Anderson University Department of Art and Design Better than Bauhaus This magazine exists to help you better understand the Art and Design Program at Anderson University by explaining it through the lens of its origins in the Bauhaus school and by showcasing graduates of Anderson Art and Design.
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Table of Contents Course Creators Culmination Sources Credits
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Course Bauhaus School Department of Art and Design Preliminary Course Foundations
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Better than Bauhaus
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The Bauhaus School and Anderson University utilize a similar introductory course curriculum for their first year students. This is a look into how the two compare.
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Bauhaus School ‘Building House’ The Bauhaus was a school whose approach to design and the combination of fine arts and crafts proved to be a major influence on the development of graphic design as well as much of the 20th century modern art. Founded by Walter Gropius in Weimar, Germany in 1919, the school moved to Dessau in 1924 and then was forced to close its doors, under pressure from the Nazi political party, in 1933. The school favored simplified forms, rationality, functionality, and the idea that mass production could live in harmony with the artistic spirit of individuality.
as part of its curriculum and was instrumental in the development of sans-serif typography, which they favored for its simplified geometric forms and as an alternative to the heavily ornate German standard of blackletter typography.
Along with Gropius, and other artists and teachers, both László Moholy-Nagy and Herbert Bayer made significant contributions to the development of graphic design. Among these many contributions to the development of design, the Bauhaus taught typography
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Left page, bottom left: The Bauhaus in Berlin, Germany, located in an abandoned telephone factory. Right page, top right and bottom middle: The Bauhaus in Dessau, Germany, designed by Walter Gropius. Right page, bottom right: The Bauhaus in Weimar, Germany.
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Department of Art and Design South Carolina School of the Arts
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Art students at Anderson University are mentored by caring, skillful professors and hone their ability to solve visual and conceptual problems. A Bachelor of Arts in Art degree with concentrations in art education, ceramics, graphic design, and painting and drawing are offered. In all of the concentrations, students learn to be creative problem solvers—a crucial skill for visual artists, but also a highly valued skill in other fields, including business, administration, and leadership.
Accredited the National Association of Schools of Art and Design, the program offers a rigorous art education without making it necessary to move to a big city for college. Students also benefit from the attentive and supporting professors who want to see them excel in both art and life. Graphic design students often win many of the regional student ADDY awards. Anderson students won two of the twenty-five national student ADDY Gold Awards in 2012.
The honing of problem solving begins in the freshman year Foundations Program, in which students study the fundamentals of art and design. It develops skills in observational drawing, color theory and 2D and 3D design, and pushes students to communicate ideas as thoughtful visual information in their work.
The quality of the art education graduates inspires school principals to pursue them for job openings. Graphic Designers are prepared to compete for positions at firms and agencies. In addition to working as studio artists, designers, and art educators, graduates of Anderson have careers in art therapy and arts management.
Left: Interior of Vandiver Gallery, a space for showing student and faculty work. Right: Front view of Callie Stringer Rainey Fine Arts Center at Anderson University, home to the SC School of the Arts.
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Top: Front view of Callie Stringer Rainey Fine Arts Center at Anderson University, home to the SC School of the Arts. Bottom: Daniel Recital Hall, utilized for lectures during the Foundations Program.
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Preliminary Course Bauhaus School The Preliminary Course is still seen as one of the most important innovations in Gropius’s Bauhaus curriculum. It was a mandatory course of fundamental training lasting initially one semester, and later two. The artist and teacher Johannes Itten began developing the Preliminary Course at the Bauhaus in 1919. His course gave the curriculum a distinctive profile. It became mandatory in the winter semester of 1920. Itten left the Bauhaus in 1923 due to dispute over Gropius’s new orientation toward industry. Gropius then thoroughly revised the Preliminary Course. As of 1924, Josef Albers taught the first and László Moholy-Nagy the second semester. Albers taught his Preliminary Course as craft instruction and viewed it as creative training. He taught the course until 1933, constantly expanding the form.
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Hannes Meyer, the director after 1928, doubted the necessity of the course. He therefore began, in 1930, to substitute courses in Gestalt psychology, sociology, and economics for the Preliminary Course. Director Mies van der Rohe made the Preliminary Course no longer mandatory. He introduced examinations at the end of every semester to decide whether students should be allowed to continue. The Preliminary Course was no longer as important as a means of selecting the most talented students, homogenizing the student body, and training creativity. From a modern point of view, a flaw of the Preliminary Course was the fact that it did not include history. The Bauhaus Manifesto had announced a tripartite training system: training in drawing, crafts, and academic theory. In 1920, Gropius drew on the experience
Bottom: Students gathered for a session of the Preliminary Course.
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made in the first semesters when he decided—mainly on his own—that the structure of training should include both technique and form. It is fascinating to see how the masters reacted to this demand, which was repeatedly discussed at the masters’ council meetings. Georg Muche, Lyonel Feininger, and Gerhard Marcks scorned form training for diverse reasons.
in historical styles, or on drawing classical statuary and decorative ornaments from models, common in other art schools.
However, all of the other teachers modified their courses: Lothar Schreyer taught form in calligraphy and typography, Paul Klee developed a way of teaching pictorial form, and Gropius taught spatial relationships. Wassily Kandinsky taught Fundamental Elements of Form, a Color Course, and Figurative Drawing.
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Albers supported Gropius’s program in a special issue of Junge Menschen in 1924, arguing that a knowledge of history interferes with production. History was not entirely prohibited at the Bauhaus. There was a library, a number of journals were subscribed to, and there was some instruction in art history. But all design work at the Gropius Bauhaus was based on training that focused on basic forms and primary colors. Hannes Meyer left all manner of training in form in 1928, and Mies van der Rohe found it needless.
This form training along with the training in craftsmanship provided in workshops was the educational backbone of the Bauhaus under Gropius. It took the place of courses
Bottom: Many members of the Bauhaus School faculty including Walter Gropius, László Moholy-Nagy, Herbert Bayer, and Wassily Kandinsky.
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Preliminary Course Under Johannes Itten While he taught it, Johannes Itten felt he was called to accomplish three tasks in the Preliminary Course at the Bauhaus. The first was to liberate all of the creative forces and thereby the artistic talents of the students. Their own experiences and perceptions were to result in genuine work. Students were to rid themselves of all the dead wood of convention and acquire the courage to create their own work. Second was to make the students’ choice of career easier. Here, exercises with materials and textures were a valuable aid. Each student quickly found the material with which he felt the closest affinity; it might have been wood, metal, glass, stone, clay or textiles that inspired him most to creative work. At that time the Basic Course did not have a workshop, where all the basic skills such as planning, filing, sawing, bending, gluing, and soldering could be practiced.
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And finally, to present the principles of creative composition to the students for their future careers as artists. The laws of form and color opened up to them a new world of objectivity. As work progressed, it became possible for the subjective and objective problems of form and color to interact in many different ways. After graduating from Itten’s one term Basic Course, students were to learn a craft in the workshops of the Bauhaus and at the same time prepare for future cooperation with industry. Evoking an individual response in students of various temperament and talents was essential to Itten in teaching them the means of artistic expression. He believed this was the only way to generate the creative atmosphere conducive to original work. The work was to be ‘genuine’. The student was to acquire natural self-confidence and ultimately find his vocation.
Left and right page, bottom: Otto Runge representation of his understanding of color theory, on which Johannes Itten based his own studies.
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Imagination and creative ability must be liberated and strengthened. Once this has been achieved, technical as well as practical demands and finally commercial considerations could be introduced. Young people who began with market research and practical and technical work seldom feel encouraged to search for something really new. If new ideas are to assume artistic form, physical, sensual, spiritual and intellectual forces and abilities must all be equally available and act in concert. This realization largely determined the subjects and methods of his teaching at the Bauhaus. It was essential to to Itten that he build up the individual student as a well-integrated creative person, a program he consistently advocated in the ‘Council of Masters’.
Top: Colored Circle, 1915, by Itten.
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Foundations Program Anderson University Before 2004, all new art students at Anderson University started with three consecutive courses: Two-Dimensional Design, Intro to Drawing, and Color and Composition. Each was taught by a different professor, but they determined that this separation of the topics was not an effective way for the students to acquire the knowledge and skills being taught. Susan Wooten, Nathan Cox, Jo Carol Mitchell-Rogers, and Peter Kaniaris all worked to design a two semester course that would include everything from the old foundations program, as well as several other learning goals. The new program would better prepare students for the transition into specific classes with the general knowledge and skills needed to succeed. This new program was a result of the collaboration among the professors.
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The Department of Art and Design uses five Learning Objectives that are included on all course syllabi in the department. These objectives are also rigorously sought after in every Foundations project that students tackle in their first year. The objectives are exploration of tools, materials, and techniques, creative visual problem solving, exploration of form, communication, and investigation of history, theory, and methodologies. These came about while designing the Art Foundations Program, and were later used to recalibrate the entire art and design program. It took the group of four a year to create the Foundations Program, but they and others have been improving upon it every year since. One of the unique features of the program that makes it so successful, and promotes its continuous evolution, is that it is team-taught. The professors
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give lectures on the topics in which they are the strongest, and are responsible for cultivating the projects associated with their specialties.
a source they would otherwise not have come upon. The rotation of teachers also increases the likelihood that every student will find a professor with whom they connect personally, and can find guidance in as they journey through their experience at Anderson University.
After learning about each topic during large group lectures, students are broken into smaller groups with one professor guiding each group through the project that corresponds to those lectures. As the semester progresses, and each new project begins, the professors rotate groups so that students are not influenced by any individual instructor’s personal preferences. At an early stage, this begins to cultivate independence in students that the professors try to further by not always providing direct instruction when not necessary. Instead they often respond to questions with questions, thoughts, ideas, and inspiration that gently guide the students toward finding the answer for themselves or learning from
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The number of students in the program fluctuates each year and the program continues to grow. To accommodate, new instructors are needed, but the team-teaching structure of the courses gives them all the materials and guidance they need to be effective from their very first day on the job. These new teachers also provide new ideas and contemporary viewpoints to the program’s structure, so that year to year it never remains stagnant but continually matures and improves to better help students achieve personal and career goals.
Left page, bottom left and right: Examples of students’ work from the Foundations Program. Right page, bottom left: Color Theory exercise in student sketch book. Right page, bottom right: Dr. MitchellRogers instructing a student during a drawing project.
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Foundations Program What Makes Us Better The Foundations Program at Anderson University is based on the Preliminary Course at the Bauhaus, sharing many commonalities, but differing in several significant and profitable ways. Foundations, like the Preliminary Course, is students’ first step at the school, where they are introduced to materials and concepts, teaching them the basic skills they will need, and generally preparing them for the courses they will later take. Anderson incorporates vital concepts that were not incorporated into the Bauhaus and are often delayed, if ever taught, at other college programs: visual storytelling, creative problem solving, and conceptual ideation. Every project during the Foundations Program is aimed at honing at least one but often all three of these objectives. It gives Anderson students an edge,
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they spend every semester of their undergrad experience preparing the skills that will serve them throughout their careers, regardless of changes in technology, time, or trends. The Art and Design Program at Anderson graduates thinkers and not just creators. Another significant difference between Anderson University and the Bauhaus is the instructors. Bauhaus faculty members had many disputes, which at various points led members of the group to leave to pursue careers elsewhere, even before their travels were necessitated by the forceful closing of the school. The faculty at Anderson, though educated differently and possessing independent opinions, all consider themselves to be a team. Their differences do not interfere with their jobs; instead, many members of the faculty are each other’s closest friends, almost like family. The atmosphere is
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constructive and instructive, professors’ priority is the students which is evident in everything they do. Their debates are productive and end with agreements that benefit the program’s efforts. When they have presented on the unique structure of the Foundations Program at National Conferences, the Anderson team is often asked how it can be so successful, or more specifically, how the professors can work together. The other university professors asking acknowledge that their schools could not attempt a program like Foundations on the fundamental grounds that they and their coworkers would not be able to work so closely, and so well, together as a team. Anderson students are attuned to the positive atmosphere that the faculty’s camaraderie creates, and feel it in the unimpeded support and guidance they receive.
Left page, bottom and right page, top: Examples of students’ projects from Foundations Program. Right page, bottom: Still life for contour drawing project.
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Creators Walter Gropius Susan Wooten Johannes Itten Jo Carol Mitchell-Rogers L谩szl贸 Moholy-Nagy Nathan Cox Josef Albers Peter Kaniaris
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Anderson’s Foundations Program was designed by four professors. This is an introduction to them and the four masters most influential to the Preliminary Course at the Bauhaus School.
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Walter Gropius Founder of the Bauhaus Walter Gropius was the founder of the Bauhaus and remained committed to the institution that he invested in throughout his life. He was a Bauhaus impresario in the best possible sense, a combination of speaker and entrepreneur, and a visionary manager who aimed to make art a social concern during the post-war upheaval. A native of Berlin, Gropius came from an upper middle-class background. In 1908, after studying architecture in Munich and Berlin for four semesters, Gropius joined the office of the renowned architect and industrial designer Peter Behrens, who worked as a creative consultant for AEG. In 1910, Gropius opened his own company. He designed furniture, wallpapers, objects for mass production, automobile bodies, and even diesel locomotive. With the founding of the Bauhaus, Gropius was able to translate various ideas from the radical artists’ associations into reality.
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For Gropius, the Bauhaus was a lab of the arts where the traditional apprentice and master model was maintained, but where diverse disciplines were interconnected in a completely new way. The outcome of this approach was not established from the start, but was to be discovered in the spirit of research and experimentation, Gropius called this “fundamental research” and applied it to all the disciplines and their products. Gropius was able to assemble a noted faculty that included talents who were or would later be known in their own right. This group included Lyonel Feininger, Paul Klee, Josef Albers, Gerhard Marcks, László Moholy-Nagy, Georg Muche and Wassily Kandinsky. Gropius’ hiring decisions made huge impacts on the Bauhaus and its legacy still today.
Left page, bottom left: Portrait of Walter Gropius. Left page, bottom right: The Bauhaus school in Dessau, Germany, designed by Walter Gropius. Right page, top: Walter and Ise Gropius in their modern, comfortable room. Right page, bottom: Werkbund Exhibition, Model Factory in Deutscher.
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Susan Wooten Vice Provost, Co-Creator of Foundations Program Susan Wooten graduated with honors in Art from Oklahoma Baptist University. Following two years as a graphic designer in Oklahoma City, she completed the MFA in Painting and Drawing at Clemson. Wooten has been a member of the growing Anderson University academic community since 1975. She was the driving force in developing the graphic design concentration at Anderson University in the 1980s, and she served as the Chair of the Art Department for thirteen years before entering full-time academic administration. Her teaching has run the gamut of art appreciation, painting, drawing, graphic design, and the Foundations Program. Still active as a successful studio artist, Wooten’s work has dealt with landscape images throughout her career. She has been affiliated with galleries in Hilton
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Head and San Francisco and her work has been widely exhibited in juried and solo exhibitions and is in numerous public and private collections. Her penchant for abstract vision for landscape has recently shifted towards intimate and detailed views of natural forms in the landscape. Wooten chose to teach because her undergraduate experience challenged her to develop her intellectual abilities and professional skills, while simultaneously deepening the foundation of her faith. Anderson University allows her to be a part of an academic community that is similarly developing all of the same capacities of its students. Her belief is that “good work requires both creative thinking and critical thinking, disciplined effort, and consistent commitment.�
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Left page, bottom left: Portrait of artist. All other images: Details of Wooten’s graphite drawings.
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Johannes Itten Student and Master at Bauhaus Johannes Itten was undoubtedly one of the most important figures of the early Bauhaus. He not only developed the famous preliminary course, but he also impressed and influenced a large number of his students by means of his extraordinary charisma. His ideas are still significant in many areas of design.
During his time at the Bauhaus, Itten laid the foundations for a new color theory. After internal differences with Gropius, Itten left the Bauhaus in 1923.
As early as 1916, Itten had opened a private art school in Vienna. Equally attracted to music and painting, he soon gained access to the circle of Alma Mahler, who was at time married to Walter Gropius. It was through this contact that brought about Itten’s appointment to the Bauhaus. At the Bauhaus, Itten co-founded the famous preliminary course, which altered traditional art training. In the beginning, Itten also conducted several workshops, but from 1921 only those for metal, wall painting, and glass painting.
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Left: Portraits of Johannes Itten.
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Top left: Der Bachsanger, 1916. Top right: Horizontal, Vertical, 1915. Bottom left: Farbenkugel in 7 Lichtsufen und 12 Tonen, 1921.
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Jo Carol Mitchell-Rogers Department Chair, Co-Creator of Foundations Jo Carol Mitchell-Rogers earned her Bachelor’s Degree in Fine Arts at the University of Georgia, her Masters in Fine Arts at Clemson University, and finally returned to the University of Georgia for her Doctorate of Philosophy. It was not originally her intention to become a career teacher, but once she began, it was clearly her purpose and passion. Dr. Mitchell-Rogers, affectionately Dr. – to her students, is part of the team teaching Foundations every semester, in addition to which she is in charge of Pre-clinical in Art Education and teaches Drawing One and Two when she is able. She enjoys teaching at Anderson because of the sense of community. Her hope for all of the courses she teaches is that they are engaging, challenging, and fun.
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Bottom left: Portrait of Mitchell-Rogers. Bottom right: Meaning of Life.
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Top: South of Tarnation (NFS). Bottom: Greg’s Chair 1.
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László Moholy-Nagy Master at Bauhaus László Moholy-Nagy is known for his versatility and the fundamentals of design which he taught his students, he replaced Johannes Itten as director of the Bauhaus in 1923. He experimented in many different fields including painting, photography, typography, sculpture, printmaking, and industrial design. His experimentation across multiple mediums led to graphic design work characterized by bold typography in combination with striking photography.
He chronicled his efforts to establish the curriculum of the school in his book ‘Vision in Motion’. Called pictograms, Moholy-Nagy used everyday objects and collaged them together and then used them to expose photographic paper.
After he resigned from his position at the Bauhaus in 1928, he spent time working in Berlin as a film and stage designer. In 1937, he moved to Chicago and formed the New Bauhaus, which is now the Illinois Institute of Technology. The school shared the same philosophy as the original Bauhaus and caught on quickly.
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Lef t: Bill of Fare, Gropius Dinner, 1937. Designed by Moholy- Nagy. Right: Z II, 1925, by Moholy- Nagy.
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Top: Brochure cover for the series of fourteen Bauhaus books in 1929. Bottom left: Portrait of Moholy-Nagy. Bottom right: Light-Space Modulator, 1922-1930. Produces spectacular shadow formations in an interplay with colored and white light.
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Nathan Cox Associate Dean, Co-Creator, Coordinator of Foundations Nathan Cox began teaching at Anderson University in 2002, and participated in the redesign of the Foundations Program that would be implemented in 2004, which he now coordinates as part of his role as Associate Dean of the South Carolina School of the Arts. He also still has an active role, teaching both semesters of the foundations course each year. A graduate of Millikin University and Bradley University, for his Bachelor and Master's degrees respectively, Cox has known since his time as an undergraduate student that he wanted to teach art courses at the college-level. The opportunity to work with the faculty in Art and Design, and with the students of the department, is why Cox teaches at Anderson University, enjoying the surprises and challenges presented therein.
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Bottom left: Water Diviner. Bottom right: Portrait of Nathan Cox.
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Top: Homage to the Inclined Plane (Pyramid Society). Bottom left: Homage to the Screw (Policy of Terracide). Bottom right: Homage to the Pulley (Beware: Man with Gun!).
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Josef Albers Student and Master at the Bauhaus Josef Albers was a student of the Bauhaus in Dessau, Germany and was a practicing artist in the fields of design, typography, photography, painting, and printmaking. His most influential work was created in the field of abstract painting; it showed an influence of Bauhaus and Constructivists with its geometric shapes. He also proved very influential to many graphic designers and artists as a teacher at Black Mountain College in North Carolina from 1933 to 1949 and at Yale University in Connecticut from 1950 to 1958. His series ‘Homage to the Square’ is an example of his disciplined approach to composition and color theory. He and his wife established the Josef and Anni Albers Foundation in an effort to continue sharing and promoting the theory that he found during his career. His style and work represent a bridge between the European art of the Bauhaus and Constructivists
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and the new American Art that emerged in the 1950s and 60s. He was a teacher and an artist his entire career, until his death in 1976 at the age of 88.
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Left page, bottom: Walls and Screens, created by Albers in 1928. Right page, top: Portrait of Albers. Right page, bottom left: Stacking Tables. Albers considered balance, harmony, and proportion coupled with simple, functional forms to be the basis of intelligent design. Right page, bottom right: Shards in a Picture Grid, 1921. Albers was a student in the glass painting workshop, of which he later became the director at the Bauhaus of Walter Gropius.
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Peter Kaniaris Professor, Co-Creator of Foundations Program Kaniaris received his Bachelor of Fine Arts from the Cleveland Institute of Art in Painting and Drawing, followed by a Master of Fine Arts in Painting from the University of Houston. He began teaching at Anderson University in 1986, and taught foundations courses for 25 of the 29 years since coming to the school. He was part of the effort responsible for creating the Foundations Program as it exists now, particularly in outlining and developing the final project, an abstracted self-portrait. After seven years in the team-taught, two-semester program, he transitioned to teaching entirely painting courses. He now teaches painting levels one, two, and three, as well as Advanced Painting. He is also the Director of the Center for Learning and Teaching Excellence.
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He chose Anderson because it provided an opportunity to integrate faith and learning, achieving a higher education that aspires to more than students reaching their next level of training, and aspiring for what is greater than ourselves. It is his hope that his classes serve as instruments of vision, learning, community, growth, and even grace for his students.
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Left: Professor Peter Kaniaris instructing a student during a painting course. Right: Kaniaris’ work displayed in Vandiver Art Gallery for a Faculty Exhibition, Study for [every]thing, 2014. Top: Kaniaris’ work displayed in Vandiver Art Gallery for a Faculty Exhibition.
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Culmination Herbert Bayer Rebekah Rhoden Kat Carter Wassily Kandinsky David Slone Lucy Nordlinger Jan Tschichold Melanie Charlton Clay Bolt Marcel Breuer Lindsey Gerlock Chisana Hice Piet Zwart
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Kenneth Keller Ben Mahaffey Paul Klee Naomi Nakazato Dorien Gunnels Theo Van Doesburg Katie Jaynes Jenni Elledge Gerhard Marcks Wellington Payne Janna Phillips Georg Muche Rhetta Atkins
66 68 70 72 74 76 78 80 82 84 86 88 90
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Both the Bauhaus School and Anderson University have generated many great artists. This is a look at just a small sampling of those individuals.
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Herbert Bayer Student and Master at Bauhaus Herbert Bayer was both a student and a teacher at the Bauhaus and worked in a wide range of fields including painting, sculpture, typography, advertising, and also architecture. In his early years as a student he studied painting with Kandinsky, but just in a short while he was teaching one of the Bauhaus’ first classes on typography. The amount of work that he created before he was 28 was more notable than most designers entire careers. He spent time teaching at the Bauhaus, working as an Art Director for the Container Corporation and as an architect in both Germany and in America. Bayer designed the type used in the signage at the Bauhaus building in Dessau.
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Bottom: Invitation to the inauguration of the Bauhaus building, 1926.
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Top left: Cover of the Bauhaus Exhibition catalogue, 1923. Top right: The Lonely Metropolitan, 1932. Middle left: Portrait of Bayer. Middle right: Bayer designed the typeface used in the signage at the Bauhaus building in Dessau. Bottom: Universal Alphabet, 1925.
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Rebekah Rhoden Class of 2015 Concentration in Graphic Design. Graphic Designer at Brains on Fire in Greenville, SC. rebekahrhoden.com
before graduation. The emphasis in her courses on conceptual development is a key part of how she got the job because it is fundamental to any design career.
Foundations taught Rebekah Rhoden necessary skills for developing and executing creative concepts. She learned how to think conceptually and to use the Principles of Art & Design in practical ways. Foundations is not just about painstakingly drawing a fortune cookie or painting a perfect self-portrait—it’s about learning to create hierarchy, balance a composition, and make rational conceptual decisions. Working at an agency, Rhoden does not necessarily draw everyday, but she does use the rest in every piece she makes. Working for Brains on Fire was one of Rhoden’s dream jobs as she approached the end of her undergraduate years at Anderson University. Without applying, she was offered a position with them
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Bottom left: Rhoden’s Logo. Bottom right: Poster for “A Dealer’s Eye” event at Anderson University.
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Top left: Literary Foodie book series. Top right: Typeface designed for the Peace Center, Huguenot. Bottom left and right: KlĂŠn branding and packaging design.
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Kat Carter Class of 2010 Concentration in Graphic Design. Senior Graphic Designer at Bissell in Charlotte, NC. katcarter.com Being able to help a friend in need is one of this life’s greatest blessings. Kat Carter has had many opportunities to use her training in Graphic Design to aid in her friends’ efforts to start small businesses, doing anything from logos and branding materials to creating the printed business plan they would take to the bank when asking for their initial loan. She finds it a rewarding experience and is considering the possibility of taking this newly found passion and transforming it into her own small business. The training and encouragement she got from the Anderson professors during her undergraduate career have been pivotal to her overall success as a Graphic Designer.
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Bottom left: Identity for a luxury beach rental in Fort Morgan, Alabama. Bottom right: Green Cat packaging design for eco-friendly cat litter, Local Gold ADDY Award Winner.
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Top left and right: Informational brochure for Ballantyne Corporate Park in Charlotte, NC, won the Gold Marcom Award in 2012. Middle left and right: Wedding program designed to look like a newspaper, photos by Shannon Michele Photography. Bottom: Barnes and Noble series redesign Local, Regional, and National ADDY Award Winner.
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Wassily Kandinsky Master at the Bauhaus Wassily Kandinsky began studying law and economics in Moscow in 1886, completing his studies with the state exam in 1892. He attended several art academies and his arts were exhibited for the first time at the Autumn Salon. He made his first abstract composition in 1910, published his book a year later and also produced the almanac Der Blaue Reiter. In June 1922, Walter Gropius appointed Kandinsky to the Weimar Bauhaus, where he taught until its closure in Berlin in 1933. From 1922 to 1925, he directed the wall painting workshop and taught classes on abstract form elements and drawing in the preliminary course.
abstract form elements and analytical drawing in the preliminary course from 1925 to 1932. From the winter semester of 1926, he was the head of painting and from 1927, he directed the free painting workshop and free painting class. From 1932 to 1933 at the Bauhaus in Berlin, he was head of the preliminary course classes in abstract form, free drawing, and the free painting class. In 1933, Kandinsky immigrated to Paris and lived there until his death.
In 1924, he founded the artists’ association Die Blaue Vier group together with Alexe Jawlensky, Paul Klee, and Lyonel Feininger. At the Bauhaus in Dessau, he taught
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Bottom: Yellow-Red-Blue, 1925.
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Top: Composition VIII, 1923. Middle left: Free Curve to the Point, Accompanying Sound of Geometric Curves, 1925. Middle right: Blue Painting, 1924. Bottom: Portrait of Kandinsky.
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David Slone Class of 2007 Concentration in Graphic Design, Painting & Drawing, and Ceramics. Production Artist at SBC Production Advertising in Columbus, OH. davidsloneart.com
He attributes the program’s merit and worth to the care every professor shows for their students, program, and craft.
Students often arrive at Anderson with little or no background in art. David Slone was one such student, and he found the Foundations Program to be hugely transformative in his transition. He learned skills that have been integral to getting where he is today. Though he considers himself to still be in the early stages of his art career, Slone has already shown in galleries across the country, in San Francisco, Los Angeles, and even a solo show in Kansas City. He has also been featured on many art websites. Slone takes pride in having been taught and mentored by the professors at Anderson University.
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Bottom left: Between Breaths, oil on canvas. Bottom right: Thick Ether, oil on panel.
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Top left: Something to Care For, oil on canvas. Top right: Lucid, oil on canvas. Bottom left: Ephemeral, oil on canvas. Bottom right: Once it Settles, oil on canvas.
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Lucy Nordlinger Class of 2012 Concentration in Painting & Drawing. Graduate Student at MICA. lucynordlinger.com Lucy Nordlinger knew long before coming to Anderson University that she wanted to attend the Painting Program at the Maryland Institute College of Art. To that end, she considered Anderson University to be a stepping-stone toward her long term goal of graduate school. Though shaped and led by professors, Nordlinger also mastered self-motivation and got a firm grasp on the importance of independent work from her experience in the Foundations Program. With her combination of natural talent, learned skill and hard work, she has achieved her goal and been accepted to the graduate program at MICA.
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Bottom left: Self-portrait, 2013. Bottom right: Oil on panel, 2014.
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Top left: All Goes Onward,Nothing Collapses. Top right: Season of Hope (After the Flood). Middle: A sketch from Nordlinger’s moleskine sketchbook. Bottom: Untitled.
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Jan Tschichold Master at Bauhaus Jan Tschichold claimed that he was one of the most powerful influences on 20th century photography. There are few who would attempt to deny that statement. The son of a sign painter and trained in calligraphy, Tschichold began working the typography at a very early age. Raised in Germany, he worked closely with Paul Renner, who designed Futura, and fled to Switzerland during the rise of the Nazis. His emphasis on new typography and sans-serif typefaces was deemed a threat to the cultural heritage of Germany, which traditionally used blackletter typography, and the Nazis seized much of his work before he was able to flee the country. Sabon was one of Tschichold’s completed typefaces; Jean Francois Porchez has revived it as Sabon Next for linotype.
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Left page, bottom: Tschichold’s typeface Sabon, shown in roman. Right page, top: Portrait of Tschichold. Right page, bottom: Excerpt from Jan Tschichold’s “The New Typography”.
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Melanie Charlton Class of 2010 Concentration in Graphic Design and Painting & Drawing. Founder and Creative Director at Brllnt Collaborations in Washington D.C. brilliantcollaborations.com Melanie Charlton was not certain she would ever major in art until visiting Anderson University. A conversation with the Head of the Design Department at the time, Eric Whitlock, convinced her to try it out. He let her know that it did not matter that she had no formal portfolio, all that would matter was the hard work she put in after arriving. The professors could teach her what she needed to know and she would not have to break any bad habits she might have had from previous art training. The Foundations course confirmed her decision that she had found her passion. This validated her major and career choice
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and was evidence of her artistic skills. In addition to training and refining those important skills, Foundations taught her to form creative concepts, how to give and receive creative feedback, as well as informing how she sees the world, all of which are skills she now uses regularly. Drawing forced her to slow down and see the details in her environment by seeing the lines, shapes, and colors. In the spring of 2014, only four years after graduating from Anderson University with a double concentration in Graphic Design and Painting & Drawing, Charlton co-founded Brllnt Collaborations, a new Digital Creative Agency based out of Washington, DC. Since its beginnings, the company has grown to a team of ten and is the agency of record for local and national brands, including D.C. United.
Bottom: Logo design for Surfer.
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Top: Rebranding for Main Ingredient Café. Bottom: Catering brochure for Main Ingredient Café.
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Clay Bolt Class of 1998 Concentration in Graphic Design. Natural History Photographer and Program Officer, Communications, World Wildlife Great Plains Program in Bozeman, Montana. claybolt.com and worldwildlifefund.org Creative solutions for problems take time. But all too often, they take more time than that allotted to them. Learning to drive through an individually crafted process to achieve beyond an initial response is a vital skill. Clay Bolt learned in Foundations not to wait for inspiration to strike, instead to seek it out and how to push through a project even when the inspiration never seemed to come. For seventeen years, Bolt has been able to use the skills he first began developing at Anderson University to support himself and his family with his career in the arts. He has travelled the world, photographing
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for organizations such as National Geographic, The World Wildlife Fund, and The Nature Conservancy. He looks back fondly on his time at Anderson, specifically at the relationships he had with professors and fellow students, relationships that gave him the confidence to launch his career.
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All: Wildlife photos. Part of the series purchased by Anderson University to display on campus in the Watkins Teaching Center. All photos: Š Clay Bolt
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Marcel Breuer Student and Master at Bauhaus Marcel Breuer received a scholarship to attend the Academy of Fine Arts Vienna in 1920. He switched to the Bauhaus in Weimar the same year and attended Johannes Itten’s preliminary course. From 1920 to 1924, he studied at the carpentry workshop taught by Gropius. In 1924, he passed his journeyman’s examination at the Chamber of Crafts Weimar and initially became an associate journeyman in the carpentry workshop with flexible working hours and a fixed salary income. His job was to facilitate between the masters of form and works. After his appointment by Walter Gropius as a junior master in 1925, he directed the furniture workshop, until 1928. In 1925, he created the B3 Chair, the first design for a tubular steel chair for domestic use. Breuer left the Bauhaus in 1928 and opened an architecture office in Berlin, employing a former Bauhaus student.
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He continued to work as an interior designer and furniture designer in Berlin. In 1933, he moved his office to Berlin. Two years later he relocated to England and founded an architecture office together with the architect F.R.S. Yorke. In 1937, he moved to the United States and received a professorship for architecture at Harvard University Graduate School of Design with the help of Walter Gropius. With Gropius, he directed an office in Cambridge, Massachusetts, until 1941. The same year, Breuer established his own architecture office, which he moved to New York in 1946. In 1956, he founded the practice Marcel Breuer and Associates, Architects in New York.
Bottom: Robinson House, designed by Marcel Breuer.
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Top left: Breuer sitting in his famous B3 chair made of tubular steel and canvas. Top right: Breuer’s 1964 Whitney Museum of American Art in New York. Bottom: Classic club chair inspired by the frame of a bicycle, named after Wassily Kandinsky. First use of tubular steel in furniture, designed by Breuer.
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Lindsey Gerlock Class of 2015 Majored in Interior Design. Design Assistant at J Banks Design Group in Hilton Head, SC. lgerlock.com Landing her dream job at J Banks Design Group in Hilton Head, SC has been Lindsey Gerlock’s greatest design achievement. Working alongside a Senior Designer on million-dollar commercial hospitality projects while simultaneously managing ten to fifteen residential clients, she gets to continue to explore both sides of Interior Design in her current position. The company recently ranked on Interior Design Magazine’s “Top 200 Interior Design Giants”.
Asheville, and more to attend design conferences and meet world-renowned designers and architects. The small class size offered at Anderson allows for more one-on-one time with professors who are invested in their students’ success occurs. The Foundations Program was pivotal to Gerlock’s college experience, it taught her craftsmanship, critical thinking, importance of questioning and the possession of confidence. The problem solving and various communication skills she fostered in the Foundations Program are what made her the well-rounded designer she is today.
Gerlock first met her now employer, Joni Vanderslice, during one of the many travel opportunities Anderson Interior Design students have. They travel to Atlanta, Charlotte, High Point, Charleston,
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Bottom: Angle: A Touchdown Workplace, ASID National Design Competition, 2014.
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Top: Interior design for the fictional Virtus City Club in Bonne, Germany. Bottom: Hand Rendering.
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Chisana Hice Class of 2013 Majored in Interior Design. Associate Interior Designer at In Site Designs, Inc. in Greenville, SC. in-site-designs.com Happy clients are a designer’s dream. Knowing how to take every client and turn them into a happy client can bring that dream to life everyday. Chisana Hice finds this satisfying sign of a job well done to be the best part of her career. She learned the skills necessary to accomplish that at Anderson University. The Foundations Program taught her the Principles of Art and Design that she references daily with clients to help them understand the layers and depth of the designs she has created for them.
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All: Foyer, kitchen, study, and great room, examples from Hice’s most recent work for a home in Simpsonville, SC.
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Piet Zwart Master at Bauhaus A pioneer of modern typography, Zwart was influenced by Constructivism and De Stijl. His influence shows in his work and in this quote: “…to make beautiful creations for the sake of their aesthetic value will have no social significance tomorrow…” Zwart worked as a designer, typographer, photographer, and industrial designer in the Netherlands in the 1920s and 1930s. Primarily working for the NKF Company, he created many works of graphic design before retiring from the company to spend the rest of his days as an interior and furniture designer. The work Zwart did for the NKF Company can be spotted by his use of primary colors, clean sans-serif typography and photomontage.
career moonlighting as an architect and photographer, as well as a designer and for several years he was very successful. His design career came to a halt when German soldiers arrested him in 1942. He was eventually released after the war, but the experience affected him drastically. He spent the rest of his life mostly working with interior design. His excellent use of color, typography, composition, and photography are reminiscent of the Bauhaus and his influence of the future generations of graphic designers lives on through the Piet Zwart Institute of the William de Kooning Academy.
Formally trained as an architect, Piet Zwart referred to himself as a hybrid between a typographer and an architect. Piet Zwart began his education at the School of Applied Arts in 1902. He spent most of his
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Bottom: Series of magazine covers designed by Zwart.
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Top left: Trio-Reclameboak cover, 1931. Top right: Book covers, 1931. Middle left: NKF catalogue spread, 1927 Bottom left: Portrait of Zwart.
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Kenneth Keller Class of 2015 Concentration in Graphic Design. Web Designer at Push Digital in Charleston, SC. kennethkeller.com The Foundations Program is challenging, more so for some students than others. Kenneth Keller came to Anderson with three years of design experience under his belt, but that does not always translate to a smooth start. Coming in overconfident was initially detrimental to his experience, but in the end, Keller was able to gain a vital skill from the courses that he had not expected: how to learn new skills.
difficult so they are better prepared for them later. Keller also realized that his strengths were not in fine arts, but still he persisted and was able to prosper going through the rigorous graphic design program because of what he learned in the Foundations Program freshman year. Since graduating he has worked in New York City, NY and Columbia, SC, with a focus on website design.
The ability to push through challenges, and to learn from them, is central to being successful in any design career, and one that Keller credits to Foundations. Students are forced to reevaluate their time management and push through experiences they find unpleasant and
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Bottom: Advertisement for Anderson University’s Greenhorn Show in 2015.
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Top: Specimen of Minima Typeface. Bottom: The opportunity was to create a piece illustrating a four letter word in a real environment. Keller’s chosen word was “Meld”. The end result was a piece on the causes of liver disease due to MELD standing for a liver disease test.
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Ben Mahaffey Class of 2015 Concentration in Graphic Design. Vice President of Marketing, Director of Coin Consignments, and Travel Personnel at Manifest Auctions in Greenville, SC. bmahaffey.com
He enjoys that his position is not one most designers go into; he does not work in a design studio, but instead he has the opportunity to travel and explore methods and ideas, opportunities other careers might not have afforded him.
Directly applying basic design principles in such a way that they support concept and purpose is important to good design. Intentionality is critical. Ben Mahaffey must keep these things in mind while he makes the all of the marketing materials for Manifest Auctions. The end goal of his designs is to lead viewers to become customers by purchasing their products. Mahaffey uses Gestalt principles taught in Foundations as one of the ways to accomplish that goal in his works.
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Left page bottom and right page bottom left: Collaborative magazine publication, BELA, incorporating ideas from the Bauhaus school.
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Top and middle: Engadi typeface, designed by Mahaffey for Engadi Ministries worldwide. Engadi has been downloaded over ten thousand times.
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Paul Klee Master at Bauhaus From 1899 to 1906, Paul Klee studied in Munich, Germany. First as a private school and then at the Academy of Art under Franz Von Stuck. His first solo exhibition took place in Switzerland in 1910. In the ensuing years, Klee developed his contacts with the artists Alfred Kubin and Wassily Kandinsky and participated in the second Der Blaue Reiter exhibition. In 1920, Walter Gropius appointed Klee to the Weimar Bauhaus. He was initially the director of the bookbinding workshop, then the metal workshop, and later the glass-painting workshop. Klee taught classes in elemental design theory as part of the preliminary course in Weimar. From 1925 to 1930, he taught the same course at the Bauhaus Dessau. Later he became the director of free sculptural and artistic design as well as the head of the free painting workshop and classes. The first Klee exhibition was organized in
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New York in 1924. In 1925, his Pedagogical Sketchbook was the second volume in the series of Bauhaus Books published by the Bauhaus. He left the Bauhaus in 1931.
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Left page, bottom left: Dream City, 1921. Left page, bottom right: Fire at Full Moon, 1933. Right page, top: Temple Gardens, 1920. Right page, bottom left: Portrait of Klee. Right page, bottom right: Dream, 1929.
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Naomi Nakazato Class of 2014 Concentration in Painting & Drawing. Program Director for Belton Center for the Arts in Belton, SC. naominakazato.com The Artist Statement from Naomi Nakazato’s website: Forever hindering and inspiring, my disjunctive ethnicity has always compelled me to create and manifest the frustration and ingenuity I experience on a continual basis. I am always drawn to art forms that depict these personal experiences of loss and displacement, the feeling of homelessness, followed by the re-creation of self through visual means. This process of creating the self repeatedly, supplemented by my own experiences, is what drives me to push my art further and make me grow, not only as an artist, but as a person. With each piece of work,
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I force the viewer to ask questions of identity, situation, and how one’s self interacts within these contexts. With my work, I aim to focus on the creation of space a half-Japanese, half-European woman inhabits. Each piece represents the juxtaposition of flatness versus depth, simulation versus representation, and French neo-classical painting versus Japanese Superflat-esque iconography. Utilizing these amalgamated elements, I am challenging technicalities of the traditional oil painting, as well as cultural commonalities of stereotypes, ostracism, racism, and sexism. By re-contextualizing these elements with subjects, strangers found through social media and friends, I further examine community, identity, and pre-dispositions of space with those who inhabit it.
Bottom: The Nature of Being / Fish Bowl.
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Top left: Madame Moitessier / A self-Portrait and not a Self-Portrait. Top right: Born and Burn. Middle left: Fuji QT. Bottom left: Venus (Mai). Bottom right: Aplomb.
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Dorien Gunnels Class of 2006 Prior to Transfer Incomplete Concentration in Graphic Design and Painting & Drawing. Lighting Artist at Sony Pictures. doriengunnels.com Since a young age, Dorien Gunnels has aspired to a career in animation and film. Before college, he considered himself an artist, but through high school art classes he did not possess the necessary discipline. Studying at Anderson University was the first time that Gunnels took art seriously. His choice of Anderson University provided him the opportunity to learn from some of the best professors possible. The Foundations Program taught him about composition, color theory, many new artistic mediums, and the general practice of focusing on a project through to its end, no matter how many hours that meant. He also learned how to accept criticism and the importance of it.
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The first time Gunnels saw his name in the film credits of Megamind he was brought to tears. The experience called to mind several precise memories of his time at Anderson University including Jo Carol harping over what she refers to as ‘creepy gray haze’ in a drawing, Professor Kaniaris teaching him a trick for painting lighting that he still utilizes in his current projects, Nathan Cox stressing the need to identify planes of the face when sculpting a face, and the many conversations with Design Professor Jane Dorn that ultimately set him on the path that led to where he is today. He came to Anderson with the intention of completing a degree in Graphic Design and Painting & Drawing, but realized his passion lay in film and animation. After two years, he left to complete his degree at a school that offered a Visual Effects program, but would not have been as successful there or in his career now if not for his initial experience at Anderson.
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All: Movie posters for which Gunnels contributed to the lighting design.
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Theo Van Doesburg Guest Lecturer at Bauhaus Highly influenced by Wassily Kandinsky, Theo Van Doesburg shifted his style of painting from one that emphasized less of a direct reflection of everyday life to one that placed more importance on a conceptual style that favored a simplistic geometric style. A Dutch artist, Doesburg led the artistic style movement “De Stijl” into popularity and influenced graphic designers for many years to come with his theories, which conveyed the idea that there was a collective experience of reality that could be tapped as a medium of communication. Doesburg designed a typeface where each character was based upon a square divided into 25 smaller squares, long before the Macintosh computer and pixel-based fonts. It has been revived as Architype. He then moved to Weimar, Germany in hopes of impressing the director of Bauhaus, Walter Gropius. Gropius did not directly
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oppose his ideas, but did not accept him onto the faculty of the Bauhaus. In reaction to this, Doesburg positioned his studio directly next to the Bauhaus and attracted many students with the ideas he promoted, most of which were developed out of the ideas of Constructivism, Dada, and De Stijl. It was during these times that Doesburg formed a tight bond with the artist Piet Mondrian. And, in 1923, Doesburg moved to Paris so that he could communicate directly with Mondrian. However, the two were very much polar opposites in character and it resulted in the dissolution of their friendship. It has been speculated that the breakdown came as a result of an argument about the directions of lines in their paintings. Doesburg was an artist with a wide range of talents that from painting, architecture, design, and poetry.
Bottom left: Detail from Van Doesburg’s Small Dada Soiree, a poster for a 1923 Dada tour of the Netherlands. Bottom right: Large Card Players, De Stijl, 1917.
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Top left: Color design for a chimney, 1917. Top right: Press card, 1917. Middle: The De Stijl typeface designed by Van Doesburg. Bottom: Counter Composition XVI, 1925.
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Katie Jaynes Class of 2014 Concentration in Graphic Design. Marketing Manager at Haven of Rest Ministries in Anderson, SC. behance.net/kbrazell When the design idea becomes a fully realized, tangible creation, there is an intoxicating feeling of accomplishment and amazed wonderment. Katie Brazell Jaynes has been working with Haven of Rest Ministries for a year and a half and is about to have her second billboard campaign launch. She is also passionate about supporting the organization for which she is working; knowing that the designs she creates to further their cause will change the lives of many, which in turn positively impacts the world.
the time, but the things she was learning in the Foundations Program would be applicable throughout the rest of her time in school and, later, in her career. Even the Gestalt Principles are useful everyday, having been effectively ingrained into her by the first project of the Foundations course at AU.
In Foundations, students are exposed to an overview of art & design principles and history. These lay the groundwork for future careers. Jayne did not realize at
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Bottom: Haven of Rest billboard, 2015.
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Top and middle left: Burt’s Bees rebranding as Remedy. Top right: Promotional piece for Anderson Senior Art Show. Bottom: Haven of Rest signage, 2015.
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Jenni Elledge Class of 2013 Concentration in Graphic Design and Ceramics. Production Artist at Knight’s Apparel Inc., a Hanes Brand Company. linkedin.com/in/jennielledge During her time in the Department of Art and Design at Anderson University, Jenni Elledge learned about her strengths and weaknesses, how to balance a large amount of work, how important it is to work smarter, and how important it is to take care of oneself. Many schools are at times more laid back than Anderson but, though stressful at times, the rigorous and fast-paced programs are reflective of how life and jobs after graduation will be. Students, including Elledge, leave feeling prepared for the challenges they will face.
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In the Foundations Program, Elledge was able to improve skills she had only just begun to develop before college and to learn entirely new skills. Her current job calls in particular upon the color theory and the means for developing balance that she learned in Foundations. She is the embroidery and appliquÊ specialist at Knight’s Apparel, where she creates most of the production art, working directly with the digitizers who transform her artwork into usable files for the factories. While experiencing some of the same stresses previously associated with the Foundations Program in her current job, Elledge finds validation and reward in the responsibilities she is given and the confidence her company and coworkers have in her abilities.
Bottom: Plexifilm DVD Series of David Carson.
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Top: Untitled ceramic work. Middle: Skullcandy rebrand as Empulse. Bottom: Pieces of Ruminate ceramic series, a body of ceramic work based on undersea life and contours of the female form.
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Gerhard Marcks Master at Bauhaus Marcks began teaching himself to sculpt in 1907. His first endeavors were guided by the artists August Gaul and Gerhard Kolbe. From 1908 to 1912, he shared a studio in Berlin with the sculptor Richard Scheibe. In 1914, two stone reliefs by Marcks based on a design by Walter Gropius were placed at the entrance to the machine hall for the German Work Federation Exhibition. In 1919, Walter Gropius appointed Marcks as one of the firsts masters of the Bauhaus in Weimar, where he became the director of the ceramics workshop. Marcks began to establish his own workshop on the premises of the master potter Max Krehan and established his own studio. While at the Bauhaus, Marcks produced many well known ceramic works. He also made the woodcut series Song of Wieland of 1923 and the Sintrax Coffee Maker of 1924. Marcks left the Bauhaus in 1924.
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Bottom left: Plowing Farmer, woodcut on paper.
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Top left: Portrait of Marcks. Top right: Marcks at work in 1949. Middle: Cats in the Attic, 1920. Bottom: Marcks at work in his studio in the late 1940s.
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Wellington Payne Class of 2009 Concentration in Graphic Design. Co-Owner of Shed Labs: A Design & Illustration Studio in Greenville, SC. shedlabs.com Entrepreneurship, at the offset, is always intimidating even with the best business plans and partners; there can never truly be any certainty. But four years into his Shed Labs venture with co-owners Robbie Cobb and Beau Bailey, Wellington Payne is able to support himself without any stifling salary job but on his skills as a graphic designer instead. The importance he places on the concept of each project is a tactic he learned from the Foundations Program at Anderson. He avoids using a computer until he has thoroughly explored several iterations in sketch form, knowing that no amount of technology can make up for the process to make conceptually strong designs.
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Bottom left: Poster promoting an event at the White Mule in Columbia, SC. Bottom right: Poster promoting Madi Diaz.
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Wellington Payne Class of 2009
Top: Identity design of Billiam Jeans. Bottom: Promotional materials for Blackberry Farm, Tennessee.
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Janna Phillips Class of 2012 Concentration in Art Education and Painting & Drawing. Masters Student in Art Administration Program at SCAD, Research Assistant at the Spartanburg Art Museum, Art Teacher at Mauldin Montessori School, and Owner and Director of Blank Canvas in Taylors, SC. janna-art.com Janna Phillips is running her own Art Education Business and Studio and doing graduate schoolwork at SCAD. Time management is essential for her to maintain these roles simultaneously, an invaluable skill she learned from the Foundations Program. Everything from creating her lesson plans to how she develops her marketing and fundraising campaigns shows the influence of her time at Anderson.
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Phillips learned to think outside the box when searching for solutions and to work through all of the fine details. When she left Anderson, she had generated a portfolio of work sufficient to get into SCAD Arts Admin Graduate program. Recommendation from Anderson professors were an added help.
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Left page, bottom left: Ceramic colander. Left page, bottom right: Untitled. Right page, top left: Self-portrait. Right page, top right: Print. Right page, bottom: Untitled ceramics.
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Georg Muche Master at Bauhaus In 1913, Georg Muche left secondary school in Fulda early in order to study painting in Munich at a school of painting and graphic arts run by Paul Weinhold and Felix Eisengräber. After being rejected by The Royal Munich Art Academy in 1914, Muche moved to Berlin in 1915 where he continued his painting studies in Martin Brandenburg’s studio. Walter Gropius appointed Muche to the Bauhaus Weimar in 1919, where he became its youngest master in any workshop. He was initially involved with organizational issues and development of the school’s curriculum.
exhibition, held in 1923, and designed the experimental Haus Am Horn. In 1924, a study trip took him to the United States. Muche also worked in Dessau as the director of the weaving workshop. In 1926, the Metal Prototype House on the Dessau Törten estate was built according to plans designed in collaboration with architecture student Richard Paulick. Internal conflicts led Muche to leave the Bauhaus in 1927. Until 1930, he taught in Berlin at Johannes Itten’s private school of modern art, which had been founded in 1926.
From 1919 to 1925, he was the head of the weaving workshop as master of form. From 1921 to 1922, he was the director of the preliminary course. In spring of 1923, he alternated with Johannes Itten as the head of the preliminary course. During that same year, he took over the direction and organization of the first major Bauhaus
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Bottom left: Portrait of Muche. Bottom right: Composition with Black and Green Form, 1920.
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Top: Metal prototype, steel, 1926. Middle left: Kitchen showcasing Muche’s architecture work at Haus am Hom, 1923. Middle right: Picture 19, 1915. Bottom: Haus am Hom, 1923.
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Rhetta Atkins Class of 2008 Concentration in Art Education. Art Teacher in Spartanburg School District 1 in Spartanburg, SC. wildcatartgallery.blogspot.com
her students create and the confidence they gain from learning about their unique abilities are the biggest reward she finds in teaching.
Her original intent was to teach English, but Rhetta Atkins’s pursuit of an added art minor landed her in the Foundations Program her freshman year at Anderson. The inspirational and communicative potential of art she learned from the course led her to teaching art instead. She still uses structural aspects of the program in her curriculum. She always ensures a solid understanding of art vocabulary, drawing, and color theory in her students before delving into deeper concepts, which is part of what Foundations strives to do. Atkins has taught art at every grade level and is recently returned from two years of teaching abroad in China. The work
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Bottom left and right: Student work from Atkin’s first grade art class.
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Top: Lotus, by Rhetta Atkins and her student, Chin Yeoh. Watercolor on paper, May 2015. Bottom: Detail from the same.
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Copy: designishistory.com Images: unesco.org, bauhaus-online.de, amazonaws.com, bauhausmuseum.com Copy: andersonuniversity.edu Images: Photography by Emily Hill, wikimedia.com, auvisualarts.tumblr.com Copy: The Bauhaus, 1919-1933 Images: daanico.wordpress.com, paulopedott.com Copy: Design and Form: The Basic Course at the Bauhaus Images: wikimedia.com, allposters.com Copy: Written by Katie Lasitter Images: Photography by Emily Hill, auvisualarts.com Copy: Written by Katie Lasitter Images: Photography by Emily Hill Copy: bauhaus-online.de Images: alejandrapuch.com, germany.info, uncubemagazine.com, engramma.it
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SOURCES
Copy: designishistory.com Images: rosswolfe.files.wordpress. com, wharferj.files.worpress.com, bauhaus-online.de, fieldaesthetic.com, designishistory.com Copy: Provided by the artist, edited by Katie Lasitter Images: rebekahrhoden.com, auvisualarts.tumblr.com Copy: Provided by the artist, edited by Katie Lasitter Images: provided by the artist, katcarterdesign.com Copy: bauhaus-online.de Images: static.independant.co.uk, wassily-kandinsky.org, annex. guggenheim.org, 40.media.tumbler.com Copy: Provided by the artist, edited by Katie Lasitter Images: davidsloanart.com
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Copy: Provided by the artist, edited by Katie Lasitter Images: lucynordlinger.tumblr.com Copy: designishistory.com Images: pmcinto5.files.wordpress.com, davidthedesigner.com, luc.devroye.org Copy: Provided by the artist, edited by Katie Lasitter Images: melaniecharltondesign.com, Dribbble LLC Copy: Provided by the artist, edited by Katie Lasitter Images: Provided by the artist Copy: bauhaus-online.de Images: clickinteriores.com.br, medialiveauctiongroup.net, libnews.syr.edu, 40.mesia.tumblr.com Copy: Provided by the artist, edited by Katie Lasitter Images: lgerlock.com
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Copy: Provided by the artist, edited by Katie Lasitter Images: affiches-et-posters.com, collider. com, comingsoon.net, fotonin.com, archoncinemareviews.com Copy: designishistory.com Images: wikimedia.org, wikiart.org, thehistoryofdada.businesscatalyst.org, amazonaws.com Copy: Provided by the artist, edited by Katie Lasitter Images: Provided by the artist, behance.net Copy: Provided by the artist, edited by Katie Lasitter Images: Provided by the artist, behance.net Copy: Bauhaus-online.de Images: luther.edu, bayernkuerier.de, thegreatcat.org, huffart.com
BETTER THAN BAUHAUS
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SOURCES
FALL 2015
Copy: Provided by the artist, edited by Katie Lasitter Images: shedlabs.com Copy: Provided by artist, edited by Katie Lasitter Images: janna-art.com Copy: bauhaus-online.de Images: bauhaus-online.de, mutualart.com, arthistoryreference.com, betterarchitecture.files.wordpress.com Copy: Provided by artist, edited by Katie Lasitter Images: Provided by the artist
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Credits
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Elledge Willis
Emily Hill
Research of Bauhaus and Anderson University individuals. Front and back cover concept and designs. Compilation of image and copy sources. Typesetter of copy. Specifically responsible for pages 44-45, 48-49, 68-69, 78-81.
Research of Bauhaus and Anderson University individuals. Point of contact for all communication with Anderson professors and graduates. Contributed to design of title page, table of contents, section openers, credits, and sources. Photographer and typesetter of copy. Specifically responsible for pages 20-25, 30-31, 34-35, 40-41, 46-47, 52-53, 58-59, 64-65, 70-71, 76-77, 82-83, 88-89.
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CREDITS
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Katie Lasitter
Morgan Stigall
Research of Bauhaus and Anderson University individuals. Layout and grid designer. Wrote entirety of copy on Anderson professors and graduates, explanatory notes, and ‘thank you’. Majority typesetting of copy and placement of images. Specifically responsible for pages 10-17, 26-27, 42-43, 50-51, 56-57, 74-75, 84-87, 90-91, 94-95.
Research of Bauhaus and Anderson University individuals. Contributed to the design of table of contents, section openers, credits, and sources. Compilation of image and copy sources. Typesetter of copy. Specifically responsible for pages 28-29, 32-33, 60-63, 66-67, 72-73.
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Thank You To Our Contributors We, the creators of this publication, would like to extend a special thanks to everyone who contributed to its success. Anderson professors Susan Wooten, Jo Carol Mitchell-Rogers, Nathan Cox, and Peter Kaniaris, for graciously taking the time to meet with us to talk about
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their experience designing the Foundations Program, and all of the Anderson graduates who replied to our pleas for answered questions and examples of their artwork. And a huge thanks to Professor Tim Speaker for his guidance throughout the entire process.