Art and Design Commons^™

Representing The Ali'i And Monarchy: Dress, Diplomacy, And Featherwork In Hawai'i, Tess Anderson

Scripps Senior Theses

When Native Hawaiians and haole (foreigners) first met, both participants belonged to fashion systems unknown to the other, composed of different materials, styles, tastes, standards, and construction techniques. As the outside world was introduced to the cultural heritage of Hawaiian hulu manu (featherwork), kūkaulani (chiefly fashion), and European skewed conceptions of Hawaiian indigeneity; the ali‘i (chiefs) and kama‘āina (commoners) received and adapted to incoming materials, technologies, and information. When these encounters transitioned into “prolonged contact” and settlement, dress and adornment proliferated in new ways. Analyzing the case studies of historic pā‘ū, holokū, ‘ahu'ula, and military uniforms shows the significance of …

Rift, Repair, And Resolution, Dayna E. Patterson

The STEAM Journal

"Rift," "Repair," and "Resolution" is an embroidered triptych that reflects socio-political disharmony and manifests a hopeful trajectory for healing and wholeness.

Virtual Temari: Artistically Inspired Mathematics, Carl Giuffre, Lee Stemkoski

Journal of Humanistic Mathematics

Technology can be a significant aide in understanding and appreciating geometry, beyond theoretical considerations. Both fiber art and technology have been employed as a significant aide and an inspiring vessel in education to explore geometry. The Japanese craft known as temari, or "hand-balls", combines important artistic, spiritual, and familial values, and provides one such approach to exploring geometry. Mathematically, the artwork of temari may be classified based on whether they are inspired by polyhedra and discrete patterns or by periodic functional curves. The resulting designs of these categories provide an ancient vantage for displaying spherical patterns. We illustrate a …

Designing Fractal Line Pied-De-Poules: A Case Study In Algorithmic Design Mediating Between Culture And Fractal Mathematics, Loe M.G. Feijs

Journal of Humanistic Mathematics

Millions of people own and wear pied-de-poule (houndstooth) garments. The pattern has an intriguing basic figure and a typical set of symmetries. The origin of the pattern lies in a specific type of weaving. In this article I apply computational techniques to modernize this ancient decorative pattern. In particular I describe a way to enrich pied-de-poule with a fractal structure.

Although a first fractal line pied-de-poule was shown at Bridges 2015, a number of fundamental questions still remained. The following questions are addressed in this article: Does the original pied-de-poule appear as a limit case when the fractal structure is …

Woven By The Grandmothers: The Development Of The National Museum Of The American Indian Throughout The 1990s, Lucy Winokur

Scripps Senior Theses

In 1994, the National Museum of the American Indian (NMAI) opened the George Gustav Heye Center in New York City, the first of what would be three campuses. Ten years later, in 2004, the NMAI opened its main campus in Washington, D.C., already having cemented their place as leaders in a movement to center indigenous voices within museums housing indigenous material culture. By examining the history of the NMAI from the first acquisition of George Gustav Heye to its earliest approaches to exhibition design and collections management policy in the 1990s, it is possible to track the development of the …

The Women Of The Bauhaus Weaving Workshop: Anni Albers' And Gunta Stölzl's Impact, Sophia Silane

Pitzer Senior Theses

This thesis discusses two female weavers, Gunta Stölzl and Anni Albers, and their critical works from 1920-1935 that shaped Bauhaus weaving and the artistic significance of the medium. Over the course of three chapters, the thesis discusses Stölzl's shift from pictorial to material interests, Albers' themes of mass production and industry, and the women's post Bauhaus years which involved Stölzl blending work and art and Albers expanding the capabilities and fine art presence of textile.

Threaded, Madeline Arnault

CGU MFA Theses

This group of works is taken from my drawing practice. I have always been fascinated by the variety of line and color you can play with on fabric. For that reason each piece in this exhibition is image and line centric. I love the way a fabric can blend from color to color in the weave and yet contrast so sharply with a line placed on top. These works are a testament to that love.

[Rebelution 17]: Gender Bender, Francesca Louise Inocentes

Scripps Senior Theses

Fashion embodies what is accepted and valued in a given culture or society and empowers individuals by building self-confidence, enabling them to express themselves authentically through their bodies and garments. The gender binary, perpetuated by the mainstream fashion industry, marginalizes individuals who do not conform to it. In Rebelution 17, I utilize clothing design and photography to empower and liberate individuals who do not conform to the standards of beauty in regards to gender identity and acceptability. The finished works are featured in a Lookbook – a digital and physical collection of photographs used to market fashion – designed …

Tapestry, Alana Medina

CGU MFA Theses

The wall pieces are intentionally left to be crude, unrefined, and raw. A look at the world with a border, walking backwards to a beginning, what it was like before the traffic of the mind. Itinerant qualities along with an objective dissidence bring about an experience of tribal nomadic earthy hues. The paintings stay close to my interpretation of the earth, similar to the sculptures. Like twins born in the same embrace with contemporaneous qualities they exist together with a connection in materiality. There is a relationship between my paintings and sculptures; a mutual dependence seen and experienced together that …

Lara Salmon, Thesis Statement, Lara Salmon

CGU MFA Theses

My art brings together materials and ideas inspired by personal experience that do not usually exist side by side. My body is the primary mechanism with which I make work, incidentally making me the subject matter of the work. I use my physical self as an instrument to coalesce and transform other materiality. Through live performance and photographic installations I create tension and balance between crude biology and bright, polished formalism. This body of work focuses on Millennial Feminism and the Middle East.