<p> This project, a film made of short video clips and still photographs, is a continuation of my observation of the urban birds of L.A County: pigeons, seagulls, and herons. There are two other sides that complete the triangle my work relies on: the Hispanic community, which is indirectly present in this document, and me, the outsider/wanderer. This triangle captures an essence of strangeness and uninvited existence that I find in this town, but can be found anywhere else.</p><p> I chose the format of the projected film because of its "lack of weight." I like the idea that the project has no real physical presence, that it is all data, or memory. Edward Limonov wrote that back in Russia, he had many books, but immigrants do not have books and now he has only three. I feel much the same about art objects and I find it appropriate that once I leave, carrying a compact disc in its case with me, I will leave no traces behind. </p>

<p> If graphic design has the power to unite and inform a community, it can be a powerful tool for social justice. My project uses this hypothesis to examine issues surrounding the community of Muscoy by conducting number of community-based case-studies.</p><p> Muscoy is a community in San Bernardino County, California. During the 1930s, Muscoy was largely an agricultural community. Since then, much of Muscoy has changed dramatically and has veered away from its agricultural roots. I have chosen to focus my project on a lack of community self-awareness, waste management and sustainability problems. Using graphic design to focus attention on these issues, I developed a typeface and a brand for Muscoy; an electronic info-graphic; collaborated with a third-grade class at Muscoy Elementary; designed a series of posters and wild-posted them within the community; designed an environmental graphic using chain-link fence, and I developed a website to serve as a community hub.</p>

<p> In <i>Local Positioning System</i> I explored urban areas on foot and displayed the results of my explorations in the Dutzi gallery. My primary impetus for this project was to gain a more complete understanding of my surroundings. In a Global Positioning System (GPS)-driven re-imagining of British artist Richard Long's walks, I tracked my wanderings using a smartphone and filtered the resulting data and imagery through mechanical methods of production such as laser cutting and screen-printing. I then incorporated this imagery into a much larger installation piece that led viewers through a scale model of my exploration, via a detailed path on the wall and illuminated light boxes on the floor to guide their path.</p>

<p> Cultural aspects of South Korea fueled my artistic production for my Master of Fine Arts Project exhibition, <i>Desire.</i> The images of palaces, dollhouses, and castles that I depicted not only represented social expectations of wealth and social standing, but also fantasies many Koreans have about what it means to be successful a "desire" for wealth and improved social standing. With relief printed imagery, I created an environment where viewers walked through a labyrinth-like path, experiencing the fluid motion of psychological space. I aimed to visualize the acute societal pressures, which many young South Koreans suffer under.</p>

The Museum of Fine Arts, Houston owns ten oil sketches by Thomas Sully (1783-1872) which depict episodes from Daniel Defoe's Robinson Crusoe. The ten paintings represent different events in Crusoe's twenty-eight year stay on an uninhabited island from the shipwreck which landed him there to his departure. He dated the first sketch 1856, and they were probably the preparatory studies for ten larger paintings of the same subjects which he completed in 1858. On the back of the first sketch Sully acknowledged his source for the sketches, illustrations by the English artist, Thomas Stothard (1755-1834) which were published in an 1820 edition of Robinson Crusoe. In addition to the Robinson Crusoe series, Sully painted many other literary subjects which have never been studied in any detail. Although Sully is known as a portraitist, these examples of his subject paintings indicate that they should be studied further.

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Ariadne Abandoned by Theseus on Naxos was painted by the Swiss-born artist Angelica Kauffman in 1774, while she was living in England. Her work was an important factor in the development of the early Neoclassical style in England, and this painting embodies the ideas of noble simplicity and sedate grandeur put forth by her friend Johann Winckelmann as appropriate for such history paintings. One of her few single-figure, non-portrait history paintings, it is typical of the careful composition and rich Venetian coloring for which she was well-known. Angelica was a well-educated woman, and therefore she was able to draw on a wide variety of literary and visual sources when she chose the subject. The theme of abandoned and mourning women was often used by artists in the late eighteenth century, and Angelica may have had a particular identification with it, due to her unusual position as an artist and a single woman.

The way we see architecture, defined as the way space is organized, materialized and perceived, is questioned using the medium of screen images which make possible explorations involving the real and the imaginary. This is achieved primarily through video installations which create an "other" space where our conventional ways of seeing are inverted: the tangible loses its materiality and the virtual gains a physical presence. The subjective experience of the "other" space reveals a temporal and spatial aspect of architectural perception that lies outside of real time and real space informing us of possible new ways to form space.

The five oil paintings done by Paul Cézanne during the 1890's and entitled Les Joueurs de Cartes will be considered in this thesis both individually and collectively as a series. Certain developments in Cézanne's life are noted as likely reasons for his return to figure painting with the Joueurs series. One chapter is focused on Cézanne's artistic taste and art theory as well as the extent that both were influenced by various artistic and literary traditions. Other chapters are concentrated on the possible sources for these paintings, their formal features, chronology and interpretation. Central to the issues in several chapters is a stylistic division between the multi-figure versions in the series and the two-figure ones -- the latter bear nascent features of Cézanne's distinctive late style, developed largely from his increased use of the watercolor medium.