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 . . .

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 . . .

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 . . .

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 . . .

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 seems as though it was only yesterday, the first time I held a manual SLR camera, allowing the shutter to capture a bit of light falling on a grey card that lay propped up against the old house. The camera belonged to my stepmother's father who had . . .

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 . . .

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 . . .

My work draws on materiality and form to evoke reckless empathy. The state of being recklessly empathic is to remain fearless, and perhaps even foolishly open to and aware of possibilities in the midst of chaos. It is trust and risk in the face of imm . . .

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 . . .