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- All Subjects: Creative Project
- All Subjects: Film
- Creators: School of Film, Dance and Theatre
- Creators: School of Art
Description
Art history, while vast in scope, is a male-dominated topic. Textbooks predominantly feature male artists, and generally when artists look to the “masters,” they look to men. Although the field is becoming more diverse every day, this discrepancy in what is taught to young artists can have a profound impact on how and why art is produced. As a young female artist who is focused on my own self-identity and developing a body of work, I look to other women in art, past and present, to orient myself in the context of art history. I am interested in how these women came to terms with their identity in a field that acknowledges them less than their male counterparts, and how their self-perception is reflected in their work. Researching other women in art—for example, how do these artists extrapolate from the world around them to create, and how does their work affect their own self-identity? —has gradually shifted the way I looked at myself. Witnessing other female artists be bold with self-portraiture or brave with their honesty through art has shaped how I view myself and how I want to create art. Through employing self-portraiture in my creative practice, this project aims to utilize my personal experiences and perspectives to contemplate the way I engage with my own identity.
ContributorsWelch, Rachel (Author) / Solis, Forrest (Thesis director) / Hogden, Heidi (Committee member) / School of Art (Contributor) / Department of Psychology (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
Evolution is a powerful process that acts on features as organisms adapt to fill a variety of niches. It is visible in the emergence of the beak in the fossil record, through a number of small changes over time. To explain and convey these changes to a general audience, I produced an art book combining my review of bird beak evolution with art. The intent was to present evolution in an informative, visual, and engaging manner that a general audience would be able to understand.
ContributorsWalls, Sarah Camille (Author) / Collins, James (Thesis director) / Hodgen, Heidi (Committee member) / School of Life Sciences (Contributor, Contributor) / School of Art (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
The Scientist in Me is an original children’s book, authored by Annmarie Barton and illustrated by Alison Lane, that explores the lives and specialties of five remarkable scientists from historically underrepresented backgrounds: Mary Anning, James Pollack, Temple Grandin, Percy Lavon Julian, and Ayah Bdeir. In the book, each scientist has an “Experiment” section that is meant to encourage children to immerse themselves in activities relating to the scientists’ areas of study. We believe that diversity in science is crucial for advancement, and therefore hope to inspire the next generation of scientists through immersion and representation.
ContributorsLane, Alison (Co-author) / Barton, Annmarie (Co-author) / Klemaszewski, James (Thesis director) / Fette, Donald (Committee member) / School of Molecular Sciences (Contributor) / School of Art (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
When I first began thinking about what to do my honors thesis on during junior year, I knew that I wanted to do something creative. While I had successfully written a plethora of research papers and such throughout college, I knew that, were I to try to make my thesis entirely research based, I would not be able to be passionate about it. This thesis is what is going to be left for other Barrett students, current and future, to look at. I do not want to work on something that I would not be passionate about knowing that other people would see it and maybe even look at it when trying to find inspiration for their own theses. In order to accomplish this, I knew working on a creative project as my thesis was my best option. I would be passionate about what I was working on, and it would also allow me to work on something that did not just feel like more schoolwork. In other words, I would not get as “burnt out” working on my thesis if it were something that I enjoyed working on, rather than something that felt tedious.
ContributorsPrieve, Connor Taylor (Author) / Schmidt, Peter (Thesis director) / Ison, Tara (Committee member) / Department of English (Contributor) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
This director’s book is the culmination of my Barrett thesis project, which was originally intended to be a fully filmed and edited short film called The Mime. While ultimately my film has gone unfinished due to circumstances I will detail later, I have done my best in this document to create an accurate picture of what it would have looked like had everything gone according to plan. Along with the complete shooting script of The Mime, this director’s book contains breakdowns of the scenes and the shots that comprise them, notes on the characters and locations used in the short, a detailed shoot schedule, and lists of all the shots and equipment required. I have also included a reflection paper at the end to explain my process, the problems I faced along the way, and what I have learned from the experience.
ContributorsCampbell, Connor (Author) / Maday, Gregory (Thesis director) / Mack, Robert (Committee member) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
Empathy Link is a creative project that looks at the universal problems that many college students experience. The show is an interview style podcast, in which the students come on and talk about their life experiences, specifically the dilemmas and emotional challenges they face. Furthermore, Empathy Link delves into student’s identities, and how many of the more “universal problems” that the students face, are also affected by the identity and background, such as ethnicity, gender, immigration status, class, etc. By analyzing the cross-section between the more relatable problems that almost every student experiences and the more unique identity problems, listeners are able to find common ground with students from different backgrounds from them as well as begin to understand struggles that they may not or will never experience. Empathy Link consists of a six-episode first season. Each episode is somewhere between 20 – 30 minutes long. The topics discussed in episodes were wide-ranging: disagreeing with the worldviews of one’s parents, wanting to pursue a passion but scared because of financial instability, the anxiety of over-working, the feeling of listlessness post-college life, and the passing of a loved one. Before each episode, I would perform a pre-interview for each guest to ensure they would be a good fit for the show, write questions for that guest, and schedule a time and place to record. Afterwards, I would edit each episode for clarity, sound quality, and flow to ensure the content was up to par. Empathy Link is a podcast dedicated to bridging the gap between the perceptions of college students, specifically those from marginalized groups, and the actual experiences and struggles that they face.
ContributorsMarsh, Zackiel S (Author) / Scott, Jason (Thesis director) / Sopha, Matthew (Committee member) / Department of Information Systems (Contributor) / School of Film, Dance and Theatre (Contributor) / Department of Management and Entrepreneurship (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
TIME CLASH
by
Sam Gerkin
A Serialized Single-Camera Comedy for Streaming
For my Thesis, I wrote an original TV Pilot Script and a Series “bible”. In lieu of a defense, I wrote a paper about the process of writing the Pilot.
Defining Principle:
Though different people often have very different beliefs, we all must fight for the beliefs that hold a society together.
Logline:
Extremely different individuals from the past, present, and future must find a way to work together to save the universe from evil creatures in present-day Phoenix, Arizona.
by
Sam Gerkin
A Serialized Single-Camera Comedy for Streaming
For my Thesis, I wrote an original TV Pilot Script and a Series “bible”. In lieu of a defense, I wrote a paper about the process of writing the Pilot.
Defining Principle:
Though different people often have very different beliefs, we all must fight for the beliefs that hold a society together.
Logline:
Extremely different individuals from the past, present, and future must find a way to work together to save the universe from evil creatures in present-day Phoenix, Arizona.
ContributorsGerkin, Samuel (Co-author) / Gerkin, Sam (Co-author) / Maday, Gregory (Thesis director) / Bernstein, Gregory (Committee member) / School of Film, Dance and Theatre (Contributor) / School of Mathematical and Statistical Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
Honoring a beloved friend and Principal, with a wind chime plumeria tree; is more than a mere Barrett Honor’s thesis—research and development turned into therapy for my grief. Janet Tobias, former principal of Kyrene De La Paloma Elementary School, had a mission of creating a musical park for children. Upon her recent and sudden death, I decided to focus my energy into honoring her with a musical sculpture. However, this sculpture must be exceptional, research and development of such a one must culminate in a sculpture that will not only last generations but feed the musical soul while increasing phantasia.
ContributorsRedding, Kimberly R. (Author) / Neubauer, Mary (Thesis director) / Tovar-Blank, Zoila (Committee member) / Department of Psychology (Contributor) / School of Art (Contributor) / Watts College of Public Service & Community Solut (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
How do you convey what’s interesting and important to you as an artist in a digital world of constantly shifting attentions? For many young creatives, the answer is original characters, or OCs. An OC is a character that an artist creates for personal enjoyment, whether based on an already existing story or world, or completely from their own imagination.
As creations made for purely personal interests, OCs are an excellent elevator pitch to talk one creative to another, opening up opportunities for connection in a world where communication is at our fingertips but personal connection is increasingly harder to make. OCs encourage meaningful interaction by offering themselves as muses, avatars, and story pieces, and so much more, where artists can have their characters interact with other creatives through many different avenues such as art-making, table top games, or word of mouth.
In this thesis, I explore the worlds and aesthetics of many creators and their original characters through qualitative research and collaborative art-making. I begin with a short survey of my creative peers, asking general questions about their characters and thoughts on OCs, then move to sketching characters from various creators. I focus my research to a group of seven core creators and their characters, whom I interview and work closely with in order to create a series of seven final paintings of their original characters.
As creations made for purely personal interests, OCs are an excellent elevator pitch to talk one creative to another, opening up opportunities for connection in a world where communication is at our fingertips but personal connection is increasingly harder to make. OCs encourage meaningful interaction by offering themselves as muses, avatars, and story pieces, and so much more, where artists can have their characters interact with other creatives through many different avenues such as art-making, table top games, or word of mouth.
In this thesis, I explore the worlds and aesthetics of many creators and their original characters through qualitative research and collaborative art-making. I begin with a short survey of my creative peers, asking general questions about their characters and thoughts on OCs, then move to sketching characters from various creators. I focus my research to a group of seven core creators and their characters, whom I interview and work closely with in order to create a series of seven final paintings of their original characters.
ContributorsCote, Jacqueline (Author) / Button, Melissa M (Thesis director) / Dove-Viebahn, Aviva (Committee member) / School of Art (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
This performance attempts to decolonize possibilities for love through unarcheology, an invented method intended to re-narrate artifacts "dug up" by institutions of oppressive power and utilized in service of particular ideologies. Through unarcheologies of Sirhan Sirhan, the performer's father, and the performer's own body, the performance offers a critical call for us to examine the ways that colonial logics of criminality, threat, and wrongness always already implicate Palestinian bodies and our relations with them.
Rhetorics of criminality have long been written onto Palestinian bodies. From Dareen Tatour's imprisonment by the state of Israel to the U.S. detaining Adham Hassoun indefinitely as a "security threat", these rhetorics lead to material violence against Palestinians on a global scale, as well as on a discursive and interpersonal level. Communicative work which seeks to decolonize the Palestinian body in its various settings is vital to our survival in literal as well as symbolic ways. From a postcolonial perspective, we cannot extricate the individual from the communal, the local, the national, the global nor the universal. A postcolonial understanding of "survival" demands that we reflexively interrogate the Palestinian body in its sociohistorical complexity and on its own terms.
Autoethnography is uniquely situated as a method for postcolonial analyses of Palestinian survival. Chawla and Atay argue, "postcolonialism and autoethnography are inherently self-reflexive practices… that necessitate a centering of both the subject–object within a local and historical context" (4). In this performance, I introduce "unarcheology" as a postcolonial method for learning to love the Palestinian body. Using media and embodied performance, I stage a series of scripts comprised of poetic autoethnographic reflection, repurposed diary entries from an archetypal Palestinian "criminal," and the text of my father's indictment. These scripts, composed through a queer, collage-like method I call "unarcheology," are separated into temporal sections (past, present, and future) and audience members determine the order of their performance, thus demanding direct engagement in the performance's decolonial project. Staged on and around a single pile of dirt, this performance interrogates colonial barriers of criminality preventing the capacity to critically love Palestinians. It documents the survival that Palestinians are forced to embody- its goal, however, is the pursuit of critical, generous, decolonized love.
Rhetorics of criminality have long been written onto Palestinian bodies. From Dareen Tatour's imprisonment by the state of Israel to the U.S. detaining Adham Hassoun indefinitely as a "security threat", these rhetorics lead to material violence against Palestinians on a global scale, as well as on a discursive and interpersonal level. Communicative work which seeks to decolonize the Palestinian body in its various settings is vital to our survival in literal as well as symbolic ways. From a postcolonial perspective, we cannot extricate the individual from the communal, the local, the national, the global nor the universal. A postcolonial understanding of "survival" demands that we reflexively interrogate the Palestinian body in its sociohistorical complexity and on its own terms.
Autoethnography is uniquely situated as a method for postcolonial analyses of Palestinian survival. Chawla and Atay argue, "postcolonialism and autoethnography are inherently self-reflexive practices… that necessitate a centering of both the subject–object within a local and historical context" (4). In this performance, I introduce "unarcheology" as a postcolonial method for learning to love the Palestinian body. Using media and embodied performance, I stage a series of scripts comprised of poetic autoethnographic reflection, repurposed diary entries from an archetypal Palestinian "criminal," and the text of my father's indictment. These scripts, composed through a queer, collage-like method I call "unarcheology," are separated into temporal sections (past, present, and future) and audience members determine the order of their performance, thus demanding direct engagement in the performance's decolonial project. Staged on and around a single pile of dirt, this performance interrogates colonial barriers of criminality preventing the capacity to critically love Palestinians. It documents the survival that Palestinians are forced to embody- its goal, however, is the pursuit of critical, generous, decolonized love.
ContributorsTbakhi, Nissim Dawn (Author) / Linde, Jennifer (Thesis director) / Rohd, Michael (Committee member) / LeMaster, Benjamin (Committee member) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05