With Each Passing Day is a thesis exhibition presented in Northlight Archive in Tempe, AZ, accompanied by a photographic book. This work investigates me and my changing relationship with my mother as I grow into a young woman and slowly finding more of her qualities within myself as each day passes. This thesis project explores the process of growth, finding independence, and understanding acceptance and control.

With cities expanding and human development rapidly increasing, areas of dark sky are decreasing, resulting in beautiful stars and constellations appearing to disappear. The purpose of this project is to photograph the night sky and capture the natural beauty of the Milky Way and constellations All of the images captured for this project were taken at various locations around Arizona. Influences from cities and other human development are visible throughout the various photographs.

Arizona Then and Now: Exploring Arizona's Five Cs Through Photography is a photographic exploration of the evolution of Arizona's five Cs: cotton, copper, citrus, cattle, and climate. This project first looks to the past to see how these five elements shaped the state of Arizona. Photographs were taken across the valley of these elements, or lack thereof, discovering what Arizona has transformed into in the process. Each chapter of the book begins with a brief history of the element focused on in that chapter, followed by an analytical thought about the photographs taken and how the element has evolved. Each chapter shows two historical photographs followed by a series of photographs taken during the project that the author thought depicted what is seen today. The book ends on a final positive note about how the five Cs are not dead, but soon could be completely taken over. This project was a way for a non-art major to explore the state that she grew up while also challenging herself by more than just taking pictures. The photographs displayed in the book depict a sampling of what the author saw that is left of the five Cs.

Southern Arizona was once described as a "sea of grass" extending across the four major valleys, the Sulphur Spring Valley, the San Pedro Valley, the San Simon Valley and the San Bernardino Valley. But today the majority of that land is covered with desert shrubs like mesquite, leaving little to none of the natural grasses that once dominated these valleys. By the late 1800s Americans were flocking to southern Arizona to take advantage of some of the lushest grasslands the United States had to offer. Yet today we can find very little of these grasslands remaining, and so the image of this once productive land has been long forgotten. This thesis/creative project takes an in-depth look at what the land in Cochise County, Arizona once was, what it has become, and what happened to cause these drastic changes. It looks at the four major theories as to what caused these changes. The first of which is the overgrazing of cattle through the cattle boom of the late 1800s. The second is the effect of climactic events like drought and an increase in aridity over time. The third is the encroachment of what was thought to be non-native mesquite, which choked out the natural grasses. And the fourth and final theory is that the overarching suppression of fire by settlers allowed desert shrubs to expand their ranges into the grasslands. Through historical records like newspaper articles, photo archives, land surveys, military travel journals, census data, weather records as well as prior research works and interviews with researchers, conservationists and ranchers, a history of these lands is presented to show the major turning points in the lands' use and determine what led to their deterioration.

The complexity and interconnectedness of sustainability issues has led to the joining of disciplines. This effort has been primarily within the sciences with minimal attention given to the relationship between science and art. The exclusion of art is problematic since sustainability challenges are not only scientific and technical; they are also cultural, so the arts, as shapers of culture, are critical components that warrant representation. In addition to contributing to the production of culture, arts have also been credited as catalysts for scientific breakthroughs; thus it stands to reason that understanding art-science integration will benefit sustainability’s focus on use-inspired basic research. I focus on placing art and science on equal footing to enhance understanding of how individual artists-scientists and collaborative artist-scientist teams creatively address sustainability challenges. In other words, I address the question “What does it take to develop high functioning artists-scientists or artist-scientist collaborations?”

To answer this question, I used a multipronged approach to triangulate a richer understanding of what art-science synthesis offers sustainability and how it functions. First, I performed an historical analysis of a maladapted wilderness aesthetic and turned to the work Aldo Leopold – an exemplar of an artist-scientist – for a new sustainability aesthetic. Then, I engaged in an individual contemporary art practice, culminating in a gallery exhibit, which displayed ecologically-informed work from a three year study of my backyard. Finally, I conducted small group research of artist-scientist teams tasked with developing interpretive signage for the Tres Rios wetland site. For this final element, I collected survey, wearable sensor, and ethnographic data.

Through this composite research, I found that successful art-science practices require significant energy and time investment. Although art-science is most intensive in an individual practice where the person must become “fluent” in two disciplines, it is still challenging in a group setting where members must become “conversational” in each other’s work. However, successful art-science syntheses appear to result in improved communication skills, better problem articulation, more creative problem solving, and the questioning of personal and disciplinary mental models. Thus, the outcomes of such syntheses warrant the effort required at both the individual and collaborative level.

Since the late 1990s thousands of new Border Patrol agents, hundreds of miles of fencing, and additional immigration checkpoints have been added to the Mexico-U.S. border region. This unprecedented increase in boundary enforcement has strained existing relationships and created new separations between people and places in the borderlands. Southwestern Arizona has been impacted in especially dramatic ways, as the “hardening” of the international boundary has transformed conservation and indigenous spaces into theaters of drug interdiction and immigration control. This dissertation explores this transformation in southwestern Arizona, a region that was known by Spanish Colonial administrators as the Papaguería. With the community of Ajo at the center of the narrative, this dissertation explores the ways that industry and conservation have long shaped the social relations and the landscape of the region. The destruction of old borders, the creation of new borders, and the redefinition of space has been an ongoing process that continues to define some groups of people as insiders and other groups as outsiders. In the current era of border security echoes from earlier colonial encounters reverberate into the present, shaping landscapes and the lives of local residents in the contemporary Papaguería in significant ways.

Residential historic preservation occurs through inhabitation. Through day-to-day domesticities a suite of bodily comportments and aesthetic practices are perpetually at work tearing and stitching the historic fabric anew. Such paradoxical practice materializes seemingly incompatible relations between past and present, people and things. Through a playful posture of experience/experiment, this dissertation attends to the materiality of historic habitation vis-à-vis practices and performances in the Coronado historic neighborhood (1907-1942) in Phoenix, Arizona. Characterized by diversity in the built and social environs, Coronado defies preservation's exclusionary tendencies. First, I propose a theoretical frame to account for the amorphous expression of nostalgia, the way it seeps, tugs, and lures `historic' people and things together. I push the argument that everyday nostalgic practice and performance in Coronado gives rise to an aesthetic of pastness that draws attention to what is near, a sensual attunement of care rather than strict adherence to preservation guidelines. Drawing on the institutional legacy of Neighborhood Housing Services, I then rethink residential historic preservation in Coronado as urban bricolage, the aesthetic ordering of urban space through practices of inclusivity, temporal juxtaposition, and the art of everyday living. Finally, I explore the historic practice of home touring in Coronado as demonstrative of urban hospitality, an opening of self and neighborhood toward other bodies, critical in the making of viable, ethical urban communities. These three moments contribute to the body of literature rethinking urbanism as sensual, enchanted, and hospitable.

Western landscape photography helped to create an imaginative perception of a new nation for Americans. Early nineteenth-century photographers captured a vision of uncharted terrain that metaphorically fulfilled a two-fold illusion: an untouched Eden and a land ready and waiting for white settlement. The sublime and picturesque experiences of the West provided artists a concept that could be capitalized upon by employing various forms of manipulation. In the twentieth-century, the role of landscape photography evolved as did the advancement of the West. Images of wilderness became art and photographers chose to view the western landscape differently. Some focused more sharply and critically on the relationship between the land and the people who lived on it. The influential exhibition in 1975, New Topographics: Photographs of a Man-altered Landscape presented work that showed a landscape altered, marked by power lines, houses, and fences. The West as Eden no longer existed. Today, photographers continue to examine, image, and experience western land anew. In this thesis I examine the relationship of contemporary landscape photography and the role of the West, guided by an analysis that traces the history of American ideologies and attitudes toward natural land. The artists I have chosen recognize landscape not as scenery but as the spaces and systems people inhabit, and use manipulative strategies that emphasize an artificial character of the West. Their work elicits antecedent mythologies, pictorial models, and American ideologies that continue to perpetuate internationally.

A Sense Of is a performance-based work that addresses the effects of the transformation of space, time, and energy through the various sensory modes. The work is an invitation to the artist's perspective of the world, which is combined with the performers' creative voices and interpretations of the artist's explorations into sensory awareness. The movement installation entitled A Sense Of was presented in November 2011. This document presents an overview of the project. It addresses relevant literature, examines the creative process used in the work, and provides an analysis of the project as a whole.