MCAD MFA Thesis Catalog 2018

MCAD�MFA

2018 MFA THESIS

CATALOG 1 WHERE CREATIVITY MEETS PURPOSE

NOTE FROM THE DIRECTOR Two years ago, eighteen talented students from a wide range of national and international destinations converged to enter graduate school and engage in a very special practice and study of art and design.

What began as hopes and dreams has become reality for these students, who represent a culturally relevant and accomplished set of creative voices. I am sure you will be inspired, challenged, and engaged by what each student has written and the work you see in this beautifully designed catalog.

Through intense studio practice supported by rigorous theoretical and historical research, long nights, great fun, and comradery, each student has refined their vision and creative voice. Their focus in the studio and belief in the ability of art and design to inspire, inform, and

2

truly change lives is present in this graduating class.

The dedicated mentors, faculty, and staff that have supported this class wish them the best of good fortune and success with their careers. We are all changed for the better having had the opportunity to work with each and everyone of these talented individuals.

These students are a part of the Minneapolis College of Art and Design Master of Fine Arts legacy and we will always value them as part of our creative community. We welcome them into the professional world after graduate studies and look forward to their ongoing cultural contributions.

The world is truly a better place for their work, creativity, spirit, and energy!

Tom DeBiaso Director and Professor Master of Fine Arts in Visual Studies

52

PRINTMAKING

22

ILLUSTRATION

14

FURNITURE DESIGN

10

38 2

DRAWING AND PAINTING

FILMMAKING

INTERDISCIPLINARY

18

GRAPHIC DESIGN

44

PHOTOGRAPHY

48

PRINT PAPER BOOK

Jonathan Aller / William Lining Jiang / Reza Nejati-Namin

DRAWING

2

AND

PAINTING 3

JONATHAN ALLER Miami, Florida, USA jonathanaller.com

My work deals with cultural hybridity and constructed identities within the Latin community. My fascination with naturalistic painting and portraiture is one of the major forces that inspires me to take this daunting path as a profession.

I have always enjoyed the laborious quality of paintings and drawings that have the kind of depth that can overtake your senses.

I studied naturalistic techniques in Florence, Italy; that experience opened my eyes to possibilities I had never explored. Studying and living in different countries has molded my identity and how I relate to the world.

This has informed my paintings and how

DRAWING AND PAINTING

I can bring all these experiences into one picture plane.

As a son to immigrants from South America and a first-generation American Latino, I am interested in how my own experiences within the “American” culture compare to other Latin individuals. My painting not only brings together Latin figures, but it also fuses various techniques that complement the individual’s ethnicity. Through lines, flat colors, graphic elements, and traditional/ contemporary techniques, I hope the viewer gets a contemporary portraiture experience that echoes its history and speaks to the constructed nature of the sitter’s identity.

4/5

1

1 Mi Familia Es Mi Mundo, 2017, acrylic and oil on canvas, 27 x 32 in.

2 Estilo Callejero Flo, 2017, oil, acrylic, latex, and spray paint on canvas, 64 x 52 in.

2

2

1

2 1 Diffusion #4, 2017, oil on canvas, 36 x 44 in.

2 Diffusion #7, 2017, oil on canvas, 20 x 24 in.

DRAWING AND PAINTING

6/7

WILLIAM LINING JIANG Shanghai, Shanghai, China jianglining.com

I am a conceptual painter from Shanghai, China. I visualize and explore how the subjective consciousness affects the perception and belief in the external world. I also use multiple processes to display a mental ambiguity generated from my conjecture of the substance and authenticity of information from the outside world.

Because of my Eastern background, I want to pursue the spirit and culture of ancient Chinese art in a contemporary form. I am born into a world constructed by digital

equipment, allowing me to use digital processes to inform my manual semi-abstract painting.

In my thesis, I generate a series of images without a conclusion, an answer, or a solid concept. I want to explore how basic abstract figures represent the world in my conscious and unconscious mind and how these artistic elements affect each other as a metaphor for ambiguities of human relationships in our contemporary society.

1

2

1 Without You There Is No Me, 2017, mixed media, 48 x 48 in.

2 From Me, For Me, 2017, mixed media, 8 x 20.75 ft.

DRAWING AND PAINTING

8/9

REZA NEJATI-NAMIN Burnsville, Minnesota, USA rezanejatinamin.com

As an emerging painter within the field of contemporary art, I create juxtapositions through carefully constructed compositions depicting personal iconography and internal movements of my thinking. I explore the kaleidoscope of memories and outer-zones of my imagination referring to my childhood.

Deriving inspiration from popular culture, hard-edge painting, and the work of other artists such as Jean-Michael Basquiat, Stuart Davis, Peter Halley, and Keith Haring, my work grapples with the television culture—especially animation—from the nineties/early twenty-first century.

Through the process of creating deceptively simple indexical graphics, bold graffitilike images of demons, and complex, intensely bright color schemes, my work is significantly layered with meanings. I am able to gain control of these menacing elements by reestablishing the space of my memories out of which I originate into the representative space of a painting. I am able to experience the transition of identity and the reconciling of my memories.

My personal childhood memories are an integral part of my being as an artist.

FILMMAKING

Filmmaking

10

11

Jodie L. Burke

1

JODIE L. BURKE

1 Sparrow stars in Dog Comes Home, 2017, digital print 2 Dawn at End of Day, 2016, digital print

Los Angeles, California, USA jodieburke.com

As a filmmaker, nothing is more satisfying than seeing the words you have written come to life on the screen. After working as a screenwriter, journalist, and documentary producer in Los Angeles, I returned to graduate school to master the art of directing.

My aim is to give voice to women’s experiences, which so often are marginalized or overlooked in an industry historically dominated by men.

My work investigates female narratives through lived experience. My thesis project, The Expiration Date, is a short, comedic film that explores the world of a boutique in Minneapolis. It is inspired by women I met while researching the retail workplace.

FILMMAKING

Undervalued and grossly underpaid, these hilarious, hard-working friends became the inspiration for a TV series I am creating and aim to set up at a network after graduation.

Jules, an intimate profile of a woman who summons the courage to divorce her emotionally abusive husband, and Dog Comes Home, a lyrical film based on a Finnish poem, are both short films I wrote, directed, shot, and edited at MCAD that allowed me to hone my nascent technical skills.

In 2017, women comprised only 4 percent of feature directors. I look forward to being part of the next wave of women filmmakers who create change that is so desperately needed in Hollywood.

12/13

2

FURNITURE

14

15

Binbin Shen

DESIGN

1

BINBIN SHEN Urumqi, Xinjiang, China binbinfurniture.wixsite.com/mysite

Having lived much of my adult life in dorm rooms and small apartments, I decided to design residential and mass-produced furniture to solve problems for small-space living. As part of my process, I make furniture prototypes to present my designs. I enjoy this aspect as the most creative part of the different techniques in the making process.

I use my optimism, humor, and experience in the creation of my work through a careful

FURNITURE DESIGN

and playful combining of shapes, colors, and ideas. Influenced primarily by Pop art furniture design of the 1960s and Memphis furniture of the 1980s, I create furniture that not only provides the functional aspects for living but also accommodates the playfulness and energetic lifestyles of young people stuck living in small spaces. I want to give people an unexpected surprise when they see my furniture!

16/17

1 Ghost, 2017, Fiberglass, 24 x 14 x 14 in.

2 Double L, 2017, bending birch, upholstery, 16 x 17 x 15 in.

2

18

GRAPHIC

Sherry Muyuan He

DESIGN 19

1

1 STANZA Bold, 2018, corrugated cardboard 2 Art is Why I Wake up in the Morning, 2017, interactive installation

2

2

GRAPHIC DESIGN

20/21

SHERRY MUYUAN HE Shenzhen, Guangdong, China sherrymuyuanhe.com

My name is Sherry Muyuan He. I am an interdisciplinary designer. My thesis project is a series of cardboard furniture that is foldable and portable. The patterns of the furniture will also be printed on shipping boxes. People can cut and fold the shipping boxes according to the directions, to turn the boxes into furniture.

The project is exhibited in two parts: furniture converted from the shipping

boxes and a stack of sealed boxes. Visitors are welcome to use the furniture. They can also cut the boxes according to the instructions to turn them into furniture and add to the finished section. The goal of the project is to inspire people to utilize recyclable materials. It also helps people understand paper engineering and apply the knowledge elsewhere in their lives.

Sishir Bommakanti / Rachael Elam Bonebright / Xiaojie Liu /Aries Yuanzhou Qian /Alanna Stapleton / Jessica Welhaf / Yuchen Zhang

ILLUSTRATION 22

23

SISHIR BOMMAKANTI Minneapolis, Minnesota, USA sishir.com

I am an illustrator with a focus in editorial and publication. I produce complex narratives that can communicate with my audience in an elementary manner. My intention is to provide a dialogue with those who view my work, then invite them into the intricate nuances of the image through storytelling.

I approach illustration and storytelling through experimental, alternative, and topological modes of narratives. My thesis explores illustration through a grand-scale, openworld narrative and provides commentary on a variety of societal and political issues through metaphorical storytelling. Using mythology as a narrative structure, I produce virtual worlds and events that are contained within a cartographic structure, providing

a constellation of stories that can be observed on a micro or macro scale.

I see illustration as a form of intellectual chemistry and an environment of experimentation with image making and media.

Fascinated by how the arrangement of shapes, silhouettes, and objects within a composition produces different synthesis within an image and a visual narrative, stories produced in my illustrations are reactions caused through experimentations.

The base foundation of my practice is exploring the potential of image making and establishing the definition of illustration as a relationship between image, medium, and narrative.

1

ILLUSTRATION

24/25

2

1 Basement Zombies, 2017, ink on paper. 17 x 17 in.

2 Mirage Ink, 2017, digital

1

ILLUSTRATION

26/27

RACHAEL ELAM BONEBRIGHT Saint Paul, Minnesota, USA elambonebright.com

My work investigates narrative through elements of cinematic and photographic storytelling. I create illustrations that draw from symbolic languages to recontextualize the meaning of photographic imagery through the use of ink and paper. My thesis explores the symbolism of objects as they relate to one another in thematic collections and utilizes a rhythmic composition to shift their relational context within a given piece.

intention of bringing order to otherwise isolated elements of a visual group. Objects that lead a solitary existence are reduced to the nature of their being and function, but when existing as part of a collection, their interrelations bring them into contextual symmetry and they function as category or an area of study.

I am a collector because it allows me a sense of control and understanding about the world around me and my place in it. Every item in my collection bears a status and a meaning, and I want to develop and expand that meaning through my thesis work.

I’m interested in collection as it relates to objects and associated meanings.

A collection is an accumulation of items that are brought together with the

1 Flaura, 2017, ink, colored pencil 2 Decay 2, 2017, mixed media, 10 x 9 x 3 in.

2

1

1 Dream, 2018, digital illustration, 22 x 17 in.

2 Tujia, 2017, digital illustration, 17 x 11 in.

ILLUSTRATION

28/29

XIAOJIE LIU Enshi, Hubei, China xiaojieliu.com

As a member of an ethnic minority who came to the United States for graduate school and now lives in a new cultural and social environment, I experience a sense of being in between two cultures.

color digitally. I make my own textures and use them in my drawings, and sometimes I change the lines’ color to be sure they can match the color in the color fills. This is my process.

I have always felt the difference between the life experienced in my hometown and the life I am living in Minneapolis. In the meantime, I find I dream intensely about the many memorable people, places, and events in my hometown.

I use this process to illustrate the lives of the people I dream about in my hometown, especially the women. I draw the small and quiet places with women doing work, the fashionable women walking down the street, the mothers and grandmothers, and the eccentric women on the bus. I try to show the humor and beauty that surrounds them in my dreams.

As an illustrator, I explore digital drawing and combine it with my own hand drawing. I use pencil to draw line work, then scan and add

2

1

ARIES YUANZHOU QIAN Chengdu, Sichuan, China yuanzhouqian.com

I am an illustrator and a storyteller. I make illustrations that focus on a hybrid of Asian and Western cultures by transferring and interpreting universal contemporary events and stories through a traditional mythological Asian aesthetic in various mediums.

I was born in Chengdu, Southwest China— a historical city near Tibet that preserves countless cultural and historical relics. This environment influenced the subtle Buddhist meditation emphasized in my work. I put a lot of consideration into using Chinese religious and ethnic elements. This is a particular aspect of my artistic conception, which is indistinct, lyrical, implicit, and humble.

ILLUSTRATION

I am interested in exploring the possibilities of work that effectively combine both “fine” and “commercial” art. My thesis strives to combine components of Western and Asian imagery through the use of Western typefaces, modern digital printing techniques, and traditional Asian paintings. It is important for me to retain the freedom of being myself while breaking old constraints and establishing a powerful, new, and unique vision. I interpret texts through the lens of my personal Asian aesthetic, creating parallel worlds, applying techniques borrowed from the past, breaking up opinions, identities, outlooks, and artworks into divergent pieces, and then reassembling them into unique and personal interpretations.

30/31

1 Pigeon Wars, 2017, ink, digital print, 16 x 11 in.

2 This Weird Little Fish Can Walk Up Waterfalls, 2017, ink, digital print, 16 x 11 in.

2

2

1 Sharp Words, 2018, hand embroidery on linen, 9 x 9 in.

2 Gaze, 2017, hand embroidery on cotton

1

ILLUSTRATION

32/33

2

ALANNA STAPLETON Portage, Wisconsin, USA alannastapleton.com

I am an illustrator currently working primarily with hand embroidery to explore the irony and humor found in everyday experiences.

Through my work, I find significance in the seemingly insignificant day-to-day weirdness.

There is humor to be found in the paradoxes of everyday occurrences, where tediousness and the mundane meet the spontaneous and incidental. By depicting the vulnerability and humor of daily routines, I seek to find relatability.

My work often deals with the guilt of not fulfilling duties or meeting standards, especially those set for women. I am interested in subverting ways embroidery has been used to reinforce traditional

femininity and celebrating ways needlecraft has been used for resistance. Using embroidery and acts of repetitive making to explore the everyday speaks to the importance of needlework in the daily lives of women throughout history.

My thesis project, Cry If You Want To, is a collection of customizable embroidery patterns designed to finally make crying in public easy. These patterns and accompanying instructional materials teach viewers how to hand embroider images and phrases that explain their emotions on a handkerchief so that those around them will know whether to tell a joke, call 911, or leave them the hell alone.

JESSICA WELHAF Philadelphia, Pennsylvania, USA jessicawelhaf.com

As an editorial illustrator, I see my work as not only directed but also driven by my personal commentary about certain political, economic, and social concerns in America today.

My practice focuses on the intersectionality of local and global cultures and how they manifest in contemporary American society. My process investigates where, how, when, and why these intersections occur through the lens of my personal experiences of these events in tandem with independent research in order to create a visual narrative. I see my illustrations as a tool for communication that can educate and enhance the viewer’s experience.

With my work, I strive to find a way in which I can use my illustrations to better articulate the voices and experiences of the people and communities it represents.

I want my work to be a foundation for a continuing narrative, to provoke dialogue, and possibly encourage political action.

We are living in a political climate that has for many years been the result of politicians and corporations telling, but not showing.

Illustration is a visual—that is, a “showing” language—that can permeate and agitate the textual fields where the written language has taken control of the message as well as offer other views and options.

1

ILLUSTRATION

34/35

2

1 Aftermath, 2017, ink, 17 x 11 in.

2 Face Me, Black Lives Matter: Michael Brown, 2018, ink, gouache, 13 x 19 in.

1

2

1 Blue Flamingo, 2017, ink and digital, 18 x 22 in.

2 One way street, 2017, ink on paper, 11 x 17 in.

ILLUSTRATION

36/37

YUCHEN ZHANG Beijing, Beijing, China yuchenzhang.net

I make surreal metaphoric comics and illustrations that can drag audiences out of their everyday reality and into a twisted world reflecting my own sense of experience and feelings.

As a comic artist and illustrator telling paranormal stories that show the conflict between the real world and fantasy world, I hope to express my indescribable, subjective feelings at any moment into a more concrete expression that, although sometimes difficult

to pin down in meaning, gives a sense of what I am thinking. My aim is to make fantasy happen for the viewer, to enable the viewer to take a reality break and go somewhere else.

Although I cannot always explain these fantasies, I hope to illustrate the ideas and concepts that are part of these weird narratives and make my clear line style of drawing enjoyable for the viewer. I hope my viewers can sense a similar sensation of waking dreams as I feel them!

38

INTERDISCIPLINARY

39

Zoe Cinel /Jordan Moen

1

INTERDISCIPLINARY

40/41

2

ZOE CINEL Campi Bisenzio, Florence, Italy mnartists.org/zoe-cinel

In the contemporary context of global mobility, immigrants’ bodies and identities are subjected to control through data (passport number, geographical position, etc.). The surveillance is particularly evident in airports, but the same control is applied in every augmented space and consequently to many bodies.

My personal concerns with these issues have meant focusing on them as I considered my thesis work. To highlight

the technological interface in the already stressful lives of this population, I moved toward a critical work. In an augmented space, devices like phones or televisions are portals of access to information, but they also are systems of surveillance. Place Holder is a multimedia installation that uses virtual reality, participation, and the architectural element of a wall to reveal the vulnerability of the moving body toward this negotiation of data and identity.

1 Mobile, 2017, 55-inch TV screen, drywall, Google Earth VR, motion capture, one-channel video (4:00 min.), wood, 96 x 96 x 96 in.

2 Costume for Masc4Masc, 2018, fur coat, football shoulder pad, iron, heavy duty hooks, screenprint on TNT, tulle, 7.5 x 3.25 x 22.5 ft.

1 Joni (58:17), 2018, acrylic, ink, faux fur on plywood and redwood, 36 x 42 x 2 in.

2 My Little Brother Skates (from the series Do He Lick His Booty Hole?), 2017, acrylic on paper, 26 x 40 in.

2

INTERDISCIPLINARY

42/43

1

JORDAN MOEN Minneapolis, MN, USA mnartists.org/jmoen

I am a transgender woman from a small town in rural Minnesota. I use painting, performance, and installation to question the nature of the constructed identities of those considered queer. Where do our prejudices and our preconceived notions of “normal” come from?

I feel that when examining one’s past, the negative spaces do not necessarily have to be filled with negativity. I choose to reflect upon why this environment failed me. My methods for working in the studio stem mainly from experimentation with materials. I call myself an interdisciplinary

artist, although drawing and painting are at the core of my work.

The use of repetition in my work stems from experiences growing up in rural Minnesota, a sense of pride in the quantifiable results of repetitious labor being the marker of a “job well done.” Art is not important to a lot of folks that I know, but that does not mean that they should be excluded from the conversation for not having what some may consider to be a valid opinion. I question the level of thinness of generosity given to someone who is knowingly or unknowingly being reduced to a stereotype.

My work hopefully reflects these positions.

44

45

PHOTOGRAPHY Shun Yong

1 Chui-Ling (Chinese vegetable store owner, Pahang, Malaysia), 2018, digital print 2 Bairi (Indonesian warehouse sorter, Pahang, Malaysia), 2018, digital print

1

PHOTOGRAPHY  46/47

2

SHUN YONG Karak, Pahang, Malaysia shunjyong.com

I am a third-generation Chinese immigrant from Malaysia and also a resident alien in the United States. I have been living here for nine years and am still adapting to life in America. I am a portrait photographer who documents immigrants and refugees in the United States and in Malaysia.

At the age of sixteen, I left my hometown of Karak, Malaysia, and had paid little attention to what was happening there until recently, when I started taking photographs of immigrants with an emphasis on their occupations. By documenting these workers, I started to understand my homeland better and found clues about how and why our

ancestors settled down in Malaysia. Inspired by this experience, I took the opportunity to expand my photographic series Occupations in the United States through my thesis project. I want to document the personal stories of immigrants and refugees, to honor them and give them visibility within their communities.

We understand how immigrants and refugees fit into contemporary society and contribute to those new places that they call home. By engaging with these subjects, I have discovered my own role and identity in the United States and Malaysia.

PRINT

María José Castillo

48

49

PAPER

BOOK

1 Word for Word, 2017, mixed media on paper, dimensions variable 2 Essay for a Poem, 2017, mixed media installation, dimensions variable

2

PRINT PAPER BOOK

50/51

MARÍA JOSÉ CASTILLO Montería, Córdoba, Colombia mjcastillo.com

1

I am a graphic designer focused on printmaking and editorial publications.

My conceptual approach incorporates the analysis of cultural background related to the way we read and the written word, not only as a functional element in a discourse, but also as an object existing in a spatial field. I explore formal deconstruction of text as a way to create a universal language— which is the base of concrete poetry.

For my thesis project, I use the word/object as a canvas to imprint my analysis of the cultural rifts generated when we position ourselves in an unrelated cultural context,

using handwriting to address a more personal take on the way we communicate via the written word. The text presented is an original poem written in both Spanish and English that will reflect on my personal experience as a Colombian now living in the United States.

The thread that joins a word and its meaning is susceptible to alterations when subjected to translation into a different language. I posit the notion that even when we do not understand each other’s language, we all have a story to tell and have more things in common than we realize.

52

PRINTMAKING

PRINTMAKING Libby Wiswall

53

1 Myself, Stitched I, 2017, embroidery on cotton, 2.75 x 4.75 in.

2 Women’s Work (text by Anni Albers), 2016, screenprint on handwoven cotton, 36 x 51 in.

1

PRINTMAKING  54/55

2

LIBBY WISWALL Aberdeen, South Dakota, USA libbywiswall.com

I am an artist working at the intersection of embroidery, weaving, and printmaking, often accompanied by sound and video projections as installations. I examine my identity as a woman working with craft materials in a contemporary personal practice through works that reflect feminist issues. With an attachment to steady repetition and rhythm, I explore how the quotidian of my environment shapes the systematic processes of my work that coincide with the cadence of daily life.

My art addresses themes of time, labor, and memory, which allow me to present the ties of craft to present-day technology but also allude to and remind us of women’s labor in past times. The juxtaposition of the past memories and the present complicated, highly technological culture not only influence my work but also haunt me as I work. I feel I am tied to the vast company of women working throughout most of history.

Through these connections, I reaffirm why such art is relevant now more than ever.

CREDITS

MINNEAPOLIS COLLEGE OF ART AND DESIGN

Tom DeBiaso Director and Professor Master of Fine Arts in Visual Studies

Main Campus 2501 Stevens Avenue Minneapolis, Minnesota 55404 mcad.edu

Kiley Van Note Assistant to the Director Master of Fine Arts in Visual Studies Ann Benrud Director of Communications Minneapolis College of Art and Design Frenchy Lunning Rita Kovtun Copywriting and Editing María José Castillo Design Tom Bierlein Grace Olson Christopher M. Selleck Yi Wan Libby Wiswall Shun Yong Photography Dylan Olson-Cole, Manager Kayla Campbell, Senior Designer Paul Hudachek, Design Fellow MCAD DesignWorks John Roberts Printing and Binding Coon Rapids, Minnesota MFA GRADUATE FACULTY COMMITTEE Andy DuCett Visiting Faculty, Master of Fine Arts in Visual Studies Jan Jancourt Professor, Design Frenchy Lunning Professor, Liberal Arts Rik Sferra Professor, Media Arts

MFA Studios and Gallery 2201 1st Avenue South Minneapolis, Minnesota 55404 mcad-mfa.com ©2018 MINNEAPOLIS COLLEGE OF ART AND DESIGN All artists and their corresponding artwork published in this book are copyrighted materials.

All rights reserved.

ABOUT THE MASTER OF FINE ARTS IN VISUAL STUDIES The Master of Fine Arts program is a community of makers, thinkers, theorists, researchers, and creative professionals working in a mentor-based, interdisciplinary educational environment. A majority of credits are earned through one-on-one work with a faculty mentor throughout the two years. In addition to the mentorship, students take a critique and liberal arts seminar each semester and have the option to pursue internships and a range of engaging educational opportunities.

The final year culminates with a capstone thesis exhibition and paper. The student body is diverse with a robust international presence. The subject of student inquiry responds to social, cultural, and professional needs as well as to entrepreneurial opportunities, stretching across art and design practices. Students in the program pursue creative work in a mentor-based, interdisciplinary environment that includes animation, comic art, drawing, graphic design, filmmaking, furniture design, illustration, installation art, interactive media, painting, paper and book arts, photography, printmaking, and sculpture.

ABOUT THE MINNEAPOLIS COLLEGE OF ART AND DESIGN Recognized nationally and internationally for its innovative and interdisciplinary approaches to visual arts education, the Minneapolis College of Art and Design (MCAD) is home to more than 750 students and offers professional certificates, bachelor of fine arts and bachelor of science degrees, and graduate degrees.

Founded in 1886, MCAD was one of the first colleges to offer the BFA degree. The college has earned the highest accreditation possible and has the highest four-year graduation rate of all Midwestern visual arts

colleges. College facilities contain the latest in technology, with multiple studios and labs open twenty-four hours a day.

NONDISCRIMINATION POLICY The Minneapolis College of Art and Design does not discriminate on the basis of race, color, national origin, sex, sexual orientation, gender, disability, marital status, or age in its programs, activities, scholarship and loan programs, and educational policies.

TITLE IX The Minneapolis College of Art and Design (the “College” or “MCAD”) encourages an atmosphere of mutual respect among members of its community. The College prohibits and will not tolerate sexual harassment or sexual violence by any member of the College community against another College community member.

The College believes that all individuals should be treated with respect and dignity.

Therefore, it is the expectation of the College that all individuals, in the course of performing their jobs or pursuing their academic careers, will conduct themselves appropriately. Sexual harassment or sexual violence committed by an MCAD student, faculty member or staff member against any other member of the College community is prohibited and will not be tolerated.

For more information, visit the following sites: Admissions mcad.edu/admissions MFA Program mcad-mfa.com mcad.edu/mfa

57

MINNEAPOLIS COLLEGE OF ART AND DESIGN 2501 STEVENS AVENUE MINNEAPOLIS, MN 55404 MCAD.EDU MCAD MFA STUDIOS AND GALLERY 2201 1ST AVENUE SOUTH MINNEAPOLIS, MN 55404 MCAD-MFA.COM

58