Matching Items (12)
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- All Subjects: Art criticism
- All Subjects: Ceramics
- Genre: Academic theses
- Creators: Hoy, Meredith
- Creators: Young, Bernard
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
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
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
Description
This thesis expands the scope of literature surrounding the work of Juno Calypso, Christina Quarles, and Lisa Yuskavage by increasing the scope of their theoretical interpretations. Juno Calypso’s case requires establishing a critical foundation for her interrogations of domestic space, her subversions of feminine performance—particularly through accusatory address of the gaze—and her demonstrations of the new-hysterical process that I argue for via her alter-ego, “Joyce.” Similarly, I emphasize Christina Quarles’ subversions of art historical traditions, such as the gaze, meta-framing, and figural language, instead of her explorations into race and linguistic titular play. Finally, Lisa Yuskavage’s inclusion will bring discussions of her contemporary artworks fully into the present, leaving behind the scandalous-or-not questions plaguing her oeuvre in favor of contemporary figural reinterpretation. Through comparisons of each one’s approach to contemporary, artistic feminist theories and dilemmas, the artists convey informative insights into today’s visual culture. The thesis brings these ruminations to light through study of Calypso’s, Quarles’, and Yuskavage’s shared themes and characteristics, including subconsciously-influenced practices, multiplicity, and uncanny space. I account for one of Calypso’s most crucial yet divergent strategies of spatial uncanniness—gendered space. Calypso, Quarles, and Yuskavage are also linked by their ostensibly domestic spaces and featuring feminized figures. Yuskavage uses hyperfeminine performance as means of questioning the conventional and the pleasure one expected to receive from it; Quarles instead uses ambiguity to challenge the traditional white femininity assigned to subjecthood in order to reinforce her dissolution of race and gender. Unanswered performance and gaze questions of femininity, feminine performance and feminine rituals drive Calypso’s photographs, in which an onlooker’s voyeurism is highlighted by their mid-procedure state. Yuskavage uses the home as extension of cheesy self, a site of performance, but Quarles uses domestic spaces as sites or causes of internal struggle. Calypso is closer aligned to Yuskavage’s intersectional-feminist anxieties than Quarles’ post-pandemic ones. The temporal span of the artworks’ creation (2015-2022) is reflective of the dramatic social paradigm shifts experienced by Western societies post-BLM and other social movements, and post-COVID pandemic; the arguments made by this essay will contribute to the understanding of ongoing change experienced by women.
ContributorsBugno, Celia (Author) / Fahlman, Betsy (Thesis advisor) / Anderson, Lisa (Committee member) / Hoy, Meredith (Committee member) / Arizona State University (Publisher)
Created2023
Description
I conducted this qualitative research including data collection, data analysis and comparison analysis in a Casting and Jewelry Techniques course at Arizona State University for a whole semester. The purpose of this research was to explore the symbolic interactive meaning of metalworking to university students in metal courses, and if they had various learning needs to improve and enhance their metal art making by seeking their responses to the relationship between technical issues and concepts of their own artworks. The study results showed that the meanings of metalworking to students were craftsmanship, and a sense of accomplishment, and it related to their daily lives in career and presentation. Most of them focused on the degree of technical completion and forms of work rather than expressive concepts, and techniques were important in their works. I compared my findings in this study with my pilot study and James's study in a sculpture studio class, and found some similarities in teacher's philosophy and students' metalwork meanings that included career aspirations, some peer interaction, technical concerns rather than concept formation, and process as serious play or the exploration of materials.
ContributorsHsu, Kai-Hsuan (Author) / Stokrocki, Mary (Thesis advisor) / Young, Bernard (Committee member) / Margolis, Eric (Committee member) / Arizona State University (Publisher)
Created2014
Description
Effective Altruism (EA), a moral philosophy concerned with accomplishing the greatest possible good in one’s lifetime, sees little utilitarian and/or humanitarian value in the arts. EA suggests that amidst so much global strife, the time, energy, and finances expended to create fleeting art would be put to better, more practical use in the fight against poverty. However, EA has yet to sufficiently account for sustainable art practice — an art form deeply rooted in utilitarianism and humanitarianism — and the possibility of its accompanying aesthetics as a constituent of utilitarian/humanitarian theories. The first chapter of this thesis illustrates an intersection of EA, sustainability, and aesthetics, detailing ways in which sustainable art and EA philosophy overlap, as well as problematizing EA’s dismissal of contemporary art practice. This chapter also points to sustainable art as one possible alternative art route for practicing artists with EA interests. Chapters two and three present case studies of Danish art collective SUPERFLEX and an American non-profit called the Land Art Generator Initiative (LAGI) and how their sustainable goals fit the utilitarian and humanitarian scope through which EA functions.
ContributorsNemelka, Kevin (Author) / Hoy, Meredith (Thesis advisor) / Mesch, Claudia (Committee member) / Sweeney, Gray (Committee member) / Arizona State University (Publisher)
Created2017
Description
Art and law have a troubled relationship that is defined by steep hierarchies placing art subject to law. But beyond the interplay of transgressions and regulations, manifest in a number of high-profile cases, there are more intricate connections between the two disciplines. By expanding the notion of law into the concept of a hybrid collectif of legality, the hierarchies flatten and unfamiliar forms of possible interactions emerge. Legality, the quality of something being legal, serves as a model to show the capricious workings of law outside of its own profession. New juridical actors—such as algorithms—already challenge traditional regulatory powers and art could assume a similar role. This thesis offers a point of departure for the involvement of art in shaping emergent legalities that transcend existent jurisdictions through computer code.
ContributorsSchreiber, Christoph (Author) / Hoy, Meredith (Thesis advisor) / Codell, Julie F. (Committee member) / Afanador-Pujol, Angélica J. (Committee member) / Arizona State University (Publisher)
Created2018
Description
I propose a new approach for the analysis of social transformations within the context of colonialism. Drawing on concepts used by historical sociologists, combined with insights from historians and archaeologists, I forge a synthesis of relational mechanisms that concatenated into processes of categorical change. Within the social sciences, mechanisms are formally defined as specific classes of events or social interactions that are causally linked and tend to repeat under specific conditions, potentially resulting in widespread social transformations. Examples of mechanisms include formal inscription through spatial segregation and adjustments in individual position through socioeconomic mobility.
For New Spain, historians have identified at least three macroscale shifts in the social structure of the viceroyalty. I examine the mechanisms that led to these changes in two distinct contexts. The Port of Veracruz (Mexico), located along the main axis of colonial exchange, offers a shifting baseline for comparison of the long-term trajectory of colonial interaction and categorical change. I undertake a finer grain study at the borderland presidios of Northwest Florida, where three presidios were sequentially occupied (AD 1698-1763) and historically linked to Veracruz through formal recruitment and governmental supply.
My analysis draws on two independent lines of evidence. Historically, I examine census records, maps, and other colonial documents. Archaeologically, I assess change in interaction mainly through technological style analysis, compositional characterization, and the distribution of low visibility plain and lead-glazed utilitarian wares. I document the active expression of social categories through changing consumption of highly visible serving vessels.
This study demonstrates that colonial transformations were driven locally from the bottom up and through the top-down responses of local and imperial elites who attempted to maintain control over labor and resources. Social changes in Florida and Veracruz were distinct based upon initial conditions and historical contingencies, yet simultaneously were influenced by and contributed to broad trajectories of macroscale colonial transformations.
For New Spain, historians have identified at least three macroscale shifts in the social structure of the viceroyalty. I examine the mechanisms that led to these changes in two distinct contexts. The Port of Veracruz (Mexico), located along the main axis of colonial exchange, offers a shifting baseline for comparison of the long-term trajectory of colonial interaction and categorical change. I undertake a finer grain study at the borderland presidios of Northwest Florida, where three presidios were sequentially occupied (AD 1698-1763) and historically linked to Veracruz through formal recruitment and governmental supply.
My analysis draws on two independent lines of evidence. Historically, I examine census records, maps, and other colonial documents. Archaeologically, I assess change in interaction mainly through technological style analysis, compositional characterization, and the distribution of low visibility plain and lead-glazed utilitarian wares. I document the active expression of social categories through changing consumption of highly visible serving vessels.
This study demonstrates that colonial transformations were driven locally from the bottom up and through the top-down responses of local and imperial elites who attempted to maintain control over labor and resources. Social changes in Florida and Veracruz were distinct based upon initial conditions and historical contingencies, yet simultaneously were influenced by and contributed to broad trajectories of macroscale colonial transformations.
ContributorsEschbach, Krista (Author) / Stark, Barbara L. (Thesis advisor) / Smith, Michael E. (Thesis advisor) / Alexander, Rani T (Committee member) / Worth, John E. (Committee member) / Bearat, Hamdallah (Committee member) / Peeples, Matthew A. (Committee member) / Arizona State University (Publisher)
Created2019
Description
“I want something that will show what is truth itself.”- Zheng Chongbin For artist Zheng Chongbin, truth is visualized through elegant, frenetic dances of blacks, whites, and grays on paper and sculptural transformations of divine spaces. Beginning with the vehicle of ink and its materiality, Zheng explores the potentialities of phenomenological realities in his artworks. His pieces are portraits and scenes of cosmic links and structures intended to question preconditioned biases and awaken human perception of elemental forms and the unnoticed beauty in our environment. This paper follows the evolution of Zheng’s visual philosophy by tracing the thread of influences, spanning disciplines, cultures, and time, behind Zheng’s artistic endeavors. While a body of literature on Zheng’s practice exists, mainly written by art historians with a specialty in contemporary Chinese art, much of it is largely concerned with establishing his position as a revolutionary artist revitalizing and transforming the Chinese ink painting tradition. Interpretative essays and critical writings about Zheng’s artwork most often attempt to fit them within the Chinese artistic canon or are surface aesthetic comparisons to Western post-war artists. However, little to no scholarly research has comprehensively addressed Zheng’s inclination towards transdisciplinary and transhistorical schools of thought and how those ideas are integrated into his methodology. By revealing the rich philosophical constructs behind Zheng’s practice, the paper opens up pathways for new approaches to his artworks. Ultimately, this challenges the narrow categorization of Zheng’s practice as definitively Chinese contemporary art, and instead facilitates the understanding that his artworks demonstrate a convergence of multiple artistic hereditary lines and global discourses.
ContributorsYang, Celia (Author) / Hoy, Meredith (Thesis advisor) / Little, Stephen (Committee member) / Brown, Claudia (Committee member) / Arizona State University (Publisher)
Created2021
Description
The Past in Front of Us: Imagining Black Diasporas in the 21st Century seeks aesthetic connections between Black artists working around the world today. This project prioritizes aesthetic perception and affect in relation to Black Diasporic studies and reimagines the canon of work by Black artists. This project does not relegate aesthetics to surface or formal analyses, but understands aesthetic motifs as intelligent entities which communicate the experience of existence. This project affirms Black Diaspora as a dynamic imaginary. I extend traditional analyses of Black Diaspora from the continental edges of the Atlantic Ocean to the Pacific. I look horizontally and create juxtapositions between artists working in Africa, the Caribbean, Europe, and the Pacific Rim. I use transdisciplinary terms from art history, psychoanalysis, semiotics, philosophy, rhetoric, trauma theory, and critical race studies. Analyses build on multiple discourses because Black Diaspora is a mutable concept that shifts and evolves. This project is one of the first investigations of twenty-first century artistic production by Black artists globally. Until now, these artists’ work has been covered primarily in magazines, exhibition catalogues, and art reviews in the popular press. Chapters, organized by themes rather than regions, focus on emerging artists Dannielle Bowman, Sandra Brewster, Susana Pilar Delahante Matienzo, Kambui Olijimi, and Frida Orupabo. In addition, this thesis contributes a new theoretical frame to existing scholarship on artists Sammy Baloji, Sanford Biggers, Mark Bradford, Glenn Ligon, and Cauleen Smith. As a speculative work, this thesis articulates a vocabulary and uncovers a multitude of aesthetic connections between art practices globally. A significant component of this work is to foreground Black artists’ historically sidelined insights about being in the world.
ContributorsLawson, Dhyandra (Author) / Hoy, Meredith (Thesis advisor) / Afanador-Pujol, Angélica (Committee member) / Grabski, Joanna (Committee member) / Arizona State University (Publisher)
Created2021