This study explored how implied texture was used to give meaning to figural imagery. Several questions were answered in proceeding with the creative project: 1. Did implied texture abstract the figurative image? If so, how was content affected? 2. Did implied texture act as an obstruction to content? 3. Did implied texture act as an integral part of content? 4. Did implied texture exist as a separate entity from content?

The purpose of this study was to develop a vocabulary of patterns and motifs based on Persian and Mesopotamian styles. Then, using the characteristics mentioned above, to create a body of work, approximately twenty pieces, using that vocabulary.

I perceived humans as a certain size, approximately five feet to six feet tall. This reality compelled me to do full length, life size, and larger portraits of my body again overlaid with the lizard's body. The study involved an investigation of self portraits and the effects scale had on their intimacy.

The unique nature of this process raised major technical questions that I intended to address during this project. The purpose was to obtain a quality surface, considering both visual and textural considerations, while using the copper matt finish.

The purpose of this study was to examine the difference between language and the use of visual imagery to represent experiences and ideas. It focused on the following questions: 1. Can the meaning of a painting be ascertained by analyzing the referents of the images and their relationships to one another? 2. How does the purely formal part of the painting function in the creation of meaning? 3. What is the difference in the meaning created by language and visual imagery when they were used to represent the same idea or experience? 4. Where do my ideas come from?

The focus of this creative project was the production and presentation of electronic imagery generated by personal computers and peripherals. By it's nature, electronic imagery is dependent on light. I proposed that the exhibition project would include computer graphics images presented in a variety of formats, both static and moving.

In order to arrive at a more consistent and clear personal understanding of the nature of art, I examined the ideas about art and aesthetics which were reflected in my works of the past several months. Some of the specific questions i asked in my investigation of the works were: 1. What are my thoughts on the role of content and form in my visual art? 2. What are my thoughts on the role of the viewer in visual art? 3. What are my thoughts on the role of permanence in visual art? 4. What are my thoughts on the role of appropriated imagery in visual art? 5. What are my thoughts on the role of expression in visual art?

Feline images have been an element in much of my work since 1981. These cat images were usually included in self-portraits. As my work progressed, the feline images increased in importance until 1985, when I abandoned the self-portraits almost entirely and began working predominantly with the cats. Although the feline image has been an important aspect of my work for several years, I never attempted to discover what these images symbolized or meant. I rarely thought consciously about the content of my work, as i arrived at my images primarily in an intuitive manner.

The source and development of the shelter as a personal symbol in my work has been explored in a body of work consisting of twelve pieces. The approximate size of these objects is 10" X 14" X 18". I plan to address the following questions during the review of this body of work. 1. What part do architectural sources play in the development of the shelter symbol? 2. What part do cultural and anthropological sources play in the development of the shelter symbol? 3. How does surface embellishment affect the shelter symbol? 4. How does the size affect the shelter symbol?

The purpose of this study is to examine I. M. Pei and his partner Harry Cobb's downtown Dallas architecture within the context of their overall stylistic development. This paper explores the structure of five buildings within the framework of the city, and addresses their possible influence on the city's future architectural direction. The thesis is divided into six chapters. Chapter I introduces and states the problem as it discusses the fabric of Dallas architecture. Chapter II outlines a brief biography of I. M. Pei, looking to those who have influenced him, while discussing the key public buildings of his stylistic development. Chapter III is devoted to Pei's first structure in the city, the Dallas Municipal Administration Center. Chapter IV explores the concepts of his planned Morton H. Meyerson Symphony Center. Chapter V outlines a brief biography and focuses on the work of Harry N. Cobb: One Dallas Centre, ARCO Tower, and the Allied Bank Tower. Chapter VI summarizes the contributions of Pei and Cobb by placing them within the context of twentieth century architecture, and pointing out their specific achievements with their additions to the fabric of Dallas architecture.

The focal point of the study was the use of gestural and photographic imagery in printmaking, and how that imagery could be combined to form a personal aesthetic. The purpose of this project was twofold: to create, describe, and interpret works which called attention to the dichotomy and unification of gestural and photographic imagery; and, to allow for positive personal growth, which would be absorbed into future studio work.

This research surveys ideology and iconology in the presentation of the autobiographical and biographical female nude as envisioned by American women artists in the painting, drawing and printmaking media from 1969 to 1983. Contemporary dialogue by critics, artists and feminists on the definition of feminine content led to the articulation of the undraped nude torso as the central icon of the study. This static icon was pushed through a variety of styles into multi subtleties of iconology. The female nude by women artists is autobiographical even in biography emphasizing self-identification and authenticity. General constraints were placed on the survey the definability or explicit articulation of the female torso as opposed to suggestive imagery, the time frame in which the nude was created, and the chosen media for study. Art historical methodology was employed to descriptively examine image and intent of the nude presentations in references through time as well as visual traditions of symbology. This survey began at the turn of the century for historical background to emphasize the greater proliferation of the nude from 1969 to 1983. There were limitations specifically associated with the earlier time frame (1900-1969)--the lack of art educational opportunities for the female student, the socio-political …

This paper involves the investigation of the juxtaposition of images through the artists' works and related historical background to the use of this technique. Christopher Hill Morse proposes a series of questions to define personal criteria for choosing images and discusses the impact of these images in the works.

In the monotypes I have done, a third figure has emerged in the spontaneity of the process as a simple face shape and element of composition. Virtually ignored by the others the third figure becomes a puzzle as to its complete role. As this third figure came about from a natural development in the monotypes, I have explored its meaning in my paintings for the creative project in lieu of thesis. I have investigated the role of the third figure in meaning and content as I introduced it to the interaction of the two figures in my paintings.

The purpose of the study was to determine a definitive description of "artistic giftedness." A questionnaire was sent to Texas art teachers to find what characteristics they attribute to the artistically gifted, how they determine this, and what program goals they set. The wide variety of survey responses indicates the diversity of artistically gifted individuals. The high rating on all items indicates that all could be used as identifiers (higher rated characteristics identifying a larger population, lower rated ones, a smaller population). Responses to items dealing with identification indicate nontest methods to be most widely used. No connection was found between goals chosen and either characteristics or methods.

The intent of this study was to construct a group of forty wheel-thrown vessels, comprised of four forms, in series of ten. The surface of these pots was to be enriched through the use of various materials and techniques. These included slip trailing, brushed slip, glaze and over glaze colorants. The decorative theme I pursued was based on abstract floral images. I admire both the ordered structure of plant forms and the slightly imperfect symmetry contained within their various parts. I have attempted to express their gestural quality and delicate nature in my surface decoration.

The purpose of this study was to determine whether The Large Glass was a negation of women for Marcel Duchamp. The thesis is composed of five chapters. Chapter I is the introduction to the thesis. CHapter II includes a synopsis of the major interpretations of The Large Glass. Duchamp's statements in regard to The Large Glass are also included in Chapter II. Chapter III explains how The Large Glass works through the use of Duchamp's notes. Chapter IV investigates Duchamp's negation of women statement in several ways. His personal relationships with relatives including his wives and other women, and his early paintings of women were examined. His idea of indifference was seen within the context of the Dandy and his alter ego, Rrose Selavy as a Femme Fatale. His machine paintings are also seen as a part of his idea of detachment and negation of women. Detachment as an intellectual pursuit was probed with his life-long interest in chess. The Large Glass was then seen as not only showing inconographically a negation of women but also as being an intrinsic component of his life and his work.

In developing the ideas for this project, one of the major questions to be addressed was how well this method of combining prints, drawings and jewelry into a single collage would contribute to expressing the themes of intimacy and secretiveness already present in the individual pieces. It seemed that surrounding the jewelry with an environment that shared and repeated the private qualities of these objects would increase the intimacy of the work.

The purpose of the study was to make an assessment of Arkansas middle school/junior high art programs using National Art Education Association standards. Data were collected from questionnaires, curriculum guides, and school visitations. Participating in the study were 127 schools enrolling 53,502 students of which 14,755 (28%) were taking art classes. For comparisons, the state was divided into five regions.

The original proposal was altered for the sake of clarity. In contrast, the new introduction offers a stronger and tighter definition of intent without changing the concept of my concerns. Working through the beginning stages of analysis I began to understand the significance of asking specific questions as a means of focusing my intent. I proposed to continue to explore the evolution of imagery in my work through the creation of seven to ten "pieces." I remained open to and involved with the uses of painting, drawing, photography, installation and combinations thereof.

In this investigation the possibility of a "soluable" type of space and its formal properties was explored. The project took the form of four objects, ranging in size from three to eight feet in total length. The investigation was based on the following questions: 1. How does the form suggest extensions of itself in space? 2. How does color alter the viewer's response to the form? 3. How do color and form work together in suggesting additional elements? 4. In what manner do materials and/or patterns affect the form? 5. What new avenues of investigation does the work suggest?