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 Department: School of Visual Arts
Critical theory and preservice art education: One art teacher educator's journey of equipping art teachers for inclusion.
This qualitative action research study examines how critical theory defined and guided my practice as an art teacher educator while I provided inclusion training for seven preservice art teachers during their student teaching. Sources of data included a personal journal, the inclusion curriculum I created for the preservice teachers and questionnaires and interviews. Primary findings indicated that critical theory had a substantive impact on the evolving development of my teaching philosophy, in particular my attention to issues of power redistribution in the classroom and my developing notion of teaching as form of artistry. The findings of this study also indicate that the primary impact of critical theory upon the preservice teachers was the articulation of their personal narratives and its relation to the development of their teaching identities. Further, mentoring these preservice art teachers in critical theory increased their competence in solving educational dilemmas. A primary finding of this study was how significant of a role the supervising or mentor teacher plays in developing preservice teachers' identity. As this is acknowledged, valued and utilized, more collaborative relationships among these stakeholders in the education of the preservice art teacher can be forged. The study provides implications for art teacher educators as they provide inclusion training to preservice teachers. These include honoring narratives, articulating a broader notion of inclusion, and using context-specific instructional tools while preservice teachers are completing fieldwork with students with disabilities. One suggestion for future research is to conduct longitudinal studies which explore and validate the impact of critical theory upon art teacher educators and preservice art teachers during the student teaching semester and several years beyond. digital.library.unt.edu/ark:/67531/metadc6139/
Redefining Beauty
In an effort to continue the conceptual and aesthetic growth started in graduate school, I have produced a body of work dealing with the relation between the fragmentation of the figure and the self-perception of beauty. I produced twelve prints that have been exhibited at Cora Stafford Gallery. I have analyzed the body of work conceptually and formally and chose to discuss six pieces in a problem- in lieu-of-thesis. My work and book references informed the content of the paper. I divided it into three chapters; Introduction, Description of the Work, and the Conclusion. Within the body of the paper the paragraphs are sectioned into descriptions, methodology and intent of the six pieces. I went into detail of the process and content and addressed the questions posted in the Statement of Problem. digital.library.unt.edu/ark:/67531/metadc5802/
Process, Form, and Function
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Process and form have always been important to my work. I emphasize the soft qualities of clay while working with traditional forms that are altered for visual interest. Usability is very important, the forms have to function well according to their intended use. The relationship between form and manipulation relied on usability of the form. Functionality was paramount within this body of work. I consciously searched for balance between form and manipulation, form and glaze, form and function, and overall character. Though altered, the forms were traditional and dependent on function. Manipulations of the forms, surface treatment, and deep colorful glazes contributed to creating harmony between function and expression. Personal stylistic elements became refined through working on this project. The body of work that was made allocated personal expression and new variations on functional forms. This project provided an opportunity for exploration and evaluation of form and my working process. digital.library.unt.edu/ark:/67531/metadc5805/
Gestural Expressions in Clay
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The nature of clay's physical attributes and the application of these characteristics to an expression of gestural movement in utilitarian ceramics. digital.library.unt.edu/ark:/67531/metadc5806/
Where I am From, Finding My Identity Through Visualizing Memories
This article discusses about the author’s identity related to the experience of being in the United States for one third of his life, and away from his native country, Japan. He uses photographic images as a tool for finding his identity. Those images are combined and painted with paraffin wax as finished pieces. The extra layer of wax on the photographic surface is treated as a metaphor for the fuzziness of memories and dreams, as well as a boundary, which lies between author’s two familiar spaces, the United States and Japan. His visual influences are shown to include photographer Henri Cartier- Bresson, painter Giorgio de Chirico, and sculptor Alberto Giacometti. digital.library.unt.edu/ark:/67531/metadc5807/
Man-Bull
This thesis presents a body of work that acknowledges Rural American landscape and the importance of its conservation. This conservation is not restricted to recognizing the rural landscape as strictly a natural resource, rather, a spiritual place that fosters a positive side of humanity. digital.library.unt.edu/ark:/67531/metadc5809/
Mis Raices, Mi Hogar: My Roots, My Home
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The lack of ancestral record instilled in me this desire to hold on to memories, and to leave my children with permanent records or memories of our family. My desire to work with metals was inspired by the need to encapsulate a record of memories through a more permanent means. The durability of steel, I feel, can be used as a diary, in the form of an artistic and lasting object, rather than written words. The need to leave behind a legacy inspired me to explore the use of lockets and containers that have some resemblance to a reliquary. My intent was not one of religious purpose, but rather to create a locket or container that would reflect or contain symbols of where one's roots begin, the home. digital.library.unt.edu/ark:/67531/metadc5790/
Round
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My approach to the art making process is a kind of poetic reverie on forms and spaces. Webster’s Encyclopedic Unabridged Dictionary defines reverie as “a state of dreamy meditation or fanciful musing; a daydream, a fantastic, visionary or unpractical idea.” It is a romantic notion that has less to do with the big questions of existence than it does the incidental parts of daily existence. Reverie is a state of mind that comes from being receptive and finding simple pleasure in the affects of imagination. My paintings, drawings and sculpture evolve out of the freedom to imagine shapes and spaces that describe different kinds of interactions. They come from recollection, awareness, and observation of the diverse sensual phenomena that surrounds me. The variety of interactions between forms such as contrast, imbalance, balance or synchronicity, have the potential to evoke various aspects of being: vulnerability, uncertainty, confidence, and determination. Possible interactions between shapes and spaces are what intrigue me most. Recently, I expanded the investigation of form to include objects and consideration of space. As the scale of my paintings and drawings grew, I became interested in the effects of three-dimensional objects in a space, such as a gallery. My inquiry began with a group of two-dimensional works on which I attached sheet metal, contact paper, and found objects. I realized that I had overlooked what was central and most evocative in earlier work: how I use space. I wanted to translate my sense of poetic space and reverie from the drawings into objects or arrangements that are placed in a space (the gallery). digital.library.unt.edu/ark:/67531/metadc5818/
Prototypes: Hand Masters Machine
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I investigated several problems I have found concerning contemporary jewelry design. These problems are linked to the industrialization of jewelry making. The industrialization of jewelry making led to the preference of using less precious metal, of using Prong, Crown, and Channel stone-settings, and of using high polished mirror finish for surface treatment. My work addressed the prominence of metal in jewelry design and alternate forms and techniques of stone-setting and surface treatment. digital.library.unt.edu/ark:/67531/metadc5820/
Searching for the Exceptional
During my career producing functional ceramics, I have followed a very traditional working methodology. As with many functional potters, I have always maintained a high level of productivity. Making many similar pieces allows me to develop an idea and to refine it through the working process. My method for developing a new piece is to first design the form, then to decide upon the desired manipulation of the surface planes and surface, and finally to consider the glazing and decoration to refine this new piece of pottery. I work with the new form systematically attempting to isolate and change specific elements, attempting to make each piece in the series more successful. Finally, changes are made to alter the form and decoration in order to achieve an integration of the new design into the present whole of my work. I make every piece intending that quality and craftsmanship will define each piece as an exceptional piece of pottery. Although my intention is that every piece be exceptional, the percentage of exceptional pots is not that high. In each kiln load, a minority of pieces meets my specific criteria of exceptionality. Although the other pots in each kiln load are of high quality in craftsmanship and finish, these pieces do not have the force, presence and dynamics of the exceptional pieces. In this problem, I attempted to isolate and specify the different characteristics in my present body of work that resulted in a piece I considered exceptional. digital.library.unt.edu/ark:/67531/metadc5823/
Exploration through Materials and the Transformation of the Commonplace
The challenge of this project was to present subject matter in a way that did not seem common to the viewer. With this goal in mind, I aimed to switch the traditional roles of material and form in order to aesthetically elevate the commonplace. For my proposed project I combined traditional sculptural materials and processes with commonplace subject matter. I took a chance at the beginning of this project by making something that I had been joking about until I realized that this might be an interesting piece. From this point on I made a conscious effort to make whatever popped in my head. Although I am not a literary person, it seems that with this body of work I backed into what I might call "ironical metaphor." digital.library.unt.edu/ark:/67531/metadc5825/
Formal Concerns in Conceptual Sculpture
The problem I choose dealt with a new material to use in conceptual art. Since the nature of my work deals with ribbed sculptural forms that explore conceptual abstractions of recorded observations, I investigated a new material called composites. A composite is defined as two or more materials that are combined to share the best qualities of both. Laminated foam core, nylon fabric weave, vinyl, and resin composites may introduce an aesthetic and structural advantage to traditional material such as wood and metal. Innovations in laminated composites and methods of joining unfamiliar materials could offer an advantage for these new sculptures. A series of six ribbed sculptural forms were constructed, which consist of laminated composite material relating to personal observations expressed in my journal in the last quarter of the year 2000. The material was introduced in the desire for a cohesive formal relationship between the concepts and the forms. Patron, 2001 Mixed Media, 19"x 8"x 4"; PDQ, 2001 Mixed Media, 10"x 8"x 2"; PDQ2, 2001 Mixed Media, 21"x27"x3"; Bishop, 2001 Mixed Media, 23"x11"x5"; Coaster, 2001 Mixed Media, 14"x12"x9" and Putsch, 2001 Mixed Media, 69"x48"x24". digital.library.unt.edu/ark:/67531/metadc5824/
It's All in the Approach
I believe that the ability to change and freely rearrange a drawing or painting by erasing or painting over a mistake allowed me the freedom of spontaneity, whereas the perceived finality of printmaking hindered a freer approach. I began to start thinking of my prints as if they were my paintings or drawings. Fully freeing myself from planning any of my work has led to some unforeseen consequences. I have begun to realize that the work creates a life of its own. Some works have a greater influence over me and tend to live longer in my work. These pieces, whether they are drawings, paintings or prints, start a chain of ideas that push me to investigate new areas of conceptual and formal application related somehow to these first influential works. digital.library.unt.edu/ark:/67531/metadc5826/
Activating Space within the Object and the Site
I look at the world as a sculptor, examining physical constructs and implied meanings. My current research developed from my earlier studies of “containment” or, more specifically, “encapsulation,” creating visual, often physical, boundaries around selected content. Encapsulation confers a more active role than “containment”, a process rather than a result. This idea speaks to the issues of form, and asks the viewer to question the outside “shape of the form” in relation to the inside shape and content. My work focuses on exposed interior spaces and forms, allowing the viewer to enter the space physically as well as mentally and psychologically. Built in a large enough scale, the viewer could actually become the content. The sculpture’s interpretation revolves around the seen as well as the unseen. I built this duality into my work by using transparent and opaque materials. I also implemented small diameter stainless steel rod along with the transparent and opaque vinyl to reduce forms to their respective shapes and volumes. This approach allowed me to clean the “slate” of an object’s collective meaning and context, adapting it to the intent of my work. digital.library.unt.edu/ark:/67531/metadc5827/
Realismo Magico Digital: An Exploration of Self-Identity
The internal necessity to rediscover myself constantly drives me back to the country where I spent most of my life, Mexico. I was born and raised in the heart of the world's largest metropolis, Mexico City and through the years I have photographed in locations with important significance for Mexican culture as well as for my personal history. I reorganize and reinvent these places, and by staging models there, I construct my personal interpretation of the Mexican way of life involving the world of “manana” (tomorrow) with its “dictadura perfecta” (perfect dictatorship), where opposite and contradictory situations exist side by side. I am particularly interested in the relationship between people and their environ-ment and I use this theme as a means to explore my own identity as a Mexican. One strategy involves juxtaposing cultural signifiers of Mexican culture. My images are an examination and a projection of my ideals, fears, and dreams about my country and myself. digital.library.unt.edu/ark:/67531/metadc5829/
From Inside the Home: A Portrait of Mexican Immigrant Women
For the past two years my artwork has focused on the cultural issues of a Mexican immigrant community in Fort Worth, Texas. The primary focus has been women and the way in which their homes reflect their blending of two cultures. The occupants of the homes are people that I know personally, including my immediate and extended family as well as friends of my family. Undocumented women usually have the most difficulty in adjusting. Although some do work outside of the home, many of these women spend countless hours inside due to their inability to speak English or drive. These women have little hope of returning to their homeland because their children are being raised in the United States. In order to feel more at home, the women make every effort to re-create the Mexican culture in their new houses. Thus, acculturation takes place with very little cultural loss. Instead of previous strategies of total assimilation, these women blend the two cultures, making it easier to adjust to their new lives. digital.library.unt.edu/ark:/67531/metadc5828/
Reconstructing Strata Lines of Reality
This problem in lieu of thesis centers around my work and involves the production of the film trilogy Knife, Fork and Spoon. The methodology for this project comes from my investigation of postmodernist theory and social norms. Three problems are addressed and my professional procedures and practices that helped me find solutions while working on these films are included in chapter two. digital.library.unt.edu/ark:/67531/metadc5832/
Ceramics Without Clay: An Exploration into Potential
Investigating the behavior, function and appearance of ceramic materials has proven an enduring point of interest throughout my education. In learning about the vast range of the earth-yielded materials and their physical manifestations in states ranging from wet to dry to fired, I have found myself excited and challenged to seek out ways to expand their presentation. My attention has been repeatedly drawn to the class of ceramic materials that frequently get classified as “glaze ingredients.” Understanding the structural and visual qualities of these minerals and compounds was an interest whether I was making tableware, tiles, or sculpture. For the purposes of this paper, I propose to deal expressly with the physical art-making considerations of material and process as they relate to my work in ceramics. By directing my focus as such, I hope to center my work on a concern that became evident to the art world upon the display of Marcel Duchamp’s Fountain: material equals content. digital.library.unt.edu/ark:/67531/metadc5817/
Sheep Tipping (It's All About Love)
I believe that our individual religious experiences are just that, individual. Each of us has a different reaction to every narration, sermon, situation, and experience. Further, I believe these experiences are understood and maintained in or through abstract thought. In the parable of Jonah and the whale, what do you picture while reading the story? Most of what took place lacks any physical evidence of existence. The voice of the Spirit, the face of God, the sound of prayer in multitude, even the person begin swallowed by the fish, are all abstract in character. My paintings are visual investigations into the idea that most of our religious experiences and concepts are abstract in nature, thought, and experience. Continuing my exploration of how my specific Christian experiences can be expressed through abstract painting, I investigated how the placement of the ellipse or ellipses as a dividing line affects the field and how surface development, layering and the expressiveness of high intensity colors affected the specific experience or Biblical narrative chosen. digital.library.unt.edu/ark:/67531/metadc5831/
The Essence of an Image: Image as Memory
Modernist painters such as Picasso, Ernst and Matisse were among others who incorporated what was then considered "primitive" art, mostly from Africa and Oceania, into their works. Prior to this, European artists had appropriated Greco-Roman themes and characters. These appropriated elements were consequently recreated without their cultural context and content, altered to reflect more current themes. In most cases, attention was directed toward the recreator, the author of the new work of art, not the creator of the artifact. In contrast, Post-Modern artists, including myself, have reproduced appropriated elements virtually unaltered as a way of denying authorship and emphasizing a more conceptual format. Appropriated imagery has been a tool for me in my work. Additionally, both figurative and abstract elements play significant roles since I consider juxtaposition of elements to be a strength. The challenge of fitting these elements together has enabled me to develop a style of painting that seems uniquely mine. The formal issues of style and content figure heavily in my endeavor to capture a moment in time; something lost forever except for its persistence in memory. These reflections are often imbued with personal icons, arcane text and symbolic drawing that weave in and out of the landscape. Endemic to my work are the following: (1) abrasion/erosion of surface areas of the canvas; (2) partial imagery broken or skewed; (3) appropriation of historic subject matter or archaic brand images; (4) symbolic drawing; ie. hats as containers or landscapes, ravens that infer vigilance; and (5) a palette of complex colors resulting from overpainting with other colors to the point of becoming almost undecipherable. Subject matter is based on my own personal history and life experiences as well as my reaction to current happenings. digital.library.unt.edu/ark:/67531/metadc5835/
Hard and Soft
The purpose of this investigation is to explore the possibilities of manipulating clay in three distinct ways to effectively show that clay objects were at one time moist and pliable. The techniques used are faceting while wet, manipulating a variety of additions, applying different glazing techniques, and three separate firing methods. In addressing the problem, the following concerns were considered: (a) Which of the pieces made best expresses my aesthetic concerns? (b) Which firing method, oxidation, reduction or atmospheric, best illustrates these concerns? (c) Which glazing technique was most successful? In an attempt to explore and solve these problems, a series of twenty pieces were produced. A visual record of slides showing individual pieces were made to demonstrate the differences and similarities between firing methods. digital.library.unt.edu/ark:/67531/metadc5830/
Little Deviants
Most of my childhood was spent in either the expansive suburbs of north Texas or on a farm in southern Oklahoma. The experience of growing up in these two regions has done much to shape my sense of aesthetic. From these early experiences, I have developed two completely divergent ideas of beauty which I've tried to reconcile in my artwork. The first influence is that of sparseness, simplicity and the commonplace. This influence comes from the emptiness of the suburban landscape, the sameness of its architecture and the need to find beauty in mundane things as a simple cure for boredom. The second major idea is centered around peculiarity, chaotic complexity and irrationality. This interest originally stems from early memories of my grandfather, whose experiences in Oklahoma during the Great Depression gave him the obsessive habit of never discarding anything for fear that he might need it some day. The complexity in meaning that comes from unfamiliar combinations has allowed the ideas in my work a kind of ambiguity that frees it from any singular reading. I think the content of my work could best be described as constructions of memories, experiences and influences. I never speak about any one thing in particular, I try to simply suggest a number of juxtaposed ideas and let their interaction be the content of my work. digital.library.unt.edu/ark:/67531/metadc5843/
Exploration of Sculpture
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The images that I sculpt deal with reflections of human traits. Wood lends itself to this endeavor, offering minimal resistance to manipulation. Keeping the origin and qualities of the material while manipulating it into another object is a statement within itself. Letting the wood do what it does naturally keeps the viewer in touch with the fact it is still just an object of nature. Wood does not make itself any less real because of the relationship of the sculpture to it as wood. digital.library.unt.edu/ark:/67531/metadc5841/
The Human Object: Explorations of the Figurative Toy
This Problem in Lieu of Thesis documents the thought processes that led to the completion of a series of five interactive sculptures. Each piece incorporates a part of the human body taken from its normal context and placed into the context of children's playground equipment. digital.library.unt.edu/ark:/67531/metadc5848/
Texas Cowboy as Myth: Visual Representations from the Late Twentieth Century
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The working cowboy remains part of the contemporary culture of Texas. A visual record of him appeared early in the state's history, in daguerreotypes, followed by representations in contemporary black and white as well as color photographs, film and video. Although the way of life for the Texas cowboy has changed, it remains a thriving part of the Texas economy, society, and culture. Moreover, the image of the cowboy has permeated popular culture and fine art. This paper explores what late twentieth century popular culture and fine art images of the cowboy signify, emphasizing aspects of how they signify in relation to an existing tradition of photographic representations. Using Barthes' "Myth Today," it considers how the documentary aspect of early photographic representations of cowboys is transformed in contemporary popular culture and fine art to become mythology, for example, by the exaggeration of features of dress to connote ideals allegorically. digital.library.unt.edu/ark:/67531/metadc5599/
Art Criticism and the Gendering of Lee Bontecou's Art, ca. 1959 - 1964
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This thesis identifies and analyzes gendering in the art writing devoted to Lee Bontecou's metal and canvas sculptures made from the 1959 - 1964. Through a careful reading of reviews and articles written about Bontecou's constructions, this thesis reconstructs the context of the art world in the United States at mid-century and investigates how cultural expectations regarding gender directed the reception of Bontecou's art, beginning in 1959 and continuing through mid-1960s. Incorporating a description of the contemporaneous cultural context with description of the constructions and an analysis of examples of primary writing, the thesis chronologically follows the evolution of a tendency in art writing to associate gender-specific motivation and interpretation to one recurring feature of Bontecou's works. digital.library.unt.edu/ark:/67531/metadc5587/
Dallas as Region: Mark Lemmon's Gothic Revival Highland Park Presbyterian Church
Informed by the methodology utilized in Peter Williams's Houses of God: Region, Religion, and Architecture in the United States (1997), the thesis examines Mark Lemmon's Gothic Revival design for the Highland Park Presbyterian Church (1941) with special attention to the denomination and social class of the congregation and the architectural style of the church. Beginning with the notion that Lemmon's church is more complex than an expression of the Southern cultural region defined by Williams, the thesis presents the opportunity to examine the church in the context of the unique cultural region of the city of Dallas. Church archival material supports the argument that the congregation deliberately sought to identify with both the forms and ideology of the late nineteenth-century Gothic Revival in the northeastern United States, a result of the influence of Dallas's cultural region. digital.library.unt.edu/ark:/67531/metadc5560/
Feminist Design Methodology: Considering the Case of Maria Kipp
This thesis uses the work and career of the textile designer Maria Kipp to stage a prolegomena concerning how to write about a female designer active during the middle of the twentieth century. How can design historians incorporate new methodologies in the writing of design history? This thesis explores the current literature of feminist design history for solutions to the potential problems of the traditional biography and applies these to the work and career of Kipp. It generates questions concerning the application of methodologies, specifically looking at a biographical methodology and new methodologies proposed by feminist design historians. Feminist writers encourage scholarship on unknown designers, while also they call for a different kind of writing and methodology. The goal of this thesis is to examine how these new histories are written and in what ways they might inspire the writing of Kipp into design history. digital.library.unt.edu/ark:/67531/metadc5538/
Iconographic Analysis of the Armadillo and Cosmic Imagery within Art Associated with the Armadillo World Headquarters, 1970 - 1980
This thesis draws upon recent, art historical scholarship in iconography and semiotics to identify and analyze key images in an iconographic program associated with murals, paintings, and posters related to the Austin, Texas music venue, the Armadillo World Headquarters, 1970-1980. Resources include South Austin Museum of Popular Culture, the Center for American History at the University of Texas, Austin, personal communications, and publications concerning the artists, music and history of Austin and the Armadillo World Headquarters. There are five chapters as follows: Introduction, History of the Armadillo World Headquarters, Analysis of the Armadillo Mural and Freddie King Painting, Analysis of Posters for the Grand Opening and the Michael Murphey Cosmic Cowboy Concert, and Conclusion. digital.library.unt.edu/ark:/67531/metadc5491/
Style and the Art of Chaim Soutine: Ethnicity, Nationalism and Geography in the Critical Reception and Historiography
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This thesis argues that art criticism published during Soutine's lifetime emphasizes ethnicity, nationalism and geography in discussions of the artist's style. These critical discussions have influenced the historiography of Soutine published after his death, resulting in a continued emphasis on style that includes references to ethnicity. Ethnicity, nationalism and geography are identified in the critical reception and historiography by noting references, both specific and implied, to Jewishness, French art, and foreign status (among others). These references are analyzed in terms of existing scholarship that addresses concepts of ethnicity and nationalism, and with consideration to how the critical reception has impacted the historiography. digital.library.unt.edu/ark:/67531/metadc5324/
Images of a Gendered Kingship: Visual Representations of Hatshepsut and Her Influence on Images of Nefertiti
I investigate why gendered images of Hatshepsut influenced androgynous images of Nefertiti in New Kingdom Egypt and how Nefertiti and Akhenaten used their images in the promotion of their monotheistic religion; through a contextual, stylistic and feminist examination of the images. Hatshepsut cultivated images of herself to legitimize her rule in relation to canonical kings before her. Similarly, Nefertiti represented herself as a figure indiscernible from Akhenaten, creating an image of female co-rulership. Although the visual representations of both Hatshepsut and Nefertiti differ, the concepts behind each are analogous. They both manipulated androgyny to create images displaying powerful women equal in status to male Egyptian kings. digital.library.unt.edu/ark:/67531/metadc5323/
Images of women shopping in the art of Kenneth Hayes Miller and Reginald Marsh, ca 1920-1930.
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This thesis examines images of women shopping in the art of Kenneth Hayes Miller and Reginald Marsh during the 1920s and 1930s. New York City's Fourteenth Street served Kenneth Hayes Miller and Reginald Marsh, respectively, as a location generating the inspiration to study and visually represent its contemporaneity. Of particular interest to this thesis are relationships between developments in shopping and the images of women shopping in and around Fourteenth Street that populate the paintings of Miller and Marsh. Although, as Ellen Todd Wiley has shown, the emerging notion of the New Woman helped to shape female identity at this time, what remains unstudied are dimensions that geographically specific, historical developments in shopping contributed to the construction of female identity which, this thesis argues, Marsh and Miller related to, by locating in, the department store and bargain store. digital.library.unt.edu/ark:/67531/metadc5327/
The effect of constructivist learning environments on student learning in an undergraduate art appreciation course.
The purpose of this study was to determine the effects of constructivist methods on student learning in an undergraduate art appreciation class. Three constructivist learning activities were designed and implemented in an undergraduate art appreciation course for non-art majors at Mississippi College. Through these constructivist learning activities, students were involved in their learning throughout the semester in realistic art roles in which they worked as curators, Web page designers, and artists. Six subjects were selected to participate in this case study. Subject data was collected through three methods: interviews with subjects at three points during the semester, student documents produced during the three activities, and a field journal of observations made during the activities. The multiple data sources were triangulated to reveal nine patterns of learning. The data evidence that constructivism results in a deeper understanding of art and art processes than in a typical art appreciation course in which learners are merely passive recipients of knowledge. This was not only indicated by the nine patterns of learning which emerged from the data, but also in the students' awareness and regulating of their cognitive processes. Although the research provided an in-depth understanding of this case and should not represent or be generalized to the entire population of art appreciation students, the results of this study suggest that art appreciation instructors have an opportunity to facilitate high levels of student thinking and encourage metacognitive skills through constructivist methods such as the ones used in this study. digital.library.unt.edu/ark:/67531/metadc5385/
The Flora and Fauna in Eighteenth-Century Colonial Mexican Casta Paintings
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The primary objective of this thesis is to identify patterns of appearance among the flora and fauna of selected eighteenth-century New Spanish casta paintings. The objectives of the thesis are to determine what types of flora and fauna are present within selected casta paintings, whether the flora and fauna's provenance is Spanish or Mexican and whether there are any potential associations of particular flora and fauna with the races being depicted in the same composition. I focus my flora and fauna research on three sets of casta paintings produced between 1750 and 1800: Miguel Cabrera's 1763 series, José Joaquín Magón's 1770 casta paintings, and Andrés de Islas' 1774 sequence. Although the paintings fall into the same genre and within a period of a little over a decade, they nevertheless offer different visions of New Spain's natural bounty and include objects designed to satisfy Europe's interest in the exotic. digital.library.unt.edu/ark:/67531/metadc5210/
Theory in Practice: Constructivism and the Technology of Instruction in an Authentic Project-based Computer Class
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While literature in areas of constructivism learning theory, use of computer technology in education, and the implementation of project-based learning in the classroom have received widespread attention, there is no reported research that specifically examines the effectiveness of using a project-based learning model for computer technology instruction for pre-service teachers' programs in general, and in art education in particular. Thus, the research problem was to examine through pre- and post-test control-group experimental research design whether two different teaching methods, constructivism teaching approach (project-based learning) and traditional (step-by-step) teaching approach, result in significant differences in learning computer usage, the application of computer technical skills, design projects, and attitudes toward using of technology. The research was conducted at University of North Texas during the fall semester of 2004. Both quantitative and qualitative methods were used to collect the data. The quantitative data, collected from a pre-post test and pre and post questionnaire, was analyzed using a t-test. No significant difference was found between the groups as it relates to computer usage, one aspect of the application of computer technical skills (Photoshop usage), and attitudes towards technology. There was, however, a statistical difference between the groups in the use of the other aspect of computer application technical skills (Illustrator). The qualitative data was collected from three sources, the final design project, the focus group interview, and the reflective papers and summarized quantitatively. A rubric was used to assess the final design project and the scores from the rubric were analyzed using the Mann-Whitney U test. A significant difference was found between the groups as it relates to the assessment of the final project design. The constructivist (project-based learning) group scored higher than the traditional (step-by-step) group. The analysis of the focus group interviews revealed more positive responses for the project-based learning group as opposes to the step-by-step group. The analysis of the reflective papers also revealed more positive responses by the project-based learning group as oppose to the step-by-step group. Overall, the results of the study indicate that the constructivist approach project-based learning did improve student learning. digital.library.unt.edu/ark:/67531/metadc5228/
Personal Passions and Carthusian Influences Evident in Rogier Van Der Weyden's Crucified Christ between the Virgin and Saint John and Diptych of the Crucifixion
This thesis examines Rogier Van Der Weyden's two unique fifteenth century Crucifixions, The Crucified Christ Between the Virgin and Saint John and The Diptych of the Crucifixion, in light of Carthusian beliefs, practices and relevant devotional texts. The specific text used to support this examination is the Vita Christi by Ludolph of Saxony, which in part deals specifically with the Hours of the Passion. Ludolph's text is given visual form in Rogier's paintings and supports the assertion that Rogier and Ludolph were connected by a shared belief and worldview. Key aspects of Rogier's life, supported by original documentation- familial ties, associates, patrons, use of finances, and his close involvement with the Carthusians-- support this assertion. Other models of connections of belief, evidenced through artist's work, are corroborated in the work of Grunewald, Sluter and Durer. digital.library.unt.edu/ark:/67531/metadc5245/
Opening the Door to Meaning-Making in Secondary Art History Instruction
Each day countless numbers of high school students remain standing at the threshold of the door to meaningful learning in art history because of traditional authoritative instructional methods and content. With the keys of feminist pedagogy, interactive teaching methods, and the new art histories, the teacher can now unlock that door and lead students to personally relevant learning on the other side. A case study using both qualitative and quantitative research methods was conducted in a secondary art history classroom to examine the teacher's pedagogical choices and the degree to which they enable meaningful and relevant student learning. The analysis of multiple sources of data, including classroom observations, revealed statistically significant correlations between the teacher's instructional methods and the content, as well as their impact on student meaning-making. digital.library.unt.edu/ark:/67531/metadc5244/
Faith and politics: The socio-political discourses engaged by Mexican ex-voto paintings from the nineteenth-century and beyond.
The Universalis Ecclesiae of 1508 authorized Spanish colonization of the Americas in return for the conversion of native populations to Christianity. From its inception therefore, the Mexican nation lived an alliance between Church and State. This alliance promoted the transfer of Castilian Catholicism to American shores. Catholic practices, specifically the ex-voto tradition, visualize this intermingling of religion and politics. The ex-voto is a devotional painting that expresses gratitude to a religious figure for his/her intervention in a moment of peril. It is commissioned by the devotee as a means of direct communication to the divine. This project analyzes 40 Mexican ex-votos for their reflection of political issues in Mexico. I assert that the Mexican ex-votos engage discussions of social politics. To support this argument, visualizations of socio-political discourses such as the Virgin of Guadalupe as a national religious symbol, police action and economic disparity were examined. digital.library.unt.edu/ark:/67531/metadc5274/
Art museum resources and teacher use.
I proposed that both Bruner's (1963) idea of the spiral curriculum and Yenawine's (1992) theories of teaching for visual literacy in the museum set the stage for significant learning for students when used together. If school teachers lay a foundation of knowledge about a museum object, especially through museum resources, then the student may transform and apply this 'prior knowledge' (explicit memories from the classroom) while on the museum visit tour. When docents utilize Yenawine's (1992) methods toward the goal of visual literacy, the semantic knowledge of the classroom is then fused with museum learning, building stronger memories and facilitating deeper understanding as students learn about museum objects. This research explored the correlation of these two theories in a qualitative manner based on observations of actual museum visit preparation in classrooms in Casper, Wyoming, and how it related to a museum tour at the Nicolaysen Art Museum and Discovery Center. The research revealed that conditions do exist within the community that would facilitate Bruner's (1963) idea of a learning spiral, yet not in the manner envisioned. The observed conditions toward a spiral was accomplished through the participant teachers relating the museum exhibit to their operational curriculum in a variety of curricular areas, such as language arts and science, when docents related the tour to classroom learning, and not through museum resources or Yenawine's (1992) methods toward increasing visual literacy, as was previously considered. digital.library.unt.edu/ark:/67531/metadc5285/
Complementary Dualities: The Significance of East/West Architectural Difference in Paquimé
This thesis provides the first formal and phenomenological analysis of the architecture in Paquimé, otherwise known as Casas Grandes, Chihuahua, Mexico. The eastern and western halves of the city are divided by a stone wall and reservoirs. The monuments on the east are rectilinear, puddled adobe structures used primarily for domestic and manufacturing purposes. The buildings on the west, on the other hand, are open earth mounds lined in stone for public displays. This thesis analyzes each building individually, the relationship of the structures to one another, and the entire layout of Paquimé in order to better understand Paquimian visual culture. digital.library.unt.edu/ark:/67531/metadc4871/
Transplants
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The body of work originating from this Problem in Lieu of Thesis consists of paintings on canvas that incorporate representations of plant material. The impetus for the paintings was black and white photocopies created from mounds of plant material placed on a copy machine. The resulting copies contained forms that were organic in appearance, but unrecognizable as known objects. Parts of the most interesting and ambiguous copies were used to develop the imagery of the paintings. The new forms served the purpose of creating visual interest from unexpected images. Combined with traditional painting techniques, the selected forms produced paintings of mysterious and playful worlds similar to those parts of the environment not readily accessed, such as galactic space, microscopic organisms, and ocean depths. digital.library.unt.edu/ark:/67531/metadc4658/
Beads on a String: Extended Portraits
When I was first introduced to photography, I was mainly drawn to landscape imagery. I enjoyed being a solitary spectator. Over time, inclusions of figurative elements became more and more apparent in my work. I purposefully began to incorporate a figure into my landscapes, ascribing to it a certain nostalgia and a sense of isolation I was experiencing on many levels at that time. Before long, I felt disconnected from these images because of their ambiguity and generalization. I found myself craving more content and personal commitment in my photography. At the end 2003, I started experimenting with a 4" x 5" format camera, which forced me, to some extent, to change my way of photographing and seeing. That is how the beginning of this new body of work was born. I was accustomed to shooting with a 35 mm camera, which allowed me to be spontaneous, quick and immediate. I permanently switched to a large format. I could see myself benefiting from this change. I lost some of the spontaneity that a 35 mm format offers but I gained the beauty of working with larger negatives and the endless possibilities of view camera movements. Thanks to this technical transformation, I began to develop new ideas. I tried to focus on what truly mattered to me, initially stripped from any necessary relationships among the images. I photographed pieces of time and space, filled with an emotional and psychological charge. More figurative elements kept reappearing and soon dominated my subject matter completely. My motives became utterly wrapped around human values and the differences that distinguish each of us from one another. digital.library.unt.edu/ark:/67531/metadc4693/
Passionate transformation in vernicle images.
This thesis will examine the iconography of late-thirteenth- through fifteenth-century images of St. Veronica's veil, also known as vernicles. In the late Middle Ages, vernicle iconography changed from iconic representations of Christ's face toward graphic imagery of Christ's suffering during his Passion. These passionate transformations, as I have called them, were affected by the Roman Sudarium relic, popular devotion to Christ's suffering and humanity during his Passion, and the Catholic ritual of Mass. This thesis will consider how the function of vernicle images during Mass was reflected in their iconography throughout Europe between 1250 and 1500. digital.library.unt.edu/ark:/67531/metadc4701/
Moving in a New Direction: An Exploration in Kinetics
Movement, whether conveyed through an actual motion or a gestured implication, remains an underlying theme in my creative process that started with my earliest works. I explored different aspects of kinetic sculpture, because I am seeking new ways to create motion such as experimenting with circulating air, wind, and the use of water features. I created a series consisting of three to five kinetic sculptures which do not rely on sound or direct viewer manipulation. digital.library.unt.edu/ark:/67531/metadc4482/
The influence of a female high school art educator on the careers of her students.
Through the use of a feminist methodology, this qualitative case study examines the influence a high school art teacher, Pauline Gawlik, had on the career path of a group of her students, a high percentage of whom are Mexican American and/or of low socioeconomic status. Interviews of the teacher and seven of her former students revealed five themes related to the teacher's practice that affected her students' choice to become art teachers themselves: a positive classroom climate, confidence and focus, mutual respect and admiration, care, and mentoring. The results of this study hold implications for the current teacher shortage and the recruitment of Mexican American students into careers in art education. digital.library.unt.edu/ark:/67531/metadc4587/
Nopalita: A Mythology of Cultural Self-Representation
The first segment introduces the background information on the use of paños as art by prisoners and how I appropriate the same materials to create and record my own cultural mythology. The Statement of Problem and Questions are about how and what cultural information is chosen in creating a visual mythology. The second segment explains the invention of the mythology by describing why certain experiences were chosen, specifically those of the graduate school experience. Also the development of self-representation through self-portraits is described. The third segment explains the symbolism used in the imagery, such as the cacti as cultural indicator and palimpsest. The fourth segment is a conclusion involving the realization that feeling caught within a hybrid culture is an important part of my identity. digital.library.unt.edu/ark:/67531/metadc4586/
Critical cultural consciousness in the classroom through an art-centered curricular unit, "Respect and Homage."
The purpose of this study was to describe the implementation, structure, content and outcome of an art-centered unit developed for 5th grade students. This unit was designed to be an example/model of specific tools and procedures that teachers can use in the art and general classroom to promote critical cultural consciousness, which is the ability to analyze both the covert and overt elements of a culture with the purpose of developing a holistic viewpoint that values the cultural heritages of self and others. The participants selected for this study were all the students in three 5th grade classes. The art-centered unit focused on three artists-Romare Bearden, Elizabeth Catlett and Charles White-under the theme "Respect and Homage." The research methods used in this investigation were qualitative. This study was written in a style that described the research design with its origins, organization and implementation. The implementation of the curricular unit developed for this study took place in the art and general classroom. Of particular interest in this study was the framework and structure of the art-centered unit, designed around two specific strategies utilized to promote critical cultural consciousness. One strategy in this unit was the identification of art-related or art-centered micro-cultures as an organizing framework for promoting critical, aesthetic inquiry of the selected works of art. Another important curricular strategy examined in this study was the utilization of personal and cultural value orientations for their role in developing cultural consciousness and critical aesthetic inquiry into works of art. Value orientations are common general issues or questions that we as people and as cultures apply various ranking patterns. Evidence of students' development of critical aesthetic inquiry into the focused works of art was documented and discussed, along with evidence of students' expanded understanding of art and culture. That evidence, added to students' personal, reflective ideas exhibited in the context of their personal art making, provided the record of students' growth in critical cultural consciousness used in this study. digital.library.unt.edu/ark:/67531/metadc4597/
De-Emphasize Direct Presence
The following paper reveals some aspects of my thoughts about art. The works discussed are featured in my M.F.A. exhibition. All works are mainly based on the ideas of absence, self-reference and utilization in art practice, even though each piece approaches the subject from differing angles. My dissatisfaction with preconceived notions in the contemporary art, rooted in art history, has shifted my focus from concerns of the direct, physical presence of artworks to the indirect or indecisive elements of their context. From this position I have felt free to explore the paradox of self-reference that is involved in performance. In addition, by transferring art works to functional objects, I have found a way to infuse everyday life with my art, and vice-versa. The ambiguity of interpreting artworks with language means that I present this paper with photographic documentation of my artwork. Combined, this will give a clear indication of the thrust of my graduate studies and the current theatrical direction of my art. digital.library.unt.edu/ark:/67531/metadc4632/
Key Components of a Comprehensive Visual Information System for College-Level Design Education Curriculum Analysis
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Electronic and computer technology have advanced and transformed graphic design. New technologies are forcing design educators to constantly monitor and update their programs, creating a need for a system to be adopted by college-level institutions to better investigate, evaluate and plan art and design curriculum. The author identifies metaphorical approaches to designing a two-part solution, which includes a Comprehensive Visual Information System (CVIS) and Three-Dimensional Virtual Database (3DVDb), which assign volumetric form to education components based on the form, structure and content of a discipline. Research and development of the conceptual design for the CVIS and 3DVDb are intended to aid in the development of an electronic media solution to be made accessible to students, faculty and administrators. digital.library.unt.edu/ark:/67531/metadc4449/
Instigating a Necessary Epiphany in Visual Message-Making for Design Educators and Future Communication Designers
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Man has used graphic signs and symbols to express a variety of thoughts and feelings since before the invention of writing; they have helped him to preserve the ideologies that have enabled him to articulate his conception of the world. Every culture in every historical era has invested the objects, animals and plants around it with a multitude of different psychological meanings to communicate its essential belief systems and social aspirations. In my document, I chose to shed light on the responsibility I believe design educators must assume regarding their ability to understand and teach the importance of how similar graphic signs, symbols, ideograms and icons are perceived differently by different cultures in the hyper-connected, inter-global economy of 21st century. It is very crucial not to discount the influence and correlation of symbolic, fundamental building blocks of design with the basic psychological functions that inform our subconscious, and are also informed by our individual social and cultural upbringings. People from different cultures may cognate these shapes similarly, but they perceive and encode their meanings based on their particular social and cultural influences. One-size-fits-all communication design solutions rarely work, especially when they are distributed to culturally diverse audiences, because various ethnic audiences view the world and the visual messages that designers create for them through their own self-imposed cultural filters. These filters are informed by language, religion, politics and other shared experiences, and they go beyond what can be externally observed. As communication designers, we need to take the time to study and understand how these filters operate, so that we can accurately convey our clients' messages to the intended audiences so that they might be appropriately encoded and perceived. digital.library.unt.edu/ark:/67531/metadc4451/
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