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.

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 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.

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.

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.

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.

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.

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.

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.

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?

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.

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.

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.

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.