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Take Your Mark
No full textTake Your Mark, color photography, measures 11 by 13 inches.
Artist Statement Hello! My name is Keith Rasmussen, and I am a senior at Linfield College. Coming in to college, I wasn’t too sure on what I’d actually do. I didn’t have any goals, and no true aspirations. I’ve now decided on trying for sound design in movies and/or games. This led to me declaring Electronic Arts as my major and Music as my minor. Having played cello for almost eleven years, I felt that I didn’t want to drop all the hard work I’d put in. I grew up in Tacoma, WA and always enjoyed playing music in school. In high school, I even joined a group called the Tacoma Youth Symphony, and participated in that for four years. I did not know I’d be doing photography in college, but here we are, and we’re having fun.https://digitalcommons.linfield.edu/arts_reconnecting/1053/thumbnail.jp
Smoky Night
No full textSmoky Night, acrylic on canvas, measures 36 by 48 inches.
Artist’s Statement I am a junior at Linfield College, getting a Bachelor of Arts in Studio Art and a Bachelor of Science in Elementary Education. During my time at Linfield, I have played soccer, joined a sorority, and began pursuing a second licensure. Two of my class requirements to fulfill my major were Art 310 and Art 311. In these classes we focused on studying art history and learning about a myriad of artists from 1874 until now. During this class I began loving history of different artists and their work, so it was clear to me I wanted to incorporate what I had learned into my final body of work. In my collection, I aim for people to take a step back and look at historical art in the eyes of the 21st century versus the time period in which they were originally painted.
My first piece being a recreation of Starry Night by Van Gogh turned into Smoky Night, which addressed the issues our world is facing against oil refineries. I wanted to turn Van Gogh’s masterpiece into a piece that forced the audience to see what refineries are doing to our atmospheres.
As I continued working with social issues, I moved to another widely known piece by Edvard Munch, The Scream. In this piece I wanted to address drugs as emotional pain relievers. In the 21st century, more people are using unprescribed medication in hopes to relieve pain, stay up to do assignments, or for fun. In this piece I placed a prescription bottle in The Scream’s hand, as he is sighing in relief of whatever he was facing.
Continuing, I moved to another well-known artist, Frida Kahlo. In this piece I tried a new medium, Photoshop, to create my intended piece. I started with Kahlo’s piece Self Portrait, Dedicated to Dr Eloesser, and from there I utilized Photoshop in order to clear Frida’s skin, make her face thinner, add makeup, get rid of excess facial hair, and remove her unibrow. This piece was created in hopes of showing the audience how the 21st century is more focused on looking perfect and meeting unrealistic standards through social media outlets.
My next piece was a personal piece to what I am studying within my education major. This piece is based off of Jana Sterbak’s piece Sisyphus Sport. This piece was a large rock with backpack straps attached to it. As I made this piece it reflected the heavy coursework teachers assign in order to get through all of the required Common Core standards per year. I wanted the audience to reflect on what is required of students through this piece.
As our world made a rapid change during the COVID-19 crisis, I decided to rework a Pablo Picasso piece titled Woman Sitting Near a Window. This piece was also a personal piece because it felt so relevant to my life currently. To this piece all I added was a simple white face mask, because the whole world currently is stuck behind these masks to protect us from a virus. While stuck at home after being sent home, I began to become fixated on the coronavirus as all other world issues began to take a back seat to this pandemic. This inspired my final piece recreated after Millworkers, by LS Lowry. This piece originally was a factory full of people and life that I changed into a factory that was empty due to the pandemic, and the eeriness felt so similar to that of the world right now.
This body of work has been a very exciting opportunity for me to put together my love of art history and test out my own art skills while using mediums and styles I may not be comfortable with. I took this work on as a time where I could try new things while succeeding and failing in order to find the pieces that mean most to me. Now that I have completed this body of work, I hope to begin to teach students about art in history and about how what they do can have an impact on people everywhere.https://digitalcommons.linfield.edu/arts_reconnecting/1040/thumbnail.jp
Self-Exploration (continuation)
No full textSelf-Exploration (continuation), a mixed media piece, measures 20 by 25 inches.
Artist Statement & Bio My name is Nissa Jensen, I am a visual artist that focuses on painting, drawing, digital, performance, printmaking, and clay, often combining them. I am from Portland, Oregon and am pursuing a B.A. in Psychology and Studio Art from Linfield College in McMinnville while working on my own freelance art and projects. I understand the healing qualities of creating and have future plans to become an art therapist. I have always been passionate about body positivity and intersectional feminism, and I strive to depict this in my work.
I am interested in illustrating the strength and beauty of parts of the body and the mind that may be considered ugly or unconventional to society. I am continuously striving to learn how I can find avenues for living a meaningful life through nurturing myself, others, and the land we live on.
Through this series of work, I am interested in exploring and understanding my body and its relation to the world. I believe fostering love and acceptance for my physical vessel will help me move through the world with more appreciation and attention towards everything and everyone around me. The physical is intimately tied to the mental experience, so through my work I also aim to explore my mental health and how it relates to the physical body.
I aim to bring beauty and power to things that I or others have told me are ugly and that should be hidden.
In my series of ‘tondo’ pieces, which are my paintings on wood canvases, I am exploring the aspects of my identity and how it relates to living with a mental health disorder. These pieces are more abstract and often focus on a featureless silhouette, surrounded by a vast landscape filled with color, texture, and intrigue. This is my attempt to create a scene that is a sort of escape to the small, featureless silhouette. Other pieces in this medium are detailed self-portraits that explore this part of my identity with memento moris, which, art-historically, are reminders put into paintings of humanity’s impending mortality. This is something I struggle with and explore through these works.
I am inspired by artists such as Ana Medieta – she was a Cuban-American performance artist, video-artist, and sculptor interested in the relationship between the female body and nature, and she also referenced the topic of rape, and identity. I am also inspired by African-American painter and printmaker Kara Walker’s work, which explores gender, sexuality and identity. As a feminist artist she has taken the conversation further with her art by also tackling subjects such as race and violence. Other artists that greatly inspire me that I see myself fitting in with are Valie Export and Judy Chicago, and Carolee Schneemann.
In my prints and other paintings, I focus on the physical realm of my body and, again, aim to bring beauty, power, and positivity to parts of myself that I have been told by society are ugly or that should be hidden or altered to be more palatable. I depict this through my paintings and prints of people with varying shapes, sizes, colors, and gender identities.
In the future, I see myself exploring these themes more through more visceral, figurative paintings on the body, as well as performance art that references my experience growing up Catholic and taboos about sex and sexuality. I hope my work inspires debate and conversation.https://digitalcommons.linfield.edu/arts_reconnecting/1032/thumbnail.jp
Blood Red Babe (Incense Series)
No full textBlood Red Babe (Incense Series), made of clay, measures 9 by 1.5 by 1 inches.
Artist Statement & Bio My name is Nissa Jensen, I am a visual artist that focuses on painting, drawing, digital, performance, printmaking, and clay, often combining them. I am from Portland, Oregon and am pursuing a B.A. in Psychology and Studio Art from Linfield College in McMinnville while working on my own freelance art and projects. I understand the healing qualities of creating and have future plans to become an art therapist. I have always been passionate about body positivity and intersectional feminism, and I strive to depict this in my work.
I am interested in illustrating the strength and beauty of parts of the body and the mind that may be considered ugly or unconventional to society. I am continuously striving to learn how I can find avenues for living a meaningful life through nurturing myself, others, and the land we live on.
Through this series of work, I am interested in exploring and understanding my body and its relation to the world. I believe fostering love and acceptance for my physical vessel will help me move through the world with more appreciation and attention towards everything and everyone around me. The physical is intimately tied to the mental experience, so through my work I also aim to explore my mental health and how it relates to the physical body.
I aim to bring beauty and power to things that I or others have told me are ugly and that should be hidden.
In my series of ‘tondo’ pieces, which are my paintings on wood canvases, I am exploring the aspects of my identity and how it relates to living with a mental health disorder. These pieces are more abstract and often focus on a featureless silhouette, surrounded by a vast landscape filled with color, texture, and intrigue. This is my attempt to create a scene that is a sort of escape to the small, featureless silhouette. Other pieces in this medium are detailed self-portraits that explore this part of my identity with memento moris, which, art-historically, are reminders put into paintings of humanity’s impending mortality. This is something I struggle with and explore through these works.
I am inspired by artists such as Ana Medieta – she was a Cuban-American performance artist, video-artist, and sculptor interested in the relationship between the female body and nature, and she also referenced the topic of rape, and identity. I am also inspired by African-American painter and printmaker Kara Walker’s work, which explores gender, sexuality and identity. As a feminist artist she has taken the conversation further with her art by also tackling subjects such as race and violence. Other artists that greatly inspire me that I see myself fitting in with are Valie Export and Judy Chicago, and Carolee Schneemann.
In my prints and other paintings, I focus on the physical realm of my body and, again, aim to bring beauty, power, and positivity to parts of myself that I have been told by society are ugly or that should be hidden or altered to be more palatable. I depict this through my paintings and prints of people with varying shapes, sizes, colors, and gender identities.
In the future, I see myself exploring these themes more through more visceral, figurative paintings on the body, as well as performance art that references my experience growing up Catholic and taboos about sex and sexuality. I hope my work inspires debate and conversation.https://digitalcommons.linfield.edu/arts_reconnecting/1027/thumbnail.jp
Kenopsia
No full textKenopsia, acrylic on glass, measures 6 by 8 inches.
Artist\u27s Statement I’m Krysten Baryo, and I am a junior here at Linfield College, I am pursuing my undergraduate degree in Studio Art and Philosophy with a minor in Visual Studies. I enjoy making art in various mixed mediums as it relates to current events and personal happenings. I hope to be able to inspire questions and conversation with my art pieces, in a way that there may not be a correct answer but certainly different ones for different onlookers.
Before coming to Linfield, I studied art at Portland Community College where I explored the 2-dimensional and 3-dimensional worlds of art. This is where I realized that creating art and putting it out into the world is something that I should be doing as much as possible, and for as long as possible. I like to keep the mediums I work with varied, as it allows for new and extended possibilities in what can be created. This year, I have primarily worked with concepts relating to creating from destruction, and fixing projects from broken concepts in order to make something entirely new, leading to my ultimate statement for this spring show. The Art of Self-Repair
This semester I have been greatly inspired by the idea and process surrounding the Japanese technique kintsukuroi. Kintsukuroi is a process used often to repair broken pottery using a lacquer made of gold or another precious metal, effectively making the piece more beautiful after the repair than it was before having been broken.
The idea of an object being beautiful even after breaking is one I wanted to highlight in my recent works. Metaphorically I believe this is a beautiful concept, especially in a time when so many humans feel broken or undervalued, and in the kintsukuroi process instead of hiding the fractures they are actually highlighted. It was this thought process that inspired me to do this work consisting of a mix of mediums including a take on traditional kintsukuroi, and other pieces inspired by the process.
Leading up to the final project within this statement, I realized that the metaphor began to matter much more than the medium in my current art endeavors. I decided to teach myself how to do small scale tattooing, and used gold ink to fill in the self-harm scars on my own body. This, along with the other pieces in this portfolio, I did as a testament to self-repair, and the idea that being broken does not equate to a reason to be tossed out or given up on. This is an art piece that I will carry with me everywhere, giving others the opportunity to ask “why” something so simple and not easily understood would be tattooed on my skin. Because of this, I will be able to share my efforts in encouraging self-repair through conversation and example for years to come.
For the rest of this semester I focused on making art that has been inspired by the current events regarding the outbreak of the COVID-19 pandemic. This, in part is because it is so prevalent and unplanned that it felt like something that art must be made about, and also because in the art of self-healing it is important to address yourself in the contexts that you’re in. In this way, I’ve hoped to create a timeline of how the latter half of this semester has felt as a student continuing to study online during a time in which so many things are out of control.https://digitalcommons.linfield.edu/arts_reconnecting/1002/thumbnail.jp
Laurel Adams Interview
No full textThis interview is an oral history conducted by Rich Schmidt with Laurel Adams. The interview took place at Linfield University on January 9, 2020.
The interview was conducted as part of Linfield University\u27s project celebrating the 65th anniversary of The Streak. Linfield\u27s football team has not had a losing record in a season since 1955, an unprecedented run of success. These interviews are with people who contributed to the 1956 Linfield team that won the conference championship and began The Streak.
Linfield team working on this project include: Matthew Hodges (\u2706), Rich Schmidt, Kevin Curry (\u2792), Mike Lempner, Kiana Anderson (\u2720), and Zell Burke (\u2723)
crisscrossing Science Episode 095: Adaptive Radiation
No full textIn this episode, Mike Crosser (professor of physics at Linfield College) and Chad Tillberg (professor of biology at Linfield College) are social distancing and talking about details of evolution. In particular, Tillberg explains ways that some organisms seem to be very diverse while others are not, something called adaptive radiation
EAMMi an Adult Yet?: The Relationship Between Features of Emerging Adulthood, Markers of Adulthood, and Age
No full textEmerging adulthood (EA) is a developmental period between adolescence and young adulthood characterized by identity development and increased independence (Arnett, 2000). Using the MOA and IDEA8 measures from the EAMMi2 dataset, we investigated three hypotheses: 1) the more markers of adulthood (MOA) one has achieved, the less they would identify as EA, 2) age would be positively related to MOA achievement, and 3) age would be negatively related to identification with EA (IDEA8).
Our correlations revealed a significant negative relationship between age and all four IDEA8 subscales and a significant positive relationship between age and all four MOA Achievement subscales. An independent t-test showed significantly greater scores on all IDEA8 subscales (except for negativity) in emerging adults than in adults, and significantly lower scores on all four of the MOA Achievement subscales in emerging adults than in adults. Significant negative relationships were found between the MOA Achievement subscales and the IDEA8 subscales.
These results may suggest that, as people age, their identification with aspects of emerging adulthood decreases and their achievement of markers of adulthood increases. The implication may be that identity stabilization and increased achievement of culturally constructed adulthood benchmarks delineate the transition from emerging adulthood to adulthood
The Paradise People
No full textThis creative writing thesis contains memoir writing by Tiani Kaneakua. It involves themes of identity as a Native Hawaiian/White/Asian mixed person, the culture in which Kaneakua grew up, family, death, and grief. Hawai\u27i Scot and Maile Death in the Ohana Hapa Haole (ha-pa how-lee) Tita (tee-tuh) Uncle Carlos Kaneakua Tiani Kewa
Colonized Loyalty: Asian American Anti-Blackness and Complicity
Get PDFIn this essay, Reshmi Dutt-Ballerstad argues that solidarity between and within communities of color remains our only chance to fight against the brutal and insidious forces of racism, white supremacy and racial capitalism