Albright AM Spring 2023

Albright

am

waking up the arts Spring 2023

2023 Senior Spotlights Mural Creation at Albright

IN THIS ISSUE Faculty Spotlight: Joseph Hocker The Art of Filmmaking

Becoming Autumn Spears Albright AM | 1

Letter from the Editor As is the case with many clubs, organizations and publications across Albright College, the lasting effects of the COVID-19 Pandemic are still being felt at Arts Magazine (AM). Except for a few print copies, the Spring 2022 issue was entirely online. Then, as we turned over to a new e-board, a Fall 2022 issue was never released, and there was a firm chance the same would be true for Spring 2023. Yet, you’re reading it right now, issue in hand or digitally, AM Spring 2023 is here!

When my team reconvened in January, I knew too much was happening in the arts at Albright to miss another publication. Resident artist Mike Miller was working tirelessly in the Total Experience Learning Center, creating murals with the help of students and community members. Albright alum Autumn Spears was returning for her first show in the Freedman Gallery. Albright’s improv groups, Less Than or Equal To and Pockets With Pants were in full force, putting on hilarious shows. And several incredible seniors were graduating.

So, after a number of sleepless nights, copy-editing until the words began to blur, writing article after article and designing until my brain felt like mush, I finally have the chance to showcase the hard work of Albright students, faculty and alum. There is so much to explore in this issue, more than I ever expected when we first began.

Of course, this wouldn’t be a celebration without a series of thank yous. First and foremost, I want to extend a message of gratitude to Dr. John Pankratz for his continuous support of AM and for providing many of the wonderful pictures you’ll see throughout this issue. I also want to thank Professor Kristen Woodward, Mike Miller, Dr. Katherine Lehman, and Dr. Heidi Mau for enthusiastically supporting the efforts of this publication. Now, Take the time to read and observe, as the arts at Albright’s continue to grow, it’s not something you’ll want to miss.

Dylan Sokolovich ‘24

Staff

Editor-in-Chief | Dylan Sokolovich Co-Editor | Alyssa Byrd Secretary | Jason Tai Social Media Chair | Kennedy Greene Faculty Adviser | Dr. Heidi Mau

Contributors Alicia Cone Kennedy Greene Alyssa Byrd Dylan Sokolovich

Cover Photo Courtesy of John Pankratz

Albright’s Arts Magazine

am

Spring 2023

Contents features

in every issue

02 In Between Studios: Technology and Art

08

04 Albright Artists Helping Transform Their

Community

Senior Spotlight

12 Faculty Spotlight

13 Filmmaking with Digital Video 14 Albright Improv Groups 17 18 Becoming Autumn Spears Chemistry in Art

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In BEtween Studios: Albright’s Arts Program is Bridging the Divide Between

Art & Technology

by Dylan Sokolovich

F

or artists, there’s nothing both more endearing and intimidating than a blank sheet of paper. However, many have found themselves with something much more intricate but open to immense possibility; art in the digital world. Whether it be for its convenience or its abundance of tools, digital art has found new popularity with traditional artists, especially at the college level.

At Albright College, students beginning in the arts are tasked with answering a series of simple questions: are you a painter? An illustrator? A sculptor? Although these categories have been relevant to post-secondary art educators and students for centuries, they could look immensely different in the near future. As the presence of technology rapidly becomes the new norm, schools across the country are belatedly, and sometimes even begrudgingly, venturing into incorporating technology into current curriculum. However, at Albright, students and educators have been persistently unafraid to embrace this change.

Whether it be digital video to digital illustration and design, Albright offers a number of varied opportunities for students interested in digital art. “One of the things that I think is unique about Albright is that digital studio art major, where there is a really deliberate sort of balance between the studio and technology,” says Matthew Garrison, Professor of Art and Digital Media. Garrison’s background is in sculpture, but much of his time at Albright has been dedicated to introducing art students to the growing number of opportunities technology affords them.

“I was introduced to technology fairly early, my first year of college at RISD [Rhode Island School of Design], and one of the courses, the professor, he just happened to be interested in computers, and so we did some projects on the computer that I thoroughly enjoyed,” says Garrison, “but then, you know, it was a different time, so I moved more into the traditional, hands-on art, but was always gravitating towards technology.” Garrison saw sculpture as the medium where experimentation could happen, and with the introduction of the personal computer, and later the Mac, he began to push against the definition of traditional sculpture and art.

With the design of many of the art courses offered by Albright, students are granted the opportunity to seamlessly transition between traditional and digital art. In teaching the campus’s design course, for instance, Garrison encourages his students to embrace what they know while also exploring new mediums and definitions of art. “Basically we move between the studio and the computer lab,” says Garrison, “so, we work on drawings in different media, for example, color pencil, or graphite or pen and ink, and then we go into the computer and reimagine those designs.” By the end of the semester, students will have adapted from drawing to digital illustration as well as have transitioned from static to moving images.

For studio art major Jed Weidner, the possibilities technology brings to art are particularly exciting. “I can start with a physical drawing, take a picture of it, upload it into the program and then the program analyzes and processes it into something

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“As long as it’s controversial, that means you’re creating something relevant, and it needs to be eplored”

that can be manipulated on the screen, it’s really amazing,” says Weidner. As Weidner explains, “digital art can give me a perfected piece, it’s reproducible, and infinitely alterable. I can play with different colors and easily collaborate with my peers.”

While many artists, such as Weidner, remain more comfortable with an analog artistic approach, the possibilities of digital art are undeniable. With the design course, Albright’s incorporation of technology into art attempts to encourage their students to find their passion early on. “There are students who find out through this course that they love technology and they enjoy working with it, and so they start to move in that direction, other students learn that they really love to paint, which is good too,” says Garrison, “but what I see most often is students find this balance that you can think on the screen in one way and you can think in your sketchbook a completely different way. Sort of moving across those different platforms, there’s more opportunity to discover something in one’s own work.”

Upon graduation with a degree in digital studio art, Albright students will have taken a number of courses, both in what is considered contemporary art and art in the digital realm. “Students who choose that as their major, they have a lot of options.

They have the skill set to go into graphic design or illustration, or they can pursue a fine arts career and try to break into galleries, museum shows and that sort of thing,” explains Garrison. Equipped with the ability to think about art intuitively, Albright students are finding themselves in a diverse number of fields.

Despite the positive relationship Albright educators and students have

with traditional and digital art, this isn’t always the case for other colleges or in the workforce. As Weidner clarifies, “it’s hard for people to appreciate the process of creating digital art, and the fact that digital art is infinitely reproducible and scalable.

Photoshop, for example, is its own art form, but the people from my generation or older, might perceive Photoshop as a way of cheating or lying and not see it as real art, when it certainly is.”

Although a career in digital art may be uncertain, Albright instructors are ensuring that students recognize the growing duality of technology and art, and that they’re willing to embrace it. “ I think there will always be that debate between traditional and digital art, and it’s a good debate to have,” explains Garrison, “artists like to push the envelope, they like to experiment and see what they can do with new technology that becomes more accessible.” Filmmakers, illustrators, digital photographers, graphic designers and more are redefining what it means to be an artist. As Garrison says, “as long as it’s controversial, that means you’re creating something relevant, and it needs to be explored.”

“What I see most often is students find this balance that you can think on the screen in one way and you can think in your sketchbook a completely different way. Sort of moving across those different platforms, there’s more opportunity to discover something in one’s work” -Professor Matthew Garrison Albright AM | 3

Albright Artists Helping Transform Their Community

by Dylan Sokolovich

Photo Courtesy of John Pankratz Albright AM | 4

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A meadow of larger-than-life sunflowers has recently sprouted in a new supermarket in West Reading. Then came a lonely brown cow, a farm and its silos, sprawling fields and mountains, and a radiant sunset of purples, yellows, and pinks. This landscape developed inside an unsuspecting building on Albright College’s campus in just a few weeks. Like most murals found in and around Reading, the stunning display is a collaboration between a community and an artist passionate about bringing people together. With this new 375-square-foot mural, designed within Albright’s Total Experience Learning Center, resident artist Mike Miller was able to transform an ordinary brick wall inside Kimberton Whole Foods into a rural escape, and create a group of people passionate about the art that represents their community.

Not only will this mural serve as a reminder of Kimberton’s farm-to-table approach, but it will also leave lasting effects on local artists and students who volunteered, says Miller. “There were probably over 100 people that helped paint this mural, so whenever they go into that store and see it, they’re going to have a different experience than just seeing it without knowing how it was made.” Among those contributing were four Albright students, Claire Barone ‘26, Mia Guyton ‘22, Amijae Shells ‘23 and Cary Shurtz ‘23, a small group a part of an innovative public art workshop class facilitated by Miller. During their painting sessions, they were joined by fellow students, community members, and over 50 students from Reading School Districts fifth grade Total Experience Learning Academy. The more people with a brush in their hand, the better, he says, noting that he wants painting a mural to be a collective action.

Schurtz, a senior art and English major, stumbled upon Miller’s course by chance, but she has learned a lot from it. She’s currently enrolled in Albright’s masters education, and she believes much of what she has learned could apply to a career in teaching. “I want to teach a class of individuals in art making, so sort of how to orchestrate a general idea and then have multiple hands collaborate on it,” says Shurtz. Miller seems to also have instilled his passion for community building onto Shurtz, emphasizing that the individualized way Miller creates his murals allows for “everyone to be proud of what they worked on.” “That’s what makes what I do a little more unique,” says Miller, “because I could paint murals on my own, and there are a lot of artists that do that, but I like the idea of working with groups of people together.”

Although Miller has been a celebrated muralist and teacher in Berks County for over 15 years, his path to a career as an artist wasn’t always straightforward. He was interested in art as early as he could remember, but when it came to college, he wasn’t sure what to pursue. Ultimately, he attended Kutztown University and later spent time working in graphic design. However, he struggled to become passionate about this work. “Making art is important to me, and when I was doing graphic design work all day, I felt like I was expelling all of my art energy,” says Miller. His need for a change led him back to Kutztown, where he received his teaching certificate. He spent 28 years teaching between the Conrad Weiser and Wyomissing school districts and explains, “I like teaching because I’m expelling a different energy all day working with students, and then I can still go home and make art all night long.”

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When Miller secured a full-time position as a teacher, he returned to higher education and enrolled in graduate school.

He attended the Maryland Institute College of Art in Baltimore, where he spent time developing his own art style. “I loved what I was making, I started showing my own work down in Philadelphia, I was being reviewed in The Inquirer, and I thought this was gonna be my side thing, just being a gallery artist in addition to teaching, I like that balance,” says Miller. He adds, “but then a friend took me on a Philadelphia mural tour, and I was like, oh my gosh, this is art that involves so much more than just my own ideas as an artist.”

Almost every street in Philadelphia is home to some form of a mural, inspiring one of the city’s many nicknames: “The Mural Capital of the World.” Beginning as an antigraffiti program in 1984, Mural Arts Philadelphia works to empower neighborhoods, repurposing public spaces while also creating positive dialogue among the community. With similar demographics and economic struggles, it was easy for Miller to draw a connection between Philadelphia and Reading. He noticed many neglected neighborhoods in Reading and decided that a program model based on Mural Arts Philadelphia would be well-suited for the city. “So then I kind of started doing that, and it started taking over my life when I was before making my art,” Miller says. From working on murals in his backyard to painting with hundreds of visitors at Albright, Miller has never lost sight of what his work is about.

In addition to helping create and paint the mural in Kimberton Whole Foods, the four students in Miller’s public art workshop class also had the chance to work individually on their own murals. Collaborating with Berks Nature, each student worked on silkscreen designs that were ultimately transferred to wheat paste posters. Perhaps inspired by Mural Arts Philadelphia, Miller proposed these projects to Berks Nature as a way to combat graffiti tagging experienced by Berks Nature.

Shurtz’s piece, which features an array of colors and whimsical designs, made its way to Berks trails as well as right next door in Albright’s Freedman Gallery. “I learned a lot about how to sort of orchestrate a large-scale project and look at the different ways to incorporate both intricacy, but also sort of general compositional ideas to sort of make those whole, solidified pieces,” says Shurtz.

Taking what she learned from Miller, she is continuing such a process as she works three-dimensionally in her sculpture topics class.

Miller has a close relationship with his work and the groups that worked together to spread a particular message. “I don’t think I have a favorite, you know, because that’s like your

“There were probably over 100 people that helped paint this mural, so whenever they go into the store and see it, they’re going to have a different experience than just seeing it without knowing how it was made”

-Mike Miller, Muralist

favorite kid, but I like them all for different reasons,” he says with a chuckle. However, he does show a particular admiration for “Sueños Migratorios ~ Hopes of Migration,”which resides on the 600 block of Greenwich Street in Reading. “I just loved it because I had a lot of autonomy and could just work with the students. And the students I was working with, they really owned the project; I think that’s why I loved it so much,” says Miller.

“Sueños Migratorios” was created as a summer project organized by the Pennsylvania Migrant Program and in partnership with the Reading School District. The mural transformed a derelict brick wall into something beautifully symbolic, showcasing portraits of migrant children from Reading along with the migratory birds that travel through the community. “Sueños Migratorios”also presents a message of empowerment: “Just like birds, we migrate.

We come from the Dominican Republic, Mexico, El Salvador, Puerto Rico, and other places. Many birds move with the seasons to find food and to raise their young. We came for a better life.

Here in Reading, we get a better education and there are more opportunities. We want the opportunity to reach our goals, to fulfill ‘our dreams.’”

Miller’s love for collaboration extends across the Penn Street Bridge with the West Reading Mural Walk. About ten years ago, Miller was commissioned by Dean Rohrbach, the former manager of the borough’s Elm Street Program, to create a “Mural Corridor” on Kline Street between Second and Third Avenue. Miller worked with local artists and residents to develop six artworks in this one-block space. Since then, the project has grown into an extensive collection of over 30 murals on three blocks of Cherry Street, many of which are the work of Miller himself or accredited to his students. Many of the murals on Cherry Street are transformative visual scenes and narratives about the Reading area, reflecting the pride of local residents for their neighborhoods. With his arrival at Albright, it seems Miller has no plans of stopping, students and community members continuing to create in his public art workshop, including murals for SOS Berks and additional pieces for Kimberton Whole Foods.

Although Miller’s work leaves a lasting impact on the community, his murals are ephemeral, and one day they will all be gone. Despite this, he explains the deterioration process with a sense of appreciation. “A wall that faces south is going to see the sun more days of a year than a wall that faces north or east. But a wall that faces north is more susceptible to mildew and moisture, so then it’s going to deteriorate in other ways. It’s fascinating to see, especially after doing this for a long period of time and seeing how they change,” says Miller. “Sueños Migratorios” in particular is starting to show signs of such decline, the mural is beginning to weather, a parking lot and AutoZone all but block it. The work created by Albright students was also temporary, quickly peeling away without a trace. However, Miller seems fully aware that the communities he and these murals helped foster will continue to thrive long after the artwork is forgotten.

Photo Courtesy of John Pankratz

Shurtz has repurposed her wheat paste posters for Albright’s annual Student Art Exhibition Albright AM | 7

2023 Senior

by Dylan Sokolovich & Kennedy Greene

Amijae

Shells

Photo Courtesy of John Pankratz

In a series of finely detailed portraits of black men, created during his senior seminar at Albright College, Amijae Shells expertly captures the physical and psychic state of his subjects. His work intrinsically combines shape, texture, and color, a style that he began developing as early as the age of six. Coming to Albright, he knew he wanted to continue working on his artistic abilities and processes as a studio art major, and his latest work proves that such decisive dedication is paying off.

As demonstrated in his series of work, Shells’s go-to art style is realism, but during his four years at Albright, he’s begun to redefine the traditional portrait. “With majority of my help coming from my advisor and favorite teacher, Kristen Woodward, I feel as if I was able to break out of my limited shell of artmaking,” he says. “In Kristen’s class, I was challenged to think and be more expressive with the art I was trying to create. I feel that all the painting classes I’ve taken with Kristen have allowed me to see another side of creating art and inspired me to always push my creative limits.”

Beyond Albright’s traditional art courses, Shells has also worked with muralist Mike Miller. “My favorite project that I worked on at Albright was the facilitation of the Kimberton Whole Foods mural,” he says, “It was my first time being a part of a mural creation, or even taking a mural course.” Shells explains that it’s amazing to see a project he personally worked on at such a grand scale, and he even got the chance to sketch the bees that overlook the store’s produce section.

After graduation, Shells hopes to continue establishing his style and create his own, unique clothing brand. “Besides that, I would just like to spend more time with my family, and work to get my little sister through the medical school of her choosing.” With the skills and processes he’s learned at Albright, it seems Shells is well on his way to being successful in any artistic path he chooses.

When reminiscing on her four years at Albright College, Zoe Satterhwaite quotes Zoe fashion journalist Andre Leon Tally: “it is not the fashion, it is the people in fashion I During her time on campus, Satterthwaite has embodied this quote. Beyond her time as a fashion merchandising and business administration major, Satterthwaite has Satterthwaite love.” served two years as the president of Club Vogue and has assisted in numerous fashion

Photo Courtesy of Stephanie Vargas Hemmings Albright AM | 8

department showcases.

Ever since she was a little girl, Satterthwaite had the inkling that she would somehow find herself involved in fashion. From playing dress-up games on her family computer to working behind the scenes at New York Fashion Week, it seems that her dream has finally come to fruition. “What originally drew me to Albright was its proximity to my home,” says Satterthwaite, “but I’m so glad I chose this school for the countless opportunities I’ve been given in the past four years.”

From every opportunity afforded to her, Satterthwaite has had the chance to see not only herself grow, but also help the people around her blossom. “Through directing Club Vogue shows and assisting with the fashion department showcases, I got a close look at every aspect of what goes into producing a fashion show, from models to designers to backstage to front of house,” she says. “ Getting to see firsthand how hard my peers work is very inspiring, and the end result is always spectacular. It’s given me a new appreciation and understanding of the world of fashion.”

With the help of Club Vogue and the fashion department, Satterthwaite forged a tightknit community whose success will stay with her wherever she goes. She is open to any opportunity that comes her way, but she is also hoping to move to Philadelphia by the end of this year. She explains, “as long as I’m working in fashion, I’ll be happy.”

Waking up the Arts

Ebony Hicks came to Albright College as a freshman knowing she was going to major in theatre. However, what she was not prepared for was the overwhelming amount of support and love she received from the theatre community. What makes the Domino Players, Albright’s resident theatre company, so special is how safe she feels to “risk embarrassment” when portraying a character.

As President of the Domino Players, Hicks admits she felt some trepidation when she first assumed the role. However, she recognized she had to put those fears aside for the sake of the club. “It became about creating a safe space. When I was a first-year student, you had to fight your way into the Domino Players, and I didn’t want that for future classes,” says Hicks.” So, hopefully the Domino Players can say they feel comfortable to be themselves or change themselves or find themselves in the company.”

Hicks’s favorite show at Albright featured her performance as Estrella in “Life is a Dream,” which she accomplished in her first spring semester. This was her first lead role, having never gotten to be the lead in her high school performances. She also enjoyed her role as Clytemnestra in “Iphigenia and Other Daughters,” particularly because her character was so outside of what she is normally casted as. While she didn’t always get the role she wanted, she took every opportunity to learn more and grow as an integral member of the theatre department.

The Domino Players have allowed for those involved in theatre to stay connected both in school and beyond. After Albright, Hicks plans on doing some local work in Pennsylvania before saving up some money and moving to New York. There, she is planning to get her master’s degree in Drama Therapy from the New York University Steinhardt School of Culture, Education, and Human Development.

Ebony

Hicks

Photo Courtesy of John Pankratz

Peterson Janvier

In a series entitled “CHÓK,” Peterson Janvier explores his childhood in Haiti through a number of colorful digital paintings. Although they appear vibrant and inviting on the surface, the word “chók” alludes to something deeper. In Haitian Creole, it translates to words such as “shock,” and upon closer look, this meaning shines through. Symbols such as fire and barbed wire directly collide with images of blue skies and neighborhood homes.

Janvier completed this project during his digital studio topics and senior seminar, courses he says gave him a great amount of freedom. “We could choose our subject matter for the semester, and I decided to decipher important moments in my childhood, the good and the bad,” says Janvier. Beyond his work as a digital studio art major, Albright has afforded him the opportunity to work traditionally.

“My creative work includes painting, sculptures, photographs, and graphic design,” says Janvier, “knowing different art procedures helps my creative flow, and working across various mediums positively affects my work.” Like his “CHÓK” series, much of his work is conceptual, often blurring the boundaries between abstract and representational art.

“Many of my works explore how different strokes, patterns, lines and shapes combine to show the narratives at hand,” says Janvier.

Reflecting on his time at Albright, Janvier remarks that a lot can happen in just two years, and he sees himself as a completely different person from when he first arrived on campus. “I grew as an artist and saw my artistic style develop further here while staying true to my DNA. Everything changed, and to be able to create more often is a beautiful thing.” After graduation, Janvier plans to work in graphic design, but more importantly, he hopes to continue to create and become the best artist he can be.

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Ebony Hick’s stars as Elmire in Albright’s performance of “Tartuffe” Photo Courtesy of John Pankratz

Club Vogue, 2023 Photo Courtesy of Spencer Morris Albright AM | 10

Club Vogue’s 2022 Fashion Show, Allure Photo Courtesy of John Pankratz

Portrait Series, 2023 Amijae Shells

Work from the series “CHÒK,” 2023 Peterson Janvier

“Finding Shapes,” 2021 Peterson Janvier Albright AM | 11

Professor Joseph Hocker Thrives to Inspire

“I want student’s to make things, that’s the goal, and whether they are students from accounting or business or some other practice of some other major that doesn’t feel like they’re in a creative field, I want them to recognize that all fields are creative” -Professor Joe Hocker

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I

f you’ve ever taken a course with Professor Joseph Hocker, or perhaps passed his office hidden away in Alumni Hall, you are probably familiar with the phrase “make art, be amazing.” It is often scrawled on the white board hanging on his office door, and he’s sure to send off his students with this message of encouragement after each class. Although his time at Albright College thus far has been short, his enthusiasm has already begun to resonate with the campus community.

Hocker joined the Albright Arts Department in 2019 after serving as an instructor at a number of other colleges and universities. “I’ve taught basically anywhere in the region,” he says, “Arcadia College, UArts, Temple, Delaware County Community, Delaware County College of Art and Design, Pennsylvania College of Art and Design, all over the place.”

However, when he made it to Albright, and even taught through a pandemic, something inspired him. “I’m hoping to be here for a long time,” says Hocker.

During his three years at Albright, he has already taught a number of art courses, both in a contemporary and digital space.

Hocker’s work has extended through analog photography, digital video, and even computer graphics. Yet, it’s his passion for the creative process that he most hopes

by Dylan Sokolovich

to instill in his students. “One of the things I really like about this type of institution is that, because it’s not such an art specific space, I get to interact with people who are, you know, bio majors or business majors and I get to experience their approaches to making,” he says. The courses taught by Hocker are composed of a variety of students, all of which he believes help broaden the conversation of the arts and creative practices.

Looking towards his future, Hocker hopes to become a mainstay in the community and have the opportunity to see students, art and the creative process grow while he’s at Albright. “I want student’s to make things, that’s the goal, and whether they are students from accounting or business or some other practice of some other major that doesn’t feel like they’re in a creative field, I want them to recognize that all fields are creative and all fields have that opportunity to make, show, and communicate,” he says. Whether it be in the darkroom, computer lab, or studio, one thing is clear, Hocker and his sendoff, “make art, be amazing,” will remain an integral part of the arts at Albright for years to come.

Behind the Camera : Filmmaking with Albright’s Digital Video Studio

D

igital Video is one of the several Digital Arts classes taught at Albright College, focusing on the history, skill and development of the production of Digital Video. The class allows students to learn the meaning of developing and producing their own videos through their individual styles and personality.

Digital Video is a two-semester class, with Digital Video I in the fall and Digital Video II in the spring. Digital Video teaches students how to storyboard, produce, direct, shoot and edit their own work while participating in in-class critiques to help improve their work.

Professor of Art and Digital Media Matthew Garrison teaches these classes with his passion for video shining through.

Garrison specializes in Digital Art and Design, Video and Special Effects and Multimedia Installation. Additionally, he works in sculpting, which he studied prior to becoming a professor at Albright.

Garrison has worked with technology and across media and is interested in the conversation throughout media as well as the messages built into these different areas.

The teaching of Digital Video comes very effortlessly to him as he has a heartfelt love for video.

“I just love video. I love to do it. I love to see anything on the screen like that. It does not even have to be a great work of art; a ‘Citizen Kane’ or a ‘Taxi Driver.’ It could be some underground experimental piece, somebody trying to break through with new ideas. To me, that’s all part of what the video is about,” says Garrison. “It’s a conversation across generations coming from many, many, points of view. So, in terms of why teach it? I guess in some ways, it is just part of who I am.”

Garrison thinks Digital Video is instrumental for students to learn as the world becomes ever more visual. He believes visual literacy is equally important and contends that it is just as important as verbal literacy due to the amount of information people see on an everyday basis. The possibilities of the current digital age are endless. With all the platforms and opportunities to see film and video in the theater, almost everyone can self-publish, even on their social media feeds. People are constantly discovered through these mediums, presenting their own unique style and personality.

“I hope for students to find their own voice,” Garrison says. “Once they have accomplished and know what they want to say, then their ability to say it through, in the case of video, through the moving image, through sequential images, and

its construction as we talk about in the class.” He believes students should find their own style in video through themselves and even other people’s works, not just through what he emulates.

Referencing Alfred Hitchcock’s editing process, Garrison explains how editing is all about assembling a mosaic rather than simply cutting footage together. In his class, students learn how to assemble and bring together footage “from their own world,” conveying whatever they want to say to their audiences.

Digital Communications Major, Dylan Sokolovich, is a junior who has taken both Digital Video courses.

Through taking the classes, Sokolovich has learned and gained confidence from Garrison’s teaching. “Being proud of what you make is something I never really had before taking Professor Garrison’s class, but it is something that he seems to really push for,” he says. “I might come into class not being proud of something, but he shows the good stuff in it, and even if there are bad things, he helps us work towards getting better at that.”

Sokolovich thinks even with this class being a requirement for his major, it was beneficial to take otherwise. He learned how Digital Video is applicable for marketing and getting out there and meeting new people. Getting out of his

by Alicia Cone comfort zone and expanding his horizons was one of the many opportunities gained from taking Digital Video. Although this course was a part of his major, Sokolovich advocates Digital Video because of the valuable projects and lessons he learned along the way.

Garrison welcomes students to take Digital Video regardless of experience with technology. He says that people generally have a sense of navigating social media which helps the creative process of creating video, however, he does note it is a different process. He hopes students taking this class will be excited about figuring out what they want to say, how they want to say it and what media they choose to use as a medium. His class intends to motivate and empower students to make their inspirations and ideas come to life through the power of video.

“It’s a conversation across generations, coming from many, many, points of view.

So, in terms of why I teach it? I guess in some ways, it is just part of who I am”

-Professor Matthew Garrison

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Photos Courtesy of Dylan Sokolovich

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For Albright's Improv Groups

There are no Rules

I

“The sort of saying goes ‘if we treat each other as if we are geniuses, we have a better chance of becoming that on stage’”

t’s an unsuspecting Saturday evening in Albright College’s Center for the Arts, except for the roar of laughter from Roop Hall. On the stage is Albright’s improvisational theater, a collective of students using the art of theater to learn and entertain. It’s the college’s 11th Improv Showcase, and in spite of the lasting impact of the Pandemic, the crowd and performers are as lively as ever.

“We need a concept,” says Paul Williams, the president of Albright’s openaccess Improv group, Less Than or Equal To. The crowd quickly responds, shouting out ideas: “happiness,” “time” and “love!”

“Time, I like that one,” says Williams, “let’s go with a time loop, now who’s going to be stuck in this time loop?”

Excitedly, the crowd begins to call back, “Kanye West,” “Shrek” and “Matt Fotis!”

“Matt Fotis it is,” Williams says with a chuckle, “for those of you who don’t know, Matt Fotis is Improv’s Director.”

Williams trades his spot in center stage with three improv members, Michael Thomas, one of Less Than or Equal To’s members, hastily drops to the floor off stage, crossing their legs and watching as the remaining members set up. Most of the crowd waits in anticipation, but the improv members burst into laughter, perhaps recognizing Fotis in Thomas’s mannerisms.

Although Fotis isn’t here tonight, it quickly becomes evident that he’s left a lasting impression on his students.

The audience’s attention swiftly turns as a playful fight breaks out between Millie Cruz, Less Than or Equal To’s secretary, Kadeem Preston, the club’s outreach coordinator, and member Tiaja Money.

Despite cheers and giggles from the crowd, Thomas stands up and folds their arms, a clear sign of disapproval. “No, no, no! It’s not right, you aren’t doing it right!

Let me show you,” they say, taking Preston’s place and acting as if they are pummeling Cruz to the ground.

After each improvisational act, the crowd votes on a performer to be eliminated.

Ultimately, Cruz comes out victorious, arms pumping in the air as she circles the stage. The night is followed up with similar acts, including a satirical look at the dating game and an epic journey that consists of two taxi-driving criminal squids being pursued by a duo of Coca-Cola-drinking detectives. Put simply, it’s just the kind of story you’d expect from a back-and-forth,

by Dylan Sokolovich

spontaneous act.

“So, you know, you get the stomach flu one time, and everyone on campus is like, ‘that’s the guy who beats kids,’” jokes Fotis, who has been the artistic director of the group since his arrival at Albright in 2012. It all started with adjunct professor Kristopher Updike, who held an interim class in 2005 to teach about improvisational theater. “It was a big hit,” says Fotis, “the students wanted to keep doing it, and so that led to the creation of Less Than or Equal To.” Since then, student interest in improv has only become more widespread. Less Than or Equal To, which hosts improv every Friday in Roop Hall, is open to anyone and specializes in short-form improv. This type of improv is game-based, the kind of games played on popular shows like “Whose Line is it Anyway?” and “Wild ‘n Out.” Just a year after Less Than or Equal To was formed, Pockets with Pants was created, Albright’s long-form improv group. “The best equivalency is it’s sort of like you’re improvising a sitcom,” says Fotis, “it’s 20 to 25 minutes through a bunch of scenes, and there’s usually some through line between them.”

When Fotis explains the rules of improv, he reaches for a book by popular improviser Patti Stiles titled “Improvise Freely.” It is unsuspecting on his shelf, but in Fotis’s hand it seems to represent the essence of improv perfectly, adorned with a picture of a quirky duck and the phrase “throw away the rulebook and unleash your creativity.”

The guidelines to improv are simple, “Stiles would say ‘there are no rules, all rules are out,’” says Fotis, and this freedom is what keeps this act of theater feeling so new.

Every game can be reduced down to a simple statement, ‘yes, and.’ The first guideline of improv is agreement, each player must be willing to agree to the reality that is being created. The second guideline is players must make active choices, not only agreeing to the reality that is being created, but adding something to it. The third guideline is the one that Fotis says is most important, “you have to be there to support your partners.” Fotis goes on to quote Del Close, a member of “The Second City,” a place Fotis himself considers the most influential American Theater. “The sort of saying goes, ‘if we treat each other as if we are geniuses,’” he says, “‘we have a better chance of becoming that on stage.’”

It’s this pragmatic approach that keeps improv performances appearing flawless, and also makes one’s entrance into Roop

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Hall feel so welcoming. Albright’s improv groups have become best known for their spoofs of the Domino Players, the college’s theater group. After a mainstage production, Less Than or Equal To, and many members of Pockets with Pants, invite the audience to Roop Hall for more entertainment.

It’s such performances that first attracted many members to the group. “I first encountered Albright improv after going to an experience event, which was a Domino Players show,” says Williams, “And I caught the after show and I thought, ‘dude, I want to do that.’” Williams has been a member of improv since his freshman year, and now, as a graduating senior, his lasting impact is becoming ever-apparent. “Paul Williams is really amazing at sort of fostering that sense of welcoming and positivity,” says Fotis, “he’s been the perfect president to have through the Pandemic, sort of keeping everyone like, ‘hey, this is fun. What a joy that we get to do this and spend this time together.’ So, I’ll miss Paul.”

Williams represents the majority of the group, as Fotis explains, most members of improv aren’t even theatre majors.

Preston, on the other hand, joined as a Domino Player, but he had no experience or any expectation to remain a part of the group. “It was the second Friday of my first semester here at Albright, and I was there for the first improv meeting. I played my first game and people told me that I did so good that I should stick with it. So, ever since then, I’ve been in improv,” says Preston. Despite being from different backgrounds, every Albright improviser’s on-stage chemistry is undeniable.

These two separate experiences also extend into what each individual gains from participating in improv. As Fotis says, “it’s a great experience for theatre majors to just get on stage, using your body, using your voice, and developing your own sort of aesthetic.” For non-theater majors, improv has proven to be equally important, “it goes back to those roots that, you know, contemporary improv was meant as communication exercises.

So, it’s really a great tool for learning how to communicate with people.”

For Williams, Preston, and the members of the tight-knit Less Than or Equal To and Pockets with Pants, improv has also been about friendship. “Every new person that joins improv, I consider them a friend. I’ve gotten closer to people through improv,” says Williams. He continues, “I feel like it’s kind of a flow state when you have a really good scene when you’re just like, dude, I understand everything you want to do, and you know what I want to do, and we’re going to make this work on stage. It feels like the rest of your friendship has been set up for laughter.”

What makes improv special, above all else, is that a show can only happen once in a lifetime. Sometimes it doesn’t work, and it’s certainly not perfect, but as Fotis interprets it, the creative process never is. Preston, looking back at his experiences with Less Than or Equal To and Pockets with Pants, believes that “improv’s for anyone.”

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“I feel like it’s kind of a flow state when you have a really good scene when you’re just like, dude, I understand everything you want to do, and you know what I want to do, and we’re going to make this work on stage. It feels like the rest of your friendship has been set up for laughter” -Paul Williams, Improv President

Photo Courtesy of Dylan Sokolovich

CHEMISTRY IN ART

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by Dylan Sokolovich

CHE107: Chemistry in Art, takes students through the basic concepts of general and organic chemistry. Students explore the molecular basis of color and form in art, working with paints, dyes, metals, alloys, ceramics, glass, paper, fibers and photographic materials.

n ancient Egypt, many artists found themselves in a predicament. They had access to black, brown, yellow, and red pigments, but these were common and considered too lowly of colors by the Egyptians to use in the depiction of their gods. As a result, hsbdirty was created, which aptly translates to “artificial lapis lazuli.” This blue pigment was one of the first synthetic pigments ever created, but it was just a simple chemical composition known as calcium copper silicate.

In Vatican City in 1508, Michelangelo began work on the fresco paintings that line the walls and ceiling of the Sistine Chapel.

When heated to a high temperature, limestone decomposes into lime and releases carbon dioxide gas. Lime is then ‘slaked’ and mixed with sand or ash, forming lime plaster.

Painting pigment onto this wet plaster results in the pigment becoming incorporated into the plaster structure. Provided it is protected from strenuous circumstances, the painted plaster of fresco can survive the passage of time, even after thousands of years.

In the 21st Century, scientists are using chemistry to restore artwork that is centuries old. Lasers, carefully selected for their use of energy, remove encrustations and dirt from artworks while leaving the material underneath unharmed. Likewise, nanoparticles can be injected into artworks, such as the fresco, to repair damages caused by pollution and humidity.

Whether it be the creation of pigments or the restoration of some of the earliest known works of art, throughout history, chemistry

and art have always been intrinsically connected. This tradition is continuing at Albright College through Chemistry in Art, a course introduced by Professor of Chemistry and Biochemistry, Pamela G. Artz. Students are encouraged to learn along with the masters, becoming knowledgeable about chemistry, all while creating their own artwork.

It started with a demand. Many non-STEM majors come into Albright recognizing that they have to take a natural sciences course, but perhaps not feeling as strong or confident in such a discipline.

Then, there came an added pressure, the COVID-19 pandemic. Thus, when Chemistry in Art was added to campus curriculum in spring of 2021, a sizable weight was lifted off the shoulders of many students. Since then, Artz has seen a number of students from a variety of majors pass through the laboratory doors, including art, theater, fashion and even business.

Kennedy Greene, a junior Digital Studio Art major, instantly found the course appealing when she saw it was available for her spring semester. “I was really excited because I knew I needed a science, but I wanted something that would directly correlate with my major somehow,” says Greene. “Chemistry is also something that I’ve had challenges with in the past, and I just wanted to challenge myself with something new.” While art and chemistry are often considered two distinct disciplines, their analogous qualities have helped Greene and others succeed in a course that would otherwise be intimidating.

Like many STEM courses at Albright, Chemistry in Art is divided between lecture and lab time. “Many of the methods we learn translate into what we’re doing hands-on,” says Artz, “we’ve embossed metal, studied the masters and created small frescoes, and even made our own pigments.” “Of course, I’ve taken painting classes, but I’ve never really gone into depth about the actual chemistry behind making those pigments,” says Greene, “and connecting it back to the history of the greats, like Van Gogh and Michelangelo, it really got me to think not just about my graphic design roots, but my art roots as well.”

“It may be a more chemistry-based course,” says Artz, “but we’re generating art material and artworks along the way and kind of exploring the science behind them and creating observations about how different things we do will have an impact on what our work looks like.” Surprisingly, Greene is the only traditional art major taking Chemistry in Art, but her ability to excel during the semester is a testament to the course’s interdisciplinary strengths.

“I’m just thankful I was able to find a class that directly falls into my discipline and my interests,” she says. Not only will Greene leave the course having created crayons, paints, pastels and even work to add to her artistic portfolio, she’ll also leave the class having the confidence to explore outside of her major.

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AUTUMN SPEARS

BECOMING

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s the art world continues is her use of vibrant colors and bold, to evolve and change, a expressive brushstrokes. In addition, her new wave of young artists paintings often feature abstract shapes is emerging, bringing and patterns that seem to dance across fresh perspectives and the canvas, creating a sense of movement innovative techniques to the scene. It and energy. She also incorporates elements is inspiring to see young artists who are of nature and the environment into her carving a niche for themselves in the art art, using earthy tones and organic forms world. One such promising young artist to reflect her passion for sustainability is Autumn Spears, whose journey since and conservation. Spears uses a variety of graduating from Albright College in 2020 mediums, including acrylics, oils and even is nothing short of awe-inspiring. synthetic hair, adding texture and depth to Meet Spears, a promising young artist her works—black hair in particular, which making waves in the art community.

Spears says is a massive part of her identity.

Spears is now based in Washington, D.C., Spears’s work is characterized by Black but her passion for art began long before contemporary, which is both bold and that. Ar a young age she spent most of her striking. She draws inspiration from Frida childhood drawing and painting, and it Kahlo, but her work is entirely her own, a was clear to her family and friends that she reflection of her personal experiences and had a natural talent for it. Over the years, innermost thoughts. Spears has a keen Spears developed her skills through various eye for detail and is meticulous in her art classes, but her experience at Albright approach to art, spending hours on each truly refined her skills and helped her find a piece to ensure that it’s perfect. Her work unique artistic voice. often features images of Black women, One of the hallmarks of Spears’s work including self-portraits, reflecting her own

Photo Courtesy of Dylan Sokolovich Untitled Self Portrait No. 7 Albright AM | 18

by Alyssa Byrd experiences as a woman. She explores themes of identity, femininity and the human experience, often using vivid colors and bold lines to create powerful, thoughtprovoking imagery.

One of Spears’s most influential works is “Rebirth,” showcased at the “Autumn Spears: Becoming” 2023 exhibit at Albright’s Freedman Gallery. The piece drew attention for its Black Feminist viewpoint of Adam and Eve and creationism. In the design, depictions of nature and waterfalls are held by a goddess character. Her signature of boldly colored orange, purple and blue wings again graces the art. An undeniable pattern of influential Black people in her artwork always, the interpretation can coincide with the origin of Black aborigines, the first beings to arise from the Earth.

Another notable work of Spears is a piece titled “Ghost of Black Girl’s Present.”

The bold colors of Fuschia, Green and Yellow are a constant theme in her works.

The hair products’ hues and nostalgic presence can almost be smelled, even at first glance. Excess hair and the used wide tooth comb are an ode to young black kids who’ve faced the same experience as her.

“There are a lot of personal and cultural identities woven into the work,” Spears explains.

Black culture and hair are seen again through her interwoven sculptures. One of them, “The Hair I Wear,” is displayed draped over a mannequin, and showcases more than 100 braided strains plated together. In this elegant diamond cross pattern dress, the sculpture represents the beauty hair can bring as well as its ability to transcend people emotionally.

Beyond her work as an artist, Spears is also involved in teaching. She believes that art is a powerful tool for communication and social change. Therefore, she strives to use her imagery to convey important messages and inspire others, such as the children in her classroom.

Ghosts of Black Girls Past Photo Courtesy of Dylan Sokolovich Finding the balance between teaching and creating art can be challenging, but Spears explains she didn’t want to “let the artist in me die.” She says that when you’re an artist, you must remember to cater to your creative side and not just let your career get in the way of developing your craft. Remember to find balance with it all.

“You can’t be a 100 and 0, and you cannot pour from an empty cup,” she explains.

And when doing so, don’t limit yourself to the materials around you. There is no time to wait for the newest program or equipment. Instead, Spears says to “make with what you have.”

Looking ahead, Spears has big plans for the future. She hope to continue pushing the boundaries of her art and explore new mediums and styles. She also aspires to collaborate with other artists and art organizations to create meaningful work that positively impacts society.

Spears is a promising young artist whose unique style and creative vision are a testament to the power of art and the boundless possibilities of creative expression. We can’t wait to see where her artistic journey takes them next.

“Spears has a keen eye for detail and is miticulous in her approach to art, spending hours on each piece to ensure that it’s perfect. her work often features images of Black women, including selfportraits, reflecting her own experiences as a woman.”

Photo Courtesy of Dylan Sokolovich The Hair I Wear Albright AM | 19

The Albright Arts Magazine (AM) reports on all things artistic happening on campus and in our local community.

This includes theatre reviews, arts in other disciplines, campus concert series, highlights of student artists, musicians, dancers and more. The primary objective of the organization is to print an industry-quality, student-produced magazine that is published once a semester. Staff are responsible for writing, editing, laying out and printing the magazine. Additionally, the A.M. promotes the arts through alternative journalistic means, including blogging, website development and social media.

If you are a creative individual and you have a desire to see your work published, then Albright Arts Magazine seems like the perfect organization for you!

Albright

am

waking up the arts Spring 2023

Copy Editor: Dylan Sokolovich Design: Dylan Sokolovich, Alyssa Byrd Photographers: John Pankratz, Stephanie Vargas Hemmings, Spencer Morris, Dylan Sokolovich Contributors: Alicia Cone ‘24, Alyssa Byrd ‘23, Dylan Sokolovich ‘24, Kennedy Greene ‘24 Faculty Adviser: Heidi Mau