Toward An Artifact-Forward Feminist Design History, Celeste Caldwell

MFA in Illustration & Visual Culture

Feminist Design History is a field abundantly sown, with lots of room for growth. This essay digs through seminal and contemporary works of feminist design history to learn how to contribute to the field most thoughtfully. I find that future scholarship must meet four criteria in order to effectively meet the goals of feminist design. The proposed research criteria are to cut across definitions of craft and design, challenge the centrality of individuals, draw from a broad pool of resources, and study objects in and outside of the public sphere. I use these criteria to advocate for design research which …

To Dig A Hole And Fill It Back Up, Jackson Whetstone

Bachelor of Fine Arts Senior Papers

Abstract:

The socioeconomical philosophy of the United States is still very much related to the Marxist Labor Theory of Value which states that “the economic value of a good or service is determined by the amount of socially necessary labor required to produce it” (Das Kapital, Marx 1.) This philosophy has penetrated the way that we think about art and object, and in turn positions art as a means of transaction, thus limiting art to a form of glorified currency. This Essay will chronicle my art practice, that have led up to two thesis pieces, Trench and Dig …

Forget Us Not, Jamie Harris

MFA in Visual Art

I create because I mourn, to seek comfort in the knowing and sharing of Suppressed Histories, and to find joy in the rediscovering of lost stories. I create the vessel, which for me is akin to the human body. A form containing memories, wisdom, a soul, and a space for transportation between plains. I paint to capture moments in times of joy and sorrow. To make memoriam, I pay homage to past, present, and future.

Ritual And Digital Craftsmanship: Imprudent Practices, Mik Patrik Mcdonnell

Bachelor of Fine Arts Senior Papers

This essay explores the role of traditional and digital craftsmanship in my art practice as it relates to provocative imagery. I tackle the question of how my practice is influenced by my audience. My process and products both aim to agitate the ascetic individual. The argument opens on a poetic, personal note, before defining craft/craftsmanship and its social reception according to scholarship. I outline the intended audience for my work being those akin to my mother: christian, middle-aged, and leaning conservative. Because I employ devotional, virtuosic craftsmanship I argue my work is effective at provoking dialogue with these persons who …