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The Amalgamation of Three-Dimensional and Two-Dimensional Processes: Although drawing had offered me many avenues for image exploration and mark making, it lacked the actual physical relief surface that was a natural part of the printmaking plate process (i.e., intaglio plates or relief surfaces). Sculpture allowed the images and marks to be realized dimensionally in the round; therefore, the images became objects.
"Designing with Light": Carlotta Corpron and the New Bauhaus: A major figure to emerge in the history of American photography is Carlotta Corpron (1901-1987), who taught art at Texas Woman's University in Denton, Texas from 1935-1968. The rediscovery of her abstract images created during the 1940s reflects the growing recognition of the experimental photography at the New Bauhaus in Chicago from 1937-1946. Corpron's abstract photographs were stimulated by her interaction with Lazlo Moholy-Nagy and Gyorgy Kepes. Corpron was an innovator in the development of abstract photography in the United States. This thesis connects her work to that of Moholy-Nagy and Gyorgy Kepes as well as other major figures in American photography of the twentieth century.
The Dynamics of Structure and Discord in the Beautiful: The objective of my problem in lieu of thesis was to produce twenty hand-built porcelain objects which reflected this conception of beauty. To review the success of my project, I asked three questions to evaluate my work. 1. Was there significant structure to my works? 2. Was there significant discord within these structures? 3. Did the tension created through the interaction of these two elements of my work create beauty?
An Illustrative Documentation of Afro-American Vernacular Dancers From the 1900's to 1945: It was impossible to document all of the important dancers of the era; however, certain individuals were notably exceptional. The purpose of this study was to document and illustrate some of those dancers who impacted and influenced the development of American vernacular dance during the early twentieth century through the mid-1940's. The individuals chosen were as follows: Dewey "Pigmeat" Markham, John Bubbles, Bill Robinson, Earl "Snakeships" Tucker, James Walker and Charles Green (Chuck and Chuckles), Katherine Dunham, Honi Coles and Cholly Akins (Coles and Akins) Josephine Baker, The Derry Brothers (Ananias, Jimmy and Warren), Eddie Rector, Willa Mae Ricker and Leon James. Emphasis was concentrated on capturing an accurate likeness of the individuals as well as on establishing a specific mood. Since all of the above-mentioned individuals were dancers, a special effort was made to recreate the lighting and aura of the stage.
Presentation Options for Sculpture: The act of putting anything on a base isolates it and makes it seem more precious. The base separates the viewer from the sculpture and affects the relationship between the sculpture and viewer. The problem for me was to remove the base and experiment with the possibilities now opened to my work. The purpose of this study was to explore the presentation potentials of sculpture freed from the constraints of the plinth.
As Thought is to Speech: This problem tries to bring together a comprehensive array of themes. There has been a duality between painterly techniques, recognizable images and disjunctive imagery. The subtractive painting technique used has created smooth transitions between images and made these hybrid realities more convincing.
An Analysis of Retained Two Dimensional Elements in a Three Dimensional Sculptural Format: The object of this problem in lieu of thesis has been the exploration and identification of the retained two dimensional design idiom in the sculptural format of my work. (By this, I am referring to the lateral, planar quality which often continues as part of my designs.)
Between Seeing and Knowing: I intended to create a body of work using a variety of media and a combination of imagery that is both subjective and objective in regards to representation. I incorporated into the work, words and phrases which are not related to the imagery. This has allowed the work to be variously interpreted. I wanted certain elements of the work to appear simultaneously very old and very new.
The Creation of New Metaphors Out of Symbols From the Past: In order to become more aware of valuable characteristics that may be unique to the paintings and/or the books, I proposed to execute a body of work consisting of four sets, each set containing one painting and one book. I continued using religious icons as subject matter and the motif of the layered pentimento of the fresco as a metaphor for self-investigation.
The Expressiveness of Porcelain and its Plasticity in Wheel Thrown Forms: This creative problem project aimed to develop a series of vase forms expressive of clay and its plasticity as developed through the throwing process.
The Decision Making Process Involved in Creating a Collaborative Multi-Media Installation: For my problem-in-lieu-of-thesis, I proposed to do a collaborative installation involving three or four spaces which incorporate multi-media and audience participation. My intent was to focus on the decision-making process for creating an installation.
An Investigation of the Packaging and Display of Jewelry as Image and Concept: Just as packaging in its most mundane, pragmatic sense refers to the commercial and traditional aspects of jewelry, so also does display. In addition to being a mere vehicle for presentation, the idea of display creates an intriguing set of design and conceptual problems which seem to be a natural extension of my current and ongoing concerns.
The Mutation of a Fiddler Crab: For a year I have tried to be as far away from painting (painting in a strict sense, i.e., two-dimensional, canvas, glazes, washes, etc., as possible. I successfully built a quality body of work that was formally sound and conceptually sophisticated, far surpassing my original "fiddler crab period." Now, having grown my other claw I wanted to approach painting in a comparative relation to my other body of work. Specifically, I wanted to show the valuable visual possibilities ready to be investigated in my paintings. For this reason I did not want to completely abandon painting, nor did I consider halting production of my three-dimensional pieces.
Nylon Monofilament Weaving: It Won't Hold Water: The goal of this problem was to incorporate clear nylon monofilamnet in a series of weaves traditionally chosen for their absorbent virtues that in these cases would achieve interesting textural effects and light-reflective qualities in addition to varying degrees of transparency.
The Effects of Discipline-Based Art Education upon Reading Test Scores of Suburban North Texas Second Grade Children: This study examines the effects that discipline-based art education has upon reading test scores of public school second grade children. The progress in language arts of an experimental group and a control group were followed for two six week grading cycles. The experimental group was treated with DBAE instruction for one six weeks, while the control group received only studio production exercises. Both groups received no art instruction for another six weeks. Gains between mean pre-test and post-test scores indicated a significant difference for the experimental group but not the control group.
Industrial Materials and Fiber Techniques in Environmental Sculpture: There are three recurrent themes in my work: 1) environmental installations utilizing ecologically unsound materials 2) incorporating air space with plastics 3) conceptual inspiration derived from dreams. I proposed to address these three themes by employing materials traditionally used for industrial applications (as in plumbing supplies and dry-cleaning bags) as fine arts media using fiber related techniques in environmental sculptural pieces.
An Investigation of the Effects of Color and Line on Sculptural Forms: The purpose for this study was to investigate the effect of painting and drawing when used as an integral part of sculptural form. The following questions are addressed in this study: 1. Does color increase or decrease the three-dimensionality of a form? 2. When used, is color an integral part of the sculptural form or a superficial decoration? 3. Can drawn line (on the sculpture's surface) be used to flatten or deny the sculptural form? 4. Can drawn line be useful in describing or enhancing sculptural forms?
Nineteenth Century Light and Color Theory: Rainbow Science in the Art of Frederic Edwin Church: The purpose of this study was to investigate the depiction of rainbows in the art of Frederic Church in relation to mid-nineteenth century scientific developments in order to determine Church's reliance on contemporary concerns with light and color. An examination of four Church paintings with rainbows, three oil sketches, and nearly a dozen pencil drawings shows that Church's rainbow art represents a response to mid-century cultural values connecting science and art. Changes within Church's rainbow depictions occurred as the artist explored the visual representations of light, synthesizing the scientific knowledge of light and color available to him, and reconciling that information with the requirements of art.
Transcendence and Paradox: A Question of Female and Male: For the problem in lieu of thesis, a series of ten works were created in which a male image replaced the female image; I continued to utilize the same materials, format, and centralized frontal figure. A record of the work was accomplished by maintaining a written and visual journal on progress and outcome. Some research was made into topics related to the work, and the findings from the literature comprise chapter two of the paper. In executing this body of work and researching related topics, I hoped to better understand my conscious and unconscious processes and motivations in creating both the self-portrait series and the new series.
The Utilization of Semantic Webbing as a Method of Teaching Art Criticism in the Elementary School: Art educators and classroom teachers in the elementary schools are confronted with the challenge of helping children look critically at works of art and develop written and/or verbal skills to communicate their findings. It was the purpose of this study to determine the effectiveness of the conceptual learning technique of semantic webbing in teaching art criticism in the elementary classroom. The author revealed a significant difference of opinions between two sample groups and similarities between the variables of frequency of use, and familiarity of the webbing technique and its effectiveness in the classroom. The sample groups consist of elementary classroom teachers and art specialists who work with kindergarten and first grade children.
Concept Vs. Intuition: A Study Into the Personal Understanding of Images: I was curious as to what my work was about and what images were important to me. There had to be a reason why I was driven to do what I did, whether it was a conscious, conceptual purpose or a subconscious, intuitive reason. The problem of this investigation was to discover which of these I used in the creation of my images or whether I used both.
The Development of Non-Clay Materials With the Expression of Personal Imagery: My creative project was to expand the depth at which non-clay materials such as wood and metal (brought, found, or otherwise acquired) were successfully blended with clay, both physically and visually. Also, imagery--so essential to the narrative quality of the work-- was to be expanded upon to provide a constant freshness that avoided repetition or variation for its own sake.
An Evaluative Study of Three Units Developed for Multi-cultural and Art Historical Resource Curriculum for Kindergarten and First Grade Art: Two curricular needs exist for the elementary art classroom: multi-cultural lessons which are customized to address North Texas ethnicities, and art history materials for early grades, whether taught by art teachers or regular classroom teachers. This thesis addresses both of these concerns by developing lesson plans to meet the needs, and executing an evaluative study with North Texas art and regular classroom teachers of kindergarten and first grade. The teachers represent four districts, including rural, suburban, and urban demographic populations. Findings address time limitations for public school teachers, cultural exchange differences between demographic groups, and differences between presentation of the units by regular classroom teachers versus art teachers.
The Imagery of "Man": An Analysis of Ten Paintings and Their Related Imagery: The Isle of Man and Southeast Texas both display unique aspects of their geographical localities. In many ways they share similar attributes. I feel strongly that we are a product of our past and of our surroundings. So what type of imagery can be dealt with as a personal icon to link the two diverse places of my past and present?
The Influence of the Exploration of Scale on the Responses Made in Sculpture: The purpose of this problem-in-lieu of thesis is to explore the effect of scale in my sculpture, on me as an artist as well as the viewer. My work addressed the following questions: 1. Can smaller-than-life-size sculpture communicate with the same intensity as my previous life-size work? 2. How does scale affect the ability of the work to communicate ideas and feelings? 3. Can the sculpture be as confrontational without occupying space as we do? 4. Does a larger-than-life-size piece gain intensity in any of these questions due to its scale? 5. How does scale affect my feelings toward the work and my method of working?
Looking Through a Window: Each of the pieces in this study was a single room structure which incorporated a window. The scale varied depending on whether the piece as a whole or in part was to be worn.
Masks and Nature: The intention of my mask-making was to present a body of work that visually captured my many encounters with spiritual presences in nature. From my perspective, these spiritual presences can be described most effectively as Platonic ideals, or the blueprints from which all physical forms are derived. These spirits are, therefore, the life breath and animating force behind the material world. I wanted to transcend the mere physical manifestations of nature and create in the masks a primary vehicle or conduit for the spiritual presences that I sensed in nature.
Mixed-Media Installation Concerns: As I proceeded with my work within this format, I encountered some concerns that dealt with value judgement involving the presentation of an effective installation of this type. The challenge for me was to form a union between the images in my mind and the combination of materials that I chose to use. I wanted the viewer to be conscious of the entire space, as one experience made up of numerous elements.
The Patsy and Raymond Nasher Collection of Twentieth-Century Sculpture, 1967 to 1987: Over a period of two decades, Raymond D. Nasher, a Dallas-based real estate developer, and his late wife Patsy amassed a collection of significant modern sculptures. For years, pieces from the private collection--numbering over 300 as of 1990--were on display in various museums and civic institutions, and they were installed on a rotating basis at Northpark Center, a Dallas shopping mall developed by Nasher. Since the 1987 Dallas Museum of Art exhibition, the collection has been shown in several major international museums. This study documents the formative period of the collection, the Nashers' collecting and exhibiting philosophies, and four early exhibitions of the sculptures. It includes a chronology of the Nashers and major acquisitions of sculpture.
The Use of Symbolic Imagery Through the Decorative Qualities of Majolica: For the purpose of this study I intended to use Majolica to allow me both more flexibility in the physical act of decorating my ceramic work, as well as the opportunity for the expansion of my selection of symbols. During this investigation the following questions were addressed: 1. Was the color range attainable with Majolica relevant to my work? 2. Was my chosen imagery complemented by the special properties of Majolica. 3. Did the textural possibilities of Majolica benefit my work?
Aldo Rossi: From Modern to Post-Modern Architecture, 1960-1990: The purpose of this thesis is to discuss the stylistic development of the Italian architect Aldo Rossi from Modern to Post-Modern design. A summary of the Modern architectural movement is presented along with an analysis of the developments in Post-Modern architecture since 1960. The influence of Italian culture on Rossi's career is discussed through a brief survey of Ancient Roman archetypal motifs and Italian architecture of the early 20th century. Several key buildings proposed or constructed by Rossi from 1960-1990 are discussed based on his concepts of analogy, typology, morphology and rationalism.
Building a Personal History With Layered Symbolic Images: Since I was a young child, I have had a deep interest in all facets of the cultures of early humans and more modern primitive peoples-- in particular, their art and their mythology. It was my proposal, therefore, to combine these interests with the styles of my earlier works by using images drawn from the various aspects of my ancestry in several pieces of work in which the layering of those images-- similar to the layers of my heritage-- was used. My choices were limited to a set number of images listed in a "dictionary of symbols." I continued to engage in on-going research of these symbols to determine if there were relationships in their meanings between the various cultural elements of my ancestry.
Developing an Efficient One-Man Potter's Studio: The problem I proposed to explore involved making changes in personal work practices in the studio as well as studio organization. Using advice and practices that I have gleaned over the past few years, I made changes in the areas of studio organization, wheel production, and the glaze decoration process with the goal of adapting to a limited studio space and becoming more productive.
The Effect of Paper Supports as Aesthetic Choices Made in the Oil Painting Process: I believe that an artist needs a mechanism(s) built into his or her working method out of which the greatest number of options may arise. I suggested that, for me, painting on paper could be one such mechanism. I wanted to pursue paper as a viable surface on which to paint and discover to what extent it would influence my choices in the working process.
Fusion: My proposed objective was to create eight illustrations using Fusion as a tool to communicate concepts. I posed the following questions for evaluation. 1. Can I create two-dimensional illustrations effectively when applying the knowledge and techniques I have studied? 2. In what way will the use of multiple techniques affect the concept?
An Analysis of Verticality and Architectural Reference in the Presentation of Figurative Sculpture: The purpose of this study was to analyze the physical issues of verticality and architectural reference in the presentation of my figurative sculpture and to determine how these issues affect me as viewer. In this analysis, the term architectural reference refers to the fundamental structural elements historically associated with architecture, such as column, pylon, pilaster, pyramid, elevated platform, and bilateral symmetry. The term does not address broader architectural concepts such as spatial organization, circulation, or shelter.
Art by the Yard: Exploring Narrative Drawings: I am interested, both from a personal standpoint and from a cultural perspective, in pursuing the meaning of thes eimages singly and as they combine with others. In turn, the results, I hope, will lead to the discovery of more images for my image encyclopedia. After this introduction subsequent chapters will explore my reasons for the combinations of images I choose and will place the finished drawings in their contemporary art context. My goal will be to note the changing meanings of the objects as they interact serially.
The Design and Function of the Interior Space of the Morton H. Meyerson Symphony Center of Dallas, 1980-1989: This thesis investigates how the interior of the Morton H. Meyerson Symphony Center of Dallas accommodates the three groups which use the space: the patron, the musicians, and the administration. Following the Draft Brief of 1981 prepared by the Dallas Symphony Association's Concert Hall Building Committee, each area is discussed as to what was actually built and what concerns were met. The primary data were the symphony center and interviews with I.M. Pei, architect; Russell Johnson, acoustician of the concert hall; Charles Young, associate of Pei, Cobb, Freed & Associates, interior architect of the concert hall; Carolyn Miller, Trisha Wilson & Associates, designer of the Green Room, Richard Trimble, designer of the musicians' areas, and Joe Pereira, designer of the Administrative area.
An Investigation of Mexican Gravesites in Nuevo Laredo, Mexico and Laredo, Texas: My work already shared some of the characteristics of the gravesites that I proposed to study. They were similar in that they both attempted to integrate sacred and profane imagery. Both called attention to personal events and related these events to a larger scheme. Finally, both were involved with the creation of objects of veneration according to personal edicts, but in relation to already established mythologies. I proposed to create a body of work based on the information gathered from the investigation of three predominantly Mexican graveyards-- one in Nuevo Laredo, Mexico, and two outside of Laredo, Texas.
One-Sitting Paintings: Even Though I already did paint fairly rapidly, I felt I had a tendency to let the painting in progress sit too long in between times spent working on it. I also felt that I was spending too much time stepping back away from the work to look at it and was milling around the studio sometimes needlessly. Thus I became intrigued with the idea of doing a painting in one block of time. The purpose of this investigation was to explore and study the possibilities generated by a series of "one-sitting" paintings. I defined one-sitting painting as a painting which proceeded from beginning to end without a significant break, meaning that it could take anywhere from four to sixteen hours to complete.
Changing Format: The Comparison of Portrait to Narratives: The project involved the investigation of the effects on my painting when switching from single, large-scale portraits to a narrative format involving two or more figures.
An Investigation of the Halo Effect Achieved Through Alterations of Standard Raku Formula and Procedures: My research explored the possibilities of achieving the raku halo through variations of the standard engobe (pronounced on-gobe) and oxide formulas, using ceramic vessels as media. This included alterations of the ingredients, consistencies, and methods of application. Throughout the research, a journal was kept including individual information about research pieces, a statement of results, and my reaction to those effects. From this information, an analysis of the completed vessels was compiled.
Perceptual Responses to Changes in Scale Within a Given Body of Work: The purpose of this investigation, therefore, was to compare the viewer's perceptual response to the small-scale constructions with that of the large-scale ones. Specific questions of concern were: 1. What is my response as a viewer to these constructions when built as maquettes, with regard to the following specific concerns? a. Formal visual elements (i.e., line, shape, value, etc.). b. The presence of a sense of threat. c. Visual reference to a theatrical set. d. A make-believe, or childlike quality. e. Any physical or technical problems encountered. 2. What is my response as a viewer to the constructions when built on a large, or approximately life-sized scale, with regard to the same specific concerns listed above?
Small Embellished Paintings: Throughout history man has decorated paintings and art objects with materials as diverse as shells, seeds, beans, horns, seedpods, hair, feathers, ostrich eggs, coral and nuts. I proposed to explore the potential of using such materials to embellish framing devices for small paintings. Any material could be included in this exploration. The embellished frames have become a part of the total painting and are not removable. The solution included not only the practical, physical aspects of presentation, but also dealt with the purely visual aesthetic ones as well.
Wave: From this investigation, I hoped to answer the following questions. 1) Was there a relationship between the apparent disorder evident at a boundary area and the wave form? 2. Was the wave configuration an archetypal motif? 3. If there was an archetypal wave form, did its presence transcend the use of a scientific medium?
Edward Larrabee Barnes's Dallas Museum of Art: An Architectural Development Study: This study examines the development of Edward Larrabee Barnes's design concepts for the Dallas Museum of Art, from preliminary concepts and program statements by Director Harry Parker and Dallas Museum trustees, through initial planning and architect selection, to site selection, the Program and Space Study, Barnes's early conceptual plans, and his Dallas Arts District master planning. Influences on Barnes's work and his career development leading to the Dallas commission, his most ambitious museum to date, are examined. Discussion and documentation of design development is based on schematic studies, presentation drawings, models, and trustees' minutes. Design changes during construction and all phases of expansion planning are also discussed. The conclusion summarizes historical influences on the design and Barnes's fulfillment of program concepts.
Exploring Visual Metaphors for Loss: My concerns relate to the process of imagery development and the process of utilizing suitable materials to execute my work. These concerns are dictated by the themes in a particular piece and revolve around an acute sense of loss. These themes are frequently presented with humor.
A Problem of Embarrassing Red Pimpled Bang Caps, Among Others: At the time of writing the proposal, one part of me wanted to move ahead and explore the new territory, while another part wanted to understand what I was leaving behind. I proposed to examine the following questions in order to resolve this dilemma: 1. What common personal themes or ideas are behind my work? How can I clarify and refine these themes to make them more manifest in my work? 2. Do I need to investigate new materials in order to express and explore my concerns? 3. Can I form a relation between my use of imagery and materials? Could new materials or objects replace this imagery? 4. Are new formal strategies needed that would link the use of my materials, objects, and imagery?
The Religious and Political Reasons for the Changes in Anglican Vestments Between the Seventeenth and Nineteenth Centuries: This study investigates the liturgical attire of the Church of England from the seventeenth through the nineteenth century, by studying the major Anglican vestments, observing modifications and omissions in the garments and their uses, and researching the reasons for any changes. Using the various Anglican Prayer Books and the monarchial time periods as a guide, the progressive usages and styles of English liturgical attire are traced chronologically within the political, social and religious environments of each era. By examining extant originals in England, artistic representations, and ancient documentation, this thesis presents the religious symbolism, as well as the artistic and historical importance, of vestments within the Church of England from its foundation to the twentieth century.
The Visual Arts Philosophy of Roman Catholicism as Manifested in the Works of Four Commissioned Artists Completed for the 1987 Sanctuary of St. Rita's Catholic Church: This thesis investigates how the visual arts philosophy promulgated in the 1960s by the Second Vatican Council of Roman Catholic Churches is manifested by commissioned artists for a particular parish. The primary data were the new sanctuary and the artworks, which include stained glass by Lyle Novinski, a carved-glass Marian Shrine by Claire Wing, bronze Stations of the Cross by Heri Bartscht, and wooden medallions depicting two saints carved by Don Schol. This paper reviews pertinent ecclesiastical doctrines along with interpretational publications, physically and iconographically describes the sanctuary and artwork, and considers aspects of the relationship between patron churches and the artists they commission.

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