Cut/Paste: News From MCAD Vol. 4

NEWS FROM MCAD: SPRING 2023

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VOLUME

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CUT/PASTE

This publication celebrates the creative achievements and cultural leadership of alumni.

Inside, you will discover innovative work done by peers as well as current students, the latest developments at the college, and ways to engage with your MCAD community.

THE TEAM

Anh Tran ’21 Designer and Illustrator Kayla Campbell ’16, MFA Creative Director Grace Bridgeford ’19, MFA Director of Alumni Relations Mara Rosen Project Coordinator

News from MCAD: Spring 2023

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London King ’22 and Nick Lents ’23 Photographers, page 28–32

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OUR MISSION

MCAD provides a transformative education within a community of support for creative students of all backgrounds to work, collaborate, and lead with confidence in a dynamic, interconnected world.

MCAD is committed to create an environment where all students can succeed. Critical to this mission is the generosity of our alumni community, giving back in so many ways with time, talent, and financial resources.

MCAD students become: + Accomplished makers and scholars + Equity-minded problem solvers + Critical, conceptual thinkers + Inclusive, collaborative partners + Empathic listeners + Creative storytellers + Engaged citizens within a global context

We want to acknowledge everyone who has supported MCAD by making a gift. Any amount helps our students continue their education with fewer barriers to completion. Your generosity is greatly appreciated by staff, faculty, and students. For more information, check out mcad.edu/support-mcad.

THANK YOU SUPPORTERS

LET TER FROM THE PRESIDENT

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Dear MCAD Community, I’m pleased to introduce this issue of CUT/PASTE based on a theme MCAD IS HERE, THERE, EVERYWHERE. As an alum, you know firsthand that MCAD’s presence is profound and universal. It’s an institution that lives well beyond its small, physical footprint in the Whittier neighborhood.

Over the past four years, I have met so many people who have shared an MCAD story, an MCAD experience, or an MCAD memory. I’ve been to galleries in New York and Miami where I’ve heard about the staying power of the MCAD education; at a kitchen table in Culver City where MCAD alumni talked about the impact of mentorship; at a conference in St. Paul where retired faculty members greeted former students with open arms. I’ve spoken with a U.S. senator who wanted to show me the artwork hanging in her office created by MCAD alums. I have spent time with former graduate students who told stories about how MCAD continued to be a significant influence well after they graduated. Put simply, MCAD is an idea, a spirit, and an ethos based upon the work of our remarkable students, faculty, staff, and alumni– from Hong Kong to Stevens Avenue, from Alaska to New York.

I’m sure you all have had pivotal moments as part of your MCAD experience. I’d love to hear what your quintessential MCAD moment was and, as always, know more about what you’re working on. Feel free to drop me a line at ssethi@mcad.edu.

All my best, Sanjit Sethi

DO YOU KNOW YOUR ALUMNI BENEFITS?

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CLASS DISCOUNTS Alumni are eligible to take one Continuing Education course per season for $25 year round. Act soon as seats are limited! Discover all classes at mcad.edu/ce.

To take advantage of this alumni benefit, call the Continuing Education office at 612.874.3765 to register and pay with a credit card.

Check out some offerings from our summer classes:

Get Outside with a landscape painting or drawing on location class.

Get Back into the Printshop with a screenprinting or letterpress class.

Sharpen Your Digital Skills by learning Procreate, Adobe After Effects, or digital painting.

Break Out the Paintbrush by learning new watercolor techniques or diving into abstract painting.

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LIFELONG CAREER COACHING At any stage of your career journey, Career Development can help with your cover letters, resume, and job search.

They can polish your interviewing and networking skills, plus offer great resources to help you establish an internship or navigate your career. Reach out to careers@mcad.edu to get started!

V ISUA L IZ ING A BET T ER F U T U R E

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Infodesigner Arlene Birt ’02 inspires action by humanizing data

This spring the United Nations Intergovernmental Panel on Climate Change released a sobering report, compiling the available knowledge about human-caused, greenhouse gas emissions with predictions about our warming planet.

Though it’s written for highlevel scientists and global policymakers, there’s a page that’s instantly comprehensible to any reader. With a chart designed by MCAD Professor Arlene Birt, it depicts the steady rise of global temperature since 1900, with an overlay of human timelines illustrating how those impacts are already being felt by people born in 1950, 1980, and 2020.

“That chart gets at some of my objectives as a designer, which is to communicate clearly while putting the data into context,” Birt says. ‘“When I look at how my daughter’s lifespan looks completely different than my mom’s and my grandparents’, that’s the kind of emotional pull that could help us shift our behavior.”

Making hard data connect to our human experience has become a specialty for Birt, who is building a global reputation for translating complex information about environmental sustainability into memorable visual stories. A founding faculty member of MCAD’s Master of Arts in Sustainable Design and founder of Background Stories, an infodesign consulting firm, Birt recently talked with CUT/PASTE about why creatives need to be involved in solving humankind’s greatest crisis.

It’s not often that graphic designers get called out for their great work, but both the Washington Post and Financial Times have published stories about the impact of the infographics you created for the UN IPCC’s report. What’s that been like?

For the past year and a half, I’ve been working with more than 60 climate scientists from around the world to develop and collaboratively design these figures for the U.N. Synthesis Report, which had to be approved, line by line, by 195 governments. There were so many different rounds of approval that at some point there were more than 30,000 government comments with about 6,000 of them focused on the figures. It’s been exciting to see my name out there, but it’s also been an intensive process. It’s going to take some time to recover.

What’s it like being an artist in a world of scientists?

When I first started working with the team, I would be

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Up for the challenge, Birt successfully translated extremely complex information about environmental sustainability into memorable visual stories that could be understood by non-scientists.

on Zoom calls with twelve different climate scientists all throwing ideas at me, the only visual person. Even though I knew they were speaking English, I could not follow the conversation! There was so much scientific language that learning how to understand it was a steep learning curve. There’s a moment with any project where I think, “Oh my gosh, I am so lost”—but it’s also exciting, because I know that through the process, I can help these groups find a way to translate this complex material in a way that non-specialists will understand.

Why do we need artists at the table? How do you think visual storytelling can help move the needle on climate change?

There’s more space for artists and creative people in this work as the world realizes that it’s just not enough to throw words and data at people. We need creativity and the humanities, not just to make things pretty, but to make it engaging. Our world today is more focused on visual interfaces, and people are becoming more accustomed to consuming information that comes to them through visuals. Connecting

pieces of information in a visual way creates a story that can connect to people more personally. The more you help people see themselves within the data, the more likely you’ll be able to nudge them toward behavior change, and toward a better world for all of us.

This report has been billed as a “final warning,” the last IPCC report to be released while the world still has a chance to keep temperature rise below the tipping point. Where do you find hope?

About the U.N. Synthesis Report itself, I am really impressed by how much science shows where we’re headed, what we know, what we can track, and what we can prove. Scientists are notorious for adding caveats around their phrasing, but the science on climate change has evolved rapidly over the last seven years since the last IPCC Report cycle. We know what needs to be done. So now it’s about how we motivate us humans to take action, and advocate for policy makers to help us get there. I believe that humans have a lot of potential to shift and make change when we want to. I tend to be an optimist.

MOV ING PICT U R E S

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Hollywood photographer Wilson Webb ’95 shoots images that make us go to the movies While he was still a student at MCAD, Wilson Webb got a job as a rigging electrician on the film set for Iron Will, where he began documenting Minnesota’s moment as a favorite 1990s movie location. “I had a very small 35 millimeter Olympus Stylus I’d always have on my belt, and I was sneaking photos all the time,” he says.

That collection of stealth images taken from more than a decade of movie and commercial sets grew into an impressive portfolio which caught the attention of Joel and Ethan Coen, who hired him to be the on-set photographer for A Serious Man in 2009.

“That’s when I switched unions, and left the electricians to join the camera department, Local 600, where I’ve been ever since,” says Webb.

“I take photos that help sell the film— for posters, publications, and social media. But an equally important part of my job is to document the process of filmmaking and highlight the relationships that happen along the way, all the people working so hard to tell a singular story.”

If you’ve been to the movies in the last decade, you’ve definitely seen Webb’s work, from the marquee posters for Little Women and The Secret Life of Walter Mitty, to current streamers like Causeway and White Noise. Based in Minneapolis, Webb works wherever the movies are,

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from the New Mexican mesas featured in the Coen brothers’ True Grit, to the Zodiac boat off the coast of Greenland where he covered Richard Linklater’s Where’d You Go Bernadette? “I’m usually on set 100 percent of the time they’re shooting because it’s the only way to get the pictures I want,” says Webb, who is often shooting right alongside favorite directors like Noah Baumbach, Ben Stiller, and Paul Thomas Anderson.

“My goal is to get great pictures while also being out of the way, and not apparent to the actors.”

While Webb admits he’s got a love/hate relationship with Instagram (where “take fewer selfies” is part of his bio), he’s also inspired by the way digital technology has put good cameras in everyone’s hands. “We’re seeing so many new perspectives, which I love. But ultimately, photos have to speak for themselves,” he says. “It doesn’t matter what the medium, camera, or delivery system is–if the image doesn’t move you, it doesn’t move you.”

From capturing action scenes with Will Smith to portraiture of stars like Saoirse Ronan, Wilson Webb’s work is made for the big screen.

A LONG HOMECOMING

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Jin Meyerson ’95 brings his history as a Korean adoptee to the canvas

SEANCE 5.0 and POST-CALIFORNIA are works from Meyerson, who bridges both abstract and figurative traditions of painting. Meyerson recently lectured at Harvard University, Hongik University, Seoul National University, Bloomberg Quant Seminar, and Seoul Museum of History, where he is the only Korean adoptee to have been invited to present his life and work.

Jin Meyerson believes he just celebrated his 50th birthday, but he can never be sure of the date. As one of the more 200,000 Korean children adopted into families from around the world—the largest adoption exodus from a single country in history—he knows the details of his birth story were likely fabricated by officials.

“The first confirmed date I have of my existence is spring of 1975, when I was abandoned in a public market in Incheon and brought to a police station,” Meyerson says, noting that his May 8 birthday–Parents’ Day in Korea– is one he shares with many adoptees.

“This is a very subverted point of history, and there’s been very little conversation about it inside Korea.”

But across three decades of artistic practice, Meyerson has remained intent on starting that conversation through large-scale paintings that often explore questions of identity, distortion, and displacement. Part of the first generation of young painters to be confronted with the digital revolution, Meyerson often relies on photo-editing software and augmented reality to distend and obscure documents

13 and images, which serve as the underlayment to a painstaking, months-long painting process. “I have never wanted to make simple pieces of art,” Meyerson has said. “I think every artist starts out wanting to find out something about themselves. That’s the difference between making cute drawings and making art.”

A love of drawing was all that Meyerson had to bring from the orphanage to rural Minnesota in 1976, when he was adopted by what he describes as a “Swedish-American mother and a Jewish intellectual father from the Bronx. We were a multicultural family before the term was invented.” Encouraged to pursue his passion for painting, he graduated from MCAD in 1995 and went on to earn an MFA from Pennsylvania Academy of Fine Art in 1997. Though he found success early, with international gallery showings in New York, Paris, and Hong Kong, he was burned out after a divorce and gave up painting for nearly two years to concentrate on single-parenting. “Being an artist with a market and an audience is a dream job–but it also has to be your life, because no one else is going to do the work,” he says. “I’d been doing this since my late 20s, and I was exhausted.”

But Meyerson soon found artistic renewal through an invitation to set up a studio in Seoul.

“There’s a reverence for art and culture in Korea, and generation after generation of amazing artists here,” he says, adding

that contemporary art is tax-free, and many high-end galleries prepay for production from their most revered artists. His renewed commitment to art also led to “meeting and marrying the love of my life. I never imagined I’d have another opportunity, and that I would now have what very few adoptees get, and that is a real Korean family.”

Meyerson admits that being a major player and a cultural ambassador for Seoul’s expanding artistic scene still surprises him–particularly last year, when Max Hollein, Director of New York’s Metropolitan Museum of Art, stopped by his studio for a visit. “If you had told me back in 2007 that someday the director of The Met would come to Korea, I would never have believed you, but it’s happening because Korea is a phenomenal location right now, and it’s a testament to all of the positive things that are happening in this art community,” he says, adding that Korea has finally begun to feel like home. “I won the lottery in many ways, being able to escape Korea when I did, and being able to be here now. But I think I have gotten to the age where I really don’t believe in coincidences– I believe in these sequences that we as individuals complete within our families, our communities, and our personal histories.’’

BR A N D IDE N T I T Y

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Ad man Dave Peterson ’78 has elevated some of the world’s most iconic brands design can drive action, and how to rise above the noise when building a brand.

Style and fashion have been a throughline in your career. Where did that interest start?

What do Target, Prince, and Purple Mattresses have in common?

They’ve all been clients of Dave Peterson, a Minneapolis-based ad man who’s made a long career of building and burnishing some of the world’s most iconic brands. “We like to say we create want,” says Peterson, the owner of Peterson Milla Hooks (PMH), a nationally recognized agency behind retail campaigns for such fashion, beauty, and lifestyle brands as Gap, Target, Estée Lauder, Zales and Vera Wang. “And we create want by finding the most desirable, beautiful, and unforgettable way to present a product.”

Peterson, who studied graphic design at MCAD, talked to CUT/PASTE about the ways great art direction and

The light bulb went on at MCAD when I saw what was happening in the fashion department, and the show they put on. I helped design the promotional posters. I just loved seeing how these fashion students were working their butts off, with this glorious pageantry that was so magical. There’s just so much joy surrounding style and fashion that it was contagious. Sometimes I would go to the studio just to sit on the sidelines and watch it all.

You’re best known for turning Target into a destination for fun fashion and affordable design. How did you get Beyoncé to become a Target shopper?

First, I earned my stripes working at Campbell Mithun on the Dayton Hudson account. After starting my own agency, I was lucky enough to be invited into a contingent of people who were looking at what would make Target unique in the mass merchandising world. That marked a working relationship that would last 22 years.

We invented cheap chic, and over the years, we really stuck to a brand promise that Target was a fun, stylish, upbeat, mass merchandiser, which came to occupy a special place for the

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Peterson is the creative force behind fashion, beauty, and lifestyle brands that have staying power and a hard-toresist gravitational pull.

consumer. You felt rewarded and smart for shopping at Target because you were saving money, yet you were getting things that excited you. It wasn’t just baby food and toilet paper—it was also Missoni fashion.

What goes into creating a great brand?

Where do you start?

It’s a very collaborative process, but at the beginning you want to hear your clients’ hopes and dreams, and also what have been their challenges. We often do strategic work first to learn about the competitive landscape, and see what seems to be working and what seems to not be working so that they can find a space that they can own. I always say it’s like peeling an onion—you peel it and peel it and peel it until you find the DNA of the brand.

The DNA of Target is “Cheap Chic”—two words that kind of defined everything we did. If you can really pinpoint what’s good and unique about it, all the creativity flows from that.

This generation is well-schooled in the tools it takes to build their own personal and professional brands, but managing all of those platforms is exhausting. Any advice?

It is a lot of work, no doubt, but it shouldn’t take over your life. Think of building your brand as a great opportunity to really go inside of yourself and figure out what is the thing you really want to do. Use it as an exercise to think ‘what do I really love?’ rather than ‘what am I supposed to put out there?’ Then make sure your brand messaging reflects that. I know my success has come from really loving what I do. If you really focus on the things you love, it gives you clarity, and your portfolio is going to be more appealing than if you’re just a generalist. Crafting your own brand is worth it because it will help you get where you want to go.

STORY-DR I V E N DE SIGN

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Coming to MCAD helped Anh Tran ’21 find her voice and her vision for the future

Anh Tran’s recent projects include picture books for diverse readers, colorful electronic accessories for Target, and this edition of MCAD’s CUT/PASTE.

As a Vietnamese-American child growing up in Nebraska, Anh Tran spent so much time lost in her illustrations that her parents had to constantly remind her to finish her chores. Still, they were supportive of her talents, telling her “Where there is passion, there is success.” Today she is the Junior Designer in DesignWorks, illustrator, and storyteller.

At the encouragement of her high school art teacher, Tran chose MCAD, where she majored in illustration. From her class in children’s literature to her part-time position in DesignWorks, she honed her illustration style and found her love for graphic design, using colors, patterns, type, and shapes to capture joy and serendipity.

17 During her third year, Tran wrote and illustrated a very personal children’s book about aging family members and overcoming her grief. During this process she noticed that there are very few books about Asian kids. She found from her research that there are more children’s books about animals than the combined total books featuring children of color. Tran hopes to find a like-minded literary agent who sees the importance of multicultural representation in children’s books.

When Tran was a senior, she was hired as a graphic designer in DesignWorks and assigned her first project–a simple triptych in The Café. “It was challenging to let go of my usual tendencies as an illustrator while working in design. I am so color- and story-driven that focusing on shapes and type made me really stretch myself,” she says.

After receiving her degree, Tran was hired as the first Abeln/Little Design Fellow. “The fellowship came to me at the perfect time,” she says. “Monica Little ’79 saw my potential, and has been a source of great inspiration.” Now Tran designs postcards, invitations, exhibition catalogs, brochures, CUT/ PASTE, and more.

Last spring Tran received a surprise email from a Target product designer who found her through social media.

She hired Tran to develop a collection of electronic accessories, including phone cases and mouse pads, under their Heyday brand.

“This assignment gave me the confidence to take on other freelance projects, and I can pay off my student loans!” she says.

MCAD guided her career trajectory and provided her with a supportive network. “It’s hard to imagine what my life would be like if I had stayed in Lincoln,” Tran reflected. “MCAD changed my life.”

TA K ING F L IGH T

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Gregory Manchess ’77 leans into the adventure of storytelling through illustration MCAD graduates have global impact, but award-winning illustrator Gregory Manchess may be the first alum whose artwork has made it all the way to outer space.

A serious science fiction fan who graduated from MCAD the year Star Wars was released, Manchess has been fulfilling a few of his boyhood dreams by designing the mission patches for several recent NASA and SpaceX partner expeditions to the International Space Station. “I love to look at this design and think this baby has been around the world 2,600 times,” he says. “It boggles the mind.”

Manchess’s mission patches are just the latest footnote in a four-decade career that’s included everything from cover images and artwork for The Atlantic and National Geographic, to postage stamps and presidential portraits throughout the Abraham Lincoln Memorial Library and Museum in Springfield, Illinois. He’s designed ad campaigns and alcohol labels, authored his own graphic novel, and illustrated lavish collectors’ editions of such classic novels as The Picture of Dorian Gray and The Sun Also Rises. He even painted the artwork at the heart of the Coen brothers’ Ballad of Buster Scruggs.

It’s a diverse portfolio, but Manchess says the common denominator that always draws him in is a good story.

“It’s taken a lot of my career to figure it out, but it’s always about the storytelling,” he says.

“If I can get you curious to know more from the impact of just one image, then I’ve succeeded.”

Illustration wasn’t a major at MCAD when Manchess first arrived in Minneapolis from his hometown in Kentucky. “It was the 1970s and conceptual art was everything at the time, and I was told that painting and drawing were dead. I thought, ‘Wait a minute, I’m 18 years old and you’re not even giving me the chance to fail,’” he says, before adding that his frustration helped to fuel his passion for oil painting. “Even kids today are told that it’s crazy to go into the art world, that they’ll never make any money, but you have to take it as a challenge.

Even my high school guidance counselor told me I was never going to make it.”

19 In fact, Manchess has received multiple honors in his field, including the Hamilton King Award for career achievement from his peers in the Society of Illustrators, and was recently featured in an exhibition of his paintings at the Norman Rockwell Museum alongside the work of Frank Schoonover, the legendary 20thcentury Western adventure painter.

Manchess is working on major commissions to illustrate collectors’ editions for both Dune and The Wonderful Wizard of Oz, while preparing for a 2024 exhibition at a Paris gallery.

The variety and depth of his CV come as a bit of a surprise to Manchess himself, who says the secret is simply doing the work every day. “Neuroscience is backing me up on something I always tell my students, which is that talent will not get you as far as personal passion and focused training,” he says. “Every time you pick up a pencil, you are in training mode. If you bring that focus with you every time you go to the page or the screen, it will drive your skills so much farther than sitting around waiting for talent to show up.”

“Michelangelo and DaVinci were also illustrators,” Manchess says. “Juggling fine art with commercial work is what it means to be a working artist.”

BRE AKING THE WAVES

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In the Arctic Circle, Whitley Mike ’20, MA, observes human impact on whales

As part of the three-week expedition in November 2022, Mike and the SWX team documented interactions between snorkelers and orcas during the winter herring run that may help create sustainable management strategies for the future. “It was an incredible immersion into what felt like another planet–a distant planet ruled by mountains, waves, and whales.” Photos by Emma Khan

A life-long nature lover and selfconfessed Free Willy fan, Whitley Mike knows the power of being face to face with one of the world’s great apex predators. “The first time I saw an orca in the wild was like seeing God,” she says. “They touch the soul in a way I can’t even begin to describe.”

But as “swim with the whales” tours and other immersive eco-tourism offerings take off in popularity, Mike can’t help wondering whether these programs are sustainable.

To find out, Mike put her graduate degree in sustainable design into action and recently set out to Norway’s Arctic Circle with Sea Women Expeditions, an international, intergenerational, interdisciplinary, and matriarchal team studying the challenges of a warming Arctic.

As the team’s Creative Director and Co-leader of the Norway Orca Behavioural Project, Mike and her partners are studying how these close encounters affect everyone in the ecosystem, from orcas to Indigenous people. “These programs are a huge money maker in Norway, where it’s like the wild west with little regulation,” says Mike, who wrote her MCAD master’s thesis on orca conservation challenges in the Pacific Northwest. “I’m able to bring my sustainable design degree into play through a design-thinking lens, making sure we’re considering all of the stakeholders.”

CULTUR AL E XCHANGE

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Illustrator Grace Easton ’18 found the creative connections she craved

“As a child, to watch someone draw very fluently was an amazing thing to watch, and I desperately wanted to do that,” says Easton, whose mother was also an artist and illustrator.

Not long after arriving as an exchange student from Brighton University, Grace Easton decided to make MCAD her alma mater.

“In the UK, we didn’t have much contact time with our professors, whereas at MCAD everyone is at school, in their studios the whole day,” she says. “I thought that was the absolute right way to run an art school. It’s all about showing up and being together as part of a community.”

Now based in London, where she works as a senior illustrator for Smythson of Bond Street, a British luxury leather goods brand, Easton says she still benefits from the close bonds she made with MCAD classmates. “Now that we’re all on social media, I can follow along with what all my peers are doing, and where everyone has landed,” she

says. “You will find that the friends you make at art school and the connections you make there are so strong. When you’ve all been told this isn’t going to be an easy ride, it’s a real bonding experience.”

A freelance illustrator with her own children’s book coming out in 2024, Easton says emerging from the pandemic has inspired her to recommit to making a little art every day. “Drawing is the ultimate magic trick,” she says.

“Keeping up a daily practice of drawing, whether you’re doing it for a client, or for yourself in a sketchbook, has been a way for me to stay in love with drawing. It’s a relationship with myself that I want to develop.”

DESIGNING HOMES AWAY FROM HOME

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Interior designer D.B. Kim ’86 brings luxury and local flavor to hospitality An international design influencer behind hotel concepts and hospitality retreats around the world, D.B. Kim is not always fluent in his clients’ native languages. “My friends are sometimes astonished that I’m able to communicate, but I tell them it’s because I speak attitude,” he says.

“As I always tell my team, if you have to speak about your design over and over again, you’ve probably failed. If you have to explain anything more than once, it’s a sign you need to go back and think about it again.”

Over the last 25 years, Kim has allowed his joyous approach to interior design speak for itself both as an in-house creative for such interior design and architecture companies as Gensler, Daroff Design Inc., and Pierre-Yves Rochon, and as a design leader behind Starwood Hotels & Resorts Worldwide. Over the last decade, as a hospitality designer for the Dalian Wanda and Galaxy Entertainment groups and other

international clients, he’s been the visionary behind more than thirty luxury hotels across Asia.

“But I don’t keep track of the number, because everything I do is a collaborative effort,” he says. “My main job is about influencing and inspiring people to do a better job–and it just happens that I’ve been focused on hotels.”

Now based in Shanghai, Kim is leading the Experience Concept Design team within NIO, a Chinese electric vehicle company. One of their strategies is to create NIO House, a premium lifestyle concept where their electric car owners are invited to recharge, both literally and spiritually. “When I was first contacted, I thought, I don’t like to drive–I like to take public transit,” he laughs. But he soon accepted the challenge of creating hospitable retreats across China, growing markets in Europe to encourage the switch to renewable fuel, and building brand allegiance. “I always seek projects that allow me to learn something completely new,” he says.

The visionary behind luxurious hotels and hospitality experiences, D.B. Kim says, “I don’t follow trends.

That’s why I enjoy hotel design because it is really current, but at the same time it has to be timeless.”

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REPE ATING PAT TERNS

MCAD continuing ed introduced Kate Worum ’11 to a career in print and pattern Kate Worum’s artwork is woven into the daily lives of millions. As a pattern designer, she’s seen her buoyant prints and colorful patterns transformed into everything from bedspreads and dinner plates, to wallpaper and pajamas. “Creating art work at such a scale that you see it out in the world is really exciting,” she says.

Worum studied illustration at MCAD, but it wasn’t until she used her alumni discount on a continuing education class that she discovered the world of print and patternmaking. “That class set the tone for the rest of my career.

I learned how to use my illustration skills to think about surface design and patterning,” she says. That passion helped her get hired at Target, where she worked as an inhouse illustrator, creating vibrant and eclectic housewares for the retailer’s Opalhouse brand.

It also inspired her to start She She, a custom wallpaper company launched with

creative partner Jennifer Jorgensen, known for bespoke installations and cheeky designs.

When she’s not creating custom wallpapers, Worum gets assignments from retailers like Garnet Hill, while also taking full advantage of MCAD’s continuing ed, where alums like her can attend any class for just $25. “No matter what your profession or your area of focus is, carve out time to create for yourself to stay connected to what inspires you,” she says. “I think this is the year I’m going to sign up for portrait painting.”

Keeping the freelance life fresh can be a challenge. “If you ever get caught in a loop of ’the projects I’m getting are not inspiring,’ challenge your passion by giving each project that comes your way your all,” says Worum. “No matter if it’s an illustration for a flyer for your neighborhood’s block party or a cover illustration for The New Yorker, you can be passionate about every project.”

IMAGINING THE FUTURE OF MUSIC

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Podcaster and designer Adam R. Garcia ’06 puts a shine on Apple’s content

Garcia elevates the visuals and content behind the iconic Apple Music while garnering 5-star reviews for his own podcast, Dope Excerpts.

In his role as a creative director at Apple Music, Adam R. Garcia leads a team focused on the future of music. And while he can’t reveal company secrets, he can report that he’s not afraid of the way technology will change what we hear. “I feel more inspired right now than I ever have been about human connection, and all the ways we can pursue the things we love so much more easily,” he says. “Now I can pick up a guitar, record myself, make music, and publish it immediately, all on my computer. Those are the things I get excited about.”

At Apple Music, he and his content design team are responsible for connecting the platform’s 100 million songs with its 100 million followers. “One thing we’re really proud of is the way we rely on human curation,” he says, putting new music recommendations in front of listeners who can often feel stuck on repeat on

other platforms. “If you only listen to things inside your bubble, it makes the bubbles smaller and harder,” he says, “When it comes to finding things you love, you have to keep a balance.”

In his free time, Garcia can sometimes be found recording Dope Excerpts, an Apple Podcast in which Garcia reads favorite selections from his own bookshelves in Los Angeles. He also recommends the following for the future-minded fellow alums: + Interdependence, a podcast by composer and sound artist Holly Herndon + Ways of Being: Beyond Human Intelligence by James Bridle + MasterClass: “If you have the money, invest in a subscription,” he says. “No matter the topic, it’s always about the creative process.”

DR AWING ACROSS CULTURES

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Central Africa and anime meet in a new film by Patience Lekien ’16, MFA

Anime fan, explorer of Black history, and now filmmaker, Lekien takes his visual storytelling to new heights to bring about positive change.

An introvert by nature, Patience Lekien admits he’s “not the kind of person you’d expect to see all over social media.” But as an anime fan “from before it was cool,” he’s used Instagram as a platform to get feedback about his illustrations and ideas. Two years ago, he posted an image of a young girl from Kongo (one of the oldest and most welldocumented African kingdoms), encountering ancestral spirits in a forest. More than 9,000 followers told him they wanted to see more.

They’ll get their chance with the release of MFINDA, an animated film now in pre-production with N LITE, a global, multimedia company bringing Black and Indigenous stories to the screen. “‘Mfinda’ is a word in the Kongolese language that means forest, wilderness, or nature—a place where everything comes from,” says Lekien, who was born and raised in the former People’s Republic of the

Congo before immigrating to the U.S. when he was six. “It was inspired by my mother’s life, a girl growing up in the Congo during a time of turmoil, transported back in time by her ancestors. It’s really a love letter to my mother.”

A former STEM student planning for a career in medicine, Lekien made a course correction after college, working on his thesis at MCAD that focused on his dual identities as both an African and an American. “I found myself in the middle, and it was hard trying to reconcile my identity, but that’s where everything started and stems from in my work. It’s about trying to create a bridge between the two cultures,” he says. “Once I started to share my thoughts and deep feelings through my art, I found that’s where the growth is, and that’s where the blessings are.”

MEET THE STAFF TODD JONES, DIRECTOR OF CAMPUS SAFETY What has surprised you most about MCAD? How talented Campus Safety staff and students are. We have caption boxes in our office which are open for anyone to build on cartoon-based story lines. I love seeing the creativity.

Next year what do you want to see at the college when looking back? When it comes to Campus Safety, I hope to get the MCAD community more involved in developing our strategies.

What else should we know about you? I’m approaching my fifth year of being cancer-free, a huge milestone for survivors. On a lighter note, I am a member and actor with Catacomb Collective, which provides accessible space to emerging and marginalized artists.

EMILY KESSLER, VICE PRESIDENT OF INSTITUTIONAL ADVANCEMENT Can you share a memorable interaction with a donor? I had the opportunity to go on a studio visit with an artist and donor. Amazingly the artist asked us to help name a work! Next year what do you want to see at the college when looking back?

More financial support for students.

What else should we know about you?

I know a lot more about professional wrestling than it probably looks like I do. I was delighted to see there is a student club that organizes weekly watch parties.

26 KEISHA WILLIAMS, DIRECTOR AND CURATOR OF GALLERIES AND EXHIBITIONS Where did you work before MCAD? I worked next door at Mia as Curatorial Department Assistant and Artist Liaison for Global Contemporary Art. I was also co-founder of the BIPOC employee resource group and part of the Equity Team focused on equity-based practices in museums. Next year what do you want to see at the college when looking back? While I’ve had opportunities to work directly with students, I’d love to find opportunities to collaborate on programming, exhibitions, and whatever else we collectively envision. What else should we know about you? You’ll often find me at thrift stores, estate sales, and flea markets, walking through junk fields in search of treasure.

MARY ALMA NOONAN, VICE PRESIDENT OF FINANCE/CFO Where did you work before MCAD? I’ve worked at Lawrence University and Green Mountain College in similar roles.

Prior to transitioning to higher-ed administration, I had a variety of corporate finance and strategy roles.

What has surprised you most about MCAD? Probably the most delightful surprise was the amazing work–and sheer volume of it–on display at the Art Sale. Next year what do you want to see at the college when looking back? More students! That’s the key to enabling all sorts of good things to happen.

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NEW FACULT Y: DR. OL AF KUHLKE

If you’re looking to satisfy your wanderlust, a solitary road trip in the Alaskan and Canadian Arctic is about as adventurous as it gets. For Dr. Olaf Kuhlke, having grown up in a dense cityscape in Germany, it’s exactly what he was looking for in 1995. What was already an incredible trip to Canada fundamentally changed his outlook on creativity and shifted his career towards climate change and sustainability.

Today, as Chair of the Arts Entrepreneurship Department, Kuhlke puts his vision into action.

This fall he will re-envision the current Entrepreneurial Studies major to become a Bachelor of Science program in Creative Entrepreneurship. The requirements will be streamlined and restructured to include sustainability and climate change. Kuhlke intends to provide opportunities for students to put their learnings into action through incubator programs. “All of these changes are directly informed by my experience at the Family Freedom Center in Duluth, Minnesota, where I have been providing entrepreneurship workshops to youth in the community,” states Kuhlke.

Kuhlke’s intention for his MCAD graduates is to equip them with everything they may need for their future, including building confidence in presenting and teaching youth in their own community. He has had success in shaping educational programs. For a decade at the University of Minnesota–Duluth, he included student input to create a

degree in Cultural Entrepreneurship, taking a holistic approach by bringing creativity into the mix in a way that simply does not exist in a traditional, business-school setting.

While Kuhlke considers photography and filmmaking to be his main tool, his true passion lies in the art of persuasion. He describes his own process as crafting immersive, memorable experiences for others, which leads to action. For his own work, he travels to the Alaskan Arctic to assist in developing a sensitive, accessible alternative to destructive tourism. Kuhlke’s solution is to create a virtual reality for tourists through the eyes of the Indigenous peoples who have watched climate change drastically transform their landscape.

This documentation will also be an archive for future generations, and preserve the history of these Indigenous cultures.

In his personal time, Kuhlke enjoys attending music festivals, cooking for friends, and playing bass guitar. He has a particular interest in heavy metal history and culture, seeing it through his same holistic, creative, and economic view he has in his work.

By Basil Farmer ’24, who likes to write novels, do fibercrafts (like knitting and crochet), and read an ungodly number of books.

ST U DE N T L IF E s w it h Red Wing Shoes

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Welcome Back BBQ on the lawn

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Welding the work while we whistle

Gallery 148 Exhibition: Form Without Guilt, Ash Nichols ’22 and Eva Hanks ’23

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Identity Design by Liam Brubaker ’23

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2022 Fall Commencement Exhibition: Christmas for Squirrels, Kyle Williams ’22

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Artist Maren Hassinger Visit and Community Collaboration

A RT SA L E: 25 Y E A R S OL D A N D G OING ST RONG

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Identity Design by Nathan Riebel ’22

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Last fall the MCAD Art Sale came roaring back to campus after two years of selling only online. The pent-up demand for this beloved campus event was clear from the start–we experienced record attendance and sales. Every wall, bin, and table was filled or covered with art. Every hall was jammed with people. It felt like a much-awaited reunion for alumni, collectors, community members, and artists–all eager to mix, mingle, and buy.

Over the past 25 years, the Art Sale has generated more than $3 million which has gone back into the student and alumni artists’ own pockets.

FROM THE ARCHIVES: JACKIE FERR AR A

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American artist Jackie Ferrara was commissioned to create a large-scale, outdoor wooden sculpture which has become a source of inspiration, popular meeting spot, and iconic image on campus. The work was unveiled on November 8, 2003. Ferrara’s works are found in the Minneapolis Sculpture Garden and permanent collections of Walker Art Center, Smithsonian, LACMA, and MoMA.

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