The artist, Laura Ann Schroeder, discusses her Master of Fine Arts thesis exhibition, Witness, Revival, Testimony, which was installed at Tipton Gallery in Johnson City, TN from March 2, 2023 through March 31, 2023, with a public reception held on March 24, 2023. The exhibition consisted of a collection of sculptural works and installations that evoke scenes and memories from the artist’s childhood. This body of work deconstructs the traditional family dynamic and the private domestic space through recreations of everyday life. The artworks are primarily made with repurposed consumer textiles and techniques like stitching and quilting that have historically been considered “women’s work.” Through the process of creating this body of work, the artist analyzes how past moments culminate to affect her understanding of gender, spirituality, and personal identity.

This thesis undertakes detailed analysis of a sample of 229 small chert tools from a single locus at the Maya site of Caracol, Belize. Emphasis is placed on determining the function of these tools and on the nature of their use in the broader Caracol economic system. Analysis sought to determine whether they were used for day-to-day household tasks or for specialized craft activity within the specified household locus and/or if they were prepared for broader distribution at Caracol. By focusing detailed analysis on artifacts from a single locus, greater insight is provided into the impact of household production on the overall Caracol economy. The thesis draws on traditional techniques of lithic analysis, while assessing tool morphology and chert reduction techniques; however, it is different from previous analyses in the Maya area in that it develops and applies specific quantifiable statistical methods (e.g., Chi-square and Coefficient of Variable) for particular tool type(s) used in the production and modification of crafts. Application of quantifiable methods and a detailed level of analysis helps to differentiate and determine chert tool variation or standardization, thus establishing ideal tool types within a craft production locus. The determination of the presence of standardization and ideal tool types elucidates that craft production was indeed taking place just outside the epicenter at Caracol and therefore suggests that not only were elites controlling the distribution of crafts via markets located at and along causeway and termini, but may have controlled the production of crafts as well. Future research aims to reanalyze tools from previously excavated craft production areas and also plans to test for the presence of additional crafting areas at or near the site's epicenter. A detailed analysis of a craft production locus and small chert flake tools reveals insight into the nature of the ancient Maya economy and into models of control over resources.

This thesis proposes that architectural utopian ideas are the foundation for societal change. The communities that form from utopian ideas act as test sites for societal values on a microscale (Gondolf 1985). When communities work together on a utopian vision through dialogue, they avoid the pitfall of one person’s utopian vision being blanketed over the world (Schneekloth 1998). Utopian communities solve problems through experimentation that create different ways of living which act as visions that can provide hope (ibid). Ruth Levitas, author of The Concept of Utopia, defines utopia as “the expression of the desire for a better way of living” (Gizem Deniz Guneri 2019,155). In this thesis I articulate a framework for understanding utopian societies in sociological terms, as a place or idea created with clearly stated design principles. Utopian communities have clear boundaries and ideological principles that favor the wellbeing of the group above that of the individual (Gondolf 1985). Moreover, social mechanisms in the form of designed social conventions are the traits of successful utopian communities (ibid). The natural settings of utopian artists' retreats and craft schools contribute to creativity, community connection, and an increased appreciation for these natural settings. A comparison of four creative places, Black Mountain College (NC), Haystack Mountain School for Crafts (ME), Pilchuck Glass School (WA), and MacDowell (NH) are used to identify the positive characteristics of natural settings. Using these precedents and associated literature on utopian communities. I have collected a series of features that contribute to the ideal environmental, architectural, and organizational design practices of utopian communities. This thesis then employs a research through design methodology to illustrate and test these features through a single, prototypical project. The findings of this thesis include a list of opportunities and challenges presented by this project, which can be broadly applied to similar endeavors.

In the current era of technological development, with issues relating to an abundance of industrially produced things, this project explores how the value of craft can be shared to cultivate mindful engagement with others and nature. To discover design methods, research was conducted through workshops and interviews with craft practitioners. The findings were crafted into a collection of stories, titled Handmade Stories, sharing the value of craft from the voices of craft practitioners, intended to act as an emergent strategy for sustainable development.

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