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.

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.

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.)

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.

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.

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.

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.

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.

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.

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.

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.

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 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.

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.

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?

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.

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.

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.

This creative problem project aimed to develop a series of vase forms expressive of clay and its plasticity as developed through the throwing process.

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?

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.

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?

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 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?