Doctor of Philosophy (PhD), Ohio University, 2015, Curriculum and Instruction (Education)

Painting is believed to predate recorded history and has been in existence for over 35,000 (Ayres, 1985; Bolton, 2013) years. Over the years, painting has evolved; new styles have been developed and digital media have been explored. Each period of change goes through a period of rejection before it is accepted. In the 1960s, digital media was introduced to the art form. Like all the painting mediums, it was rejected. It has been over 50 years since it was introduced and yet, it has not been fully accepted as an art form (King, 2002; Miller, 2007; Noll, 1994). This exploratory study seeks to understand the artist's perception on the use of digital media as an art tool and its benefit to the artists and art education. Grounded theory was used as a methodological guide for the study. Eleven participants participated in this study. Participants for the study were drawn from art instructors who teach at 4-year higher education art colleges located in Ohio and Illinois. The research explored the perception of artists on the use of digital media, otherwise known as digital media in painting. The study relied on interviewing as a method of data collection, which was triangulated with reviewed literature relating to the research. The emergent theory describes how an artist's perception of digital media and digital paintings can be interpreted. It takes into account three main variables: how the artist defines painting, how their definition influences their tool of choice, and their view on the importance of the role and function of painting in the lives of individuals, in society and culture and in art education.

Committee: Teresa Franklin PhD (Advisor) Subjects: Art Criticism; Art Education; Art History; Educational Technology; Fine Arts; Higher Education; Technology

Master of Fine Arts (MFA), Ohio University, 2008, Art Education (Fine Arts)

This mixed methods inquiry took place in an advanced high school art class to determine if the application of art criticism practices in their sketchbooks would improve students writing and thinking about their art.During the study, the targeted class was involved in a variety of classroom and sketchbook exercises designed to assess the impact that reflective journals have on the students' thinking about art and develop their skills in the use of art criticism. Data for the study was gathered using a variety of data collection methods as a form of triangulation. These methods included: Pre- and Post-study questionnaires, detailed observations, direct participation, informal interviews, reflective journal writings, and the student sketchbook journals. Combining the use of art criticism as a part of students daily sketchbook procedures successfully engaged students in critical thinking about their art, and impacted their ability to articulate their ideas in a more meaningful way, improved their journaling performance and developed their ability to think and write critically about their art. Because art teachers are continually describing, analyzing, interpreting, and evaluating works of art during the process of instruction, implementation of the four actions of art criticism into my curriculum proved to be a natural step for not only my students, but for me as an art educator. Art making alone provides students with an unmatched opportunity to digest the abundance of media and information they come in contact with throughout the day. By combining art making with the journaling process (even without art criticism), educators can cultivate yet another avenue through which they can strengthen their student's educational experience.

Committee: Connie L. Wolfe MFA (Committee Chair); Bower David PhD (Committee Member); Adleta Don PhD (Committee Member) Subjects: Art Education

Doctor of Philosophy, The Ohio State University, 1979, Graduate School

Committee: Not Provided (Other) Subjects: Education

Doctor of Philosophy, The Ohio State University, 1973, Graduate School

Committee: Not Provided (Other) Subjects: Fine Arts

Doctor of Philosophy, The Ohio State University, 1971, Graduate School

Committee: Not Provided (Other) Subjects: Education

Master of Arts, University of Akron, 2014, Theatre Arts-Arts Administration

In the spring of 2007, I approached Professor Durand Pope, then Director of the Arts Administration Program at The University of Akron, about the possibility of curating an exhibition of contemporary art, artists, and ideas as a project thesis towards the fulfillment of the degree for a Masters of Arts in Arts Administration at The University of Akron. Professor Pope agreed to the project, with the contingency that a formal research document would detail some aspect of the exhibition. The proposed exhibition was a collaborative effort between myself and my mentor, colleague, and friend, Dr. Kevin Concannon. Dr. Concannon, at this time, was a tenured associate professor of Art History in the Myers School of Art, at The University of Akron. The exhibition, titled AGENCY: Art and Advertising, was the result of almost three decades of research by Concannon, as well as my own, and was presented at the John J. McDonough Museum of Art, a Center for Contemporary Ideas, Art, Education, and Community, located on the campus of Youngstown State University, in Youngtown, Ohio. AGENCY: Art and Advertising was on view in the galleries at the McDonough Museum between 19 September and 8 November 2008. Sited at six locations within the communities adjacent to the McDonough Museum was the artwork Untitled (The New Plan), an outdoor billboard installation by the artist Felix Gonzalez-Torres. This paper acts as an addendum to the project thesis that chronicles the inspiration behind and thought process around the choice of this work and its subsequent installation and placement as a featured component of the exhibition AGENCY: Art and Advertising

Committee: Neil Sapienza Mr. (Advisor); Durand Pope Mr. (Committee Member); Kevin Concannon Dr. (Committee Member) Subjects: Art Criticism; Art History; Arts Management

Doctor of Philosophy, The Ohio State University, 2010, Art Education

People are behaviorally and psychologically complex to a point that we cannot separate ourselves from our values, beliefs, and assumptions. In education, beliefs influence what, why, and how something is taught. This qualitative case study analyzed one art education professor who teaches at a Protestant Christian Church of Christ affiliated university. Analyzed was the art educator's belief system in connection with pedagogical practices of art teaching in the areas of art history, art criticism, and art making. This research utilized literatures from art education, teacher belief research, and Christian theology, analyzing the interconnectedness of personal and professional belief systems in shaping and influencing pedagogical practice in art education.

Committee: Sydney Walker PhD (Advisor); Arthur Efland PhD (Committee Member); Patricia Stuhr PhD (Committee Member) Subjects: Art Education; Bible; Education; Religion; Theology

Doctor of Philosophy, The Ohio State University, 2003, Art Education

Net.art is an art form that uses the Internet as a medium, and has been created specifically for viewing on the World Wide Web. For the art instructor whose curriculum includes art criticism, art history and aesthetics with studio activities, including net.art in such a way that encourages critical thinking and new perspectives on art as well as the Internet is a daunting challenge. The art instructor needs the computer skills necessary to assist students in creating net.art, as well as an understanding of the cultural, technological and theoretical underpinnings of net.art in order to demystify it for students. Net.art tends to be highly conceptual, strongly challenges commonly held notions regarding art, and often requires the viewer to have some knowledge of the history of the Internet. It also requires the viewer to understand the Internet as a cultural phenomenon rather than a technological tool. My primary empirical objective was to formulate effective pedagogical strategies for the high school art instructor incorporating net.art into their curriculum in such a way that would facilitate students' critical thinking, meaning making, and deeper understanding of the cultural aspects of the Internet. The principal research question is: how can net.art be integrated into a high-school level computer art and graphics curriculum? Over the course of the study, the principal investigator engaged in reflective practices that enabled her to devise pedagogical strategies that, in turn, facilitated a demystification process that enabled the students to overcome their initial disorientation and became increasingly able to appreciate and understand net.art. Despite the students' familiarity with the Internet and traditional art forms, however, they were not able to translate their knowledge gained from these experiences into an adequate vocabulary in which to describe and interpret net.art as an artistic form When asked to compare the web sites they are more accustomed to wi (open full item for complete abstract)

Committee: Vesta Daniel (Advisor) Subjects: Education, Art; Fine Arts

PhD, University of Cincinnati, 2024, Arts and Sciences: Philosophy

In this dissertation, I examine how ethical and aesthetic considerations interact and should interact. This, I believe, can usefully be tackled contextually, i.e., on a case-bycase basis. I attempt to demonstrate the worthwhileness of this approach by using it to throw light on the value and disvalue of beautification and adornment, and on the interaction of ethics and aesthetics in disturbing art. Upshots that emerge from my discussion will be that social background conditions often influence the meanings, in addition to the actual and likely consequences, of aesthetic practices; different aesthetic domains afford different types of interactions between ethics and aesthetics; and it is, pace some philosophers of art, valuable to examine diachronic and indirect interactions between ethics and aesthetics.

Committee: Vanessa Carbonell Ph.D. (Committee Chair); Eduardo Martinez Ph.D. (Committee Member); Peter Langland Hassan Ph.D. (Committee Member) Subjects: Philosophy

Master of Arts (MA), Bowling Green State University, 1960, Art/2-D Studio Art (Painting, Drawing, Prints, Photography)

Committee: Paul Running (Advisor) Subjects: Fine Arts

Master of Arts (MA), Bowling Green State University, 1960, Art/2-D Studio Art (Painting, Drawing, Prints, Photography)

Committee: Paul Running (Advisor) Subjects: Fine Arts

Doctor of Philosophy, The Ohio State University, 2019, Near Eastern Languages and Cultures

The subject of this study is contemporary Saudi women's literature and art between 2005 to 2017. In this research, I examine a selection of novels written by Saudi women and paintings composed by Saudi women artists to discuss how women negotiate their individuality, independence and rights to personal decision-making. This research argues that Saudi women have used literature and art to transform the way their society thinks about women. Novelists intertwine love stories, a traditionally taboo topic, with social issues on which there is broad agreement, for example the critique of terrorism, thus hoping to mute criticism. Saudi women artists, on the other hand, focus on portraying women's faces and figures in ways that show emotion and reveal depth of feeling. The key themes in these novels and works of art contribute to the authors' and artists' goals. Both the novels and the paintings focus on depicting some intimate aspects of women's lives in order to create empathy and make their society think differently, thus act differently. This dissertation highlights the importance of including Saudi women's literature and art in discussions of world literature and arts. It contributes to our understanding of Saudi women's shared challenges and seeks to establish that although Saudi women struggle with some sociopolitical issues, as do other women throughout the world, they do not allow these obstacles to prevent them from having open conversations about their position within society. They create conversations by confronting the power structures that women face and using techniques that foster audience engagement. This research was designed to describe Saudi women's concerns as told through their own literary and artistic expressions, in hopes that it may also inspire women in other societies who may share similar social circumstances.

Committee: Johanna Sellman (Advisor) Subjects: Art Criticism; Art History; Comparative Literature; Literature; Middle Eastern Studies; Womens Studies

Master of Arts, The Ohio State University, 2017, Art

This document is about the ideas form the past three years I have been here at Ohio State. Hand written and translated into a version acceptable for the graduate studies department. With this text, there will be images of the original writings to help you understand more about my artwork. What I hope to accomplish in this thesis is not something that describes my work or the lineage that I aspire to be a part of. Rather, I want whoever is reading this to have a feeling that there really aren't any clear answers to the questions that my work brings up. It's not that I don't think about these questions all the time but the answers may not be the most important thing. I want the reader to have a general idea about what the work means to me but that's not the underling idea of the work. The viewer finishes it. I can say all I want to about the work, but at the end of the day, I'm not one who prescribes its meaning. You are the one who gets to say what the work is and isn't. I'm the maker and you're the definer.

Committee: Alison Crocetta (Committee Chair); George Rush (Committee Member); Carmel Buckley (Committee Member) Subjects: Art Criticism

Doctor of Philosophy, The Ohio State University, 1983, Graduate School

Committee: Not Provided (Other) Subjects: Religion

Doctor of Philosophy, The Ohio State University, 1981, Graduate School

Committee: Not Provided (Other) Subjects: Education

Doctor of Philosophy, The Ohio State University, 1978, Graduate School

Committee: Not Provided (Other) Subjects: Music

Doctor of Philosophy, The Ohio State University, 1971, Graduate School

Committee: Not Provided (Other) Subjects: Fine Arts

Doctor of Philosophy, The Ohio State University, 1952, Graduate School

Committee: Not Provided (Other) Subjects: Fine Arts

Doctor of Philosophy, The Ohio State University, 2011, Art Education

This qualitative, interpretive case study uses a psychoanalytically informed theory base to examine students' perceptions of television criticism essays and writing processes created in the undergraduate course Criticizing Television, which was developed and taught by the researcher from 2005—2009. The impetus for this research emerges from gaps in the art education literature on the issue of visual culture criticism writing pedagogies. In this case study, the focal concepts critical consciousness and subjectivity guide consideration of multiple data sources, including students' criticism essays, E-mail correspondence, online survey, researcher's teaching journal, and literature from art education, composition studies, and psychoanalytic studies in education. Resulting from this research of students' criticism writing is the development of an impasse methodology, a psychoanalytically informed perspective on reflexive readings of, and responses to, students' criticism writing. The case study conceptualizes the research results as consequences, within which are embedded suggestions for future research and practice. By problematizing visual culture criticism writing within existing, traditional art criticism paradigms, the research addresses a significant gap in art education theory and practice in regard to student writing and subjectivity in contemporary visual culture art education.

Committee: Candace Stout PhD (Advisor); Sydney Walker PhD (Committee Member); Jennifer Eisenhauer PhD (Committee Member) Subjects: Art Criticism; Art Education; Curricula; Mass Media; Pedagogy

Doctor of Philosophy, The Ohio State University, 2010, Art Education

There is a disconnection between the visual and visuality when it comes to the issues of representation and identity for a particular group of people. According to Sturken and Cartwright (2001) visuality can concern how we see everyday objects and people, not just those things we think of as visual texts (p. 370). The relationship between images and their visuality renders serious consequences when the group (i.e. Black women) in question is misrepresented. Images of misrepresentation are even more consequential when it occurs within the realms of mass media and popular visual culture because the viewing audience is pervasive. So then, the question that must be asked is how can marginalized groups that are misrepresented in a highly visual world take control of their images? How can they acquire the agency to construct self and group identity? These questions addressed in this research study where their answers can be cultivated and examined within the realm of contemporary art, mass media and popular visual culture. I use a mixed methods approach to collect data through the development of both a focus group and use of content analysis, rhetorical analysis and a quantitative survey (i.e., The Rosenberg Self Esteem Scale). A focus group is useful in gaining knowledge from disenfranchised or marginalized groups. Specifically, the goals of this study call for the use of Participatory Action Research (PAR) with a small population of Black women at The Ohio State University and the use of a survey and questionnaires that measure self-esteem and perception. The main goal for conducting a theoretical and participatory study of the images of Black women in visual art and popular visual culture is to develop pedagogical recommendations of how visual culture scholars can use narrative inquiry and counter-narrative to explore race and gender representation.

Committee: Vesta Daniel Ed.D (Committee Chair); Osei Appiah PhD (Committee Member); Karen Hutzel PhD (Committee Member) Subjects: African Americans; American Studies; Art Education; Womens Studies