Bachelor of Philosophy, Miami University, 2010, School Of Interdisciplinary Studies - Interdisciplinary Studies

This project looks at the convergence of trends in craft and blogging to evaluate its potential as a platform for activism. As the craft movement has evolved away from the rigid boundaries of its past, a subculture of young women and men have embraced craft for its Do-It-Yourself (DIY) ethics. A vast network of makers in and outside the U.S. comprises the indie craft movement, which channels ideas about sustainable living, anti-consumerism and the feminist reclamation of domesticity into handmade objects. The indie craft movement springs from the riot grrrl movement of the 1990s and is enhanced by a succession of new Internet technologies. Blogging's rise to ubiquity in the past decade provides indie crafters in disparate locations with disparate craft knowledge the ability to connect online. Craft blogs offer tutorials, inspiration and advice to their followers. The craft blogosphere's power lies in its ability to connect people through mutual creativity, making it an ideal platform for craft-related activism, or craftivism. Craft blogging offers crafters a forum for collaborative or replicable projects that can raise awareness about a cause or invoke action to end unjust practices. Craftivism blogs lead to meaningful change in a community when engaged bloggers share information. Therefore, this project includes a reflection on creating the blog Craftivista, which features craftivism-related speakers, events and projects in the area around Oxford, Ohio.

Committee: Dr. Sally Harrison-Pepper (Advisor); M. Katie Egart (Committee Member); Dr. Lisa Weems (Committee Member) Subjects: Art History; Communication; Design; Mass Media; Technology

MFA, Kent State University, 2023, College of the Arts / School of Art

I have mourned many people, most of whom are still alive. Forming and maintaining relationships has always been difficult for me. They blossom and die in unexpected ways. For the vast majority of my life, I have felt like an outsider, never quite fitting in with family, friends, or community. This has led to relationships ending in sudden and unexpected ways, and I carry an immense amount of grief with me. These experiences have led me to create a collection of mourning veils in which I explore my non-linear grieving process of interpersonal relationships. These pieces are heavily influenced by my identity as a fat, neurodivergent, genderqueer dyke. I find it impossible to separate my mourning process from my identities which often leave me alienated and on the outside of my communities. Through captured pearls, cast silver, linked steel chain, and laser cut acrylic, I create a structure for my grief to manifest. These wearable objects allow me to physically express the emotions I experience internally but struggle to appropriately display. The weight and/ or placement of the pieces make them impossible to ignore, much like the aching pangs of sorrow.

Committee: Andrew Kuebeck (Advisor) Subjects: Fine Arts

Master of Arts, University of Toledo, 2022, Philosophy

When viewing the categories of art and craft as the field of philosophy has typically done, we are inevitably forced to make unfair and arbitrary categorizations of aesthetic artifacts based on an overly restrictive binary. This project attempts to dismantle this antiquated dichotomy by showing that food represents a prime example of a class of aesthetic objects which cannot be neatly or usefully categorized into either camp, and by further detailing how elements traditionally thought quintessential to each amount to little more than flimsy justifications for our attributions and classifications. In doing so, I hope to show a more useful metric by which we can evaluate aesthetic artifacts; one which accurately assesses the features of them by judging them on independent metrics associated with these existing elements.

Committee: Ammon Allred (Committee Chair); Peter Feldmeier (Committee Member); Christopher Martin (Committee Member) Subjects: Aesthetics; Philosophy

BA, Oberlin College, 2017, Art

Part One of this research considers the relationship of ceramics to sculpture through the lens of art vs. craft criticism. Utilizing Rosalind Krauss' concept of the expanded field of sculpture as a focal point, this research examines contradictions in Krauss' argument for the exclusion of ceramic media from the mantle of sculpture, as well as current responses to this exclusion as it exists today. The responses considered aim to argue for ceramics' place in the expanded field, and to question the need for further criticism on this issue, suggesting there are more relevant questions facing the field of ceramics than the medium's classification as an artform or craft. Part Two addresses my functional, sculptural, and digital work made in response to these ideas for the group studio art thesis exhibition: Clear As Day.

Committee: Kristina Paabus (Advisor) Subjects: Art Criticism; Art History

MFA, Kent State University, 2014, College of the Arts / School of Art

A map is typically a didactic way to read the world. It tells you how to get from point A to point B or it can encourage the viewer to explore an area. Liz DeBellis created woven tapestries that start as a map image. Each is a reflection of a place she walked and knows intimately. As she walked through a landscape fallen leaves, stems and pods were collected to be used as dye to stain fabric: the leaves create marks and shadows of themselves. This fabric was then incorporated into the large weavings she created. Each is a representation of an area that is important to DeBellis. She interpreted various digital maps of each location, picking and choosing exactly how to represent the geography as a weaving. The finished weavings are not exact replicas but rather a reflection of her experience and relationship with the location: Each tapestry is a visual demonstration of the artists footprints in a place. When filled with weavings, the gallery creates a narrative-atlas of her life.

Committee: Janice Lessman-Moss (Advisor); Kathleen Brown (Committee Member); Isabel Farnsworth (Committee Member) Subjects: Cartography; Fine Arts; Textile Research

Doctor of Philosophy, The Ohio State University, 2008, Art Education

This dissertation examines a Central Ohio Fair Trade arts organization, Global Gallery, and its capacity building process. The focus of the study primarily revolves around the educational aspects of the non-profit organization's mission, as understood by its constituents, artisans, volunteers, staff and board members. The methodologies for the study fall within qualitative research and include critical participatory action research and autoethnography. These methods were carried out within a pragmatist, feminist, communitarian theoretical framework. The goal of this study was to improve Global Gallery's educational programming and the visibility of all shareholders' work toward realizing its mission and a broader effort to build organizational capacity. An appreciative inquiry approach prioritized building on strengths to achieve results. My data was collected through a series of four focus group sessions with Global Gallery constituents in Ohio and Bolivia. Additional data included board strategic planning processes and the researcher's autoethnographic narratives. These two data sources were integrated into the data findings and analysis to illuminate epiphanic moments in the capacity building process. Four themes emerged from the focus group and strategic building processes that were then developed into action plans that are to be carried out in collaborative committees made up of diverse constituents from at least three of the four categories. These themes turned into specific goals around educational programming, policies and procedures, earned income and fundraising. The conclusion delivers a conceptual framework that incorporates the lessons learned from the research. This visual and narrative presentation provides a template outline for future Global Gallery projects, current action plan implementation, relationships with Global Gallery partners and other Fair Trade or international arts organizations. This template constitutes one manifestation of the goal (open full item for complete abstract)

Committee: James Sanders PhD (Advisor); Wayne Lawson PhD (Committee Member); Amy Shuman PhD (Committee Member); Karen Hutzel PhD (Committee Member) Subjects: Art Education

Master of Arts, The Ohio State University, 1949, Graduate School

Committee: Not Provided (Other) Subjects:

Master of Arts, The Ohio State University, 1967, Graduate School

Committee: Not Provided (Other) Subjects:

Master of Arts, The Ohio State University, 1960, Graduate School

Committee: Not Provided (Other) Subjects:

MA, Kent State University, 2024, College of the Arts / School of Art

Craft media in K-12 art classrooms are often given less attention than so-called fine art media, allowing students less access to the materials and processes involved in disciplines such as textiles, metal, or woodworking. Through a case study with a secondary craft teacher, as well as interviews with three secondary art teachers who center craft in their curricula, this research has examined the challenges, benefits, and social implications of craft education. Implications from this research indicate that greater focus must be placed on craft in preservice art education training in order to address the imbalance between craft and the so-called fine arts.

Committee: Linda Hoeptner Poling (Committee Chair); Koon-Hwee Kan (Committee Member); Andrew Kuebeck (Committee Member) Subjects: Art Education

Doctor of Philosophy, The Ohio State University, 2024, Arts Administration, Education and Policy

The contemporary glass world is a place of diverse making that ranges from fine art to design to craft. Artists in the field fluctuate from formally educated with MFAs to individuals who are self-taught, trained through various apprenticeships and/or piecemeal educational experiences. How glass artists define success in their field, and how they chart a potential trajectory towards it, are questions that seem as though they should have clear answers. However, as the number of graduates from art programs increases, as well as the cost to start and sustain a career in the field, there is precariousness about how to maintain a successful practice. Additionally, the glass profession remains male dominated even though more females currently graduate from higher education programs throughout the US. This study focuses on female glass artists from emerging to established in their careers through qualitative interviews with 27 participants, and 7 participant observations, to reflect on the challenges and successes they have experienced and to provide a survey of the field at a time that women are seeking parity. Their stories and experiences are cross referenced with descriptive quantitative data gathered from the institutions they have interacted with as artists, students, educators, and/or administrators. The analysis and interpretation of the collected data summarizes emergent themes, and focuses on core challenges, and successes that participants encountered, while highlighting strategies that participants employ persist in the field. Utilizing portraiture methodology with narrative analysis and auto-ethnographic inclusions throughout, I provide a critical survey of the field, how female glass artists are currently working within its limitations, and how they define success.

Committee: Shari Savage PhD (Advisor); Rachel Skaggs PhD (Committee Co-Chair); Dana Carlisle Kletchka PhD (Committee Member); Christine Ballengee Morris PhD (Committee Member) Subjects: Art Education; Arts Management; Fine Arts

Doctor of Philosophy, The Ohio State University, 2023, History

Humans have been brewing beer for at least 10,000 years. For most of this time, brewing was a rudimentary affair. Ancient, medieval, and early modern brewing was carried out using local grains, herbs, fruits, and open-air fermentation. This has radically changed in the last two hundred years. Modern brewing now relies on intensive capital inputs, standardized products and brands, marketing, global distribution networks, disposable packaging, and scientific expertise. Even today's craft brewers—who often pride themselves on their experimental brews and local or regional connections—are a product of this transformation. This dissertation asks how this radically different brewing industry came to be in the United States. I argue that the modern American brewing industry took shape because of the unique biological and material properties of beer's organic and chemical components (yeast, hops, barley, and alcohol) and that brewers' desire to control even the most minute aspects of their craft resulted in intense capitalization and standardization of their industry.

Committee: Bartow Elmore (Advisor); Jennifer Eaglin (Committee Member); Christopher Otter (Committee Member) Subjects: American History; Economic History

Doctor of Education (Ed.D.) in Leadership Studies, Xavier University, 2020, Leadership Studies and Human Resource Development

The purpose of this study is to explore the current trends in levels of coopetition within the craft beer industry, as assessed by their engagement in collaborative efforts with their competitors in multiple geographic markets. While it is well documented that coopetition exists in small and medium-sized enterprises, especially craft breweries, it has not been studied at multiple geographical levels. The aim is to increase the scope of research and provide richer evidence of coopetitive efforts between organizations at local, regional, national levels. This study employed a non-experimental quantitative research method, using archival numerical data retrieved from publicly available databases to compare relationships between amounts of coopetition at the local, regional, and national level in the United States among breweries and 1) brewery age, 2) market saturation, 3) industry maturity, and 4) consumer social media ratings. All results other than brewery age vs. local coopetition had statistically significant relationships p < .05 and p < .01. All correlation coefficients (rs) were positive; most correlation were strong, with only market saturation at the local and regional level, and social media ratings at the national level, being of moderate strengths. These results suggest that coopetition is a beneficial practice for craft breweries. Leaders of these organizations may want to be intentional about which competitors they engage with regarding their geographic location to keep a competitive advantage in their industry.

Committee: Gail F. Latta Ph.D. (Committee Chair); Michael Flick Ph.D. (Committee Member); Michael Chikeleze Ph.D. (Committee Member) Subjects: Business Administration; Entrepreneurship

Master of Science, The Ohio State University, 2020, Biomedical Engineering

Ejection seats play an essential role in saving the lives of pilots in emergency situations. While saving their life, ejection seats pose a significant risk to the pilot health. Seats are required to clear the aircraft while traveling up 600 knots of equivalent air speed. Early models such as the Mk 4 leave the cockpit of the aircraft at velocities up to 80 feet per second (Martin-Baker) while newer models such as the ACES II clear the aircraft at 43 feet per second. Injury rates among these ejections range from 5-42% for the Mk series while injury rates for the ACES II are around 0.95% (Tulloch et. al, 2014). This study was broken into two sections with the objective to categorize the biomechanical response of the 50th percentile male spine under loading conditions similar to those seen during ejection. To characterize these responses the following needed to be recorded: (1) force along the spine at various points (2) motion of individual vertebrae along the spine to determine the spines overall movement during the event (3) fracture timing for determining injury thresholds. Methods for accurate data acquisition were determined by compressing lumbar spines via a drop plate at 1 and 2 meters per second. Forces were recorded using pressure transducers and confirmed using an inferior load cell. Vertebral motion was captured using posteriorly mounted 6 DOF blocks which house 3 accelerometers and 3 angular rate sensors orthogonal to each other. Recorded accelerations were transformed into displacements then confirmed using measured displacements from the high-speed video. Lastly, fracture timing was achieved using strain gauges cemented to the anterior face of the vertebral body with all fractures being confirmed using high speed video. Utilizing these techniques, 2 postmortem human subjects were instrumented with pressure and strain gauges on their lumbar and cervical spine and 6 DOF blocks along the length of the spine. Each was subjected to accelerations of 6, 10, 15 (open full item for complete abstract)

Committee: John Bolte IV, Ph.D (Advisor); Alan Litsky M.D., Sc.D (Committee Member) Subjects: Biomedical Engineering

Master of Arts, Miami University, 2019, Geography

As many postindustrial cities shift to service and information economies, former manufacturing legacies still persist. In a city like Pittsburgh, PA amidst the developing tech industries, small scale manufacturers and increasingly craft workers adapt traditions of steel production. Regarding a craft revival, cultural geographers have studied the ways local producers add place representations to their goods and interact to form community bonds. Meanwhile, economic geographers, studying clusters and their path dependencies, explain local craft production can derive as a specialized sector from a larger industrial formation. To better understand craft production as both cultural and economic process, this study questioned how craft can contribute to place making and simultaneously be embedded in a local economy. This project thus asked: how do craft producers collaborate to produce neolocal economies in former industrial Pittsburgh? In order to understand how Pittsburgh metal workers went beyond just a craft and strengthened a larger economic network rooted in place, I studied twenty businesses related to metalworking and craft in Pittsburgh by conducting semi-structured interviews, touring workshops, and administering mapping exercises. The research reveals craft businesses developed ties to place in their branding and methods, but were also deeply embedded in the local industrial network.

Committee: David Prytherch (Advisor) Subjects: Geography

Master of Arts (MA), Ohio University, 2018, Art History (Fine Arts)

Ravelry.com is a social networking website for fiber crafters, launched in May 2007 by Jessica and Casey Forbes. The Forbes' main goal had been to help makers who were previously frustrated by the insubstantial, inconsistent fiber craft information on the internet. One decade later, the site has spawned a sizable niche community of over seven and a half million dedicated members. In 2017, I surveyed over three hundred members of Ravelry.com to glean information on crafting trends within the twenty-first century. From their answers I investigate fiber arts in contemporary spaces of social making. I put my research in dialogue with craft theory, digital production and gendered craft research to explore how fiber crafting has arrived at its current incarnation. According to my survey respondents, Ravelry.com has evolved to fulfill multiple purposes in the lives of crocheters, knitters, spinners and weavers.

Committee: Samuel Dodd Dr. (Advisor); Andrea Frohne Dr. (Committee Member) Subjects: Art History; Sociology

MFA, Kent State University, 2018, College of the Arts / School of Art

Weavings are formed through a gradual accumulation of threads inserted sequentially over time, fostering a connection between the materials and weaver. I am inspired by women of ancient Greek mythology who overcame adversity through their craft of weaving. Penelope sat at her loom weaving by day and secretly unweaving by night to stay off untimely decisions. Sisters Procne and Philomela communicated across borders through messages hidden in woven tapestry. Arachne was transformed into a spider by the goddess Athena so that she would weave for all eternity. Through the process of creating their textiles, these women exhibited considerable emotional strength and artistry, which I draw upon to bring their resiliency and feminine legacy into my own work. I use the loom as a conceptual tool, finding meaning in the metaphors associated with the process of weaving in conjunction with the physicality of the materials. My understanding of textile processes allows me to utilize the vocabulary of weaving to create textural cloth. Experimenting with compositional elements, I blur the line between foreground and background through the intersection of color and weave structures. Weaving is a form of three dimensional drawing, allowing me to delve into the pictorial and dimensional planes simultaneously. When complete and presented on the wall or suspended in space, the weavings read as eloquent objects of texture, color, and rhythm. While the ancient myths motivate my enthusiasm for the process, my use of decorative motifs was informed by my interest in the pattern and decoration movement of the 1970s. This group lead by women artists, placed value on pattern, craft, and ornament. They utilized complex pattern and shape relationships and upheld the decorative and feminine aspects of their work. Like them, these characteristics are important to me in my work. Through embracing the traditionally feminine activity of weaving and its rich history, I am connecting to the myriad gene (open full item for complete abstract)

Committee: Janice Lessman-Moss (Advisor); Gianna Commito (Committee Member); Peter Johnson (Committee Member) Subjects: Fine Arts; Folklore; Interior Design; Museums; Textile Research

MFA, Kent State University, 2018, College of the Arts / School of Art

Spreading prolifically and harmfully, invasive species overpower the areas they inhabit. This body of work contextualizes the concept of invasive species into five main parts. Each element, ivy vines, honeysuckle plants, rabbits, black beetles and cicadas, are classified as invasive for their destructive tendencies. In addition to this, each serves as a metaphor for different aspects and characteristics of myself and life. Whether they be representative of a moment from childhood or of a trial of adulthood. "Invasive" presents a series of 23 suspended fabric panels and 3 crafted benches that come together to create a large scale three-dimensional sculpture to capture the essence of my concept.

Committee: Janice Lessman-Moss (Advisor); Taryn McMahon (Committee Member); John-Michael Warner (Committee Member); Andrew Kuebeck (Committee Member) Subjects: Fine Arts; Folklore; Interior Design; Textile Research

Doctor of Philosophy, The Ohio State University, 1963, Graduate School

Committee: Not Provided (Other) Subjects: Fine Arts

Doctor of Philosophy, The Ohio State University, 2016, Comparative Studies

Visual artists working today encounter a harsh and uncertain economic environment shaped by neoliberal and post-Fordist orientations that have reorganized the long-standing antagonisms between art and commerce. The conjunction of artistic and commercial logics, endured in a permanently uncertain economic environment has generated particular forms of knowledge and ways of being that are the basis of the ethnographic study that follows. By attending to quotidian orders of sense-making through the use of a vernacular framework, my study examines how visual artists working in Columbus, Ohio partake in economic and aesthetic discourses, constructing notions of labor and value, resource management and contingency. I interrogate the informal practices and discursivities that artists come to rely upon in their daily and lived encounters with the economy. Within this context, I am interested in documenting narratives of how artists conceive of, grapple with, and adjust to the anxieties of economic precarity and material insecurity. I investigate how artists' occupational identities are implicated, generated, and modified by contemporary economic and cultural transformations. I also map these narratives onto contestatory distinctions between art and craft, singularity and standardization, gift and commodity. To do this, I train my focus on how artists relate to the concreteness of place, the abstractions of the marketplace and the emphemeralities of performance. My dissertation reveals the ways in which the categories of artist and market are unstable. I show that artists' ways of emplacing themselves within these discursivities are also variant and unstable. That is, my attention to the vernacular sphere reveals artists' informal practices to be complex, knotty and filled with paradoxical entanglements. I reveal artists' stakes in varying discursive inhabitations; the categories artists' valorize or alternatively stigmatize; and how paradoxical, categorical inhabitations (open full item for complete abstract)

Committee: Amy Shuman Dr. (Advisor); Philip Armstrong Dr. (Committee Member); Dorothy Noyes Dr. (Committee Member); James Sanders Dr. (Committee Member) Subjects: Comparative; Folklore