Art Practice Commons^™

Party Of Immortals, Hyazinth S. Baumann

Senior Projects Spring 2022

I am the cook of a queer kitchen for characters. Who wants to come out? Where’s the seasoning? So far I’ve had a nonbinary Hebrew angel, a trans Dionysus, a drag dragon, and an agender winter spirit inhabit my physical form. Each mythic persona is meant to serve a new dish on the table. Lailah externalizes her/my spiritual awakening. Dionysus realizes his/my ideals of re-normalizing nudity. Darastrix serves in reaction to the history of womanhood and investigates the strange and magical beginnings of her/my childhood. Perchta practices durational performance and processes its/my Austrian heritage.

Zines are self-produced, self-published bodies of …

Spectrum Of Shit, Hannah Hiaasen

Theses and Dissertations

Contending with the loss of a parent to a mass shooting in their workplace, a newsroom, I find myself suspended in time, in an office. Post-its, fans, button-ups, snow globes, clipboards, reporters notebooks, scrap paper, jot downs, keyboards hold me up. I crave the comfort of repetitive cumulative hand work. Quilting, weaving, and cutting away help me breathe, haptically process and memorialize these grieving objects, this grieving person. Weed-wacking towards intimacy, my work employs a range of materials to mourn the mundanity of a workday, fantasize transformative justice, and steward embodied grief to the surface. My only speed is slow-- …

Some (Im)Material Girls, Living In (Im)Material Worlds, With Seeds, Stars, And Shit, Matthew Weiderspon

Theses and Dissertations

This writing situates material and gestural vocabularies cultivated in my artwork in relation to my lived experience; primarily my rural upbringing in Colorado. Scattered floor dispersals, calling sounds, and bodily movements desire reconsiderations of hope in precarity through a disorientation of place, association, scale, and language.

A Spectacle And Nothing Strange, Taylor Z. King

Theses and Dissertations

Working through methods of abstraction and comedic mimicry I choreograph awkwardly balanced sculpture with objects of adornment as a means to defuse personal sensitivities surrounding my experiences of gender, desire, and home. The research that follows is concerned with the adjacent, the in between, above and underneath, because I feel that this kind of looking means that you are, to some degree, aware of what lies at the edges. Maybe this is what Gertrude Stein means to act as though there is no use in a center—because this concerns a way of relating, though there are many things in the …