictive nature of gender identities represented in fashion photography, and also to elevate the status of those pictured to that of fashion models. The unique cultural context of the East Village served as the perfect location for both photographers to explore their interest in gender identity and expression, as the East Village of the 1970s through 1990s was home to a large population of gender-nonconforming individuals. By examining these artists work in their cultural context, and comparing it to examples from fashion photography contemporaneous with their photographs, the connection between art and fashion photography is illuminated. Ultimately, this thesis seeks to demonstrate the importance of these photographs in the history of the East Village, and their lasting influence on society.

Studies involving the observation of elementary art teachers within the classroom are scarce, if existent at all. This work presents data from a case study which examined two well respected elementary art teachers who teach in the same school district. The data from this study revealed that, although personality type tends to play an important role in the making of a teacher's presentation, and interactions, three other themes emerged as important in an outstanding teacher. Four themes were found to be conducive to outstanding teaching. Those themes are; (1) personality type, (2) educational background, (3) teaching of curriculum, and (4) enthusiasm. Findings indicated that although these two teachers approach students in different ways, they have both become successful within their techniques. Different personal approaches to teaching can prove to be successful and can provide students with a variety of tools for problem solving and knowledge.

No description available.

Cultural identity is something that impacts the individual, shaping and influencing them, during their lifetime journey. Each person chooses to embrace that identity differently. For my thesis, I investigated pre-Columbian culture and its rich history, specifically source visuals of faces as symbolic forms integrated into my visual study. Exploring: various media, elements that are expressive of national identity, image-making techniques, and my graphic design knowledge as vehicles in my work to uncover a different point of view of my own cultural heritage. The process of finding new graphic representations of traditional pre-Columbian faces, while deconstructing and reconstructing their structure and re-contextualizing into a unique contemporary visual vocabulary, was one of my main goals. This exploration helped me better understand those images that I have carried with me since I was a child, but mostly guided me in the right direction of sharing them with my audience which has never been exposed to pre-Columbian symbols and icons. As a graphic designer, I wanted to share the beauty and rich ethnic traits of my culture. I had a story to tell and I had an obligation and responsibility to tell that story through what I know best, graphic design. I believe that exploring our identity can help us communicate our unique individuality and can be used as a source of inspiration and national pride to tell a unique story. In addition, my goal was to not only challenge myself as an artist while developing an in-depth academic body of work.