Matching Items (110)
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- Creators: School of Art
Description
BBW is about the complexities of self-love, self-hate, and the fixation on the fat female body. "BBW" is largely used in the porn industry to reference the fetishization of fat womens' bodies and the hostile culture that surrounds it. This exhibition is meant to confront this toxic attitude and features large-scale oil paintings depicting Big Beautiful Women who chose to share their bodies with the Internet. Fat girls live their lives being told they're unattractive, inadequate, and undeserving of love; BBW is about challenging this notion using size, a sexual gaze, and composition to render simple "camera-phone selfies" into sexy, provocative pieces of art.
ContributorsBall, Ruby Nicole (Author) / Obuck, John (Thesis director) / Lyverse, Mary (Committee member) / Barrett, The Honors College (Contributor) / School of Art (Contributor)
Created2014-05
Description
This project uses the tintype process to create contemporary portraits. The tintype is a nineteenth century photographic process that creates a direct positive on a sheet of metal. The images were created using the same process from the 1800s, as well as a more contemporary method. The natural imperfections caused by both processes were used to help examine the intimacy and emotion present in the portraits.
ContributorsRichey, Jordyn Elizabeth (Author) / Danh, Binh (Thesis director) / Schneider, Betsy (Committee member) / Barrett, The Honors College (Contributor) / T. Denny Sanford School of Social and Family Dynamics (Contributor) / School of Art (Contributor)
Created2014-05
Description
Gray Area is a solo exhibition of photography in conclusion to Haylee Schiavo's studies at Arizona State University. Twenty-six images were displayed at the Step Gallery in Phoenix, and Schiavo continues to photograph for this project. The show combines her interests in two disciplines, Photography as well as Family and Human Development. She photographed a woman who self identifies as being an abuse survivor. The images display the specificity of this woman's story, but also represent the harsh realities of abuse that is highly prevalent in today's society. Her work may be found online at hayleeschiavo.com.
ContributorsSchiavo, Haylee Nicole (Author) / Schneider, Betsy (Thesis director) / Jenkins, William (Committee member) / Barrett, The Honors College (Contributor) / T. Denny Sanford School of Social and Family Dynamics (Contributor) / School of Art (Contributor)
Created2014-05
Description
Perspection is an art exhibition dealing with the ideas of perspective and perception, as it relates to observation of artwork. As a viewer, art is seen as an inanimate thing, however, so much time is spent in the conception and execution of a piece that it begins to take on a life of its own. This thesis is the exploration of how art has the power to come alive, creating conversations with a viewer while showing them another way to observe the world around them.
ContributorsMeyer, Michelle Castrejon (Author) / White, James (Thesis director) / Harp, Hilary (Committee member) / Barrett, The Honors College (Contributor) / School of Art (Contributor)
Created2014-05
Description
Undergraduate on-campus residential education is a topic of significant inquiry within the field of higher education, and specifically student affairs. It has become commonplace for institutions of higher education in the United States to leverage the intersections between academics and residence life in order to promote student success by offering on-campus housing options that strategically place students in residential communities that provide additional connection to the students' academic experience, often by major, college, department, or other focus areas. Such models vary by institution, but are often referred to as living-learning communities or residential colleges, depending upon their structure and goals. For example, Barrett, the Honors College on the Tempe campus of Arizona State University implements a residential college model within its student housing; honors students live and study together, with the addition of three "special communities" designed for students majoring in Engineering, Business, or the Arts. This honors thesis case study describes and investigates the impact the visual and performing arts Barrett residential community has upon its residents in their first-year college experience. Through the lens of student development theory, this research focuses upon examining this specific residential community in detail in order to gain an understanding of its effect upon residents' academic and personal well being.
ContributorsBieschke, Sara Danielle (Author) / O'Flaherty, Katherine (Thesis director) / Rendell, Dawn (Committee member) / School of Art (Contributor) / Barrett, The Honors College (Contributor)
Created2017-05
Description
Despite her untimely passing in 1985, Cuban-born, American artist Ana Mendieta continues to shape modern thinking about many themes including gender, cultural displacement and body discourse. Among those profoundly influenced by Mendieta’s legacy are contemporary artists Simone Leigh and Gina Osterloh. This research critically compares Mendieta's artwork to that of Leigh and Osterloh in terms of identity, feminism, and the body. While their approaches to these themes differ, all three artists incorporate their bodies within their work in order to connect with the rest of the world.
Twelve year-old Ana Mendieta and her sister involuntarily left their family in revolutionary Cuba to live in an orphanage in Iowa. Mendieta’s art legacy includes an innovative combination of numerous mediums, including her earth-body sculptures, which amalgamated land art, body art, and performance. Realizing the feminist movement of Western (white) society largely neglected women of color, Mendieta explored her Cuban roots. Her work is both semiautobiographical and ambiguously political, appropriating indigenous components of art to address issues of identity, feminism, and ethnicity.
To begin, in chapter one I will analyze Ana Mendieta’s work in terms of a search for her personal identity. Art critics plagued Mendieta throughout her lifetime placing her in identity categories. Mendieta’s struggle to defy social constraints led her to explore identity politics throughout her work. Simone Leigh and Gina Osterloh further Mendieta’s emphasis on identity politics through complex explorations of identity within their works. Politics of identity, specifically fragmentation, cultural and self-identification, shaped Mendieta’s works. Gina Osterloh explores themes of visibility and invisibility, attempting to abstract and obscure the identity of subjects within her work. Like Mendieta, Leigh explores her diasporic roots through numerous media, including sculpture and video. Her practice is very research based and heavily considers feminist discourse and histories of political resistance.
In chapter two I will argue that Mendieta did not essentialize the female body. Her observation that the 1970s feminist movement overlooked women of color plays a significant role in her work as well as in the work of Osterloh and Leigh. All three artists seek to break through social constructions of race, gender, and ethnicity. Gina Osterloh’s performance Prick! is a post-feminist critique on call and response relationships. Mendieta’s work encapsulates third wave feminism, she sought to challenge second wave feminism’s essentialist view of femininity. All three artists address the complexities of feminism within their work explore the social constructions of gender and femininity and attempt to break down boundaries to open dialogues for new discussions about feminism. Gina Osterloh works in Los Angeles and uses photography and video as integrative sites for questions of visibility, invisibility, and perception. Within her constructed paper rooms, the body—whether human, paper-māché, wood cutout—explores the idea of camouflage.
In chapter three I will assess Mendieta’s contribution to body discourse. All of Mendieta’s video works are mute, underscoring the focus on the actions of her body. Osterloh uses abstracted bodies within her paper-constructed rooms as a means to bring awareness about the importance of not making conclusions about people and their affiliations. Leigh uses the body to go beyond Mendieta’s exploration to show the racial and gendered body in a positive light. Mendieta traces the outline of her body in the Silueta Series similar to Osterloh’s use of camouflage. Mendieta, Osterloh and Leigh use their own bodies to explore themes of the displaced, marginalized and disempowered.
Twelve year-old Ana Mendieta and her sister involuntarily left their family in revolutionary Cuba to live in an orphanage in Iowa. Mendieta’s art legacy includes an innovative combination of numerous mediums, including her earth-body sculptures, which amalgamated land art, body art, and performance. Realizing the feminist movement of Western (white) society largely neglected women of color, Mendieta explored her Cuban roots. Her work is both semiautobiographical and ambiguously political, appropriating indigenous components of art to address issues of identity, feminism, and ethnicity.
To begin, in chapter one I will analyze Ana Mendieta’s work in terms of a search for her personal identity. Art critics plagued Mendieta throughout her lifetime placing her in identity categories. Mendieta’s struggle to defy social constraints led her to explore identity politics throughout her work. Simone Leigh and Gina Osterloh further Mendieta’s emphasis on identity politics through complex explorations of identity within their works. Politics of identity, specifically fragmentation, cultural and self-identification, shaped Mendieta’s works. Gina Osterloh explores themes of visibility and invisibility, attempting to abstract and obscure the identity of subjects within her work. Like Mendieta, Leigh explores her diasporic roots through numerous media, including sculpture and video. Her practice is very research based and heavily considers feminist discourse and histories of political resistance.
In chapter two I will argue that Mendieta did not essentialize the female body. Her observation that the 1970s feminist movement overlooked women of color plays a significant role in her work as well as in the work of Osterloh and Leigh. All three artists seek to break through social constructions of race, gender, and ethnicity. Gina Osterloh’s performance Prick! is a post-feminist critique on call and response relationships. Mendieta’s work encapsulates third wave feminism, she sought to challenge second wave feminism’s essentialist view of femininity. All three artists address the complexities of feminism within their work explore the social constructions of gender and femininity and attempt to break down boundaries to open dialogues for new discussions about feminism. Gina Osterloh works in Los Angeles and uses photography and video as integrative sites for questions of visibility, invisibility, and perception. Within her constructed paper rooms, the body—whether human, paper-māché, wood cutout—explores the idea of camouflage.
In chapter three I will assess Mendieta’s contribution to body discourse. All of Mendieta’s video works are mute, underscoring the focus on the actions of her body. Osterloh uses abstracted bodies within her paper-constructed rooms as a means to bring awareness about the importance of not making conclusions about people and their affiliations. Leigh uses the body to go beyond Mendieta’s exploration to show the racial and gendered body in a positive light. Mendieta traces the outline of her body in the Silueta Series similar to Osterloh’s use of camouflage. Mendieta, Osterloh and Leigh use their own bodies to explore themes of the displaced, marginalized and disempowered.
ContributorsFox, Angelica Brandt (Author) / Codell, Julie (Thesis director) / Lineberry, Heather Sealy (Committee member) / School of Art (Contributor) / Barrett, The Honors College (Contributor)
Created2016-12
Description
21st Century Breakdown: The Influence of Social Media on New Bands in the 21st Century is a creative project that explores the development of social media in its relation to music and how, over time, it has impacted the music industry. More specifically, the documentary explains the significance of social media to new bands at this moment in time (2017), which is seen through the development of local Phoenix band The Breaking Pattern. The documentary follows The Breaking Pattern for a year from the release of their debut album to the early stages of their second album. The documentary reveals that social media is essential to new bands, allows smaller bands to stay competitive in the industry and allows artists to present a certain identity, genuine or cultivated, to the public. Keywords: social media, identity, music, internet, documentary
ContributorsBosselman, Haley Erin (Author) / Jacoby, Jim (Thesis director) / Russell, Dennis (Committee member) / Walter Cronkite School of Journalism and Mass Communication (Contributor) / Department of English (Contributor) / Barrett, The Honors College (Contributor)
Created2017-05
Description
Anthropomorphic animal characters are common in animation, but there is limited data on the factors that contribute to such a trend. I studied how animated animals in popular movies look and behave like humans, and what that indicates about us that we prefer them that way. My study was conducted via literature review, film review, facial measurements, and the creation of my own character. I discovered the physical importance of eyes in proportion to the rest of the face and the emotional importance of those animals acting as metaphors for us as humans.
ContributorsEhuan, Ariana Jade (Author) / Adamson, Joni (Thesis director) / Drum, Meredith (Committee member) / Fisher, Rebecca (Committee member) / School of Life Sciences (Contributor) / School of Art (Contributor) / Barrett, The Honors College (Contributor)
Created2016-12
Description
For my Barrett Creative Project, I created an art installation that fostered comprehension, empathy, theorization, and healing surrounding the topic of mass gun violence in America. I used the space I was given in Gallery 100 as a graduating BFA student to host a multimedia installation designed to nurture these ideas.
ContributorsDallman, Erica Ashley (Author) / Sale, Gregory (Thesis director) / Hanson, Erika (Committee member) / School of Art (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
Social media has forced us to more publicly define who we should be apart from who we are. In the age of technology, there is an increased societal pressure to hide imperfection - to keep the raw, sensitive aspects of our lives to ourselves. For my honors thesis/creative project, I chose to explore the disparities between the lives we share in person and the lives we share online. As a BFA student in Ceramics, I wanted to use the skills and techniques I've acquired throughout my years in college to visually represent my personal observations of social media use, identity in the age of technology, and the taboo of imperfection. My motivation for this project was to question, what is reality? I believe social media has led to an environment of under sharing. We share what's easy, what's happy, what's comfortable. Either that, or we focus on the negative, discounting the blessings and privilege we are so lucky to have. Positive or negative, this platform is a shallow way to communicate and understand humanity. There is always some underlying insecurity, anxiety, or tragedy behind every success or celebration. After reflecting on these insights, I continued my research by exploring aspects of different imagery, form, and function in clay. Ultimately, I decided to create a series of four interactive head sculptures. My main objectives for these sculptures were to embody issues of mental health, reference social media, and to have the viewer interact with the pieces.
ContributorsMegehee, Mary Grace (Author) / Beiner, Susan (Thesis director) / Chung, Samuel (Committee member) / School of Art (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05