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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

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
It is a widely accepted fact that the fashion industry is the second most unsustainable industry in the world, just behind oil (Qutab, 2016). Although some research would like to suggest that fashion is more sustainable than it actually is, it is indisputably a huge contributor to waste and something

It is a widely accepted fact that the fashion industry is the second most unsustainable industry in the world, just behind oil (Qutab, 2016). Although some research would like to suggest that fashion is more sustainable than it actually is, it is indisputably a huge contributor to waste and something obviously needs to change (Friedman, 2018). When people hear about how unsustainable the fashion industry is, they usually think about fast fashion and how quickly clothes are being produced, purchased, and then discarded. What most people probably do not think about is that visual merchandising is also a large reason the fashion industry is considered so unsustainable. Visual merchandising is the act of displaying merchandise in a way that makes it attractive to consumers (Business Dictionary, n.d.). For example, most of the props, signage, decor, and fixturing that are used to create the whimsical window displays seen on Michigan Avenue or Rodeo Drive are simply thrown in the trash after use. This is a problem because the turnover for window displays is almost as fast as it is for merchandise. Tons of materials are trashed week after week, season after season, and year after year. As a fashion minor and someone who works in visual merchandising for two different companies, I have seen firsthand just how much waste is created from making a store look beautiful. Because of this, I wanted my creative project to highlight the issue of sustainability in the fashion industry, and more specifically, in visual merchandising. The goal of this project is to demonstrate that you can create a beautiful and captivating window display using recycled materials. To do this, I created three pieces to be used in a window display that I constructed out of discarded props, signage, and decor that I collected from different stores such as Crate & Barrel, Michael Kors, and Free People. A display that is made out of recycled materials does not need to look like a pile of garbage, but can look just as beautiful and inspiring as a display made entirely of new materials. In creating these three pieces out of recycled materials, I aim to prove that visual merchandising can be more sustainable in ways that are not as difficult as one might think, and help spark a change in the fashion industry as a whole.
ContributorsVan Horn, Olivia Rei (Author) / Sewell, Dennita (Thesis director) / Shrigley, Lisa (Committee member) / Dean, Herberger Institute for Design and the Arts (Contributor) / School of Art (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
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Description
Shifting gender roles and deviations from societal norms are exemplified in portraits created by queer women artists active during the early twentieth century. A transformative period for women, the beginning of the twentieth century brought the concept of the New Woman to the fore and provided opportunities for independence and

Shifting gender roles and deviations from societal norms are exemplified in portraits created by queer women artists active during the early twentieth century. A transformative period for women, the beginning of the twentieth century brought the concept of the New Woman to the fore and provided opportunities for independence and self-expression for women. The New Woman is a term from the late nineteenth century, referring to women who were less interested in marriage and raising families and more interested in access to jobs and education. Through self-portraits and portraits of women in their circles, artists represented gender expression including androgyny and performative cross-dressing as declarations of queer women’s identity. This thesis focuses on works by the painters Romaine Brooks, Gluck, Florine Stettheimer, and photographers Berenice Abbott, Alice Austen, Marie Høeg and Bolette Berg. The artists socialized in queer circles and fostered new styles and forms of gender representation. In my study I explore how each artist approached her portraits, what each was trying to convey, and how their work aligns or diverges from the queer New Woman ideal. Their identities and shared experiences, both as queer women and artists, shaped their practice.
In addition, the artists’ sexualities are reflected in their pieces through their representation of their bodies. Often, this requires the interpretation of subtle visual clues and crucial images of androgyny, cross-dressing, and the dandy aesthetic. Queer artists often embraced clothing and accessories to express their identity and signal to others adept at recognizing such identifiers that they are queer. The painter Gluck exemplifies how androgynous clothing can be used as a statement of her sexuality in self-portraits as visual signifiers to those in queer circles. Through salons held in their homes, or a hidden back room of their studio in the case of Marie Høeg and Bolette Berg, artists created communities to inspire each other’s achievements and unique styles. In this paper I intend to shed light on how the portraits I am explicating are declarations of queerness, and how they present the artists’ deviations from gender norms to the art world and broader society.
ContributorsAnderson, Ruby (Author) / Fahlman, Betsy (Thesis director) / Codell, Julie (Committee member) / School of Art (Contributor) / School of Social Transformation (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
****Project Disclaimer: Unfortunately due to the COVID-19 outbreak during Spring 2020, ASU shut down in-person classes and campus facilities as means to prevent the spread of the virus. This meant though that a polished final podcast recording was unable to be made. Instead, a first-run, practice podcast recording that was

****Project Disclaimer: Unfortunately due to the COVID-19 outbreak during Spring 2020, ASU shut down in-person classes and campus facilities as means to prevent the spread of the virus. This meant though that a polished final podcast recording was unable to be made. Instead, a first-run, practice podcast recording that was recorded before the shut down is uploaded in its stead as a reference as to how the final was intended to sound and be produced. ****


Cellular hypertrophy is an anaerobically-based, adaptive process that mammalian skeletal muscle undergoes in response to damage resulting from unaccustomed force generation by the muscle. Hypertrophy allows for the muscle tissue to recover from the immediate injury and also to be rebuilt more capable of withstanding producing the same amount of force without injury, should it happen again. This means the end result of an adapted muscle is an overall more efficient tissue. The ability to regenerate after damage to the structure and function of the muscle tissue is a highly orchestrated event involving multiple steps and key events to occur. Most briefly, a mechanical load is attempted to be lifted but due to demanding a high amount of contractile force to lift, it causes microdamage to the structural and contractile elements of muscle fiber’s sarcomeres. In addition to an inflammatory response, satellite cells, as a part of a myogenic response, are activated to invade the fiber and then permanently reside inside to produce new proteins that will replace the damaged and necrotized proteins. This addition of cellular content, repeated over multiple times, results in the increased diameter of the fibers and manifests in the visual appearance of skeletal muscle hypertrophy. These steps have been listed off devoid of the contexts in which it takes for these to occur and will be addressed within this thesis.
ContributorsDwyer, Lauren Mingna Carol (Author) / Hyatt, JP (Thesis director) / Kingsbury, Jeffery (Committee member) / School of Life Sciences (Contributor) / School of Art (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
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Description
This thesis explores the relationship between sustainability, the fashion industry, and fashion exhibitions. Sustainability has been a driving force in the fashion industry in recent years as designers attempt to combat staggering textile waste statistics in order to lessen the damage the industry has on the environment. Producers must rethink

This thesis explores the relationship between sustainability, the fashion industry, and fashion exhibitions. Sustainability has been a driving force in the fashion industry in recent years as designers attempt to combat staggering textile waste statistics in order to lessen the damage the industry has on the environment. Producers must rethink human engagement with nature based on a new ethic of ecosystem stewardship, which proposes that humans have ethical obligations to one another in their mutual relationship with non-human species and nature (Schmitz 13). Enhancing a socio-ecological perspective garners new ways of consuming and appreciating clothing design while focusing on lessening impacts on the environment through using less materials, reusing materials in new textile developments, and projecting a sustainable identity that can be followed by the public in order to be more conscious of spending habits, annual waste, and how sustainably ethical companies are. Removing natural resources or transforming landscapes to enhance human well-being paradoxically stands to diminish human well being over time (Schmitz 12), and this is something that humans face with the inevitability of climate change affecting future generations. In mapping the relationship between sustainability, fashion designer's design process, and the way curators communicate sustainable themes, an overall understanding of sustainable culture can be understood in the industry.
ContributorsLord, Nicolas K (Author) / Sewell, Dennita (Thesis director) / Mesch, Claudia (Committee member) / School of Art (Contributor, Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
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Description
This thesis has two goals. The first is to explore and report on the state of the fashion and fashion business industry today. And the second is to propose a degree program plan, informed by the first goal, that will adequately prepare an Arizona State University student for a career

This thesis has two goals. The first is to explore and report on the state of the fashion and fashion business industry today. And the second is to propose a degree program plan, informed by the first goal, that will adequately prepare an Arizona State University student for a career in the fashion business industry. Keeping these two goals in mind, the thesis that follows looks at the industry through an academic and innovative lens. Primary and secondary research enforces these lenses and reveals the importance of a four-year university that provides students with a comprehensive experience, one that provides students with academic and experience-based opportunities. In order to best prepare students for a career in the intended industry. In order to best prepare students for a career in the intended industry, this thesis proposes that a combination of hands-on experiences, networking/mentoring programs, and project-based courses be implemented. This can be achieved by a final degree plan that offers key courses related to business such as fashion branding and an elective portfolio focused on fashion from the Herberger Institute for Design and the Arts and the W.P. Carey School of Business.
ContributorsSearight, Caroline Frances (Author) / Ostrom, Amy (Thesis director) / Sewell, Dennita (Committee member) / School of Art (Contributor) / Department of Marketing (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
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Description
Sustainability disclosures have existed and been in use for over 20 years. Over the last century, corporate social responsibility ideals changed drastically from both the perspectives of consumers, investors, and corporations. Shifting from a start as an innovative initiative to now a crucial instrument in maintaining a public image and

Sustainability disclosures have existed and been in use for over 20 years. Over the last century, corporate social responsibility ideals changed drastically from both the perspectives of consumers, investors, and corporations. Shifting from a start as an innovative initiative to now a crucial instrument in maintaining a public image and keeping up with competitors, sustainability can now be used to an economic benefit. The benefits of sustainability disclosure exist now as major factors of key performance indicators and major impactors of the bottom line.
ContributorsLe, Sarah Nguyen (Author) / Cheng, Chingwen (Thesis director) / Dalrymple, Michael (Committee member) / School of Earth and Space Exploration (Contributor) / Department of Finance (Contributor) / School of Art (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
Migration is natural, a human right, and to some extent, it is seen, allowed, and digested but by what bodies? Whose bodies? Who is given the privilege of range of motion, and who is chained to a ground, underground, buried?
Through a questioning of migration, a mechanism of movement, and

Migration is natural, a human right, and to some extent, it is seen, allowed, and digested but by what bodies? Whose bodies? Who is given the privilege of range of motion, and who is chained to a ground, underground, buried?
Through a questioning of migration, a mechanism of movement, and its criminalization from the states through the establishment of citizenry, I aim to declare autonomy, and seek a dissection of what it means to criminalize, to establish, render a community as other.

Hasta mañana is a prayer to my parents’ bodies,
to bodies crossing the border,
to bodies displaced,
to bodies that never made it,
to bodies dug up,
buried,
Chained,
Hurting,
Aging,
to bodies I feel and see.
ContributorsFlores Bustos, Yaritza Dayana (Author) / Danielson, Marivel (Thesis director) / Aranibar - Fernandez, Carolina (Committee member) / Chung, Samuel (Committee member) / School of Transborder Studies (Contributor) / School of Art (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
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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

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.
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
Items that have once served as tools in the past become something of greater value in the future: art. Ceramics is a craft that has gone beyond its simple functions to become a representative medium. This ability makes ceramics an art. This will be demonstrated by representing enzyme-substrate binding and

Items that have once served as tools in the past become something of greater value in the future: art. Ceramics is a craft that has gone beyond its simple functions to become a representative medium. This ability makes ceramics an art. This will be demonstrated by representing enzyme-substrate binding and inhibition through the use of a dinner set.
ContributorsMahmud, Ali (Author) / Chung, Sam (Thesis director) / Weiser, Kurt (Committee member) / School of Art (Contributor) / School of Life Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05