This thesis tracks the formal and conceptual development of my work during the two years of graduate study at the VCU Photography and Film Department. It describes the influence of photography on my evolution as an artist and contextualizes my desire to expand the practice beyond the traditional limitations of the medium. It recounts my experimentations with assemblage, video and installation and their contribution to my understanding of spatial and temporal dimensions in the formal construction of my work.In part, the thesis is also a statement of my convictions about art making. It discusses theimportance of perception and subjective experience, as well as the role of personal history in my work.

This study examines the development of Freedmen's Bureau schools in Central Virginia at the end of the Civil War. Under the watchful eye of Ralza Manly, Superintendent of the Virginia Freedmen's Bureau education division, establishing schools for freed slaves faced innumerable challenges ranging from inadequate financial resources to hostile southern whites who opposed northern intervention into local affairs. Nevertheless, northern benevolent societies and hundreds of altruistic, yet paternalistic, educational missionaries converged on Richmond and Petersburg determined that education was essential if blacks were to achieve true freedom and become self-reliant and independent. While the Bureau devoted much of its energy towards establishing schools for the freedpeople, Manly and northern educators worked to expand educational opportunities for whites. This, together with the black schools, laid the foundation for creating free, albeit segregated, public schools for both races in Richmond and Petersburg, the first such enterprises in post-Civil War Virginia.

This thesis challenges the sedentary nature of living vicariously through the television, whether it be watching sports or playing video games. Since the advent of professional sports spectators have become accustomed to stadiums stuffed with people cheering on their favorite teams. The television substitutes for this visceral experience and allows viewers to live surrogate lives without leaving the living room. Ultimately, I see this thesis as a social commentary on the impact of sports and media in our society. This project highlights the sociological implications of the loss of interpersonal contact perpetuated by media.

This thesis examines four European portrait prints of Ottoman sultan Mehmed II, dated 1470 to 1493. At the center of this study is a formal and iconographical analysis that indicated all are rooted in traditional artistic conventions of both Western princely portraiture and stereotypical imagery of evil doers. Part of a feverish textual and visual discourse that was the result of great fear for the Ottoman aggression, they all adhere to a conventionalized type for the Eastern despot. The portraits employ to varying degrees a general pictorial language of evil, based on medieval folk imagery, that employed sartorial and physical signifiers used for a wide range of social groups that were not accepted by Christian society. The result is four images that share certain characteristics, most notably an iconic hat, but differ considerably in others to bring across diverging messages about the sultan's ambiguous public identity.

This paper is a discussion of certain philosophical issues that have informed the progression of my work to date.

GreenLife is the name of the retail interior design project that embodies this thesis. Using interior design as a medium to influence customers,I sought to create an environment that promotes a connection to nature and an awareness of creative possiblities within the context of a store. It addresses the problem of personal social responsiblity by using shopping, a dominant activity in the western world, as a tool for change. As a project, GreenLife attempts to answer three questions: How does design inform cultural experience? How can a connection with nature inform consumerism? Can a store transcend its purpose from filling materialistic needs to become a place of fulfilment? I theorize that if offered a desireable alternative to products that create excess waste and harm our surroundings, an individual will choose the green option, because it will satisfy both a materialistic want and an emotional desire to feel good by personally contributing to help our environment. If these options are presented with a sense of beauty, fun and exploration, it can change how we culturally perceive social responsibility, removing guilt and making it a matter of course. GreenLife is a store designed as a model home with all products set up in a testable format. The interactive nature of the design is intended to provide education and a sense of security within a pleasureable experience, allowing people to confidently choose to live green in their own homes, and to thoughtfully consider the possiblities in other aspects of their lives.

A favorite poet, a strange woman on the beach, pictures I love to look at. Back yard voyeurism, some thoughts on portraiture and why I couldn’t be a photographer. Strange rituals that make sense. Unexpected revelations. Two kinds of light. This essay presents part of the constellation of thoughts, images and ideas that have informed my most recent video installation, Saturday.

This is an outline of the journey of James Campese’s La Vita Nuova. It began as a raw script entitled Sunsets in Nantucket, which I originally encountered during the spring of 2006. After edits, research and meetings it became a successful work which was presented as a staged reading on March 1st, 2009. This thesis describes how I worked with James to transform the script into its final product, managing both the delicacy of the script and the writer. Included is research on New Play Dramaturgy that helped me find the most effective way to work with the script, then taking the final version and preparing it for a reading, inserting actors into the world James and I had created and exposing that world to an audience. The results were positive as we had a very receptive audience who enjoyed the play.

Paintings of women as individual subjects were a popular theme in the Mughal court during the mid-seventeenth century, or the Shah Jahan period (ca. 1628-1658). These portraits depict idealized archetypes with subtle differences in facial and bodily features. The same portrait conventions were used for both historical and imaginary women. This thesis has three aims: (1) identify and explain the significance of three elements that visually represent an ideal Mughal woman using a case study from the Virginia Museum of Fine Arts called Page from the Nasir al-Din Shah Album: Portrait of a Mughal Woman (ca. 1630-45), (2) combine visual and textual sources to further the study of Mughal women, and (3) reinsert the portraits of Mughal women within a larger scope of female imagery in Indian art to show that Mughal paintings encompass just one part of a much bigger story. Paintings of Mughal women are not only aesthetic works of art—they are historical artifacts.

Peter Francisco is an oft-forgotten hero of the American Revolution. A dark-skinned, foreign orphan and former servant, he distinguished himself nationally as a soldier of legendary renown. However, Francisco remains largely absent from the popular modern-day memory of the Revolution. This analysis determines how and why this occurred as well as how and why Francisco remains remembered today by a small minority of American supporters. Methodologically, the analysis examines Francisco's life through a cultural studies lens. It challenges previous analyses of Francisco's life based on romance and myth not akin to historical reality. And although this interpretation gives credence to Francisco's romantic legend, it primarily addresses how Francisco, as a historical agent, tested the various elitist limits of early American republicanism. Furthermore, it contends that Francisco's greatest historical legacy may ultimately have less to do with what he did on the battlefield and more with how he set a precedent for universal inclusion and access to the "American dream" as it is understood today.