Employing the designer William Morris as a source of inspiration, this project seeks to explore the call for nature and beauty as a part of our lives. Moreover, it interweaves the necessity for experience of the sensual world (the five senses) with the cerebral world (a requisite to igniting the internal imagination)—a concept embodied in the form of the book. It advocates a redefining of the book as an imagination sculpture (the external and the internal) reflecting this new definition.

During the first half of the nineteenth century in many cities in Germany, England and the United States, free and public galleries were opened to encourage the purchase of art works. Some sponsoring organizations were controlled by artists and some by interested lay persons. All of the sponsors hoped to educate the public and to elevate artistic taste as well as to sell works of art. Many of the organizations offered a premium in the form of a yearly engraving to induce interest and to promote membership. Often there was an annual distribution of paintings and other works of art by lottery. In several cities in the United States these organizations, which were called art unions, began offering memberships. The largest and most influential in the United States was the American Art-Union in New York. However, their success was short lived; by the mid-eighteen fifties, they had closed their doors.

This thesis details my process of teaching Devising Theatre, a course of my own design, in Spring of 2005 and Fall of 2005. I address my curricular development from semester to semester (readings, assignments, assessments) as well as the students' responses to the material. Additionally, I discuss my reasons for teaching the course and the place that alternative theatre can and should have in theatre training programs and in the realization of feminist pedagogy.

The short play Jules is a response to August Strindberg's Miss Julie and Patrick Marber's After Miss Julie. Jules is the story of a wealthy young woman celebrating her Sweet 16 birthday at a lavish "Juicy Couture" theme party in Orange County, California. At the party, her best friend tries to disuade her from falling for a young Mexican immigrant who is catering the party. Jules explores the tensions between rich and poor, the attitude of the privilaged towards the working class, the consequences of relationships, and the attitude that characterizes our "girls gone wild" era.

DIG Spencer Kellogg Neale III MFA, Virginia Commonwealth University, 2011 BA, The College of Santa Fe, 2009 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts at Virginia Commonwealth University Virginia Commonwealth University, 2011 Major Director: Bob Paris Associate Professor, Department of Kinetic Imaging This paper is an outline to various creative pursuits in the Graduate school of arts at Virginia Commonwealth University in leading to my MFA Thesis Exhibition. I have been focused on the works of artists exploring audio/visual textures and overall conceptuality behind a Lo Fidelity sensibility. In my practice, I work through unconventional recording and editing techniques in an effort to define an individual sound within the music I make. With video, I have worked with software programs to manipulate and distort, altering the frame in an attempt to bend the very fabric of the medium. I also present a brief history of the Lo Fidelity aesthetic in music and film.

My thesis is an account of my research on Deconstruction as it relates to family structure and the making of the objects leading to, and consisting of, the work shown in the installation, Endure. The work is a product of my intercessory labor to make sense of the breakage within family structure. Through forced brokenness, domestic imagery, and intercessory reconstruction, I am building a memorial that expresses my concern with deconstruction and hope for reconciliation.

This document examines the theory behind the process leading to my paintings, as well as the content of the images I use. The former will invoke romanticism, infinite possibilities, and the need for having certain parameters and flexible rules. The latter will talk about sentimentality and contemporary culture. I will explain the mechanics of justifying the choice of a particular way of painting: the push and pull between the loaded content of an image versus the language of painting itself.

PRODUCTO CENTRO AMERICANO: MADE IN HONDURAS By Alma Leiva Master of Fine Arts A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts at Virginia Commonwealth University. Virginia Commonwealth University, 2011. Thesis Director: Robert Paris, Professor Kinetic Imaging / Photography and Film I was born in 1973 in Honduras, a country under military regime. In 1982 after 20 years of military rule, Honduras finally had democratic elections. During that decade, and as a consequence of the cold war, the kidnapping, torturing, murder and disappearance of civilians became common practices among the Honduran military. Peasant activists, university leaders, union workers and intellectuals were among its favorite targets. In Producto Centroamericano: Made in Honduras I present the viewer with a "product" entrenched in Honduran history; the disappearance of almost two hundred civilians in the 1980's for political reasons. The work also presents the viewer with the imminent threat of the return of this practice after its military coup in 2009. By juxtaposing references of torturing tools such as knives, metal poles, chains and meat hooks, against more frail materials such as paper, wax and fabric, I make allusions to the vulnerability of the individual against such repressive forces. Through the elements presented in the installation, I try to take the viewer on a journey that will hopefully, confront one with one’s own humanity and ultimately with one’s own mortality.

We shall not starve. We shall not lack shelter. We shall have a hearth. Awake self reliance! Our art is for feeding, warmth, protection. Ceramics– our temporal salvation. Clay– our material life-force. Transformed by fire we arise with the skills of the ancients! No longer will we live in obscurity. To the deskilled, your fate is at hand! You have chosen alienation, distraction, banality, and sloth. Embrace your digital false Gods and die or be reborn to the natural physical world. Now, together we complete our reason for being. We create a new world of kinship. A hope for the utopia not of rigid modernism but one of a new world, a rediscovery of the natural order.

I see myself as a maker. Most of what I do is make paintings, but to define myself as a painter puts other projects at a critical disadvantage, labeling them as “side projects.” Robert Morris once said that although visually his work may vary a great deal, he felt the ideas flowed throughout the work. I like this idea. The role of the studio and the idea of play as both diligent investigation and a way of playing a game with the viewer is part of what I will discuss. In addition, I use game spaces as a surrogate to look at interpersonal interactions and as setting for a game within a game dynamic to be discussed.