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 …

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 …

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.

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.

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.

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.

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 …

I chose to exhibit sculpture and classical style vessels together to encourage discussion about whether ceramics should be considered a fine art medium. I was interested in experimenting with different forms and textures in order to see which combination would captivate the viewing audience the longest. I found that massive textural sculptural forms held the attention of the viewer more so than did the classical smooth surfaced vessels.

Chapter I describes how my works are grounded in a Chinese point of view, based on sociological and anthropological approaches as defined in my work. The questions in my Statement of Problem deal with how I use "imbalance" in my works, yet still find a way to make acceptable compositions to better tell my stories. I relate how my work constitutes a positive act or event in an evolving world culture. Chapter II discusses the work I focused around the questions posed in Chapter I. Chapter III expresses my conclusion about my work and my goals for the future.

Ever since I became interested in the world of ceramics, crystalline glazes have been the most fascinating and challenging to me. Even though crystalline glazes are the most difficult and elusive to potters, their spectacular results (when done right) keep me coming back. Over the last year I have developed a crystalline glaze that yields consistent and excellent results. During this period, I have worked with these glazes in the traditional manor, being that they are only applied to smooth porcelain vessels. My proposal will be to attempt crystalline glazes on different surface textures.

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 …

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.

As China is opening its doors to the world and getting more involved in the global market, it is facing great challenges and competition with other countries and cultures. In order to make Chinese graphic design industry more competitive and help Chinese businesses and industries have better success in the global market, I believed Chinese college-level design educators and students should learn more from advanced American graphic design processes and marketing methods to achieve a better understanding of Western design culture and make communication more successful. At the same time, I believed American college-level graphic design educators and students should become aware of strengths and weaknesses that exist in their own design education and learn from Chinese formal tradition.

The problem involves developing a method that leaves conventional form and form making and moves toward a spontaneous and intuitive approach. The thesis is organized into 3 chapters. The first chapter includes an introduction, statement of the problem and methodology. The second chapter describes the work in eight movements. The third chapter answers questions posed by the problem and includes a summary and conclusion. The findings are that a spontaneous, impulsive, and intuitive approach to the medium, clay, is a productive and artistic method. The medium is responsive and telling of the method and art is produced.

The first section explores how far I could stretch dichotomy in formal terms, while maintaining a visually resonant image. I wanted to manipulate a superficial surface filtered through "natural forms" as seen in scientific imagery. By this I wanted to create access to a place where forms could play and imagination could wander. I was seeking to find a confluence in seemingly opposing forces that would coexist in the same work. The second section answers questions I had established for myself. The most important discovery I made was about the true nature of what I called a dichotomy in my work. The last section discusses the conclusions drawn from mounting the Master of Fine Arts Exhibition. I found that my interests resided more in investigating an already confluent dualism, as opposed to reconciling a conflicting dichotomy.

The focus of my graduate work was to figure my way through a variety of challenges and transitions I was going through as a graduate student and simply as a person finding my way through my education to discover who I am and who I want to become. Perhaps my themes didn't focus primarily on these events in a literal sense, but I think the transitions in my artwork have become obvious through my time spent at UNT and the variations on a theme I have dealt with. All of my work deals with love, attraction, repulsion and the consequences we deal with as human beings when we make choices according to whom we choose to have relations with. It became very important for me to deal with these issues in an effort to discover what my expectations of myself as an artist and a person are.

My thesis, Question of Honor, addresses the premise of women's lack of choice in relation to men's honor, and vengeance; concepts that are closely connected to the oppressive world of women in Pakistan. These works deal with concepts of purity and minor transgressions that have an impact on the lives of women in relation to family names and the associative feelings of humiliation linked to men. The subtle nuances of women and their reactions to oppression give a strong emotive content to the work.

The submarine and the spaceship fit in perfectly with the ideas of permanence and protection on which my work has been focusing. It is not coincidental that I have long been fascinated with the shapes and mechanisms of these vehicles. They are complex machines designed for a complex function; I find the precision of this to be appealing. I have used their shapes and mechanisms as design aspect in my thesis work. Also, in the studio, I have developed a type of Damascus steel bowl by modifying a technique once used for making gun barrels. I have made three small vessels inspired by spaceships and submarines using this modified technique.

This autobiographical problem in lieu of thesis explores the subject matter of the sculpture, revolving around the issues of dyslexia and literacy, and builds upon the idea of metaphor and its function in relationship to the sculpture. The four visual and conceptual elements that are emphasized are: (a) the juxtaposition and arrangement of elements and materials; (b) inability to open the books; (c) alteration of the text to make the words illegible, by creating words that are fuzzy or transparent; and (d) repetition and scale. Also discussed are ideas of post modern criticism with an emphasis on semiotics and writing of Derada in relationship to his contemporary analysis of his sculpture.

I have always believed the design of clothes should not try to conceal the naked body but should act as a catalyst that reveals the existence and strength of the individual. Spring Message includes three phases, Spring Message, Mystification, and My Paradise to reflect my three life experiences. Spring Message is an attempt to express my thoughts and ideas though designs in fashion, which were derived from the ancient beliefs, traditions, and western influence I have experienced. Through my individual pieces and creations I hope the viewer will be able to see who I am, where I came from, and understand the happiness and changes in my life.

This article discusses the way people experience the landscape. Tracing the progress of landscape photography from the late nineteenth century to the present, the author introduces the way concepts in landscape photography have changed. The author's photographs are discussed regarding how they build on the foundation of this historical precedent. Using photographs of individuals at places they think are special, the author examines their perception of landscape. The positions and actions of the subjects shape the way their attitudes are conveyed. The concept of beauty is discussed as it relates to the appreciation of landscape. By discussing with the subjects why these places are special and photographing with the intent to convey what those reasons are, the author's photographs examine the relationship of people to the landscape.

The focus of this project was on creating images of our industrial landscape and shows the coexistence of culture and nature. I confronted the landscape from a position that is accepting of our present landscape. While not idealizing the present industrial landscape I wanted to depict it in a way that is not devoid of beauty. I believe that no matter how the land is altered a certain grace still comes through in any landscape. In not idealizing or criticizing I wanted to show industrial areas in an accepting light and reveal the grace and beauty that is within every landscape. It is through my photographs and all the subjective decisions made when creating these images that make it possible for others to see the beauty in these industrial landscapes.

Chapter I describes the purpose of the project, which was to develop a body of work that exhibits my current thought process. The questions presented to myself consisted of the following: 1. How effective was the expression of my ideas socially and politically after the change to the work? 2. Was the minimal approach a tool that contributes or detracts from this effectiveness? 3. Did an increase in scale successfully act as an element of confrontation? Chapter II describes the inspiration behind the making of my work it also discusses problems encountered with an understanding of the viewer concerning imagery. Chapter III summarizes the methodology behind the execution of the new body of work. It also discusses how simplification of imagery works as a solution to my problems.

Chapter 1 describes my previous jewelry work related to my interest in body parts and other materials as medium and lockets. The questions in the statement of problem deal with how the use of a specific body site, color and incorporation of body parts in my jewelry make my work more intimate to the wearer. Chapter 2 discusses the work I focused around the questions proposed in Chapter 1. Important points are: a more focused way of using specific body sites to support my ideas, the use of different skin colors in my work, and the physical effect of my jewelry to the wearer. Chapter 3 expresses my own criticism about the work and my future goals after this project.