Acrylic paint is one of the most prominent supplies in the art field as it has many qualities that make it the most desirable paint, including affordability, versatility, and a fast drying time. Despite acrylic paint’s great contribution to the…
Acrylic paint is one of the most prominent supplies in the art field as it has many qualities that make it the most desirable paint, including affordability, versatility, and a fast drying time. Despite acrylic paint’s great contribution to the art field and art history, its chemical makeup and ingredients damage the local environment and aquatic ecosystems. Acrylic paint is essentially liquid latex that, when it enters sewage systems, releases microplastics directly into the waterways as well as contains harmful chemicals such as heavy metals, benzene products, or vinyl chloride. The purpose of this project was to research the qualities of acrylic paint most important to users, as well as learn information regarding people’s current usage of paint and their perspectives on paint-related environmental issues. Furthermore, I have recorded my process and published videos on social media to gain insight and feedback. Using this data, I have experimented with making a sustainable version of acrylic paint that remains desirable. Throughout this project, I have used different natural materials to create pigments and an acrylic medium and contribute my perceptions on the desirability of each alternative in this thesis.
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The date the item was original created (prior to any relationship with the ASU Digital Repositories.)
This is a qualitative study, to examine how Indigenous ways of knowing could inform Western standardized learning by taking part in a series of learning experiences related to Hula and building connections to the local environment. I enacted a series…
This is a qualitative study, to examine how Indigenous ways of knowing could inform Western standardized learning by taking part in a series of learning experiences related to Hula and building connections to the local environment. I enacted a series of site-specific visitations that focused on Indigenous artistic practices related to Hawaii's highest art form, Hula, as well as local sites dedicated to Indigenous environmental preservation. These visits examined dance, chant, talk-story, and environmental practices taught from an Indigenous way of knowing. The purpose of these enactments was to know how embodied learning approaches, informed by Indigenous methodologies, impact learners’ connections to pedagogical content and the learning environment, and how that subject matter was conveyed and received through the embodied act of site-specific visitations. I will address the ways in which understanding through site visits emerged in these Indigenous ways of knowing. I will explain how the Indigenous practices and ways of knowing offer a different understanding of standardized learning, and argue what could be gained by adding these methodologies to art curriculum in site-specific locations.
Date Created
The date the item was original created (prior to any relationship with the ASU Digital Repositories.)
This is a qualitative case study, using a feminist lens as a theoretical frame, that examines institutional problems that Mexican women encountered since the Bracero Program. At that time, women were not allowed to work certain jobs and were left…
This is a qualitative case study, using a feminist lens as a theoretical frame, that examines institutional problems that Mexican women encountered since the Bracero Program. At that time, women were not allowed to work certain jobs and were left at home separated from their husbands or fathers while the men migrated to The United States for seasonal agricultural labor as Braceros. Braceros were Mexican male farmworkers that were recruited through a federal guest program to legally work and migrate to the United States seasonally after World War II, from 1942-1964. As a result, women were left alienated and exploited on their own, and it was up to them to take charge of the family and hold everything and everyone together. There is little known research that discusses these women’s experiences and stories. And to uncover these stories, I address the ways photography and traditional Mexican storytelling, and arts-based storytelling reveal hidden stories of family, longing, sacrifice, and women’s unrecognized labors. Through an autoethnographic methodology, I explain my place as a Mexican American woman and as a researcher during the study. This study uncovers the history of migrating Bracero families, acknowledges the women’s experiences, and discusses the importance of passing down stories of an often-overlooked moment and experiences of migration and immigration in both United States and Mexican history.
Date Created
The date the item was original created (prior to any relationship with the ASU Digital Repositories.)
This sensory ethnographic research study used a walking methodology to explore the potential of an asset-based approach to arts development. Inspired by socially engaged artists who incorporate walking as their practice, this study explored a rural arts community by walking…
This sensory ethnographic research study used a walking methodology to explore the potential of an asset-based approach to arts development. Inspired by socially engaged artists who incorporate walking as their practice, this study explored a rural arts community by walking with research participants to gain a sense of their history, consider past and future artistic developments, as well as map/learn about the physical environment through stories, conversations, and sensory-based experiences. Many arts administrators utilize a needs-based approach to identify community deficits and assets through surveys, formal interviews and focus groups, thus this research aimed to devise a different approach. This research theorized walking as an ecological inquiry and explored the embodied and entangled experiences that emerged, with the goal of co-creating knowledge from the perspective of community members, to inform and expand arts administration approaches to community arts initiatives and development. Using an ecological and mapping analytical framework, the findings describe and trace the emergence of boundary objects that were entangled with the community members stories and memories that highlighted the relational aspects of the town, community, and art. The ecological and mapping analysis directly related to my walking method because all are multilayered, multisensory, and embodied ways of learning and relaying information about a place. To conclude this research, I outline an arts administration toolbox with five distinct steps and processes to follow when utilizing this walking method within the fields of arts administration and art education.
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The date the item was original created (prior to any relationship with the ASU Digital Repositories.)
This paper investigates the challenges associated with creating engaging virtual programming during the COVID-19 pandemic through the event Playfest from the ASU Art Museum. A survey was created and given to participants of the live Zoom event to understand which…
This paper investigates the challenges associated with creating engaging virtual programming during the COVID-19 pandemic through the event Playfest from the ASU Art Museum. A survey was created and given to participants of the live Zoom event to understand which aspects were a success from the audience perspective. Staff members from different job ranks were interviewed about the internal structure in place for altering the popular in-person event into a digital one. Even though the COVID-19 pandemic will not last forever, exploring how to create virtual programming that is successful at engaging audiences allows for museums to remain relevant in a world where digital media is frequently consumed.
Date Created
The date the item was original created (prior to any relationship with the ASU Digital Repositories.)
