Browsing by Subject "art"
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Item Art as Activism: Displacement Prevention in the Twin Cities(2016-12) O’Donnell, StephanieThis research uses the history of urban development and media representation as context for understanding current racial equity gaps and growing fears of gentrification and displacement in Minneapolis and Saint Paul neighborhoods. It emphasizes the importance of narrative in the process of changing power structures, and explores the community-building work of artist, Wing Young Huie, and arts organizations, Mixed Blood Theatre and Juxtaposition Arts. During times of change, art can strengthen neighborhood resilience by giving communities control over the telling of their own stories.Item Artists' Centers: Evolution and Impact on Careers, Neighborhoods and Economics(University of Minnesota: Center for Urban and Regional Affairs, 2006-02) Markusen, Ann; Johnson, Amanda; Connelly, Christina; Martinez, Andrea; Singh, Paul; Treuer, GalenItem Arts for Academic Achievement: A Brief Review of Research on Readers' Theatre and Tableau in Literacy Instruction(Center for Applied Research and Educational Improvement, 2007-09) Willcutt, JenniferThis review of the literature seeks to identify and summarize scientific research on the use and effectiveness of Readers’ Theatre and Tableau in literacy education. These programs integrate theatre activities into the classroom and are intended to enhance literacy skills. This review will also define key terms, address the use of drama techniques in the context of current standards- and evidence-based educational practices and policies, including Reading First, and discuss the nature of the relationship between the use of drama techniques in the classroom and literacy achievement.Item Arts for Academic Achievement: A Descriptive Report on the Development of an Embedded Course on Observational Drawing and Science(Center for Applied Research and Educational Improvement, 2007-11) Ingram, DebraDuring the 2006-2007 school year Arts for Academic Achievement (AAA) established a work group of high school science teachers, district science curriculum specialists, a visual artist, and AAA staff to develop an embedded course on integrating observational drawing and science instruction. The new course would join the embedded courses on Readers’ Theatre and Tableau that were being offered by AAA for the first time during 2006-2007. The embedded courses were distinct in that they trained teachers in specific arts-integration strategies. As part of a larger study of AAA, program staff asked the University of Minnesota’s Center for Applied Research and Educational Improvement (CAREI) to document the course development process. The purpose of this report is to describe: 1) the process AAA staff used to develop the course, and 2) how two teachers, who were involved in developing the course, integrated drawing into their science instruction.Item Arts Organizations and Their Impact on Adverse Childhood Experiences(2017-05) Clarke, KristineThe following three questions will be examined through this study. First, what role do arts organizations play in relation to Adverse Childhood Experiences (ACEs)? Second, do art organizations make any impact on individuals who have experienced ACEs? Third, do these organizations create this impact knowingly or unknowingly? Through examining six organizations it appears that arts organizations serve as efficient supplemental tools in helping individuals suffering from side effects of ACEs. By combining organizational efforts around mental health, rehabilitation, and social work with those of arts organizations, individuals are able to find a pathway or alternative communication method to expressing their emotions, fears, and demons that they have been trying to keep hidden. The research has also shown that art organizations are helping people confronting ACEs without knowing that the programming is indeed helping individuals facing ACEs. Through examining these questions the recommendation from this paper is for mental health, rehabilitation, and social work organizations to acknowledge how useful the arts can be for their patients and clients, and to seek out collaborations with these organizations.Item Cash and Carry(2021-05) McFarland, Grant, D RCash and Carry is made up of two sets of six objects (bed, spoon, shirt, playing cards, stool, butter). One set is in my apartment, while the other is shown in the gallery. Each object in the gallery has a corresponding piece that calls to mind the other object in my home.Item Developing Altruism: Incentivizing Young Professionals to Become Art Museum Patrons(2012-05-30) Linnemann, MikeMuseums have identified a major audience gap in the young professional demographic. In implementing young professional programs and groups, art museums are striving to develop and regain these non-users. In doing so, art museums have not had a strong strategic framework to cultivate these young professionals into members and donors. My investigation presents the current state of young professionals in art museums in the Minneapolis/St. Paul metropolitan area and proposes a framework based in economic altruism to regain these lost young professionals and cultivate them into lifelong patrons.Item Exhibit Poster for, "Labor in the Eyes of Artists: Zines, Scenes and Inbetweens," April 1 - July 18, 2014(2014-04) Ultan, Deborah; Keating, LindsayThe exhibit highlights artist zines, posters, and other forms of aesthetically derived text/image formats to explore issues of social justice as a means to promote social change. The materials on exhibit are from the Francis V. Gorman Collection of Rare Art Books, the Social Welfare History Archives, and the University Libraries' Special Collections.Item From Experiment to Experienced: The Cultivation of a Gallery - and a Curator - at the University of Minnesota(2012-09-14) Wilson, RebeccaDrawing from primary sources from the archival collection of the University Archives, this thesis presents a case study of the practices and methods employed by Ruth Lawrence, the first permanent full-time curator/director of the Weisman Art Museum. Through the pursuit of exhibitions, relationships, and outreach initiatives that were relevant to University students and to the greater community, Lawrence transformed a gallery experiment into an art establishment at the University of Minnesota, and in turn, cultivated her personal growth and professional career to become and experienced Curator/Director. Completed as part of a hybrid project, the thesis is complemented by a website designed by the author: http://www.tc.umn.edu/~wils0952/index.htmlItem I'm thinking about you, MFA Thesis Paper, 2022(2022-07) PrernaItem Improving the Cultural Responsiveness of Visual Thinking Strategies(2021) Choi, Sky YVisual Thinking Strategies is a thinking strategy created by Philip Yenawine and Abigail Housen to combat the lack of cognitive intake museum goers and art viewers felt after looking at art. Now, it is used in classrooms as well as museums to develop critical thinking skills and visual literacy amidst other skills such as communication and writing. While reviewing this thinking strategy, I wondered how it would fit and adhere to Culturally Responsive Teaching, a pedagogy curated by Geneva Gay to view academic achievement, skills, identities, and experiences by multicultural students through a holistic view rather than a deficient, “what are they lacking”, point of view. In this essay, I suggest methods to improve the cultural responsiveness of Visual Thinking Strategies in the hopes that they will create a more culturally responsive form of VTS to be used in future classrooms. I have also taken my findings and thoughts from throughout my analysis and created a photomontage which is attached and explained at the end.Item MFA Creative Thesis; Welcome to the Ergosphere(University of Minnesota, Department of Art, 2017-05-17) petersen, alex mMFA Creative Thesis in partial fulfillment of the requirements of the Master of Fine Arts Degree in Art. An exploration of queer fantasy, drawing, and theoretical processes. Submitted by alex m. petersen. May 17th, 2017.Item On Becoming the Peace Elephant Warrior Princess: Reclaiming Indigenous Rights to Spirituality, Creativity and Orality for the Vitality of Mbòg Bàsàa(2019-11) Quillien, VeronicaAs a Bàsàa woman, learning about the developmental stages of a girl in traditional Bàsàa society allowed me to recognize the subtle and imaginative abilities I inherited from my mother. And I set out on a quest to explore the positive aspects of my tradition in response to Bot Ba Ndjock’s (1970) reflection and inquiry about the future of Bàsàa women. Her remarks: “Will future generations be proud of the 20th century Bàsàa woman ‘evolved, emancipated, liberated’, being deliberately raised with back turned on the positive aspects of traditional culture?” With these lessons, it was my intention to use Mbòg, the social knowledge of the Bàsàa people, to answer the research question “What has been my process reclaiming my language and culture?” To organize a dissertation content honoring Mbòg, I structured this decolonizing dissertation to prepare my ceremony by clearly articulating a Bàsàa research process—the basis of Mbòg as a research paradigm. The work of Bàsàa scholars who investigated Mbòg as social knowledge (Mboui, 1967), Mbòg as traditional education system (Bot Ba Ndjock, 1970), Mbòg as a linguistic act (Mayi Matip, 1984) and Mbòg as creation (Biya, 1987) helped me think about how to compose Mbòg as a Bàsàa research paradigm. To unveil my process reclaiming my language and culture, I began with my spiritual journey. I utilized two traditional tools (wood and clay) and two contemporary tools (comic and zine) to represent Mbòg. The next journey was my creative process. I first selected the traditional fables I wanted to reclaim. Then, I sought the support of my parents, cousins and friends to determine how to revitalize the fables into multilingual (Bàsàa, English and French versions) and multimodal (illustrations, coloring book, and animations) formats. My final journey with orality ended at the language and art camp, Vac’Art. In this intergenerational and intercultural context in Yaoundé, I used my camera as a research tool to document the processes the Bàsàa and non-Bàsàa teaching artists used to train children/youth in arts-based methods (dance, theater, ceramic, music and cooking). For this reclamation journey, I was predisposed to perform the practices that kept my Ancestors in harmony. I wanted to respond to Bot Ba Ndjock (1970) and let her know that the 21st century Bàsàa woman ‘evolved, emancipated, liberated’ is still proud of her traditional education. Through this journey of re-membering, I figured out ways to massively transmit our social knowledge, Mbòg, so that generations of Bàsàa girls remain proud. Bòg, the root of Mbòg, reminds us that within this circle of life, order is a dynamically active harmony. Given our educational context, I have been asked if Mbòg is a philosophy or a pedagogy? As an Indigenous educational researcher at the intersection of language, literacy and culture, I offer bòg as a resource pedagogy, a gift from my Ancestors.Item Project AIM 2009-2010 Evaluation Report(Center for Applied Research and Educational Improvement, 2011-02) Ingram, DebraDuring the 2009‐2010 school year, Project AIM, a program of the Center for Community Arts Partnerships at Columbia College Chicago, worked with over nine hundred fifth through eighth grade students in five schools. Project AIM teaching artists collaborated with classroom teachers in these schools to develop residencies that offered students instruction in arts, literacy and/or math. Each residency included thirteen sessions in which the artist provided instruction in the classroom in collaboration with the classroom teacher. In addition to the residencies, Project AIM facilitated the development of learning communities within each school. Project AIM also convened the artists each month for professional development sessions focused on topics such as the emotional and social development of middle grades students and integrating instruction in math and visual art. This report summarizes the results of an evaluation study of Project AIM during the 2009‐2010 school yearItem REAL VISIONS, A Supporting Paper in Zine Form(University of Minnesota, Department of Art, 2018) Kieler, Brittany H52-page zine, which probes a number of historically enigmatic entities, including the Adams mammoth specimen, the Nazca Lines, and the vaginal abyss (as described by Pliny the Elder and illuminated by the sheela-na-gig). Written in support of the MFA exhibition of the same name.Item Seeing by Drawing: A Memorial Exhibition for Michael Plautz(2014) Boudewyns, Deborah K. Ultan; Plautz, Michael; Keating, Lindsay; Klug, ShannonThe Art of Michael Plautz. Architects design buildings, of course, and Michael Plautz did that beautifully. But architects do something else: they see relationships and make connections that others overlook – and Michael Plautz did that beautifully as well, evident in the many paintings and drawings he created over his career. This work shows what intense, focused perception can produce and how art – like architecture – enables us to see relationships among things that might otherwise escape our eye. Through his art, Michael Plautz helped us view the world anew. His favorite medium – watercolor – also says something about how man architects think. Just as architecture consists of voids in the solids of a building, watercolor starts with the white space of the paper and builds the solids of the painting around it. Watercolor, like architecture, teaches us to see what isn’t there as much as what is, to recognize absence as well as presence. And once we grasp that paradox, so apparent in Michael Plautz’s work, we never see the world quite the same again. -Thomas Fisher College of DesignItem Weeds and Wildflowers: Drawing, Landscape, and Abolition in New York, 1850–1870(2020-09) Stockmann, ColleenExamining the relationship between landscape, drawing, and antislavery reform in the U.S. during the nineteenth century, my dissertation offers an interpretive history of The Society for the Advancement of Truth in Art. Active in New York during the 1860s, this collective focused on the moral implications of drawing, notably by sketching plants. They deployed this practice in response to two contexts: the political landscape of Northern abolitionism, and an art world in which nature and nation were intimately entangled. Analyzing an underexamined chapter in which artists heralded new modes of affective, empathetic arts practice, deeply attentive at once to nature and social justice, my work on The Society revises our sense of landscape in American art and what counts as political imagery.