Lorenzo de’ Medici (1449-1492) became heir to the Medici family of Florence in 1469 at the age of twenty after the death of his father, Piero de’ Medici. Under the shadow of the great patronage of architectural and artistic works of his grandfather, C . . .

My Master's` thesis is an installation. I replicated a brick wall with a window like the opening from my grandmother's house. Behind the window there will be a slowly melting wax figure, signifying change. The concept behind the work is how memory is . . .

My art pieces are extensions of my personality and values. They reflect my philosophy on life; a philosophy which honors the timelessness of Nature’s beauty. Time itself cannot eclipse Nature’s wonders, and my purpose as an artist is to capture but a . . .

This study will focus on the symbols for chastity contained in the Madonna of Jan Vos. While the painting contains several allusions to this virtue, the discussion will concentrate on just two of those motifs, the tower and the crown. A third motif wi . . .

Introduction: This collection illustrates the result of more than two years of experimentation in sculpture with materials and techniques that I have never used before. Prior to my arrival in the USA in 1968, I had been involved with traditional mater . . .

I feel a creative impulse. That mystical, often mythic, motivation, that some say, sets the artist apart. Lucy Lippard, in “Six Years and the Dematerialization of Art” says …”They (artists) are such in that they choose to effect". Though the source of . . .

The primary concern of this project is to document the fiber preparation and the weaving process of the wraparound lava lava skirt worn by the women in the Western Caroline Islands of Micronesia and to send the information back to them for their futur . . .

This thesis project demonstrates how life stories about homeless African Americans contextualize the making of original artwork in the form of abstracted relief prints. The goal of this work is to use printmaking processes as a form of activism for so . . .

The basic concepts in the primal structures in “Ink and Glass” emerged from the study of biomorphic slides of the building blocks of life. These fundamental structures consist of such ingredients as hormones, molecules, genes and vitamins as observed . . .

For me, life expresses itself in rhythms, The beat is either loud pathos of struggle bursting to make itself known, or the essence has been reached, and only the soft, glimmering acceptance of a new thought begins to flow peaceably. Yet, neither beat . . .

It's taken a long time to come to a certain maturity in the style and manner of woodworking of which I am about to write. I’ve only recently felt secure enough in some of the methods and the applications of these methods to discuss them. I can recall . . .

This document addresses the use of social justice-based art pedagogies in the classroom. It examines how social-justice based lessons can be successfully incorporated into the classroom to actively engage students in art lessons and how these type of . . .

The existence of instructional television for the deaf is minimal. Signed and captioned programming has begun to work its way into existing television formats; however, to date there is no significant educational television designed for the primary-le . . .

Sonia Delaunay, early twentieth century artist and colorist extroadinaire, once said “Color is the skin of the world”, no doubt meaning that color is the essence of our environment. I share that philosophy so it is only logical that color should be a . . .

Introduction The work presented here is a visual expression of my observation of forms being penetrated and transformed. The process of transformation is dialectical. Antagonistic, polar elements produce synthesis. This constitutes the inspiration fro . . .

Several years ago, after visiting an exhibition of Larry Poons' paintings which featured numerous ellipses floating in space, I became fascinated with his work and reflected on how the tiny discs were reminiscent of light refractions on theatrical spa . . .

Time is expressed through both expansion and contraction in my work. In Quotidian, daily self-portraits are digitally assembled so that the layers are recognizable through subtle, partial visual cues, though the images become indistinct. Quotidian str . . .

My sculptures are products of my heritages' popular culture and ancient stories combined together to reveal the disconnect I feel from my roots. Japan's popular culture of animated cartoons and movies contain bits and pieces of its history and folklor . . .

My graduate studies in industrial design have broadened my field of knowledge regarding theoretical and conceptual aspects of the field - an area which was guided by the advanced instruction of our faculty. I believe that products of the future should . . .

Clay lends itself to my concerns. The imagery is sensual, tactile and sumptuous. When it is soft and pliable, then rolled into a slab, the clay's coolness and texture reminds one of skin, perhaps because it is easily ripped, torn, or cut into. Beating . . .

Most people are busy with work and life, and don't have time to notice small details. American photographer Diane Arbus (1923-1971) said, "I really believe there are things nobody would see if I didn't photograph them." Her words resonate, as I use my . . .

Water is, of course, a universal substance, and indeed, has been the subject of artistic depiction from time immemorial. Thus, it has been typically depicted two dimensionally in an impressionistic format, as for example waves shown in either geometri . . .

The art making process embodies the human spirit and becomes a metaphor for the self. The human spirit moves through transitions that are similar to the ceramic process. We shift and twist to accommodate our daily struggles. We have tenuous fragile mo . . .

Found or altered domestic devices are the foundation of my interdisciplinary practice, including sculpture and photography. I am highly influenced by the body and the dialogue created when objects become ornaments, tools, or both. The manipulated item . . .

The photographs in the back of this book are selected from work completed during the last three years and represent my four woven series: fetish objects, geometric constructions, fiber sculpture and mandala tapestries. Although there are various conce . . .

The complexity and constant color change inherent in our environment is an endless source of wonder and inspiration to me. Many times the landscape and our atmosphere appear as a woven surface composed of melting layers of interrelated lines, shapes a . . .

My mother's occupation as a cobbler is the subject of my photographs and sound art. In an effort to immerse my audience in the experiences of her work, the imagery emphasizes the importance of gesture and place while the sound captures the noises of h . . .

I create art influenced by the decaying neighborhoods that surround me, from both literal and emotional perspectives. The work begins when I drive or walk around Los Angeles, seeking the details of visual dialogues on decaying walls, the marks on them . . .

The autumn of my life brought a heightened perception of the ephemeral nature of time. Most people eagerly await the next milestone while growing up, chasing dreams, creating families, and watching children thrive. As my mother's memory fades, I feel . . .

My work of " Color, Vibration, & Isolation " had a long evolution. My expression was influenced by my deep feeling through using oil and acrylic paint, gestures, and textures on canvas, and limiting the color to a predominance of ultramarine blue. My . . .

I would like to discuss a style of painting, which originated in Europe soon after World War II, that prevails among many abstract painters today. I include myself as one of these painters who have incorporated this type of aesthetic into their work. . . .

The purpose of this study was to research the use of sprayed images in art in order to assess the present-day state of this art form, to explore the reasons today’s artists feel such a need to use spray in their work, all or in part: and to produce an . . .

“The modern artist’s social history is that of a spiritual being in a property-loving world. … It is true that we are constantly excommunicating each other. It is true that artists are not always pure, that sometimes they are concerned with their publ . . .

The purpose of this project was to survey and compile information about educational programs and resources for teachers and their students offered at Southern California area museums, galleries, and cultural centers. The guide was designed to facilita . . .

While the art of the first half of the nineteenth century seems to center around history painting, artists were nonetheless producing works that could be financially beneficial to them. Although portraiture did not rank high on the academic scale, the . . .

To explain my work in written form, and disclose my principles, techniques, processes, and all that is involved in creating a sense of the enigmatic would be in opposition to my intent; not to mention the obvious, that the ability to express one's sel . . .

Conceptualism is the basic underlying theme in my work. Conceptualism is concerned with universals existing as realities in the mind only and that the mind can form an image corresponding to the general term for a particular concept, distinguished fro . . .

The photograph is a two-dimensional vehicle for transporting the mind into three-dimensional space and back again. Through the photograph, I can gather, transmit and receive believable information about the physical world while simultaneously giving s . . .

Life is a tapestry of happenings; each moment or event is another stitch in the work of art. Every element around us contributes to our inner selves and enriches our soul. We flow through this tapestry as adventurous ribbons and absorb particular mood . . .

The destructive, contemplative, and repetitive processes used to make my work examine struggles between death and preservation as well as acceptance and control, in an effort to establish a sense of permanence in a decaying body. Illness comprises muc . . .

After viewing these prints as a whole, I realize the lines themselves create an energy on the paper. This draws attention to the relationship between space and mass, the natural attraction of any object to another, and an awareness of the energy creat . . .

I have two bodies of work. The larger number of pieces, created as commissions for architectural spaces, have been titled “PUBLIC” works. When I create these designs, my philosophical approach is to present work that will be harmonious to the function . . .

Asian-Americans are expected to have high achievement and success because of their ethnicity, a phenomenon which has been coined the Model Minority Stereotype. Mass media contributes to the generalization and perceptions, relating to Asian-Americans; . . .

Only What Does Not Cease is a sardonic and childlike exploration of memory and abandonment using a vomitous neon color palette, the 8-bit graphics of a Nintendo Entertainment System, and creatures that should not be. The work calls out to He-Man and t . . .

In this study, the recurring motif of the window in the work of Edward Hopper is examined and found to have symbolic meaning in the artist's oeuvre. The methodology used is biographical and iconological. Hopper was an artist who persistently and empha . . .

Growing up in Los Angeles has informed much of my fascination with surface textures. Color and form are brought to life in striking detail throughout the landscape and cityscapes of Southern California as the glowing daylight fades into the twilight's . . .

A feeling of "other worldliness'' reflects an important facet of this work. It is never solely the artist's conscious effort that determines the nature of the piece. It is continually one's pursuit to follow the dictates of the work, as they are perce . . .