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- All Subjects: art
- Creators: School of Art
In this project, I analyze representative samples from three different fashion brands’ sustainability-related informational materials provided to the public through their websites, annual reports, and clothing tags that promote the company’s environmental initiatives. The three companies were chosen because they each represent global fashion- they are all extremely large, popular, and prevalent brands. These materials are evaluated against three frameworks for identifying deceptive greenwashing claims. I identify instances in which these frameworks are successful in categorizing deceptive claims from these companies as well as instances in which they appear to be vulnerable. To address the vulnerabilities I discover in the three existing frameworks for identifying greenwashing, I propose six new guidelines to be used in conjunction with these frameworks that will help to ensure that consumers can have a more ample toolbox to identify deceptive sustainability claims.
Studio 31 is a startup venture founded by Brandon Goldberg, Ryan Johnston, Samuel Vogel, and Ekaterina Korneva. The company offers affordable art prints created by aspiring artists through an online platform. Our mission is to connect these artists with art lovers and provide them with the tools to build sustainable careers. Key activities of Studio 31 include curating a set of artworks, maintaining a print-on-demand system for sustainable production, and penetration of the target market through strong digital media positioning. The field of art is replete with talented artists who are just starting their professional careers and are not represented in the art market. The works of art of such artists are unknown and inaccessible to the target audience, which complicates the process of their professional development and limits the variety of artworks available on the market. Studio 31 infiltrates the art community and forms partnerships with talented artists to then provide the target market with access to exclusive artwork through an established sales and production process. The advantages of an established business process are no risk to the artist, cost-efficient production that correlates with demand, and a predictable cash flow from operations. The current state of the industry and trends affecting the target market confirm the viability of Studio 31's business model. The covid-19 crisis has affected the art market, shifting focus to online sales. Moreover, due to people spending more time at home, the demand for art products has increased. Our team is uniquely positioned to bring the Studio 31 business plan to life. With Katrin, Ryan, Brandon, and Samuel as the management team, the project is supported by expertise in entrepreneurship, management and policy, economics, marketing and design. Implementation and marketing are the key activities of the company on the way to gaining traction in the target market. Studio 31 will develop multiple direct and indirect distribution channels to provide customers with diversified access to offerings. The website will serve as the main direct channel to connect with buyers, displaying the full list of offers available for order. In addition, the company will be present on numerous social media platforms in order to notify the target audience of current offers in a timely manner. Both the website and social media accounts will grow through paid advertising and influencer marketing. The project's initial funding consists of Barrett, the Honors College Thesis Funding. These resources covered the overhead costs required to get started, such as the website and initial product prototypes. The seed funding will also be used for market research and business process testing to improve the company's performance and subsequently maximize profits. The team will resort to a crowdfunding strategy if additional funding resources are needed to cover the initial costs. The project will be presented to the public to receive financial assistance for business development. The investment will be encouraged by incentives such as discounts on future sales.
"Calico" takes a look at the Japanese art form of "Manga" and what makes it stand out from similar art forms seen in the west such as comic books and graphic novels. After researching art techniques and the history leading up to modern manga practices, "Calico" summarizes it all together in the form of a manga itself. The story of "Calico" uses manga art techniques to tell the story of a young girl who finds solace in a street cat following the death of her mother.
Every day, the earth’s oceans are being destroyed. Pollution, fishing, sonar, and many other man-made factors have caused detrimental effects to the most crucial of the ocean’s ecosystems. While more individuals are becoming aware of these problems, additional support is needed to help protect the ocean’s many unique creatures. The purpose of this honors thesis exhibition is to continue to shine light on human negligence towards threatened ocean creatures. The three artworks in this thesis show the descent of diversity and life of these marine creatures over time. By showcasing the different ways in which whales, rays, and corals have been affected by human impact, this thesis and subsequent art pieces will help to continue to enhance one’s understanding of the importance of marine conservation.
traditional practice, is constantly challenged by new ideas, technologies, societal
currents, and people. I believe it is my role to continue this tradition and introduce
my interpretation of the disciple that is painting.
In this series titled “What Our Bountiful Mother Earth Has Given Us”, I
explore topics of materiality, sacrifice, and the relationship between artists, laborers,
and the Earth. I began this investigation with an adoration for fruit- the signal of a
successful harvest, the budding of fertile land. To capture this organic abundance, I
decided to use the actual pulp of the fruit to depict it. The sacrificial act of using the
flesh of the fruit created an artifact that strives to be, in the end, greater than the
sum of its’ parts. At its’ core, painting is the alchemy of combining natural elements.
To do so, I began by sourcing as much of my chosen fruit as possible,
specifically choosing fruits that require the labor of migrant farm workers in
California. I experimented with using tools such as a blender or food processor to
crush the fruit, but ultimately decided that using my hands and feet to pulverize the
fruit to a paintable pulp allowed me to experience being a component in the process.
Next, I reduced the liquid content by boiling it down to concentrated medium,
adding salt as a preservative measure. Testing out heavy canvases and thin
starched cottons, I eventually chose the lightest fabric I could find, cheesecloth, to
allow the medium to carry the weight of the piece, rather than the support. I
suspended this fabric between two easels and began painting my pulp concoction
onto both sides in multiple layers, allowing it to dry in between. I repeated this
process multiple times until the cloth became stiff and only a small amount of light
could filter through it. I began the same process using another fruit, until I had all
three completed.
Virgil and I met in 2019 while Virgil was performing a ceramics demo at the ASU Ceramics facilities. We collaborated on Virgil’s first line of completely handmade functional wares for his collaborative show at the ReVOlt gallery for Indian Market, Santa Fe 2019. In 2020, Virgil came to ASU as a visiting artist faculty and began work on larger pieces using more sculptural clays and exploring internal support structures under the guidance of myself and artist Ben Jackel. Seeing this large work and the opportunity to build on this, renowned art critic and appraiser Peter Held brought myself and Virgil to Reitz Ranch Center for Ceramic Arts, the former studio and home of Don Reitz. Don was an American master, building huge vessels and sculptures and firing them in salt, soda and wood kilns built on his property. He built a particularly larger Anagama style kiln, deemed the Reitz-agama, which measures 60in tall and 30 feet deep, specifically to be able to wood fire his massive wares. Don’s work is visceral and emotional, made with a heavy hand and minimally glazed, allowing for the buildup of wood ash and salt from the atmospheric firings to complete their surfaces. The ranch still holds all of his kilns, and hundreds of his pieces from years of success and failures. The owner of the ranch Sheryl Leigh-Devault, and Don’s former assistant Ben Roti, invited Virgil and I up to work at the ranch any time we wanted during this visit, and due to the closures of ASU studios and a desire to push our work together further than we ever had before, we orchestrated a week visit. This week visit developed into two weeks, and had since developed further into a one and a half month short term quarantine residency.
