Matching Items (6)
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- Creators: Young, Bernard
- Creators: Harrington Bioengineering Program
- Member of: Theses and Dissertations
Description
This qualitative case study of 12, eighteen to twenty-four-year-olds from seven countries provided insight into the learning practices on an art-centered, social media platform. The study addressed two guiding questions; (a) what art related skills, knowledge, and dispositions do community members acquire using a social media platform? (b), What new literacy practices, e.g., the use of new technologies and an ethos of participation, collective intelligence, collaboration, dispersion of abundant resources, and sharing (Knobel & Lankshear, 2007), do members use in acquiring of art-related skills, concepts, knowledge, and dispositions? Data included interviews, online documents, artwork, screen capture of online content, threaded online discussions, and a questionnaire. Drawing on theory and research from both new literacies and art education, the study identified five practices related to learning in the visual arts: (a) practicing as professional artists; (b) engaging in discovery based search strategies for viewing and collecting member produced content; (c) learning by observational strategies; (d) giving constructive criticism and feedback; (e) making learning resources. The study presents suggestions for teachers interested in empowering instruction with new social media technologies.
ContributorsJones, Brian (Author) / Stokrocki, Mary (Thesis advisor) / Young, Bernard (Committee member) / Guzzetti, Barbara (Committee member) / Arizona State University (Publisher)
Created2012
Description
Black Rock City is a temporary city existing for one week in the harsh desert of northern Nevada. It plays host to the Burning Man festival with over 300 large-scale art installations and is considered to be the largest interactive art festival in the world. Besides the main burn, smaller local regional events have developed. These regional events encompass many of the same tenets as Burning Man including the presentation of large-scale art. Burn2 is the regional event held on the virtual world, Second Life. In 2013, both events used the theme of Cargo Cult as a stepping off point for the artists. Through the lens of spectacle, I used art criticism as a way to gain understanding of the artworks.
Art criticism is a means of interpreting and appreciating artwork and is often used in the art classroom. Edmund Feldman's method promotes a deeper understanding of art and consists of four steps: description, formal analysis, interpretation and judgment. Using Feldman's method, I analyzed three artworks from the 2013 Burning Man festival and three works from Burn2. From interviews, photographs, and personal observations I analyzed the artworks. I used external analysis to compare the literature on similar festivals and the artworks with other events held in the real life and virtual world.
I found in both events very similar concepts and themes. Artists had specific subject matter in mind when designing their installations. Artists used the theme as a stepping off point for rationalizing their content. Art made to be displayed at Burning Man was expensive; funding was a concern for all the artists. Burn2 artists were free from funding concerns even though there were expenses to making art in Second Life. Emerging themes were use of building materials and color, use of electronics and computer technology, art installations in festivals, spectacle, collaboration, and interactivity. Further implications included teaching about the engineering of structures, critical thinking about festival themes and the individual art installations, visual culture, and art making with these emerging art forms.
Art criticism is a means of interpreting and appreciating artwork and is often used in the art classroom. Edmund Feldman's method promotes a deeper understanding of art and consists of four steps: description, formal analysis, interpretation and judgment. Using Feldman's method, I analyzed three artworks from the 2013 Burning Man festival and three works from Burn2. From interviews, photographs, and personal observations I analyzed the artworks. I used external analysis to compare the literature on similar festivals and the artworks with other events held in the real life and virtual world.
I found in both events very similar concepts and themes. Artists had specific subject matter in mind when designing their installations. Artists used the theme as a stepping off point for rationalizing their content. Art made to be displayed at Burning Man was expensive; funding was a concern for all the artists. Burn2 artists were free from funding concerns even though there were expenses to making art in Second Life. Emerging themes were use of building materials and color, use of electronics and computer technology, art installations in festivals, spectacle, collaboration, and interactivity. Further implications included teaching about the engineering of structures, critical thinking about festival themes and the individual art installations, visual culture, and art making with these emerging art forms.
ContributorsKrecker, Linda Susan (Author) / Stokrocki, Mary (Thesis advisor) / Young, Bernard (Committee member) / Margolis, Eric (Committee member) / Arizona State University (Publisher)
Created2014
Description
Adolescents' clay sculpture has been researched significantly less than their drawings. I spent approximately six weeks in a ceramics class located at a high school in a suburb of Phoenix, Arizona in order to explore how gender affected subject matter preference in students' three dimensional clay sculpture. Gender studies on children's drawings reveal that males favor fantasy, violence, aggression, sports, and power, while females favor realism, domestic and social experience, physical appearance, care and concern, nature and animals. My three main research questions in this study were 1) How did gender affect subject matter in adolescents' three-dimensional clay sculpture? 2) What similarities or differences existed between females' and males' subject matter preference in sculpture and their subject matter preference in drawing? 3) Assuming that significant gender differences existed, how successful would the students be with a project that favored opposite gender themed subject matter? I found that although males and females had gender differences between subject matter in their clay sculptures, there were exceptions. In addition, the nature of clay affected this study in many ways. Teachers and students need to be well prepared for issues that arise during construction of clay sculptures so that students are able to use clay to fully express their ideas.
ContributorsMarsili, Teresa (Author) / Stokrocki, Mary (Thesis advisor) / Young, Bernard (Committee member) / Erickson, Mary (Committee member) / Arizona State University (Publisher)
Created2011
Description
There is a wide intersection where animal and human lives interact or mimic each other behaviorally or biologically. A lot of the products that are part of our day-to-day were first validated by animals, and eventually found their way to us. From food to beauty products to scientific developments, animals deal with a lot behind the scenes. Some humans are cognizant of what is happening backstage, while others only see the final presentation. Either way, all of us have our opinions in support or against animal treatment. The project is heavily inspired from my experience in a neurorehabilitation lab, so the foundation is similar to the structure and function of neurons. Through this project, I am focusing on one aspect of this debate, which is animal testing in the scietific setting. The goal of the project is not to force the viewer to choose one side, but to understand the big picture and the reasoning of the opposing side.
ContributorsSharma, Bhavya (Author) / Beiner, Susan (Thesis director) / Roberson, Robert (Committee member) / Harrington Bioengineering Program (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
Description
This thesis explores the introduction of Virgil Ortiz’s traditional Cochiti pueblo ceramic techniques and iconic imagery into the world of contemporary atmospheric high fired ceramics. Virgil is a multidimensional artist who has been working in ceramics since the age of 12, practicing the traditional hand building and decoration methods of his ancestral pueblo (1 traditional work) . In recent years, Virgil has begun to explore the use of modern materials and firing techniques in order to further his work and break into the contemporary ceramics community (2 modern materials). Virgil’s style is very figurative, sculpting human and human-like figures, and illustrating large vessels in the Cochiti traditional style, while incorporating his own characters, story lines and social commentaries.
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.
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.
ContributorsSmith, Andrew Walton Lee (Author) / Chung, Samuel (Thesis director) / Ortiz, Virgil (Committee member) / Harrington Bioengineering Program (Contributor) / School of Art (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
ABSTRACT Art educators use a variety of teaching and demonstration methods to convey information to students. With the emergence of digital technology, the standard methods of demonstration are changing. Art demonstrations are now being recorded and shared via the internet through video sharing websites such as YouTube. Little research has been conducted on the effectiveness of video demonstration versus the standard teacher-centered demonstration. This study focused on two different demonstration methods for the same clay sculpture project, with two separate groups of students. The control group received regular teacher-centered demonstration for instruction. The experimental group received a series of YouTube videos for demonstration. Quantitative data include scores of clay sculptures using a four-point scale in three separate categories based on construction abilities. Qualitative data include responses to pre and post-questionnaires along with classroom observations. The data is analyzed to look at the difference, if any, between YouTube instruction and regular teacher-centered instruction on middle school students' ceramic construction abilities. Findings suggest that while the YouTube video method of demonstration appeared to have a slightly greater effect on student construction abilities. Although, both instruction methods proved to be beneficial.
ContributorsLee, Allison (Author) / Erickson, Mary (Thesis advisor) / Young, Bernard (Committee member) / Stokrocki, Mary (Committee member) / Arizona State University (Publisher)
Created2013