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The Wolves
No full textAt a first glance, the show may seem to be a low-budget production, however, more than half of the budget was allocated to eleven pairs of inner soccer shoes, shin pads, undergarments and two sets of goalie gloves and hand wraps. As a Costume Designer, I must always remember to fully analyze the needs of the characters in the play. I can never overlook the details no matter how small, as the costumes layers, from the skin out, needed for these athletic young women were critical to the overall design. The Wolves production process taught me about having rehearsal items and actual costumes in the rehearsal space, especially with physically demanding shows, as all of the cast actions were dependent on their costumes
Abandoned Monuments
Get PDFEverywhere around the world, there are traces of past civilizations which have been taken over or met their demise. The Marcus Aurelius bronze Roman statue and the bronze Egyptian Gayer Anderson Cat are some prominent examples. In the future, our society could also come to an end. The big question is: What will we leave behind? How will our cultural artifacts be found and what will they say about us? For this honors project, I investigated many ways a statue from my hometown could deteriorate and translated that into a ceramics form. Throughout my college art history courses, I observed various art forms and wondered what would happen to our architecture and our art in the future. The General John Corse Statue from my hometown is one of the only statues there, and it is what I based my ceramics project on. With many hours of sculpting the Corse equestrian statue to the right scale and looking up multiple references of ancient bronze, I made a statue that I have come to know and love look abandoned and decrepit. I created the form out of clay and sculpted some of the details. Then, I made the clay look like metal deteriorating and cracking. By looking to the past, I researched various ways bronze can age, and tested multiple glaze recipes that resembled that effect. This project was definitely challenging. The horse statue was supposed to be standing up, but with the original horse statue only standing on two legs, stability was an issue. The horse ended up separating from the base. At first, it was frustrating, but through a lot of reflection, this is something that could happen to the bronze statue over time, too. I also wanted to include the man from the original statue, but I decided against it because sometimes materials from old artifacts are taken to create new monuments. Perhaps this could have happened to this monument. Overall, my project turned out differently than I originally envisioned due to unforeseen challenges with the sculpture. However, I was still able to achieve the deteriorated effect I was seeking and am happy with how it turned out
Mechanical Characterization of Carbon Fiber Artificial Muscles for the Design of Orthotic Devices
No full textSunday in the Park with George: George and Greenburg
No full textIn order to continue to make commissions and be a commercially successful artist, George cozies up to the rich donors at the art gallery. George is accompanied by Greenburg, the woman who runs the museum. Greenburg is pictured in a two piece skirt-suit inspired by 1980\u27s Chanel advertisements. This is also an example of how color blocking was used in the second act.https://ir.uiowa.edu/costume_design/1052/thumbnail.jp
Sunday in the Park with George: George and Dot
No full textThe world of Sunday in the Park with George is populated by the central figures of Seurat’s seminal work brought to life, including Dot, the woman in blue featured in the foreground of the original painting. Dot, a working-class model, is romantically involved with George and pines for the same attention and dedication that he gives his painting. George\u27s jacket is made from a multi-colored tweed which reflects the style of his work. Dot\u27s dress is a dusty pink jacquard with ivory lace details.https://ir.uiowa.edu/costume_design/1048/thumbnail.jp
Sunday in the Park with George: Dot
No full textIn order to create the final look at the end of Act I, all of the characters in the painting had costumes with both physical and visual texture. This can be seen most notably in the bodice that Dot wears for the final moment of Act I. The bodice was built for the show and was made from an under layer of silk brocade containing all of the colors present in Seurat’s original painting. The over layer was a hatch patterned lace with allowed the brocade to shine through.https://ir.uiowa.edu/costume_design/1047/thumbnail.jp
Mirror Mirror, Perfected: Sissy\u27s Bedroom
No full textThis is an image of Sissy\u27s bedroom set for the short film Mirror Mirror, Perfected. For this design, it was important that the actress was able to see herself in a mirror standing anywhere in her room. The walls are decorated with awards, sketches, and post-it notes.https://ir.uiowa.edu/scenic_design/1087/thumbnail.jp
Effects of pol zeta, pol eta, and Polymerase delta Mutants on the Genetic Instability of Inverted Repeat InsH during Break-Induced Replication
Get PDFBreak-induced replication (BIR) is a type of DNA repair pathway that specializes in the repair of one ended double-stranded breaks (DSBs). The pathway is necessary to preserve genetic information in the presence of DNA damage. However it is not currently known how BIR proceeds through inverted repeats (IRs) that are capable of forming secondary structures. Not only that, the specific subset of proteins required to assist BIR through IRs is also unknown.Saccharomyces cerevisiae is a suitable organism for the investigation of BIR because it allows for easy investigation into the role of highly conserved proteins. S. cerevisiae mutant experimental strains were generated using transformation techniques and then coupled with a chromosome III disome system containing a LYS2-InsH construct at the 16 kb position. BIR does not appear to require translesion polymerases to assist the bypass of IRs. Polymerase d mutants investigated did not appear to significantly affect the progression of BIR through IRs raising additional questions as to the mechanism through these unstable elements. These results help clarify the mechanism by which BIR proceeds through IRs and eliminates the possibility that translesion polymerases, often recruited to bypass unstable DNA elements, are involved. Polymerase d is supported by numerous studies to be the driver of replication during BIR synthesis and this study elucidates how a few of the mutants of polymerase d did not affect the progression through IRs but raises questions for other polymerase d mutants that could affect the progression of BIR through IRs
Chaucer\u27s Pardoner: The Medieval Culture of Cross-Dressing and Problems of Religious Authority
Get PDFOne of the most ambiguous and contentious characters in Geoffrey Chaucer’s fourteenth-century Canterbury Tales is the Pardoner, the last (and arguably worst) of the pilgrims described in the General Prologue. The Pardoner accused of being a gelding or a mare endowed with several effeminate traits, plays on multiple gendered associations—including that of a cross-dressing woman. Throughout the Canterbury Tales Chaucer manipulates gender expectations and assumptions in the figure of the Pardoner without fully clarifying the Pardoner’s sex, sexuality or gender, leaving the text open to potentially subversive interpretations. By the fourteenth century, cross-dressing was a relatively common literary motif, one upon which Chaucer may have drawn in the construction of his transgressive and ambiguously gendered Pardoner. In analyzing the Pardoner in relation to a selection of these texts—Frere Denise, Le Roman de Silence, and the lives of female transvestite saints—I argue that Chaucer’s ambiguous description of the Pardoner potentially plays on cultural associations of cross-dressing, drawing from a host of literary analogues, challenging the primacy of male religious authority and legitimizing the rhetorical power of female preachers