This thesis presents an Advanced Placement curriculum for the concentration section of the Drawing Portfolio. It is intended as a teaching tool to encourage and develop creative strategies related to idea generation and refinement based on creative problem solving, which is essential to the development of an effective concentration. One of the most difficult problems faced by Advanced Placement Studio Art students is idea generation for the artwork related to a central topic for the concentration section of their portfolios. This curriculum introduces lessons based on artist research, brainstorming, synectics, and SCAMPER techniques designed to foster creative idea generation for artwork development. It also gives students a tool with which to analyze the ideas generated based on specific criteria necessary to the concentration. This curriculum specifically encourages the creative process in students and provides teachers with a foundation with which to begin a unique and highly personal journey by the individual student.

Can the female feel at home in nature, myth and on screen, realms where she is so often laid to rest? "Pictures in an Exhibition" is a pastiche that exposes popular culture and art historical tropes in which ambiguous signifiers have become lost in a chain of referents. An installation of videos documents durational performances—filmed, edited and performed by the artist unaccompanied—that are humorous, satirical, aesthetic, historical, philosophical and psychological. Making simultaneous reference to art history, mass media, literature and mythology, "Pictures in an Exhibition" exposes the conflicted condition of a postfeminist 'self' striving to arrive at an exhibition of subjectivity.

abstract: I conducted this qualitative research including data collection, data analysis and comparison analysis in a Casting and Jewelry Techniques course at Arizona State University for a whole semester. The purpose of this research was to explore the symbolic interactive meaning of metalworking to university students in metal courses, and if they had various learning needs to improve and enhance their metal art making by seeking their responses to the relationship between technical issues and concepts of their own artworks. The study results showed that the meanings of metalworking to students were craftsmanship, and a sense of accomplishment, and it related to their daily lives in career and presentation. Most of them focused on the degree of technical completion and forms of work rather than expressive concepts, and techniques were important in their works. I compared my findings in this study with my pilot study and James's study in a sculpture studio class, and found some similarities in teacher's philosophy and students' metalwork meanings that included career aspirations, some peer interaction, technical concerns rather than concept formation, and process as serious play or the exploration of materials. / Dissertation/Thesis / Ph.D. Art 2014

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My thesis explores the relationship between the human psyche and the perception of reality through the use of computer generated media. In a society in which we are bombarded with multimedia technology, we must look inside our selves for a true understanding of our past and memories. Rather than it acting as an escape from reality, my art becomes an opening for truth in reality.

When making my work I constantly reflect on past mythologies, images, and objects. These served people as a way to make sense of and understand the dynamics of the world around them. As we continue to alter and shape the world into one designed for exclusively human benefit, we need new models that reveal the dynamics of our relationship to the world around us. This is what artists have been doing for centuries, and I specifically look to those using animals and animal imagery in their work to further mythologize our contemporary understanding of the human-other animal relationship. My body of work utilizes methods of drawing, printmaking, sculpture, and video to create contemporary icons, objects, and rituals. Icons are re-appropriated, objects are redefined, and rituals are reinterpreted in my work in a way that becomes relevant again for a contemporary audience. Animal imagery is used in a way that explores current trends in genetics, industry, consumerism, and power to reveal this contemporary mythology. These are certainly informed by the prehistoric understanding of this relationship as it is in jarring contrast to our notions today. This juxtaposition serves to illuminate how this relationship has been distorted in this historically recent time while aiming to enlighten us to the power of the other, the thing-ness or vitality of the animal and re-calibrate contemporary notions in order to achieve reconciliation with a natural order of things.

"Our search for understanding in matters of race automatically incline us toward blackness, although that is not where these answers lie." – Nell Irvin Painter. Over the course of, and in partial fulfillment for, the degree of Bachelor of Fine Arts in Studio Art and the degree of Bachelor of Fine Arts in Film Production, I have produced a multimedia body of work. I made this body of work as a reflection and result of my processes and studies, and as a method to examine perception, and representation in relation to identity. This body of work combines drawing, painting, printmaking, ceramics, and filmmaking; utilizing each medium to scrutinize language, particularly that of the terms "black" and "white" and their cultural relationships to each other. Through this practice, my work evolved into a study of expectation, as situated through language, and conventional understanding. This work adds to the discourse on spaces and expectations of marginalized communities, art, and continues the tradition of the artists' practice as a form of research. I also position this work in relation to current mass culture iconography while using a distancing effect to explore concepts of martyrdom and minstrelsy as reflections of expectations on my own experience.

Possibly, Maybe is an exhibition of polychromatic, process-based objects made out of acrylic paint. Working with and against the limits of the material, the paint is systematically cast, peeled, and stretched colour by colour transforming it into three-dimensional hybrid forms. The working process I devise is predetermined and regulated, yet the element of chance is integral to the work due to material constraints. I explore the sculptural potential and plasticity of a material traditionally used for painting. While acrylic is a relatively new material, designed to be durable and long lasting, the forms I create out of acrylic paint are vulnerable to climate, gravity, and time and therefore counter plastic’s perceived resilience. Possibly, Maybe looks within the marginalized and the failed of our everyday, and uses these as aesthetic elements, which can constitute contemporary cultural potential. Through an engagement with the fallibility of plastic, with the hybridity of artistic practice, and the excess, opulence, and decay of the Baroque, my work plays with the paradoxes and relationships between the high and the low, pure and impure, precious and throw-away, which I find are all elements that exemplify our contemporary culture.