Technology offers opportunities for museums to expand the ways in which cultural perspectives relevant to objects on display can be exchanged and understood. Multimedia content offered online in an environment with user input capabilities can encourage dialogue and enrich visitor experiences of museums. This action research project using narrative analysis was an effort to develop the use of web technology in museum education practice, with an emphasis on constructivist learning. Concepts including the visitor-centered museum and multiple narratives led the researcher to collaborate with a pre-service art teacher education classroom and a local Hindu community to create content that might better develop understandings of one museum's Hindu sculpture collection that are personal, cultural, and complex.

This study examined two art museum and school partnerships in order to learn how partnerships enable an integration of goals, participants' beliefs and values, and learning objectives. This study examined the partnerships through a social constructivist lens and used narrative analysis as way to interpret participants' stories about collaboration. The research found three major themes among participants' stories. Participants: a) valued good communication to establish relationships between partners, b) believed partnership offered students experiences that educated the whole person, and c) felt that students making meaning by interacting in the museum environment was an indicator of success. The study closes with discussion of the researchers' own constructions as they developed throughout the study.

This paper discusses the works of its author and includes images of the works. Douglas Parker Darracott discusses the process of creating an American portrait in 1992 and performs research on related literature and American society during this period.

This paper involves the research and testing of surface treatment using fusible engobe for the purpose of decorating large ceramic sculptures. Anthony M. Holman includes formulation and color testing charts and explains the process.

This paper discusses the author's art works, which involved the integration of clay and steal to create sculptures of pipe forms similar to the machined forms they worked with in the agriculture and oil industries. Vicente García discusses the methodology of creation and analyzes the works.

This paper discusses the author's selected works, four sculptural pieces cast in bronze and painted with oil paint washes. Cari D. Ashworth explains how the works illustrate challenges faced by the modern woman in today's society, and how the dramatic flair of the pieces produces imagery.

This paper discusses the author's work creating five collagraph prints based on imagery used during the Mexican Day of the Dead celebration and the process of making these prints. Eduardo J. Garcia discusses how heritage impacted these works and explores the meaning behind the folk art imagery.

This paper discusses five works the author created and the thought process that went into the creation of these works. Helen Altman discusses the fascination with temporary or process pieces and the use of commonplace materials to depict a message.

This paper discusses the concept of figurative formalism and its application in six paintings on canvas by the author. Linda Leonhart McCall explores the work of Johannes Vermeer, Edward Hopper, and Richard Diebenkorn in discussing abstraction and representation.

This paper discusses the author's work creating 30 ceramic vessels experimenting with the relaxation of jar forms. James Robert Salazar discusses how these jars retain their proportions and structure despite the relaxation process, and the inspirations that created a personal aesthetic evident in the works.

This qualitative critical ethnography examines how visual culture impacted the identity and art of four Hopi artists. Sources of data included a personal journal, artists’ interviews, group discussion, art work interpretations, and historical research of Hopi art, visual culture, and issues of native identity. In particular, my analysis focused on issues of power / knowledge relationships, identity construction, and the artist as co-constructor of culture through personal narratives. Implications for art education centered on the concept of storytelling through mythic archaeology situated in identities of past, present, and future.

This paper discusses the creation process of thirteen works by the author addressing women's issues using mannequins of actual women as a metaphor. Robyn Beirman Jamison discusses interviewing and photographing the women, creating the works, and the imagery of objectification of women by society.

This paper examines the surface effects of the salt-bisque technique on clay forms and its evolution through the introduction of seven-sodium based chemicals. Genevieve Espinosa walks the reader through a series of tests and procedures in three stages: the formative, decorative, and conclusive (firing) stages.

This paper examines the myth of femininity and the author's own perception towards it through an analysis of seven pieces of art work and related literature. R. Renee Sherrer explores the representation of concepts and the use of image to impart a message.

This paper describes the process and results of laminating clay forms through the slab construction method for the purpose of decorating ceramic forms. Rafael Molina describes the background information behind the process and a description of the finished products.

This paper discusses the integration of imagery and form in the author's works, wheel thrown pottery intended to make an individualized statement. Steven L. Phillips discusses the process of making these forms and the imagery they contain, drawing connections to philosophical concepts.

This paper describes the depiction of Colorado animals and their environments through earthenware. Laura Newby describes the process and inspirations behind the pieces and describes each one in turn.