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  Partner: UNT Libraries
 Department: School of Visual Arts
A Comparison of Texas Pre-service Teacher Education Programs in Art and the 1999 National Art Education Association's Standards for Art Teacher Preparation

A Comparison of Texas Pre-service Teacher Education Programs in Art and the 1999 National Art Education Association's Standards for Art Teacher Preparation

Date: May 2002
Creator: Breitenstein, Gary
Description: Texas programs in pre-service art teacher preparation vary little. Since 1970, the National Art Education Association (NAEA) has created voluntary standards in hopes of decreasing variability among programs. In 1999, the NAEA published Standards for Art Teacher Preparation, outlining 20 content areas that art pre-service programs should provide their students. To obtain information on the implementation and the extent to which these 20 standards are being implemented, a questionnaire was sent to all programs in Texas. The 20 standards were the dependent variable for the study. The four independent variables used in this ex post facto study were: the size of the institution where the program exists; the number of full-time art faculty; the number of full-time art education faculty; and, the number of undergraduate art education students who graduated last year. The 20 standards or provisions were scored on a Lickert scale with six options: zero (not taught) to five (comprehensively taught). The response size (N = 23) was 47% of the state's 49 approved programs. The results from the survey suggest no significant difference among programs. However, the results showed a significant difference in the number of provisions taught between programs with no art educators and those with ...
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Viewers' Choice

Viewers' Choice

Date: May 2002
Creator: Brownlee, Tracie
Description: This paper documents the execution and exhibition of a group of oil paintings exploring themes of spectacle and the construction of reality in contemporary American society. The paintings are composed of figures and fragments of text originating in stills taken from television news and reality TV. This paper describes and assesses the paintings according to a set of questions developed by the artist at the inception of the project. Various strategies employed in the execution of the work are analyzed and compared. The contribution of this project to the field of contemporary visual art is evaluated via comparison with other art, past and present, expressing similar concerns.
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Replacing the Horse

Replacing the Horse

Date: May 2002
Creator: Ebert, Matthew J.
Description: I have been working with horses as imagery for about seven years and my problem in lieu of thesis continued along this vein by researching the roles of the horse in history, specifically mobility, and developing work that creates visual links between the past and present roles of horses. I am a printmaker and the work involved in the project consists of prints that use layers of related images and juxtaposition of unrelated images to accomplish my goals of cohesion between horses and the machinery that has replaced them. As the project developed the links between past and present society became my impetus rather the horse and mobility, and my future work will respond to this.
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Social Intercourse

Social Intercourse

Date: May 2002
Creator: Greco, Paul
Description: This thesis explains the stories and concepts behind each piece that was discussed on the opening night of my MFA Exhibition. The works, entitled Film Noir, Brains, Trains, and Beer, The Boy Next Door, Peterbuilt, and 10-50, H-1, was discussed more specifically and in greater detail. Speaking in public has always been a difficult task, especially on the subject of my art. My images deal with the highly intense subject matter of violence inflicted onto others as a result of human social behaviors. These vile social behaviors are translated into colorful and humorous lithographs, etchings, and drawings. These images are displayed to the public for individual interpretation. This thesis discusses audience interpretation before the literal meaning is revealed, how much information should be revealed to the viewer, and how this information manipulates the aesthetics of the piece.
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Distant Proximity: Mapping Presence and Absence

Distant Proximity: Mapping Presence and Absence

Date: May 2002
Creator: Mitroi, Tudor
Description: Chapter I presents my background as an artist born and raised in Romania, and describes my artwork in connection with my interests and experiences. Maps and traditional Romanian art are important sources of influence. The questions in the statement of problem deal with the way ideas, references to various elements, and installation impact the artwork. Chapter II discusses the installation at the Dallas Visual Art Center, the creative process, and how the artwork addressed the questions in the statement of problem. Important points are: a step into three-dimensionality with the tall, freestanding pieces painted on both sides, the use of topographical contours in creating shapes, issues of form and content as expressed in the painted surfaces, and the interaction of the individual works in the installation.
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Loss of Innocence

Loss of Innocence

Date: May 2002
Creator: Smith, Jennifer J.
Description: Loss of Innocence uses sculpture, two-dimensional imagery, and text to explore the moment when children lose their innocence or realize their mortality. In the introduction, I explain that there are many factors, such as age and personality, which determine how children will deal with traumatic events in their lives and the duration of time that must pass before they move past the event. Often, children will combine childhood fantasy with random facts to create their own satisfactory explanation of what has happened. In my problem in lieu of thesis, I discuss work that I created with these thoughts in mind. I explore how the sculpture, two-dimensional imagery, and text work together to convey the emotion of innocence lost.
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Surfacing the Void

Surfacing the Void

Date: May 2002
Creator: Williamson, Melanie L.
Description: Surfacing the Void is an exploration of surface design in relationship to the topic of voids. For the purpose of this paper, two types of void were addressed: shelters and hulls. The theme behind the sculptural works dealt with negative spaces as an analogy for the voids in people's lives. The goal was to find a way for the surfaces to elicit an emotional response from the viewer that correlates to the impression of either shelter or hull. Keeping this in mind, each experiment was approached with how to best represent the meaning of void being manifested. Imagery was applied during different states of the clay: wet, dry, and fired. Methods of exploration included texturing, drawing, stenciling, stamping, incising, decoupage and covering the surfaces with textiles.
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Issues of Interpersonal Bonds

Issues of Interpersonal Bonds

Access: Use of this item is restricted to the UNT Community.
Date: May 2002
Creator: Morin, Tesa B.
Description: In this work, sections of bodies are joined with sections of other people's bodies in order to form a new whole. Adding or subtracting relationships can many times be uncomfortable and strange, which I depict in my invented individuals based on the phases of family, such as birth, death, marriage, divorce, and the acquisition of new forms of family. This work questions issues of the family in terms of its definition, whether biologically or culturally constructed. I am creating hybrids by separating body parts from the whole and then recombining them to form a new individual. These images are a result of thinking about the possibilities and changes that people go through as a result of the new growth or loss of relationships. This work is intended to bring awareness to the way in which people relate and families become more blended.
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Eye of the beholder: Children respond to beauty in art.

Eye of the beholder: Children respond to beauty in art.

Access: Use of this item is restricted to the UNT Community.
Date: May 2002
Creator: Meli, Alisa A.
Description: The purpose of this study was to determine if beauty was important to elementary age children when exploring and making aesthetic judgements about works of art and to determine the criteria elementary students used in judging beauty in works of art. This study also explored beauty as a concept that could be used as an organizing idea for designing a thematic unit with the purpose of introducing elementary students to postmodern art and issues. One hundred and sixty first grade and fourth grade students looked at 20 pairs of art reproductions and picked the artwork they considered the most beautiful. The criteria elementary students use for determining beauty in artworks was found to be color, realism, subject matter and physical appearance of the subject of the work of art.
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Sequence without Uniformity

Sequence without Uniformity

Date: August 2002
Creator: Woodford, Nicole Yvonne
Description: The inspiration for my undergraduate body of work is derived from my fascination with Henri Matisse, Jacob Lawrence, and the Impressionists. I suddenly became captivated with the Impressionist movement and the independence of abstraction. I set into motion a series of paintings and drawings featuring random African-Americans and African society representatives in vibrant color and abstracting forms, and was specifically concerned with altering the form outside of the realistic area. While in graduate school, I began to think about how the transformation from realism to abstraction combined with the conception of mortal to the immortal. I worked through ideas to see exactly where these views began, and where they would take me as an artist. Almost immediately I experimented with random figures found specifically in the N'debele culture in South Africa. In addition, I incorporated abstraction and expressive marks within the figure and slowly introduced cut paper, flat imagery and abstraction with the realistic figure. This became very challenging but I was determined to unite these ideas successfully. More recently, my work has concentrated on the essential elements that have influenced my work as an artist, which recedes to childhood. The main elements most prevalent within the work is rhythm ...
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