Through description and analysis of the balancing and intersection of gender in the collaborative artist couples of Marina Abramović and Ulay, John Lennon and Yoko Ono, and Christo and Jeanne-Claude, I make evident the separation between their public lives and their private lives, an element that manifests itself in unique and contrasting ways for each couple. I study the link between gendered negotiations in these heterosexual artist couples and this division, and correlate this relationship to the evidence of problematic gender dynamics in the artworks and collaborations.

The artist/teacher identity is often a contentious site in which the two roles are perceived of as in opposition to one another, rendering relationships between the two challenging to negotiate. This thesis explores ways in which identity transformations are navigated. Specifically, I have investigated what it feels like, looks like and means to practice as an artist and a teacher through my art making practice. Culminating in an art exhibition, my work takes the shape of an autoethnographic, arts based inquiry framed by the methodology and renderings of A/r/tography placed within a five phase creative process proposed by Barone and Eisner. This inquiry involved making art work that was provoked by acts of (re) membering and (re) making as I engaged with a lifetime of photographic images while looking for persistent patterns and themes that in turn would illuminate aspects of my fragmented identity.

Blacksmithing has undergone a dramatic transformation in the last twenty five years. This study examines the changes and the context within which they have taken place. The effects upon the products of the blacksmith are considered through empirical research and practical work. The working methods and philosophies of blacksmiths representative of a continuity of traditions and innovatory practice are investigated through interviews and other approaches. From its origins as a rural and industrial craft, blacksmithing has emerged in the form of art-blacksmithing. Institutional and government intervention, new technologies and markets provide the context in which the ideologies and practices are examined. It is argued that these new blacksmiths are selfconscious designer-makers who are technically innovative, and commercially aware, operating successfully between and within the cultural and commercial arenas. In combining practical and decorative functionalism, and producing site-specific art work at a competitive price, artist blacksmiths successfully inhabit the worlds of art, industry, trade and craft, often simultaneously.

As a theme of my diploma thesis I have choosen an Artis´t book.I have choosen this subject becouse of different reasons. One of these is that this vast theme has not properly inguired yet. My work is devided into three parts. Theoretical, applied and practical. In the first part I try to define the vast phenomenon of artis´t book itself. I have choosen the art-historical point of view. Furthermore I wrote abaut how this subject has developed in course of time. I have faund some key artists for whome the artist book was and is still the main subject. In the applied part of my diploma thesis I look at the difficulties which could occured in the course of the making this kind of book. So I write abaut graphic technics and so on. The third part-actually the main part is the object of artis´t book itself. I have choosen poems inspired by landscape, which I accompained by abstract motives inspired by poems. The photographical document of my work is in theoretcal part as a suplement.

This research investigates artists’ pedagogies to address the limited understanding in the education field of how artists enact their pedagogies, why they value them, and how they describe them. I purposively selected eight people from a UK-based charitable organisation that offers creative projects for children and adults in and beyond schools. I used a principally ethnographic multiphased research design and adopted methods of data collection and analysis from grounded theory to progres- sively focus on artists’ interests that have been overlooked by education research. In the exploratory phase of research, I conducted 13 participant-led, unstructured interviews with eight artists from the organisation. I progressively focused on salient concepts that emerged from this phase through participant observation and further interviews in subsequent phases. I observed six of the eight artists from the exploratory phase as they facilitated 20 workshops in total across five sites. Each workshop averaged approximately two hours in length. I observed three or- ganisational retreats when these eight artists collectively planned, described and discussed workshops. I attended a daylong conference hosted by the organisation on outdoor learning, which included presentations by two artists I observed. I participated in two artist-led reflective conversations when five artists and three site partners discussed workshops I observed. I conducted seven semi-structured interviews with three partners and three workshop participants. To represent their pedagogies, I selected three of the five sites for descriptive cases studies that featured four of the eight artists working in outdoor settings. These workshops served, for the most part, nursery and primary school children along- side nursery nurses, teachers, and members of their families such as parents and grandparents. These four artists member checked these descriptive case studies through additional interviews. I presented a separate framework that interprets themes that emerged in these three descriptive cases. Using a nested case study approach, I included the perspectives of the eight artists who participated in the study to interpret these themes: space, time, material, body, and language. I used a focus group with six of the eight artists, as well as separate interviews with the founder and director, to examine similarities and differences in interpretation and strengthen the trustworthiness of my account. This research found that these artists attempt to create conditions for open-ended enquiry across five dimensions—space, time, material, body, and language—so that participants experience immersive and pleasurable “beautiful little moments” when they extend possibilities for being in ways that could not have been prescribed or judged. The artists positioned their pedagogies as a critique of a market-driven ethos pervading institutions, particularly schools, that have narrowed opportunities for being.

This thesis essay explores the journey that I have taken as an actor, highlighting the moments that have influenced my process. I will elaborate on specific experiences in the years leading to my matriculation at the University of Iowa, focusing on broader concepts and lessons that have impacted my beliefs. Through the use of storytelling, I will convey moments and lessons that have resonated with me throughout my time as an academic and professional actor. Furthermore, this essay will provide a broad scope of my beliefs as an artist and actor, while allowing room for the possibility of adaptation and expansion in the future. Finally, I will articulate my specific process as it stands now. Everything that I do from the day that I am cast to the end of performances will be outlined, and what I intend to work on as I move forward in my acting career.

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This study focuses on an arts integration professional development approach for K-12 teachers that is collaborative, long-term, and sustainable. The question that drove this work is: What are the key elements in a professional development model for arts integration in a teacher/teaching artist partnership that best support growth in teacher efficacy and internalization of drama strategies? To answer this question, I modified an arts integration model that was long-term, used drama-based instruction in core subject areas, and involved the teacher in the execution of the lessons in addition to the teaching artist. The model for this project was implemented with two middle school math teachers, data was collected, results were analyzed and recommendations were developed. / text

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