African American brothers, Hodges and Rogers Glenn taught art in Frenchtown, in Tallahassee, Florida during the tumultuous 50s and 60s. In spite of its marginalization, the community of Frenchtown was a thriving self-sustaining mecca for African American culture. The Glenn brothers were an integral part of the vitality of this community. The purpose of this study was to situate their works within a community based art education framework and explore their roles in community construction. In defining community construction, three theoretical perspectives emerged: Dewey's (1900) ideas of social progress, Selznick's (1992) elements of community construction (historicity, identity, mutuality, plurality, autonomy, participation, and integration), and McMillan's (1996; 2011) argument that a sense of community can be framed as art. The historical methodology entailed primarily gathering a number of interviews with those who knew the Glenn Brothers and the community supplemented by secondary sources mostly from local archives. The data were evaluated in relation to the theoretical foundations described above and in light of the theory of social interactionism. The findings were drawn from an historical narrative centered primarily on the Glenn brothers' ten years of teaching art at two rival African American high schools. Analysis of the data showed evidence of the presence of each of Selznick's (1992) elements of community construction and a preponderance of evidence that the Glenn brothers greatly contributed to this community. For example, the infusion of signage and artwork in and on the buildings contributed to the community's identity, their many professions strengthened its plurality, and mentoring students before and after school showed their commitment to ready their students for community improvement and equip them with the autonomy to fend for themselves. This giving back to the community seemed to drive the Glenn brothers in their teaching philosophies. Also, emerging themes of mentorship and art connections showed that the Glenn brothers were influential not only in the classroom, but throughout the community. As father figures, they gave direction and exemplary leadership while the city, state, and nation were experiencing unrest and transition. Their low key but high energy commitment and calm consistency served as proof that alternatives for social change, other than confrontations and protests, do exist. Members of the community described a sense of community that became art when they framed it with comments like "Frenchtown was a decent place" (M. Rush, personal communication, April 4, 2007) and "it was like heaven" (P. Houzell, personal communication, June 5, 2013). Social Interaction between the Glenn brothers and others in the community brought about meaning in their environment. This meaning extended even to the present the author, too, discovered connections to the Glenn brothers. / A Dissertation submitted to the Department of Art Education in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Fall Semester, 2013. / October 7, 2013. / Art Education, Community, Frenchtown, Glenn, Tallahassee / Includes bibliographical references. / Tom Anderson, Professor Directing Dissertation; Maxine Montgomery, University Representative; David Gussak, Committee Member; Pat Villeneuve, Committee Member.

The research in this study seeks to investigate the notion of flow theory and positive psychology and their correlating impact on the ability of people in a community setting to reach a higher level of flourishing by engaging in the creative arts. The study predicts that an observable positive change as recorded according to a scale that measures flourishing occurs when people engage in art therapy experientials. An introduction and literature review will be presented to aid in clarifying the source of inspiration for this study as well as supporting research that helped formulate the research design and methodology. Information describing how the data will be collected and analyzed will conclude the third section, explaining in detail the flourishing scale as well as other measures being used. In the remaining chapters, the data collected from the study will be presented and discussed as they pertain to the research questions. The study ultimately found positive improvement in the ability of the participants to reach a higher level of flourishing, experiencing more positive affect and less negative affect as a result of engaging in a series of 6 painting sessions. / A Thesis submitted to the Department of Art Education in partial fulfillment of the requirements for the degree of Master of Science. / Summer Semester, 2014. / July 18, 2014. / Art Therapy / Includes bibliographical references. / David Gussak, Professor Directing Thesis; Marcia Rosal, Committee Member; Jeffrey Broome, Committee Member.

Examining Critical and Creative Thinking of High School Students Making Art in a Learner-Directed Art Class The purpose of this study was to provide a close up examination of high school students' critical and creative thinking during the process of making art in a learner directed class where students were encouraged and supported to make decisions about content, technique, and media. The study is grounded in phenomenology and draws from ethnography and arts-based research methods. Data were gathered ethnographically about the class and situational context of the art making process. A photo-elicitation interview technique drew information from participants about the decisions they made during the course of their art-making experience. Data were analyzed for phenomenological themes in relation to participants' critical and creative thinking while making art. Results of the study are provided as detailed portraits of the artistic process of ten high school art students. The narrative portraits drawn in this study results rely on both verbal and visual data. Students engaged in critical and creative thinking within the context of making choices about content, media, and processes; judging their progress based on criteria; setting goals for their work; generating ideas for possible solutions; solving artistic problems to meet goals; and through talking with peers and their teacher. Themes of critical and creative thinking in participants' experiences further extant research in relation to the works of Ennis (2004), Hetland, Winner, Veenema, and Sheridan (2013), Jaquith and Hathaway (2012), Marshall (2010), Paul and Elder (2007), and Walker (2004) filling a gap that was revealed in a paucity of research done in this area from students perspectives. Themes emerging from engagement with the data included transitioning between multiple ongoing artistic processes and reasons for doing so. Future research should examine secondary students' long-term development of a thematic body of artwork with special attention to the emergent theme of multiprocessing. The findings were used to develop suggestions for fostering reflection and critical and creative thinking in learner-directed curricula. / A Dissertation submitted to the Department of Art Education in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Spring Semester, 2014. / April 14, 2014. / Art, Art Education, Creativity, Critical Thinking, Learner-directed, Photo-elicitation / Includes bibliographical references. / Tom Anderson, Professor Directing Dissertation; Mark Messersmith, University Representative; David Gussak, Committee Member; Jeffrey Broome, Committee Member.

This study utilizes a sociological contextual examination of the value of art in order to examine the relationship between the value of art and art theft. The over-riding research question of this study addresses: What is the relationship between the value of art and art theft? In order to explore this question, the study will further examine three additional research questions. First, what determines the value of art? Does this value affect motive? If so, how? Second, what is, if any, the co-evolutionary relationship between the value placed on an artwork and art crime? Third, how do policies and procedures established to protect artworks also affect the value of art? This exploratory and descriptive study examines the dualism of value and motive relative to the context of art and art theft through an inductive grounded theory design. The primary means for gathering data will incorporate content analysis and a series of open-ended systematic qualitative interviews. The findings of this study contribute to the overall knowledge of art theft and illicit art trade. It will provide a base of information for future studies, and aid in the development of theories about art crimes. The data will also provide information to stakeholders so that they may actively influence changes in procedures and policy implementation as a prevention of art crimes. / A Dissertation submitted to the Department of Art Education in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Spring Semester, 2014. / January 23, 2014. / Art, Motive, Theft, Value / Includes bibliographical references. / David Gussak, Professor Directing Dissertation; Richard Kunkel, University Representative; Marcia Rosal, Committee Member; Pat Villeneuve, Committee Member.

Abstract Many children with disfigurements have low self-concept as a result of their beliefs about themselves and about what society thinks about them. Some disfigured children are teased, taunted, stared at, and made to feel inferior to those perceived as normal. Many have no idea how to respond to the ridicule and, therefore, may become withdrawn or turn to negative tactics to defend themselves. The objective of this qualitative research is to study how creating, illustrating, and telling a story when asked to use one's visible difference in some context of the story might affect children with visible differences. The study participants included two children, ages 10 and 12, who were identified by mental health professionals as struggling with being visibly different. Participants were guided to construct a story using their disfiguring condition in the story in some manner. Children selected to be in the study had to represent one of three types of disfigurement--congenital, traumatic, or disease process. They were seen over a period of six weeks and provided with paper, pencils, crayons, and markers to complete the task. The participants were interviewed initially and upon exit. The interviews were semi-structured and were used to identify some of each participant's experiences as a person with a disfigurement and to address their storytelling experiences. After the initial interviews, children individually constructed their stories with the assistance of the researcher. These sessions were conducted for 6 weeks, twice a week for one hour. During the final session, children were asked to read their stories to peers or family members. Following this session, the exit interview was conducted. Data were gathered throughout the study and consisted of interviews, observations, videotaping and recording, and memo writing. Research took place in an inpatient setting at a mental health hospital in the mid-west. Both participants were patients on the residential unit at the hospital, which was for individuals who were physically aggressive on a persistent basis. Each had entered the hospital on the acute unit, which was for individuals who had harmed themselves or another. It was not until the participants were on the residential level that they were allowed to participate. Results of the study suggest that children with disfigurements will like creating a story with their visible difference integrated into the story, even when faced with challenges during the process. Findings also revealed that these same children may discuss their visible differences while creating the story and may identify how they respond to others regarding their visible difference. Results also indicated that visibly different children would also like to read their stories to others, not just family members. / A Dissertation submitted to the Department of Art Education in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Spring Semester, 2014. / March 19, 2014. / Disfigurement, Visible Difference / Includes bibliographical references. / Marcia Rosal, Professor Directing Dissertation; Larry Scharmann, University Representative; David Gussak, Committee Member; Thomas Anderson, Committee Member.

This study was an exploration of the physical and social characteristics that encourage gathering behavior in selected coffee shops in Tallahassee, Florida, in the context of literature suggesting social gathering places contribute to the social capital of communities. Gathering places enhancing community in this manner have been called third places. The study was qualitative in nature and included the techniques of visual documentation, observation and behavioral mapping, interview, and survey. Photographs were taken of each coffee shop, and an inventory was made of all furniture, equipment, and significant architectural features. Floor plans were drawn for the three coffee shops and detailed observations and behavioral mapping were recorded on the floor plans as well as in field notes. Each coffee shop was observed for twenty-five hours for a total of seventy-five hours. Fifteen interviews were conducted to better understand how patrons felt about the coffee shop and the meaning these places held for them. Surveys were distributed to 94 patrons to reveal patron attitudes toward the physical and social aspects of the coffee shop as well as their feelings regarding the community in which they live. The data was coded and four categories emerged: physical characteristics, people, activities, and feelings and attitudes. The key findings regarding the physical characteristics included patron's top five design considerations in the ideal coffee shop. These characteristics, presented in order of preference included: cleanliness, appealing aroma, adequate lighting, comfortable furniture, and a view to the outside. Other themes emerged related to people, their activities, and their feelings and attitudes regarding the coffee shop. Each coffee shop was found to have its' own unique social climate and culture related to sense of belonging, territoriality and ownership, productivity and personal growth, opportunity for socialization, support and networking, and sense of community. Regarding feelings of community, survey findings from coffee shops patrons showed a positive correlation between length of patronage and sense of attachment to their community. In addition, feeling attached to the community was positively correlated to their happiness with living in Tallahassee. / A Dissertation Submitted to the Department of Art Education in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy. / Spring Semester, 2004. / March 2, 2004. / Design, Interior Design, Architecture, Third Places, Community, Place Attachment / Includes bibliographical references. / Tom Anderson, Professor Directing Dissertation; Sande Milton, Outside Committee Member; Dave Gussak, Committee Member; Tock Ohazama, Committee Member.

The aim of this study was to determine how well art teachers, who had graduated from the art teacher preparation program at the University of Northern Iowa (UNI) between 1999 and 2003, thought they were prepared for their teaching positions as a result of their experiences in the program. From a review of the relevant literature a number of themes emerged concerning current trends, beliefs, and understandings about teaching art to meet the needs and demands placed on children and adolescents in contemporary society. A document search assisted in discovering the University's goals for the program. Comparing, contrasting, and cross-referencing the information that was collected in a survey of the population and interviews with three of these teachers helped me to assess whether these goals were adequately being met. It allowed me the opportunity to understand how the teachers' concepts, beliefs and understandings about art education had been constructed, both as a result of their experiences prior to enrollment in the program and their experiences during it. It also allowed me the opportunity to determine emerging themes and patterns relating to particular issues and concerns about the program. The information from this formative evaluation provided me with the empirical evidence to recognize problematic areas and to warrant changes to the program that I considered necessary for it to assist graduates to meet the demands of teaching art in today's schools more successfully. In conclusion I identified a number of areas that I considered to be problematic and made recommendations for improvement. / A Dissertation Submitted to the Department of Art Education in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy. / Spring Semester, 2005. / March 21, 2005. / Formative Evaluation, Survey, Interviews, Qualitative Research, Quantitative Research, Preservice Teacher Preparation, Creativity, Education Standards, Art Assessment, Education / Includes bibliographical references. / Tom Anderson, Professor Directing Dissertation; Emanuel I. Shargel, Outside Committee Member; Pat Villeneuve, Committee Member; Sally E. McRorie, Committee Member.

Curatorial practices are shifting due to recent changes in the focus and structure of U.S. art museums (Brenson, 1998; Bryk, 2001; Willumson, 2007). As a result, curators experienced conflicts due to a loss of their original audience, the collapse of their traditional hierarchy, new staff roles in museums, and the museum's focus on visitors rather than art objects (Weil, 2003; Willumson, 2007). It was important to conduct this study to determine ways to resolve these conflicts so curators can properly function within their institutions and fulfill their larger goal of serving the public. Using a reconceptualized framework developed by van Mensch (1990), this study qualitatively explored curatorial practices at the Rijksmuseum in Amsterdam. The main data included four in-depth interviews with Rijksmuseum senior curators, observations at the Museum, and documents evaluation. The study uncovered how equality and collaboration among curators and staff can fulfill museum functions and may help resolve certain conflicts. It also revealed how in some cases curators can maintain their traditional functions while serving the broader public through the creation of exhibitions that facilitate education and provide meaningful connections. As a non-U.S. institution, the Rijkmuseum's curatorial practices provided insight regarding problems experienced by U.S. art curators. / A Dissertation Submitted to the Department of Art Education in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy. / Fall Semester, 2008. / October 9, 2008. / Curators, Museums, Curatorial Practices, Art Education / Includes bibliographical references. / Pat Villeneuve, Professor Directing Dissertation; Jeffrey Milligan, Outside Committee Member; Tom Anderson, Committee Member; Penelope Orr, Committee Member.

The purpose of this case study was to explore the contextual experience of a woman who engaged in intimate partner violence. Past and current literature on women's engagement in intimate relationships violence is largely influenced by three theoretical camps- feminist, social learning, and family systems- none of which adequately explain nor explore the nature of the issue (Perilla, Frndak, Lillard & East, 2003). This case study used a different, contextual-based approach to frame the research and data: the ecological nested model (ENM). The model situates violence within four layers of a person's experience: (a) the individual system- childhood experience, family of origin, role models; (b) the microsystem- family relationships, friendships, colleagues; (c) the exosystem- social networks, socioeconomic status, occupation; and (d) the macrosystem- societal norms, culture, ethnicity (Bronfenbrenner, 1977, 1986; Dasgupta, 2002; Larance, 2006). With the guidance of a supervised, student art therapist researcher, a female inmate who engaged in intimate partner violence participated in six art therapy sessions. During the sessions the participant explored and explained her experiences with violence, and the effect of contextual-based influences on her engagement in intimate partner violence. / A Thesis Submitted to the Department of Art Education in Partial Fulfillment of the Requirements for the Degree of Masters of Science. / Summer Semester, 2008. / July 3, 2008. / Women, Violence, Art therapy, Case study / Includes bibliographical references. / David Gussak, Professor Directing Thesis; Marcia Rosal, Committee Member; Penny Orr, Committee Member.

This study was aimed at understanding the perceptions of students and faculty at two National Architecture Accreditation Board accredited architecture programs regarding the social and psychological considerations in architectural design. A comprehensive review of literature in the field revealed a strong need for integrating these concerns in the architecture curriculum to enhance students' sensitivity toward human issues thereby resulting in design of environments more conducive to the society and people. In that context I attempted to identify the position of two accredited architecture schools on psychological and social concerns in architecture as well as students' and faculty's interpretations of the schools' foci. The study was qualitative in nature and included techniques of observations, individual interviews and focus group interviews. I observed students' presentations of their design projects, and faculty and visiting architects' critiques of these projects. I also interviewed the professor teaching the fourth year design studio at each school. Students from the fourth year design studio also participated in a focus group interview at each school. The data from observations and interviews was coded to identify themes related to the concerns expressed by students and faculty. Fourteen themes emerged and some themes were divided into categories during subsequent stages of data coding. An analysis of the responses toward each theme with reference to the emphasis on psychological and social aspects led to inferences for the four supporting questions and the research question for the study. Both schools selected for the study indicated that their curriculum is structured around creative and technical aspects of architecture while peripheralizing psychological and social concerns. However, faculty and students showed sensitivity toward these issues and various facets associated with them in the discussions of their projects. Additional questions were raised and attempts were made to postulate probable reasons for the attitudes that emerged. / A Dissertation Submitted to the Department of Art Education in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy. / Fall Semester, 2006. / July 31, 2006. / Architecture Pedagogy, Psychological, Social, Design Studio / Includes bibliographical references. / Tom Anderson, Professor Directing Dissertation; Lois Hawkes, Outside Committee Member; Lisa Waxman, Committee Member; Marcia Rosal, Committee Member; Pat Villeneuve, Committee Member; Sande Milton, Committee Member.