This research studies the effectiveness of teaching art appreciation to home schooled children ages 10-17 through a DBAE curriculum in pinhole photography via a weekend workshop. An autoethnographic approach to recording data about the students’ learning and my experience as their teacher was used in the research. Data was recorded as journal notes during and after each workshop from my experiences as their teacher and analyzed according to a grounded theory based on open coding. The workshop was open for registration of up to 25 home schooled students of any race, male or female, from the ages of 10 - 17. While the research reports a successful change in students’ appreciation of photography as a result of the workshop, parental values proved to be both an obstacle and area of potential future research.

In an increasingly online world interpersonal interactions become a less integral part of our cultural make-up. The exploration of this phenomenon is the thematic concept that activates Between You and Me - a triptych-split-screen short film and video installation. This text is dedicated to exploring how theme, technique, and theory are considered in the context of the film, and how character and form (more than narrative) illuminate the thematic concept.

While graffiti is revered as an art form to some, it is often seen as an unwanted nuisance by others. While vibrantly rich in history, graffiti has a controversial past, present, and future that will likely continue to be the subject of debate, especially with the insurgence of street art, an art form that often overlaps graffiti art in subject matter, media, aesthetic appearance, and placement as a public form of art. Distinguishing between street art and graffiti art proves quite challenging to the undiscerning eye, yet through a series of interviews and thorough investigation, I questioned the contexts of street art and graffiti art. By introducing non-traditional forms of art that are engaging to adolescent students, street art and graffiti art can expand the secondary art curriculum by helping students become more cognizant of current social, visual and cultural aesthetics in their own visual world.

The Culinary Browns is an experimental documentary that traces four generations of the Brown family beginning with Bob Brown, my great-grandfather, a writer of pulp fiction, modern poetry, cookbooks and social commentary. This documentary is not a linear history or purely factual document, but instead, uses personal experience as a means to generate more universal connections to the inherently dysfunctional dynamics of family, the fragmentary quality of memory, and to ultimately remind the viewer that history is relative.

My work is about stress and strain in our modern times. I am using self portraiture as a way to discuss the world around me and hope that the viewer will relate to my experiences. Drawing, painting and video are used to convey different aspects of my observations, and old techniques are mixed with new technologies. Personal observations, artistic and scientific influences, and the art-making process have shaped this body of work.

The Culinary Browns is an experimental documentary that traces four generations of the Brown family beginning with Bob Brown, my great-grandfather, a writer of pulp fiction, modern poetry, cookbooks and social commentary. This documentary is not a linear history or purely factual document, but instead, uses personal experience as a means to generate more universal connections to the inherently dysfunctional dynamics of family, the fragmentary quality of memory, and to ultimately remind the viewer that history is relative.

The constructed works of Phoenix Savage point to the negotiated world of African Americans. Savage explores her artistic process in relationship to racial tensions both personal and historical.

@font-face { font-family: "Calibri"; }p.MsoNormal, li.MsoNormal, div.MsoNormal { margin: 0in 0in 10pt; line-height: 115%; font-size: 11pt; font-family: "Times New Roman"; }div.Section1 { page: Section1; } This paper represents an exploration into the expression of critical regionalism in a globalized design market. The research looks at the historical progression of Indian design and analyzes traditional concepts and patterns that can be melded with an international design language to create a design solution that speaks to both sides.

The history of landscape painting in the West has dictated and reiterated a phenomenological point-of-view derived from the Cartesian coordinate plane system. After having journeyed to northern India for eight months, I became influenced by other pictorial conceptions of space, namely the radial cosmological mandalas of Tibetan Buddhism and yantras of Hinduism. Unable to fully eliminate the coordinate plane system from the recess of my mind, I embarked upon a creative journey through consciousness in which my own studio practice provided the means to construct a new orientation, not only in terms of the perceivable, external world, but within the realm of my own embodied mind.

With digital technology now dominating the film and photography industry, analog resources are becoming scarce. Simultaneously, memories preserved through personal family archives also are in danger of deterioration. Time, heat and humidity can cause film to decay just as the passage of time and the erosion of memory allows their contents to fade. In Looking Back, my family film and photography archives are exhumed and collectively examined by myself and my family. Reflecting upon this massive accumulation of imagery and their attached memories seems an endless task. However, as expressed in Looking Back, the greater the effort to bring conclusive memories to the surface, the more impossible the task proves to be, and larger questions about the significance of family history result.