Browsing Herron School of Art and Design by Title
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Item4thness(2020) Mullen, Frank; Hull, GregCharlie Gordon hung a box. It was mounted on the front of his house, next to the door, narrow and painted black and oddly proportioned, like a talisman, like a ovate refugee from Easter Island. He hung it there so deliveries of large, flat boxes could be put safely inside, protected from the weather in Lancaster, Pennsylvania, United States. They never did it though, the FedEx people, and UPS, the Postal Service. They always left them on the porch floor, under the box, in front of god and everyone, and this was a great annoyance to Charlie Gordon, the star of our show. ItemAdaptability(2018) Fox, Hannah; Hudnall, KatieAt the core of humanity is a driving force to create and change our environments to better suit our liking. In this century, the need fo hand-making in the developed world is becoming obsolete. As privileged Americans we no longer need to make utilitarian objects using these processes to stay warm or even to survive. Everything we "need" is mass produced in factories we will never visit, by machines most of us could not even begin to operate or comprehend. The most abundant of these commodities are made from plastic. An entirely unnatural and man-made material, plastic is used an discarded at a rate unmatched by almost any other substance. My thesis work utilizes recycled material, specifically polypropylene biohazard bags, to identify the destructive realities of human waste and consumption in contemporary society. By confronting viewers with grotesque overwhelming forms of melted plastic the work is a rumination on human adaptation to technologically-driven wasteful consumerist life in the 21st century. ItemAmnesia(2019) Jorgensen, Elizabeth; Nordgulen, EricBecause of childhood trauma much of my work is inspired by photographs. With my work, I am trying to recover and work through memories and piece together the years that are missing from my memory. Finding the how and why behind my brain and my suppressed traumatic memories has been an ongoing search. Growing up in a toxic, alcoholic and abusive filled home environment my brain developed a type of amnesia. It is with this in consideration that I have started to let my work be inspired by personal events. Working towards feeling comfortable with seeking the truths of my childhood I have begun producing autobiographical work. Mining through my mind to find meaning and identify particular reasons behind my behaviors and struggles I have experienced, have become the driving force behind my work. My found-object assemblage sculptural work examines the aspect of identity through the use of aesthetic experience. The use of found objects, remnants of the past allows me to examine my memories, while questioning their validity. The work seeks to engage my audience in recalling a memory of their own that may have shaped their identity. ItemAn:Other(2018) Alderson, Nicole; Nordgulen, Eric; Baker, Lesley; Kinsman, PatrickOtherness comes in many forms: it is a profound awareness of the metaphorical and physical space between, whether that space is the distance between two people, a person and the world they live in, or the perceived self and the internal self. The philosopher Emmanuel Levinas wrote extensively on the notion of the Other throughout his career, and my work is a response to these ideas. For Levinas, the mask was the veil that is put on and becomes motionless and expressionless as whatever within us that makes us recognizable takes leave. Personally, I believe that this mask is not a single one but many diverse and evolving disguises we create, mold, and replace as we travel along the continuum of life. The idea of the mask is the way I choose to represent and recognize the fluidity of my own identity. The mask I display at any given moment, consciously or unconsciously, is dependent upon both situation and company. Through the metaphor of the mask, I explore the intensity of emotion brought on by a questioning of identity and a sense of Otherness. The emotion I'm most interested in during this process is contemplative melancholy. I'm attracted to the sadness and the darkness or the empty searching in people because it's an inherent fact of life and its presence in the world makes me feel alive as it gives me something to contrast the more uplifting or life affirming moments against. In my work I aim to bring to light the pervasiveness of the feelings of Otherness and malaise as deeply relatable truths of human condition. ItemApologies: A journey toward self-discovery through an unraveling of the masculine tradition(2018) Walsh, Justin; Petranek, StefanWhat is the Measure of a Man? Before allowing the brain to run away giggling with euphemistic glee, consider the import of this question as it has effected boys for centuries as they grow, not only in personhood but inexorably toward the four-walled confinement of what is defined as "Manhood." Being a man in my early 30's I am increasingly confronted by how my own identity is shaped in relation to this box. Thus, within my current body of work one central question arises that forms the foundation upon which all other thematic notions find their footing; What kind of man am I? ItemApplied Improvisation and Art Making in Group Therapy(International Association of Eating Disorder Professionals annual conference, 2022-03) Misluk-Gervase, EileenApplied improvisation (AI) is the translation of improvisational theater principles to non-performers with the goals of “creativity, innovation, and/or meaning” (Tint & Froerer, 2014, p. 2). AI facilitates the practice of spontaneous communication and interaction, developing participants’ tolerance of uncertainty and ambiguity (Lawrence & Coaston, 2017), clarifying communication, and enhancing trust and collaboration (Sheesley, et al., 2016). AI creates a safe and trusting environment for developing relationships, adapting quickly to unfolding situations, and collaborating—skills necessary for communication in stressful situations (Rossing & Hoffmann-Longtin, 2018). The games require responsiveness to ambiguity and change, focus and attention to the present moment, and collaboration with others (Hoffmann-Longtin, et al., 2018). Clients who participate in applied improvisation have demonstrated increased willingness to participate in therapy and enhanced progress toward clinical goals (Alana & Ansaldo, 2018). [BREAK] The purpose of the presentation is to actively engage eating disorder clinicians in AI and art making activities that support the development safety and attunement, risk-taking and acceptance, and mastery and agency. In the workshop curriculum, safety/attunement focuses on rapport building through activities that support mirroring and relational interactions between participants. Risk taking/acceptance focuses on letting go of intellectualization, increases uncertainty tolerance, and increases capacity for appropriate risk taking (Farley, 2017). Mastery is defined as patterns of achievement that incorporate challenges, persistence, and a view of failure as a part of gaining mastery rather than a lack of ability (American Psychological Association (APA), 2020) and includes self-esteem, self-efficacy, and resilience (Schwenke et al., 2020). Agency is viewed as the expression of actual feelings, developing spontaneity, freedom to experiment, promotion of insights into inter and intrapersonal dynamics, and collaboration (Farley, 2017). Lawrence and Coaston (2017) stated that providing opportunities to engage in improv allows for “struggle with appropriate risk taking, adaptability, and cognitive rigidity” (p. 517) and inspires divergent thinking and the promotion of self-esteem and agency (Reid-Wisdom & Perera-Delcourt, 2020). All the skills noted, are consistent with the needs of individuals with eating disorders most notably cognitive flexibility, uncertainty tolerance, and acceptance. AI offers an alternate approach to addressing those clinical needs within the therapeutic setting. [BREAK] References [BREAK] Farley, N. (2017). Improvisation as a meta-counseling skill. Journal of Creativity in Mental Health, 12(1), 115-128. https://doi.org/10.1080/15401383.2016.1191402 Lawrence, C. & Coaston, S. C. (2017). Whose line is it, anyway? Using improvisational exercises to spark counselor development. Journal of Creativity in Mental Health, 12(4), 513-528. http://doi.org/10.1080.15401383.2017.1281185 Llyod-Hazlett, J. (2020). Improv-ing clinical work with stepfamilies. Journal of Creativity in Mental Health, https://doi.org/10.1080/15401383.2020.1762817 Patrick, S. (2020). Mistakes as pathways towards creativity in counseling: A case example. Journal of Creativity in Mental Health, 15(1), 128-138. https://doi.org/10.1080/15401383.2019.1638863 Rossing, J. P. & Hoffmann-Longtin, K. (2018). Making sense of science: applied improvisation for public communication of science, technology, and health. In T.R. Dudeck & C. McClure (Eds.), Applied improvisation: Leading, collaborating, and creating beyond the theatre (pp.245-266). London, UK: Methuen Drama. Schwenke, D., Dshemuchadse, M.,Rasehorn, L., Klarholter, D., & Scherbaum, S. (2020). Improv to improve: The impact of improvisational theater on creativity, acceptance, and psychological well-being. Journal of Creativity in Mental Health. https://doi.org/10.1080/15401383.2020.1754987 Sheesley, A. P., Pfeffer, M., & Barish, B. (2016). Comedic improv therapy for the treatment of social anxiety disorder. Journal of Creativity in Mental Health, 11(2), 157-169. https://doi:10.1080/15401383.2016.1182880 ItemAn Architectural Imaginary(2014-05-20) Shopoff, Marna; Horvath, RobertMy work is a vehicle to investigate the perceptual intimacy I find within public spaces. Blending contemporary with classical approaches to art and spatial relationships, I use the idea of perception as a function of human experience, place and personal memory. I explore compositional, personal and experiential connections while creating an invitation for the viewer to do the same. A paradox exists within the material realm. I identify with who I am through the spaces I inhabit and feel as if my body can extend its presence into the built environment. My artwork becomes a lens that reveals the temporality of my experiences. Using architecture and abstraction as a philosophical approach in my paintings, architecture becomes both a visual bridge between inside and out, and a passageway of self-reflection. Abstraction is a way to move through a space. My work explores how art can become a space by its interaction with the environment and how the space can become the artwork. I conceptualize ideas relating to place identity and my lived experiences within the built environment. I view the world in a particular way because of the context in which I have experienced it: the architecture, spatial politics, personal relationships, public and private intimate spaces. I am interested in the interpretation of and the interactions with the spaces that surround me: what memories or feelings do these spaces spark and what sort of energy do they project? Likewise, I am interested in the roles that art plays in culture, architecture, and the site-specificity of spatial relationships that are formed by these interactions. My work explores whether, through art, we can share our individual perceptions, whether someone can access and experience a new view of the world through my artwork and how I can create a new space via my art. ItemArsenal(2018) Carroll, Brenna; Jefferson, Corey; Baker, Lesley; Robertson, JeanTraumatic experience inspires the human drive for expression. Survivors carry the memory of trauma with them throughout their lives while they struggle to comprehend its impact. They maintain a fragile stability as their capacity to more forward is challenged and their perception of the world around them is altered. The force of memory compels those who have survived a traumatic event to build a defensive arsenal and to search for and to convey an understanding of their experience. My minimalist abstract ceramic sculpture examines the incidence of trauma and explores the transference of concepts and emotions associated with its effects. ItemThe Art Of and In Supervision(2016-07-07) Misluk-Gervase, Eileen; Cicco Barker, Jeannine; Williamson, CourtneyThis panel presents the art in supervision from the perspective of the graduate student, the on-site supervisor, and the group supervision course professor. Each supervisor engaged in the same art making themes/concept as the graduate students to explore the identity of the supervisor in relation to the students that they supervise. The perspective from each member of the supervision team is shared in this panel: graduate student, individual, and group supervisor each present their art making process, journal entries, and insights gained from participating in this method of supervision. The participants explore the benefits and challenges of engaging in this method of supervision and well as adaptations to the designed process.