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This document is a supportive paper for the M.F.A. Graduate Exhibition "Marking Time" held at the B. Carroll Reece Museum, East Tennessee State University, in fulfillment of the Master of Fine Arts degree. Within this paper, I discuss the subjective nature of my drawings and claim my role as a figurative humanist. Through drawing, I explore the emotive qualities of my own form. Rather than depicting actual spaces, I place myself in psychological spaces that reflect specific moods. Chiaroscuro creates an altered reality where visual tension is implicated through the physicality of my movements. This paper also briefly discusses the history of figurative expression, the figurative artists whose works embody this concept, and their influence on my work. An explanation of the individual drawings in the public exhibition is included in the paper. This document concludes with a personal reflection on my growth as an artist.

This paper will explore classical and contemporary methods of painting applied to the portrait. It will emphasize the metaphor of paint as flesh and the connotations of the breakdown of the painted form that stands in for flesh as it relates to our preoccupations with our own mortality. Borrowing from influences like Lucian Freud, Jenny Saville, and Francis Bacon, the artwork explores the creation of a form that is physical and confrontational, and is intended to provoke a psychological response in the viewer. This series of figuration bases its processes on traditional methods, while borrowing from modern art devices to interpret intangible human characteristics that clarify the representation of the subject and the moment being captured. The ultimate product of this two-fold approach is an image that is a tightly rendered representational portrait that simultaneously lends itself to gestural study.

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This project explores the work of Hans Holbein the Younger, sixteenth-century printmaker and portraitist, through the lens of early modern physiognomic thought. This period's renewed interest in the discipline of physiognomy, the art and science of "reading" human features, reflects a desire to understand the relationship between outer appearances and inner substances of things. Physiognomic theory has a host of applications and meanings for the visual artist, who produces a surface representation or likeness, yet scholarship on this subject has been limited. Examining Holbein's social context and artistic practice, this project constructs the possibility of a physiognomic reading of several major works. Holbein's engagement with physiognomic theories of appearance and representation provides a vital point of access to early modern discourse on character, identity and self. / Art History

Eldora, Neethi and Seraphina are three young women who work as science interpreters at a large metropolitan museum. Each woman began her tenure at the age of 15, as part of an employment program for low-income and minority youth, and have since grown to become leaders within the program. Using autoethnography (Ellis, 2004) and portraiture (Lawrence-Lightfoot and Hoffman Davis, 1997), I explore the rich cultures and histories that each woman brings to her work, present stories that counter the dominant deficit narratives around diversity in informal science education, and reflect on connections to my own practice. Through a critical pedagogy framework (McLaren, 2009; Kincheloe, 2008), I analyze power and privilege within the institution, and the roles that race, language, and culture play in the dynamics of the workplace. This includes examination of workplace microaggressions, physical barriers to cross-cultural interaction, and technocratic ideologies that limit advancement and sense of belonging. From facing subtle acts of racism to taking on life-changing opportunities for growth, I examine the complex relationships that the women have with the institution, and explore ways that they are becoming agents of change. / Ph. D.

The intent of this study is to give credit to the female Renaissance painter, Sofonisba Anguissola of Cremona, Italy, for the amalgamation of the portrait and genre traditions in art. Anguissola indirectly influenced the Dutch artists of the Golden Age, who are now liberally assigned credit for the blending of the portraiture and genre painting styles in the· late seventeenth century. Her overlooked innovation affected genre and portrait paintings for centuries to come, consequently having a remarkable impact on the history of art. This study will clarify how Anguissola came about this revolutionary approach to painting and to demonstrate the manner in which her work was almost certainly filtered through the eyes and hands of subsequent genre and portrait artists. This study will elucidate these concepts through an investigation of her social environment, her innovations, her artistic training, and her seemingly inexorable limitations as a woman artist.

My art examines visual culture using a plethora of techniques, formats, and materials. Recent works address family, pop-culture, and politics utilizing portraiture and short-form comics. Much of my art expresses humor through colorful, irreverent imagery, and many works employ satire and parody. Leveraging my experience as a professional illustrator and designer, I tailor my approach to each project, drawing upon divergent styles with an emphasis on polish and accessibility. I frequently adapt well-known images to recontextualize subjects. In my investigation of graphic narrative, I produced political comics, vintage comic book parodies, and experimental, interactive work. This body of work was produced with brushes and paint, touchscreen tablet, digital prints, LED lights, magnetic stock, and more. Though disparate in shape and content, the works are united by a joyful exploration of process and form.

Since the beginning, U.S. public schools have perpetuated harm towards students that do not fall under the descriptors of male, middle/upper class, cis-gender, heterosexual, able-bodied, neurotypical, and white. Education scholars with varying ideological backgrounds have approached questions of education equity for decades; yet, in asking these questions through the "white gaze" (Wright, 2023), some scholars have perpetuated the harm they seek to demystify. The following series of manuscripts express the dire need for (re)calibrating U.S. public schools so that all children receive just, equitable, and humanizing education. The first manuscript analyzes harmful white supremacist ideological hegemony embedded in education policy, the second manuscript is an ethnographic portrait (Lawrence-Lightfoot and Davis, 1997) that resists the "white gaze" and illuminates the good in a thriving classroom comprised of Black and Brown teachers and students through a lens of Black feminist theory, and the third manuscript interrogates what it takes emotionally and intellectually to do this work as a white woman scholar who seeks ubuntu feminist solidarity. The dissertation concludes with a posture of hope. Hope of an otherwise world (Greene, 1995) of education in which ubuntu feminist scholarship will inform praxis so that students may experience pedagogies that liberate instead of harm. / Doctor of Philosophy / Since the beginning, U.S. public schools have perpetuated harm towards students that do not fall under the descriptors of male, middle/upper class, cis-gender, heterosexual, able-bodied, neurotypical, and white. Various types of education scholars have approached questions of education equity for decades; yet, in asking these questions some scholars have perpetuated the harm they seek to examine. The following series of manuscripts express the dire need for (re)calibrating U.S. public schools so that all children receive just, equitable, and humanizing education. The first manuscript analyzes problems and harms embedded in education policy, the second manuscript gives the reader a seat in the classroom of an educator that exemplifies liberatory pedagogy, and the third manuscript interrogates what it takes emotionally and intellectually to do this work as a white woman scholar. The dissertation concludes with a posture of hope. Hope of an otherwise world (Greene, 1995) of education in which collective feminist scholarship will inform teaching practice so that students may experience pedagogies that liberate instead of harm.