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Faculty Biennial

SPR

19

E XH I B ITI ON:

January 24 – February 17, 2019

FE ATUR ED DEPAR TMENT S

Art & Art History Art Education Crafts Cinema, Television, & Media Production

The Marlin and Regina Miller Gallery

Communication Design

KUTZT OW N U N I V E RS I T Y


Kutztown Univerity's 2019 Faculty Biennial January 24 to February 17, 2019

Featuring artwork from the departments of Art & Art History, Art Education & Crafts, Cinema, Television, & Media, and Communication Design

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2019 Faculty Biennial


A Reflection: KU’s 2019 Faculty Biennial Kutztown University has long been recognized for its excellence in the arts, dating to the initiatives of William Henry Sharadin. Sharadin, an 1891 graduate from what was then the Keystone State Normal School, pursued a career in the arts as a painter and achieved considerable success as an artist, gallery owner, and art teacher. With his return to Kutztown University in 1907, he played key roles in the construction and recognition of the Department of Art Education. Born in 1923, KU’s first official “art” major has since expanded, with the College of Visual & Performing Arts now home to approximately 1,600 students, 110 faculty, 14 majors, and 6 different departments. While KU’s successes in the arts most often spotlight its students, this biennial recognizes the faculty who train and inspire the future generation of creative minds. According to photography professor, and former director of the Marlin and Regina Miller Gallery, Dan R. Talley, the Faculty Biennial became a tradition around the turn of the 20th century and was initially a yearly show. Talley believes that the Faculty Biennial makes room for artists to conceptualize and create new works over the course of two years, enabling professors to both share their knowledge with students while pursuing their career as both educators and visual artists. The biannual format reveals transition and evolution through each edition of the show and encompasses every aspect of the college’s programs in the visual arts, displaying both digital and physical collages, installations, sculptures, paintings, films, digital design and so forth. Students have the opportunity to engage with the works of their esteemed professors, providing them with an opportunity to be on the other side of the making and observing process. The 2019 Faculty Biennial, installed and organized by Karen Stanford, includes 39 artists from various departments and academic areas within the College of Visual and Performing Arts: Studio Art; Art History; Applied Digital Arts; Art Education; Crafts; Communication Design; and the new addition of Cinema, Television, and Media Production. Through the integration of our departments and faculty, the Biennial has become a diverse and dynamic show filled with works that vary in practice, design, conception, creative perspective, and viewer response. The open format of the Faculty Biennial allows our professors to express their individual artistic interests without necessarily having to correspond with the rest of the artists within the exhibition. What makes our biennial all the more interesting, and could potentially prove more challenging for viewers, is “that there is no theme”, according to Gallery Director, Karen Stanford. While this “themelessness” may make visual interpretation more difficult due to the broad range of visual stimuli and dialogue, gallery visitors are supplied with a unique opportunity for diverse creative engagement. Virtual installations may vocally speak to the viewer while nearby drawings and paintings leave interpretation completely up to the individual. This exhibition enables works like Josh Miller’s interactive installation, Wave Form, rich in contemporary visual and audio components, to be displayed in the same gallery as more traditional mediums like Evan Summer’s collagraph print, Landscape LIX. Digital animations and clips like David Roger’s A Quiet Man, or Elizabeth Schneider’s Don’t be dramatic., are presented alongside drawings, including James Rose’s NULL and VOID graphite portraits, or oil paintings such as Nathaniel Meyer’s, Page 3


Great Pyramid (Schoodic Clouds II), providing a local snapshot of the diversity of contemporary art through the variety of technical and conceptual approaches on view. The expansive fields of visual art within the Faculty Biennial extends beyond the visual to encompass audio components as well. Typically, the gallery is a place for hushed tones, quiet footsteps, and silent contemplation. Our professors challenge that expectation in the pieces they decided to exhibit. Throughout the gallery, visitors may hear various video clips in conversation with each other, interacting consistently and making for a strange audible sensation. The whirring sounds present in Miller’s Wave Form create a haunting audio effect that can be heard clearly from all corners of the gallery, while David Roger’s A Quiet Man plays cheerfully, steadily in the background. In contrast, Zhifang Li’s Guest Gestures II features long moments of crunching, which may evoke some viewer discomfort. Though the show includes a large collection of digital animations, Stanford has decided to play only a few aloud throughout the gallery; the rest are isolated through the use of headphones, making room for a different set of audio effects as one disengages from the multiplicity of sounds filling the gallery and concentrating on these more intimate screenings. As sounds create intricate layers within the gallery space, shifts in visual perspective further restructure viewers’ interpretive experiences of the exhibition. In more traditional group shows, where there is a clearly organized goal, theme, or medium, gallery-goers expect to make sense of a particular point of view or narrative through historic or thematic contextualization. Our biennial has quite the opposite effect. Rose DeSiano’s Beautiful Domestic Fragmentations takes on the properties of everyday windows and combines materials like glass, mirrors, and photographic images to provide a narrative that engages the dichotomy between the natural and human worlds. However, her use of mirrors and their placement within each piece slightly disorients the viewer’s perspective, challenging them to reinterpret the images they see within the familiar, house-like structures serving as frame and object. Margaret Noel’s Facade I, II, and III also toy with the idea of perspective. Though she works in a more traditional format, making ink drawings of modern architecture, she provides the audience with only visual fragments of the dilapidated buildings within her compositions. Inspired by destruction as a result of natural disasters, Noel creates both drawings and collages that communicate a sense of abandonment personified by rundown architecture. Rather than conveying the site of destruction wholistically, she depicts bits and pieces of the architecture and its remains, forcing the viewer to fill in the missing areas. The physical act of looking stimulates imaginative projections which then replace the negative space left purposely blank by the artist. Identity serves another dynamic role in the collection of pieces on display in the gallery. Images like Dannell MacIlwraith’s Anxiety use color, shapes, and text to convey a sense of chaos, anxiousness, or even danger. Words like “survival” and “nothing” appear within the frame, communicating that perhaps we are in some kind of peril when considering and battling our own physical and mental well-being. The bottom right corner blatantly announces, “Confined Space. Can Cause Death.” This piece engages the audience through a familiar topic, as mental health and emotional triggers are prominent issues in contemporary society. Page 4

2019 Faculty Biennial


In another sense, Kate Clair explores identity through more upbeat topics. Her pieces, Remnants of Childhood and Remnants of Adolescence, play with ideas of family, growth, and nostalgia. She uses found objects from her own household and collages them atop mixed media documents like newspapers, envelopes, package labels, and tickets. In this way, the artist is not only reconnecting with her own memories of childhood, but she also inspires the viewer to think about the items that were important to them growing up. Things that may seem silly to an adult now, like hair clips, googly eyes, and bracelets, mark a moment in history, share a personal anecdote, and provide a snapshot into the creation of someone’s identity. A uniting factor within the Faculty Biennial, between the reinterpretation of viewer perspective and the additional component of audio effects, is the interchange of themes and ideas that occur throughout the Miller Gallery. The art world thrives on the exchange of creative ideas and in this show we are able to see how artistic influence shapes students and faculty alike. Professor Miles Decoster states that his piece, The Cult of Evan Summer, contains “ever-changing and evolving images roughly based on shapes and forms typical of Evan’s architectural prints.” To the right of Decoster’s animation rests Summer’s print, Landscape LIX, which allows for a dynamic visual dialogue. The colorful geometric shapes and forms that flash across the animated screen are reflected in the stillness of Summer’s black and grey print. Some exchanges, like the aforementioned, are completely intentional, a common practice within the visual arts. Nonetheless, much creative exchange is simply the result of observation, chance, or Stanford’s placement decisions. Whose work is influenced or inspired by whose, in this case, doesn’t particularly matter. Because faculty were experimenting and physically creating objects of their own individual interest during a similar time frame, artists may have inspired each other’s works through collegial interaction, happenstance, or shared experiences. Inmi Lee’s wooden sculpture, I Will Not Dance, physically draws upon the same wooden texture found in the tree of Nathaniel Meyer’s Great Pyramid. Stanford also paired similar decorative elements between artworks through technical necessities like framing and encasement. For example, the contrasting gray backgrounds supporting Janna Gregonis’ jewelry seem to parallel the gray frames and backgrounds of Talley’s photographic series. In summation, the placement, creation, and conceptualization of the show as a whole is based on a fuller idea of artistic interchange and dialogue. As biennials go, the 2019 Kutztown University Faculty Biennial remains open-ended, reflecting the intersection between our department’s traditional and modern practices. Both new and veteran faculty have been encouraged to create and display works based on their own personal interests or inspirations. The gathering of such a diverse group of creatives showcases our college’s talent and diversity. This exhibition especially highlights the importance of creative freedom and exchange, and provides the student body with a rich collection of visual inspiration.

Shelby Otto

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Tim Betz Instructor Art & Art History

Biography:

Betz’s professional background in History and Art History reveals itself in his Wunderkammer pieces. The concept of collecting objects and placing them on display is a practice that spans centuries. Betz’s work is informed by a variety of subjects, from Dutch still life paintings to the modern junk drawer, and he combines these inspirations to create paintings that reflect object materiality. The fusion of modern and ancient artifacts point to the tradition of collecting and hoarding, highlighting the materiality inherent in our culture.

Education:

Lehigh University, MA History The Pennsylvania State University, MA Art History Kutztown University of Pennsylvania, BFA Studio Art

Selected Awards & Achievements: ◊R  edmill Museum Village, Intern, 2013-2014 ◊A  lbert Michaels Conservation, Intern, 2012

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2019 Faculty Biennial


Left: Wunderkammer #5: Medicina, Oil on Canvas, 2017 Right: Wunderkammer 3: Monster Hunter, Oil on canvas, 2018

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Kate Clair Professor Communication Design

Biography:

Clair’s collages, Remnants of Childhood and Remnants of Adolescence, evoke feelings of transitional nostalgia. As we observe all the components of the work, objects like bowed-hair clips, dinosaur sponges, and rubber-band bracelets contrast starkly with pieces of mail, clothing tags, newspaper articles, and tracking labels, perhaps pointing to the disconnect between children and adults. Seemingly insignificant objects represent a moment in time that elicits nostalgia, which artist and audience alike may look back on with adoration.

Education:

Tyler School of Art, MFA Graphic Design Binghamton University, MA Art History Elmira College, BFA Sculpture & Printmaking

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2019 Faculty Biennial


Left: Remnants of Childhood, Collage various media, 2018 Right: Remnants of Adolescence, Collage various media, 2018

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Helen Maurene Cooper Assistant Professor Art & Art History

Biography:

Cooper creates work that is multifaceted in its social-cultural languages; the mythology of her work borrows from Social Practice, and focuses on economic and social justice through the lens of adornment. Blue Angels, an ongoing series of wet plate collodion photographs places an emphasis on the lack of visual representation of the LGBTQ+ community from the 19th century. These portraits feature drag queens, drag kings, and other non-binary performers using a nineteenth century technology as a means to access a queer temporality and thus speak to history and current issues of inclusion.

Education:

School of the Art Institute of Chicago, MFA Photography Bard College, BA Photography & African Studies

Awards & Achievements: ◊ T ravel Stipend, Paint & Polish Exhibition, Cultural Council, Eindhoven, Netherlands, 2017

◊ S tipend and honorarium​for Nailed: Handwork, Department of Cultural Affairs, Chicago, 2013

◊B  OLT, artist in residence ​as the collaborative Baccara

with Madeleine Bailey, Chicago Artists’ Coalition (with support from the Andy Warhol Foundation), Chicago, IL, 2012

◊ Monograph: Paint & Polish: Cultural Economy & Vi-

sual Culture from the West Side, Onomatopee Press, Eindhoven, Netherlands 2017

◊ Space Mountain, Miami, FL. Reinas Del Azucar, with Rosemarie Romero. 2017

◊ Studio 3, Fayetteville, AR. Where There’s Smoke. 2017 ◊ Onomatopee, Eindhoven, Netherlands. Paint & Polish. 2017

◊ Bert Green Fine Art, Chicago, IL. Other Waters: the Aquatic Valley. 2016

◊ Washington Park Arts Incubator, Chicago, IL. Runway to Reality, with Suzette Opera. 2016

Website: https://hmcooper.com/home.html

Selected Solo and Two-Person Exhibitions: ◊B  ert Green Fine Art, Chicago IL, Blue Angel, 2018 Page 10

2019 Faculty Biennial


Blue Angels, Ambryotype on black glass, 2018

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Michael Covello Odalla Assistant Professor Art & Art History

Biography:

“How we perceive the space around us reflects how we think about and act within that space,” Covello Odalla says in his artist statement. His featured piece, Raised in Captivity, disrupts the boundaries between classic and modern artistic mediums, forcing the viewer to observe challenging visual elements through the intersection of graphic portraiture, audio overlay, and realistic scenery. He uses grid-like compositions and destabilizing strategies that often become disorienting in his animated work. With this, he combines aspects of both his own human experience with audio and visual elements found on the internet, emphasizing that humans as a whole share similar concerns, difficulties, and desires.

Education:

University of South Florida, College of the Arts, MFA Cornell University, School of Architecture, Art, and Planning, BFA

Selected Awards and Achievements: ◊M  erit Grant, Vermont Studio Center, 2018

Festival of the Arts, 2014

◊ Hampton Arts Management Grant Recipient, Think Small to Think Big, Jan 2014

Website: http://michaelodalla.com/

◊C  uratorial Opportunity Project Winner, The New Art Center, Boston, MA, 2016-17

◊M  arlin and Regina Miller Gallery, Artist in Residence, 2015

◊C  arolyn Heller Memorial Award, Arts Council of Hillsborough County, 2014

◊ I ndividual Artists Grant, Arts Council of Hillsborough County, 2014

◊ P ublic Art Commission, Pithos at the Gasparilla Page 12

2019 Faculty Biennial


Raised in Captivity, Animation with video and audio components, 2018

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Elaine Cunfer Professor Communication Design

Biography:

Cunfer brings more than 20 years of graphic design experience to the KU community. With a background as a graphic designer and illustrator for multiple publications, she contributes diverse artistic insights to the classroom environment, often focusing on corporate identity. Her work has been featured in newspapers such as The Times Leader, Morning Call, and The Washington Times, and in national design journals like Print Magazine.

Education:

Tyler School of Art, MFA Kutztown University of Pennsylvania, BFA

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2019 Faculty Biennial


Left: Untitled (One Shell), etching, 2018 Right: Untitled (Three Shells), mezzotint, 2018

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Matt Daub Professor Art & Art History

Biography:

Like other art professors at KU, Daub works across mediums and disciplines, ranging from drawing and watercolor to creative writing, highlighting each medium’s aesthetic qualities for different purposes. His featured work, Feed Mill Lot, is a conte crayon piece in black and white. Though many artists use drawing as a foundation for other mediums, Daub emphasizes that his drawings are “stand-alone” works as he locates an “evocative quality” embedded in black and white versus the different effects induced by color.

Education:

Southern Illinois University, MFA Painting Southern Illinois University, BA Painting Pratt Institute, New York, NY

Solo Exhibitions: ◊ T he Allentown Art Museum; Allentown, Pennsylvania,

◊ Paper Through The Ages, ACA Galleries, New York, New York, 2016

◊ Group Exhibition; ACA Galleries New York, New York, 2010

◊ The 185th Invitational Exhibition of Contemporary

American Art, The National Academy of Design; New York, NY, 2010

2014

◊ ACA Galleries; New York, New York, 2013

Website: https://www.matthewdaub.com/

◊ ACA Galleries; New York, New York, 2011

Selected Group Exhibitions: ◊D  rawing Conclusions, Danese-Corey Gallery, New York, New York, 2016

◊ T he Collectors’ Show, The Arkansas Arts center, Little Rock, Arkansas, 2016

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2019 Faculty Biennial


Feed Mill Lot, Conte crayon on arches watercolor paper, 2017

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Miles DeCoster Associate Professor Communication Design

Biography:

The primary focus of Decoster’s teaching over the past decade has been interactive design. Initially encompassing web design, contemporary interactive design includes creative coding and interactive art. Decoster specifically uses this evolving medium within the Faculty Biennial to highlight the artistic choices of Printmaking Professor, Evan Summer. The Cult of Evan Summer is inspired by the shapes and forms typical of his architectural prints, and draws attention to the parallels between classic and modern media.

Education:

Art Institute of Chicago, MFA Washington University School of Fine Arts, BFA

Awards & Achievements: ◊ National Endowment for the Arts ◊ Illinois Arts Council ◊ The Headlands Center for the Arts ◊ Post-Newsweek Stations ◊ Nexus Press ◊ Chicago Arts Council

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2019 Faculty Biennial


The Cult of Evan Summer, Raspberry Pi/Processing, 2019

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Delaney DeMott Instructor Art Education & Crafts

Biography:

DeMott’s digital collage, Extra, exemplifies her continued interest and exploration of human interaction in modern society. Simultaneously, her work hones in on the natural “hiccups” that contribute to one’s lived existence. Working in mediums like photography and digital collage, the physical layering of her artwork pits emotional and mental responses against physical action.

Education:

Website: http://www.delaneydemott.com/

School of the Art Institute of Chicago, MFA Tyler School of Art, BFA Alfred University, Summer School Program The Glasgow School of Art

Awards & Achievements: ◊ Visiting Artist, Goggleworks, Reading, PA, 2017 ◊ Vermont Studio Center Residency, Johnson, VT, 2016 ◊H  ATCH Residency, Chicago Artists Coalition, Chicago, IL, 2013

◊ J uror's Choice Award, Best In Show, Victory for Tyler Show, Philadelphia, PA, 2013

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Extra, Collage digitally printed on banner, 2016

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Rose DeSiano Galjanić Professor Art & Art History

Biography:

In an era latent in technological advancement and photographic enhancement, DeSiano creates conversations about archetypical ideas and the ways in which the camera interacts with them. Her work explores the art historical origins of early photography and its roots in historical painting. Her Beautiful Domestic Fragmentations: Yugoslav Wars, Croatian War of Independence, and World War II frame photographs within glass and mirror to reinterpret the tradition of landscape photography, forcing the viewer to consider the title of the piece in comparison with the image aesthetics.

Education:

Website: https://www.desiano.com/

Art Center College of Design, Los Angeles, MFA NYU-Tisch School of the Arts, BFA

Selected Awards & Achievements: ◊W  inner, 2018 Uniqlo Expressions Park Public Art

Award, Rufus King Park, NYC Dept. of Parks, New York, NY

◊W  inner, NYC Parks Department FLOW.17, Randell’s Island

◊ F ellow, Bronx Museum of Arts, Bronx Art Market program, Bronx, New York, 2016

◊G  uest Lecturer / Visiting Artist, ArtEZ AKI hogeschool voor de kunsten Enschede,The Netherlands, 2015

◊ S tate of Pennsylvania Project Funding Grant, PASSHE, Harrisburg University, Harrisburg, PA, 2015

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Beautiful Domestic Fragmentations: Yugoslav Wars, Croatian War of Independence, World War II, Glass, Mirror, Inkjet on Vinyl Decal, Iridescent Lamination, 2016-2018

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Summer Doll-Myers Associate Professor Communication Design

Biography:

Doll-Myers utilizes her experience in design to engage the various aspects of artistic culture. While working in New York City with advertising clients, she conceptualized and designed advertising campaigns, directed photo shoots, and made logos, brandbooks, and other promotional materials. As a professor and artist at KU, she draws upon her background working within the urban landscape to bring a commercial sense of style to our studios.

Education:

Marywood University, MFA Kutztown University of Pennsylvania, BFA

Awards & Achievements: â—ŠR  unner Up, Creative Quarterly, The Journal of Art and Design, Edition #41, August 2015

â—ŠC  OMPASS Award, ILEAD (Innovation Leadership

Entrepreneurship and the Development) Kutztown University, 2013

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2019 Faculty Biennial


Untitled, Ink & Micron, 2018

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George Graf Associate Professor Art Education & Crafts

Biography:

Originally trained in ceramics, Graf currently teaches 2-Dimensional and 3-Dimensional design to KU’s freshmen students. He now creates more conceptual work, with current projects being found-object assemblages that communicate ideas of materialism and consumerism.

Education:

University of Kansas, MFA Design Indiana University of Pennsylvania, BFA Ceramics

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2019 Faculty Biennial


Images from the Coal Region, Photo on Cloth, 2018

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Janna Gregonis Assistant Professor Art Education & Crafts

Biography:

Gregonis is a jeweler and maker, teaching foundation design courses at KU. Her style in jewelry design, which takes on natural, organic appearances, highlights our modern desire for aesthetic decoration. Her work has been shown both nationally and internationally, in collections like the Museum of the Brazilian Object and Fleur Bresler in the United States.

Education:

East Carolina University, MFA Metal Design Kutztown University of Pennsylvania, BFA Crafts

Awards & Assistantships: ◊A  dvisory Board member for New York City Jewelry Week New York, NY 2018

◊ P entaculum Invitational Residency at Arrowmont School of Craft Gatlinburg, TN, 2018

◊ S tudio Assistant for Julia Harrison at Haystack Mountain School Deer Isle, ME, 2016

◊W  inter Residency: Penland School of Craft, Penland NC, 2016

◊ S tudio Assistant for Julia Harrison at Penland School of Crafts, Penland, NC, 2013

Selected Exhibitions & Publications: ◊ Pentaculum, Invitational Exhibition in Munich Germany 2019

◊ White Gold Clay Body, Invitational Exhibition at E.R. Butler&Co New York NY 2018

◊ Anonymous Brooklyn, Group Show at Brooklyn Metals Work, Brooklyn, NY, 2018

◊ Mueral, Invitational Exhibition at the Milton J. Weill Gallery, New York, NY, 2016

◊ C. Leslie Smith: Allentown Makers, Invitational Exhibition Allentown, PA, 2014

◊ Creative Voice: A Study, Invitational Exhibition and Catalog Raleigh, NC 2014

◊ Pop up at the Frick Museum Gift Shop, New York, NY, 2013 Website: https://www.jannagregonis.com/portraits

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2019 Faculty Biennial


Badges, Brass, Vintage Linoleum, Glass, Rose Cut, Diamonds, Nylon, 2018

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Jonathan Joy Assistant Professor Cinema, Television & Media Production

Biography:

Joy is a media maker, video artist, sound designer, cinematographer, and editor. His research focuses predominantly on live cinema, “liveness,” slow cinema, and a non-traditional spectatorial model. He engages with contemporary issues and conversations, highlighting topics such as gender, identity, anti-nostalgia, solitude, and matters of the present.

Education:

University at Buffalo, SUNY, MFA Media Arts Production Clarion University, MS Mass Media Arts Full Sail University, AS Film Production Westminster College, BA Broadcast Communications

Exhibitions: ◊ S et Aside the Cobwebs in the Sky, multi-channel video installation, Project 308, Buffalo, NY, 2017

◊ Fugue Country, single-channel video installation, Center for the Arts, Buffalo, NY, 2016

◊ Global Jam, locative media installation, Burns Building, Buffalo, NY, 2016

◊B  eautiful Language, short documentary, Center for the Arts, Buffalo, NY, 2015

◊M  ethod Behind My Madness, short documentary, Center for the Arts, Buffalo, NY, 2015

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2019 Faculty Biennial


Set Aside the Cobwebs in the Sky (Gently Open Your Eyes to Sleep), Video Installation, 2017

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Leigh Kane Associate Professor Art & Art History

Biography:

A photography professor at KU, Kane creates photos, videos, and installations that explore the photo-heavy society we inhabit. Her work questions the integrity of things like photo albums, advertising, and instructional photography. She frequently spotlights the role photography has in our modern day consumer culture.

Education:

Rutgers University, Mason Gross School of the Arts, MFA University of the Arts, BFA

Exhibition Locations: ◊W  hite Columns Gallery ◊ T he New York Academy of Sciences and Shala House ◊ T he Print Center and Temple Gallery (Philadelphia) ◊M  inneapolis Photo Center ◊M  inneapolis Institute of Arts ◊B  lack Box Gallery (Portland, OR)

Publications: ◊P  hiladelphia Inquirer (Favorable review) ◊M  inneapolis Star Ledger (review)

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2019 Faculty Biennial


The Intent to be Lost, Gelatin Silver Prints, 2015-Present

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Karen Kresge Professor Communication Design

Biography:

Kresge’s design work has been included in various publications along the East Coast. She brings more than 20 years of design experience to KU and continues to provide her knowledge to students in a media heavy culture. Her featured posters and cover design within the faculty show embrace the use of bold colors and exciting visual components.

Education:

Tyler School of Art, Temple University, MFA Kutztown University of Pennsylvania, Communication Design, BFA

Works Featured: ◊C  reative Quarterly ◊ T he Dieline ◊A  iga and How’s In-House Design annual ◊G  raphis Poster annual (Merit Award) Website: https://karen-kresge.squarespace.com/

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2019 Faculty Biennial


Captured, Book Jacket Design, 2018

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Inmi Lee Associate Professor Art & Art History

Biography:

Lee is an internationally recognized artist/designer and brings a multifaceted sociocultural perspective to KU studios. Her work has been shown in various festivals and exhibitions, such as FutureFest in London, the Digital Art Biennale in Seoul, and the Boston Cyberarts Festival. Her artwork underscores the interchange of language and power through the analysis of our collective history, social systems, and limits of our cultures.

Education:

University of Washington, PhD, Center for Digital Arts and Experimental Media (DXARTS) Rhode Island School of Design, MFA Digital Media The School of the Art Institute of Chicago, BFA Visual Communication

Solo/Two-Person Shows: ◊A  rt Mora Seoul, Seoul, Korea, 2018 ◊W  indward || Windword, Jacob Lawrence Gallery, Seattle, WA, 2016

Selected Exhibitions: ◊ The Lived Body, Inaugural International Limestone Coast Video Art Festival, South Australia, 2018

York, 2015

◊ Weaving Time, Gallery Korea, New York, NY 2014 ◊ SIGGRAPH 2014 Art Gallery, Vancouver, Canada ◊ The Rule of Law and the Right to be Human, Nikos

Kessanlis Gallery, Athens School of Fine Arts, Athens, Greece, 2014

◊ Inversion/Narration, Coohaus Gallery, New York, NY, 2013

◊ Nature’s Tempo: Signs, Line and Shapes, Gallery Korea, New York, NY, 2013

Website: http://www.inmilee.net/

◊B  io-Body-Tech, FutureFest, London, 2018 ◊C  rossroads, 1st Anren Biennale, Anren, China, 2017 ◊A  RS CONTINUUM, Amelie Wallace Gallery, New Page 36

2019 Faculty Biennial


I Will Not Dance, Wood/Animation, 2016

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Zhi-Fang Li Assistant Professor Communication Design

Biography:

An artist whose work allows for viewer participation, Zhi-fang Li engages with ideas of play through a variety of artistic mediums. Conceptualizing “art as a verb,” she pursues the intersectionality between culture, technology, visual art, and design. She demonstrates her personal connection with varying cultures by exploring the relationships between architecture, landscape, and the living organisms interacting within both.

Education:

California Institute of the Arts, Art & Technology Program, Integrated Media, MFA Hunter College, City University of New York, BA Studio Arts

Awards & Achievements: ◊ S chool of Art Award, CalArts, 2016 ◊C  alArts Grant, CalArts, 2016 ◊ S chool of Art Award, CalArts, 2015 ◊C  alArts Grant, CalArts, 2015 ◊R  esidency with Full Grant, Vermont Studio Center, 2013

◊K  ossak Painting Grant, Hunter College, 2012 ◊R  esidency with Full Grant, Vermont Studio Center,

Selected Exhibitions: ◊ The Game Show, ABC No Rio x Flux Factory: NYC, 2018

◊ Small Space Festival, Emergency Arts: Las Vegas, NV, 2016

◊ Guest Gestures, JUMBO: Valencia, CA, 2016 ◊ Autobiography of Rice, CalArts: Valencia, CA, 2016 ◊ Of Zones and Volumes, CalArts: Valencia, CA, 2015 ◊ Digital Arts Expo, Sound Stuido: Valencia, CA, 2015 ◊ Chitquita Found Art, Main Gallery; CalArts: Valencia, CA, 2015

◊ On the Margins, MUMBO: Valencia, CA, 2015 ◊ Streetcar Named Desire, CalArts: Valencia, CA, 2014 ◊ Heavy Metal, SuperShop: Valencia, CA, 2014

2011

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2019 Faculty Biennial


Guest Gestures II, Animation, 2019

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Dannell MacIlwraith Assistant Professor Communication Design

Biography:

MacIlwraith brings over 12 years of interactive design to KU’s CD studios. She provides a fresh perspective for students’ work, and aims to make her media style aesthetically pleasing while also making pieces that are useful. MacIlwraith’s experience with both corporations and small businesses alike culminate in web and print designs that value the aesthetic and modern qualities of society and culture.

Education:

Vermont College of Fine Art, MFA Graphic Design Kutztown University of Pennsylvania, MEd Art Education Tyler School of Art, Temple University, BA Digital Arts

Presentations, Lectures, & Judgings:

Lectures: ◊ “ Chicago Design Week 2018” —Lecture of “Creativity in Letting Go of Certainties”

◊ " Sameness in Web Design", UCDA — Design Education Summit, Kutztown, PA, 2017.

Published Articles: ◊ 3D Interurban Experience, Slanted 26, www.slanted. de/ Workshops & Juries: ◊ Judged 2017 Young Ones Brief and Portfolio Competitions

◊ UCDA — Design Education Summit, Newark, NJ, 2016

Website: http://www.dannelldesigns.com/

◊W  ith Ann Lemon, "From painting with twigs to

parallax scrolling: translating print to code in a cross-course-collaboration", UCDA — Design Education Summit, Kutztown, PA, 2017.

◊ “ Learning about “self” through the lens of graphic

design.” National Association of Multicultural Education (PA-NAME) — Philadelphia, PA, 2018.

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2019 Faculty Biennial


Anxiety, Digital Collage, 2017

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Mark Mahosky Professor Art & Art History

Biography:

Mahosky’s work is informed by a kind of historical awareness. His paintings and drawings focus on sites of historic significance, where he combines elements like Secessionism, Cubism, and Constructivism with the dynamism of Punk graphic design. Mahosky’s interest in art history and the humanities has enabled him to interact with inmates within correctional facilities and share his knowledge abroad.

Education:

Stanford University, MFA Painting Temple University, BFA Painting Temple Abroad in Rome Pennsylvania Governor’s School for the Arts

◊ Victory for Tyler, The Ice Box, Philadelphia, PA. Juried by Robert Storr, 2011

◊ Fluorescent Brown: A Salon, Open Space, Baltimore, MD, 2010

Solo Exhibitions: ◊ T he Yellow Drawings: 1986-2017, Fleisher/Ollman, Philadelphia, 2017

◊P  aper View, Fleisher/Ollman, Philadelphia, PA, 2014

Website: https://fleisher-ollmangallery.com/artists/ mark_mahosky

Group Exhibitions: ◊P  aper Trails, Freyberger Gallery, Penn State Berks, Reading, PA, 2015

◊N  ew Wine New Bottle, Fleisher/Ollman, Philadelphia, PA, 2013

◊A  Complete Die, etc., Fleisher/Ollman, Philadelphia PA, 2012

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2019 Faculty Biennial


Rockpalast, Acrylic on Newsprint, Mounted on Mylar, 2018

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Kevin McCloskey: Professor Communication Design

Biography:

While Communication Design is often applied to brand promotion and advertising, McCloskey provides a different artistic perspective for aspiring designers with his collection of children’s books and visual publications. These creations make for quirky visual experiences rooted in a nostalgic feeling of childhood innocence and freedom. Snails Are Just My Speed, along with his other children’s books, feature illustrations that convey a sense of irony while engaging readers of all ages.

Education:

The School of Visual Arts, MFA Thomas Edison State College, BA

Awards & Publications: ◊N  EH Fellowship, Maya Institute, Yucatan and Chiapas, Mexico and Belize, July, 2011

◊ S nails Are Just My Speed, Toon Books, NY, NY, April,

◊ Tom Huck: A Life Out of Line, 32-page artist’s book illustrated with woodblocks, 2011.

◊ The Pigeon Guys, illustrations for chapbook for Hoboken Historical Museum, 2010.

Website: https://illustrationconcentration.com/k-mccloskeys-art/

2018.

◊ S omething’s Fishy, children’s book, Toon Books, NY, NY 2017.

◊ T he Real Poop on Pigeons, children’s book, Toon Books, NY, NY 2016.

◊W  e Dig Worms, children’s book, Toon Books, NY, NY 2015.

◊C  arrier Pigeon Magazine: 6 full-color illustrations. Volume 4 Issue 1, 2014.

Page 44

2019 Faculty Biennial


Snails Are Just My Speed, Acrylic Paint on Paper, 2017

Page 45


Nathaniel Meyer Assistant Professor Art & Art History

Biography:

Meyer’s work explores the connection between Naturalism and Abstraction, drawing from histories of illustration and fantasy with references to Modernism. His simple forms communicate the heroism of landscape painting while the monumentality of these elements clarify the details of the image.

◊ Travelogue: Inner Distance, Saccarappa Gallery,

Education:

Lesley University College of Art and Design, MFA Visual Arts Boston University School of Fine Arts, BFA Painting

Westbrook, Maine, 2013

Website: https://nathaniel-meyer.com/home.html

Residencies: ◊M  onhegan Artist Residency Corporation board of directors, 2017

◊M  onhegan Artist Residency, Monhegan Island, Maine, 2015

◊H  ewnoaks Artist Residency, Lovell, Maine, 2015

Selected Solo Exhibition History: ◊U  nder a Northern Sky, Elizabeth Moss Gallery, Falmouth, Maine, 2017

◊R  ockbound - Recent Narrative Landscapes by Nathaniel Meyer, Elizabeth Moss Gallery, Falmouth, Maine, 2015

Page 46

2019 Faculty Biennial


Great Pyramid (Schoodic Clouds II), Oil on Canvas, 2016

Page 47


Joshua Miller Associate Professor Communication Design

Biography:

Miller’s passion for art is embedded within the practice of sharing knowledge with others. He has taught design and programming at various colleges and universities throughout the region. His interests lie heavily in the cross between design and programming, while this particular piece, Wave Form, depends on audience interaction. Viewers may directly interact with this installation, using a series of bicycle wheels to manipulate the sights and sounds created by the projection.

Education:

MFA, Academy of Art University MS, Lehigh University, Computer Science BA, Lehigh University

Exhibitions & Installations: ◊R  E:find Gallery, Allentown, PA; Exhibited new itera-

tions of two digital works Listen With Your Eyes and Wave Form as part of a solo show on the Arts Walk in Allentown, PA, June 2018

◊ I nLight Richmond, Richmond, Virginia Designed, de-

◊ Lehigh Valley Maker Faire, Bethlehem, PA, April 2014 ◊ Listen With Your Eyes, Biennial Faculty Exhibition,

Kutztown University, Digital/Physical Interactive Installation, September 2013

◊ The Art of Indian Kolam: Traditional Design &

New Media, Digital Interactive Exhibition Pier57, Chelsea, New York City, Mirrors of the Magic Carpet / #pierpressure show, July 2013

Website: http://josh-miller.com/portfolio/

signed, programmed Wave Form, November 2017

◊A  grikultura exhibition in southern Sweden, Transplant, Malmo, Sweden, Summer 2017

◊D  igital Visual Visualization, Digital Visual, Kutztown University, October 2015

◊B  iodiversity Institute, University of Wyoming, Summer 2015

Page 48

2019 Faculty Biennial


Wave Form, Interactive, 2018

Page 49


Margaret Noel Professor Art & Art History

Biography:

Facade I, II, and III exemplify Noel’s continued study of the destruction of urban and industrial architecture as a result of natural disasters. These pieces evoke a sense of timelessness through pen and ink renderings that assume different properties as encaustic collages. Viewers imaginatively fill in the missing pieces of Noel’s fragmented compositions, a form of spectatorial activity often associated with other mediums.

Education:

New York Studio School, MFA Painting Oberlin School, BA with Honors in Studio Art

◊ Purchase Prize Recipient, 22nd National Drawing and Print Exhibition, Gormely Gallery, College of Notre Dame of MD Permanent Collection, 2011

◊ Vermont Studio Center, Artist Residency

Awards, Achievements & Publications: ◊ Governor’s Island National Park, Arts in the Parks Na◊H  yperallergic, Reality and Artifice Collide at Gowanus tional Park Artist Residency, New York, NY Open Studios; Fall 2018

◊ T he Hopkins Review, Fall 2016 Cover and center

portfolio of images, published by the John Hopkins University Press, 2016

Website: http://margaretnoel.com/

◊B  RIC Contemporary Art 2014 Short List, (Online list of 6 Brooklyn artists) - curated by Abigail Clark (of BRIC Arts Media), Brooklyn, NY

◊R  ecipient of the 2011 National Juried Show Award, First Street Gallery, NYC 2011

◊B  RIC Contemporary Art 2011 Short List, (Online list

of 10 emerging Brooklyn artists) curated by Elizabeth Ferrer, Director of Contemporary Art, BRIC Rotunda Gallery Brooklyn, NY

Page 50

2019 Faculty Biennial


Facade II, Ink on Gessoed Panel, 2017

Page 51


Carrie Nordlund: Associate Professor Art Education & Crafts

Biography:

Nordlund’s natural design style brings conceptual ideas about nature and life from the outside world into the gallery space. She claims that these works become intersectional spaces that both hide and display life. The inclusion of these organic elements within the gallery highlight the gap between the object’s setting and its original context.

Education:

University of Missouri, PhD Art Education Central Missouri State University, MA Art Education University of Illinois, MFA Sculpture/Papermaking Kansas City Art Institute, BFA Studio Art (Fiber/Design)

Achievements & Awards: ◊E  ditorial Board of Art Education, Member, The Journal of National Art Education Association

◊ "Waldorf Education: Breathing Creativity" in Art

Education, The Journal of National Art Education Association

◊ “An Invitation to Social Justice: Sixteen Principles for Teaching Art” in Art Education, The Journal of National Art Education Association

◊ “Postcard Moments: Significant Moments in Teaching” in Visual Arts Research

◊ “Teaching Art as Reflective Craft” in Translations from Theory to Practice.

Publications: ◊ " Curating Connections: Unpacking Identities" (in

Website: https://carrieyvonnenordlund.weebly.com/

press) Art Education, The Journal of National Art Education Association

◊ “ Activist Art and Pedagogy: The Dinner Party Curriculum Project” in Activist Art in Social Justice Pedagogy: Engaging Students in Global Issues through the Arts (book chapter)

Page 52

2019 Faculty Biennial


Untitled (Containtment Series), Found Objects, 2019

Page 53


Sophia Park Assistant Professor Art Education & Crafts

Biography:

Park’s featured piece here, Torment, attempts to convey ideas of hardship, restriction, and adaptability. The artist’s inspiration lies in the way plants respond to the harsh circumstances of their natural environments yet continue to grow, unimpeded by the organism’s living realities. Works like this are meant to be worn, causing the wearer to have restricted movements, adapting to the positions of the piece, similar to the adaptation requirements common among plant life.

Education:

San Diego State University, MFA Jewelry and Metals Southern Illinois University, BA Studio Art (Metalsmithing) Seoul Christian University, BA Theology

Selected Exhibitions ◊ L ong Awaited Revival, Solo Exhibition, Sungmaru Art

Awards & Achievements: ◊ Award of Merit, Textural Patois, National Juried Exhibition, Oshkosh, WI 2010

◊ First place, Jewelry + Objects: Michigan Silversmiths Guild, Detroit, MI 2009

◊ Winner of 2005 Rickert- Ziebold Trust Award, University Museum, SIU, Carbondale, IL 2005

Gallery, Chungju-si, South Korea 2017

◊C  raft Forms, International Juried exhibition of Con-

Website: http://sophiapark-jewelry.blogspot.com/

temporary Fine Craft,Wayne Art Center, Wayne, PA 2017

◊M  indful-Exploring mental health through art, Fuller Craft Museum, Brockton, MA 2017

◊ T he Ring Shows: Then & Now and Putting the Band back Together, Georgia Museum of Art, Atlanta, GA 2008

Page 54

2019 Faculty Biennial


Torment, Copper, Sterling Silver, Cheesecloth, Patina, Acrylic Paint, 2009

Page 55


Amy Pfeiler-Wunder Professor Art Education & Crafts

Biography:

Wunder’s list of accomplishments in the world of art is expansive. While she is both a writer and speaker, her visual work serves to promote ideas of intersectionality, arts integration, and social justice. She uses her visual and written pieces to analyze the power of story in relation to one’s professional identity. She utilizes arts-based research to create collage-central artworks.

Education:

The University of Iowa, PhD Teaching and Learning/Art Education University of Iowa, MA Art Education Mount Mercy College, BA Iowa Teacher’s Certification, Art Education & Elementary Education

Awards & Achievements: ◊O  utstanding Higher Education Educator, Pennsylvania Art Educators, 2017

◊ S haradin Award for the College of the Visual and Performing Arts, Kutztown, PA, 2015

◊N  ominated for the John P. Schellenberg Award for Excellence in Teaching, 2013

Page 56

2019 Faculty Biennial


Y/our Bodies?, Mixed Media, 2018

Page 57


Liz Hamilton Quay: Assistant Professor Art Education & Crafts

Biography:

Quay developed her passion for art within KU’s studios as a double major in Art Education and Crafts. Her concentration in textiles emerged from a curiosity about materials and love of making. Although working in these materials often requires processes generated by hand, she also explores the digital realm, making for a diverse collection of fiber-based pieces.

Education:

Website: https://www.lizhamiltonquay.com/bio

Temple’s Tyler School of Art, MFA Crafts, Fibers, and Material Studies Kutztown University of Pennsylvania, BFA & BSed Crafts & Art Education

Awards & Achievements: ◊ F irst Prize in Other Media, Art Association of Har-

risburg 90th Annual International Juried Exhibition, (Juror: Sara Softness, Curator of Special Projects at the Brooklyn Museum), 2018

◊H  onorable Mention, Berks Art Alliance 38th Juried Exhibition, GoggleWorks Center for the Arts, Reading, PA (Juror: Lucy Gans, artist/teacher in the Vermont College MFA program), 2017

◊ T eaching Assistant, Tyler School of Art, Temple Univ-

eristy, Philadelphia, PA (tuition remission, stipend and teaching position), 2011

◊R  ecipient of the J.K. Pawling Excellence in Craft Award, Kutztown University, Kutztown, PA, 2010

Page 58

2019 Faculty Biennial


Renewed, Vinyl, Ombre Hand-dyed Monofilament, Thread, 2016

Page 59


Heather Ramsdale Assistant Professor Art & Art History

Biography:

Ramdale is a sculptor who explores artistic dichotomies through deliberate thoughtfulness and physical comparison. Recently, she has been exploring the concept of time and motion and their relationship with each other. Her pieces are minimal in presentation but thought-provoking in the ways in which they occupy space and challenge viewer perceptions.

Education:

University of Pennsylvania, MFA State University of New York College at Cortland, BA Studio Art Art Practice & Critical Studies, Goldsmiths College, New Cross, London, UK Career Discovery Program in Architecture, Harvard University Mohawk Valley Community College, Associate in Welding Technology

◊ Slide Out Of View. Lycoming College Art Gallery. Williamsport, PA, 2016

◊ Beyond Origin. Solo Exhibition. The Gallery at Delaware County Community College. Philadelphia, PA, 2015

Website: http://www.heatherramsdale.com/

Awards & Achievements: ◊ P ollock-Krasner Foundation Fellowship Award, Woodstock Byrdcliffe Guild, Woodstock, NY, 2010

◊ P ollock-Krasner Foundation Fellowship Award, Vermont Studio Center, Johnson, VT, 2010

Solo Shows: ◊ F orm & Forever. Dowd Gallery. State University of New York at Cortland. Cortland, NY, 2018

Page 60

2019 Faculty Biennial


The Director, Concrete, Steel, Enamel, 2018

Page 61


David Rogers Professor Art Education & Crafts

Biography:

After a distinguished career in furniture design, teaching and creating wooden furniture specifically, Rogers shifted his focus to figural, digital work. For the past 15 years, he has applied his modeling skills to portrait sculpture and now utilizes computer-generated 3D animation to further model his forms.

Education:

Virginia Commonwealth University, MFA Furniture Design Virginia Commonwealth University, BFA Furniture Design

Page 62

2019 Faculty Biennial


A Quiet Man, 3D Animation, 2018

Page 63


James Rose Professor Art & Art History

Biography:

While Rose describes his work as being direct and figurative, the dynamic that emerges from his large-scale drawings is anything but simple. Creating primarily self-portraits, Rose uses his own image to navigate controversial issues related to race, struggle, spirituality, and sexuality, among other things. The artist aims to convey the complexity of his thoughts through subtle yet bold changes in the formal qualities of the artwork.

Education:

Tyler School of Art, Temple University, Printmaking Dept, MFA Virginia Commonwealth University, Painting and Printmaking Dept, BFA Virginia Polytechnic Institute

Awards & Achievements: ◊K  utztown University Professional Development Grant, 2016

◊K  utztown University Sabbatical Leave, 2014-15 ◊ S enior Faculty Development Grant, 2014 ◊W  inter Residency at the Scuola Internazionale di Grafica, Venice, Italy, 2012-13

Page 64

2019 Faculty Biennial


NULL, Graphite on Rag Board, 2018 VOID, Graphite on Rag Board, 2018

Page 65


Rick Salafia Professor Art Education & Crafts

Biography:

Salafia’s diverse interests in sculpting, photography, and woodworking has informed his teaching practices within Foundation Design and Digital Media classes at KU. His Object Lessons series is a collection of abstract wooden sculptures that use minimal 3-D geometric shapes to penetrate the viewer’s space. Running the length of the gallery entry, these sculptures cast transformative shadows that extend, distort, and accentuate the finely crafted forms.

Education:

Website: http://www.ricksalafia.com/

Rutgers University, MFA University of Rhode Island, BFA Middlesex County Community College

Awards & Achievements: ◊H  ousing and Residential Life Person of Distinction Award, 2013

◊ S haradin Award for Distinguished Achievement, 2012

Page 66

2019 Faculty Biennial


Object Lessons, Wood, 2018

Page 67


Elizabeth Schneider Assistant Professor Art & Art History

Biography:

Schneider’s art restructures the concept of collage through paintings and animations that engage with a technologically advanced society. Her work is couched within ideas of technophobia and today’s cyborg society. Her art highlights our contemporary era’s addiction to technology, pointing to the ways in which humans are tied up in a modern digital culture. She uses painting combined with animation to transgress boundaries between artwork and audience, making dialogue between physical and virtual spaces.

Education:

University of South Florida, MFA Fine Arts Cornell University, BFA Fine Arts

Awards & Achievements ◊ F rame by Frame Award, 39th Annual Juried Exhibition

at the University of South Florida, Juror Carrie Mackin, 2015

◊ F rame by Frame Award, 38th Annual Juried Exhibition at the University of South Florida, Juror Kalup Linzy, 2014

◊ Y 2K Graduate Fellowship, University of South Florida Carolyn M. Wilson Scholarship, University of South Florida, 2013

Page 68

2019 Faculty Biennial


Don't be dramatic., HD Video Animation, 2018

Page 69


Jayne Struble Assistant Professor Art & Art History

Biography:

Struble’s creations, like Landfall, point to the deconstruction of artistic materials. Creating work that consistently threatens to collapse, she inverts the intended purpose of materials like plywood or concrete and allows for their ruinination. These pieces in turn reference topics like loss and materialism in relation to human visual consumption and challenge the expectation that artistic materials remain timeless and valuable.

Education:

Columbus College of Art & Design (CCAD), MFA Kutztown University, BFA Painting Concentration

◊ Flagler Faculty Exhibition, Crisp-Ellert Art Museum, St Augustine, FL, 2017

◊ Into the Wilderness, Charles A. Hartman Fine Art, Portland, OR, 2016

Residencies: ◊V  ermont Studio Center, Johnson, VT, 2017 ◊ J entel Artist Residency, One Month Residency Fellow-

◊ The Whiteness of the Whale, Cultural Arts Center,

Columbus, OH Ohio Art League Spring Juried Exhibition, Schnormeier Gallery, Mount Vernon, Ohio, 2015

ship, Sharadin, WY, 2016

◊C  oyote Canyon MFA Residency, San Diego, CA, 2013

Website: http://www.jaynestruble.com/

Awards: ◊G  reater Columbus Arts Council Material Supply Grant, Columbus, OH, 2015

◊M  FA Academic Scholarship Award, CCAD, Columbus, OH, 2012

Exhibitions: ◊ T otal Request Live, Video Show, Train Car Park,

Gainesville, FL [de]compose [re]produce, 4Most Gallery, Gainesville, FL, 2018

Page 70

2019 Faculty Biennial


Landfall, Drywall, Plaster, Graphite on Mylar, 2018

Page 71


Evan Summer Professor Art & Art History

Biography:

With prints that primarily depict the intersection between landscape and architecture, Summer’s work elicits concepts of memory and change. The prints show the passing of time and the anonymity of historical imagery through visual evocations of creation and abandonment. Summer aims to create an aesthetic that is more than just physically beautiful, instead pointing to the ways mankind manipulates his environment to fit his demands through the artist’s use of realism and shading.

Education:

Website: http://www.evansummer.com/

Yale University School of Art, MFA Printmaking State University of New York at Buffalo, BFA State University of New York College at Cortland, BS Chemistry

Awards & Achievements: ◊V  isiting Artist Residency, Guanlan International Printmaking Base, Guanlan, China, 2013 and 2010

◊A  rthur and Isabel Wiesenberger Award for Excellence in Teaching, Kutztown University, Kutztown, PA, 2011

◊V  isiting Artist, Roman Witt Visiting Artist Program, University of Michigan, Ann Arbor, MI, 2010

◊ L andscape Fantasia, East Area Gallery, Guanlan International Printmaking Base, Guanlan, China, 2010

Page 72

2019 Faculty Biennial


Landscape LIX, Collagraph, 2018

Page 73


Jenn Suwak Assistant Professor Cinema, Television & Media Production

Biography:

Suwak is a filmmaker, working primarily in Documentary. She has worked in various industry positions throughout her career. Her sculpture, animation, and documentary pieces have been shown internationally in many exhibitions and film festivals, including the Austin Film Festival, San Francisco DocFest, and Black Maria.

Education:

Rutgers University, Mason Gross, MFA Upsala College, BA

Awards & Achievements: ◊ I nvitation for featured speaker, representing K.U. at

the Kishinchand Chellaram College. Department of Mass Media 6th Media Summit International Conference on Media Integrity, Mumbai, India, February 2019

◊ L afayette College Special Screening Event of most

recent documentary film ‘The Voice of Lafayette College’, arranged by Lafayette College, Easton, Campus Life and Athletics ,Feb. 2, 2019

◊ F ilm Screening/Presenter at Hawaii University Inter-

national Academic Conference on Arts, Humanities, Social Sciences and Education, Waikiki, HI, January 3-6, 2019

◊ S creening International benchmark academic film

conference – 2018 UFVA (University Film and Video Assoc.) 2 films – ‘Stage 7’ and ‘Frieda & Eddie, A Jersey Shore Love Story’, July 2018

Page 74

◊ Best film in the Lehigh Valley, ‘The Voice’ at the 10th annual ‘Movies at the Mill’, Easton, PA, 2018

◊ The Voice’ Audience award winner, South Side (Beth-

lehem, PA) Fifteenth Annual International Film Festival

◊ Board member, Cinema Programming Committee at Bethlehem, PA’s SteelStacks ArtsQuest

◊ Frieda & Eddie, A Jersey Shore Love Story’, Austin

Film Festival, nomination for best short documentary, 2015

◊ Presenter at the 10th Annual International Luang Prabang Film Festival, Luang Prabang, Laos

◊ Frieda and Eddie, A Jersey Shore Love Story’, Official Selection for Access Code International Film Festival, Bangalore, India

◊ ‘Pulling Teeth’, Austin Film Festival, nomination for best short documentary, 2013

◊ 2nd place’ in shorts category, 31st Annual Three Rivers Film Festival, Pittsburgh, PA

2019 Faculty Biennial


Frieda and Eddie, A Jersey Shore Love Story, 720P Video, 2018

Page 75


Dan R. Talley Professor Art & Art History

Biography:

Talley’s photographs consistently engage practices of Conceptualism and Minimalism, an artistic trend that emerged early in his career. His work explores a range of historical, metaphorical, and personal concepts through aesthetically rich compositions that often feature a single item. Things that might seem insignificant in our everyday lives are the focal point of his photographs, becoming abstracted through contemplation of these regular objects.

Education:

Website: https://danrtalley.com/

University of Hartford, MFA Video/Photography Atlanta College of Art (Absorbed by Savannah College of Art and Design, 2006), BFA Painting

Awards & Achievements: ◊K  utztown University’s Chambliss Faculty Research Award, 2019

◊ S enior Faculty Development Grant, Summer 2013 ◊ F aculty Research Grant, Kutztown University of Pennsylvania, 2013

◊ I ndividual Study Grant, Kutztown University of Pennsylvania, 2013

◊R  ecipient, Sharadin Award for Excellence, Kutztown University of Pennsylvania, 2010

Page 76

2019 Faculty Biennial


Infinite Possibilities/Descriminating Measures (iteration: 1/24/192/17/19), Black and Gray Pigmented Archival Ink on Paper, 2018

Page 77


Holly Tienken Assistant Professor Communication Design

Biography:

Tienken’s work and profession are rooted in a concern for the preservation of the future, both in the landscape surrounding her and the student body she works with. Her career in graphic design and art direction include clients like Warner Brother Records and ABSOLUT Vodka. In 2007, she co-founded “Bag the Habit”, which is a line of reusable bags meant to highlight the importance of environmental conservation. Since then, she helped create a program, “WE CREATE THE FUTURE”, which strives to inspire elementary school students to embrace the benefits of reusable items over the damaging effects of single use items.

Education:

School of Visual Arts, MFA Kutztown University of Pennsylvania, BFA

◊ “The Quest for Creative Satisfaction” Holly Tienken

and Rich Tu (VP of Design, MTV), EIGHTY LIVE/EIGHT MAGAZINE, Jersey City, NJ, June 2018

◊ Fellowship Recipient, Design Incubation, New York,

Awards & Achievements: ◊D  esign Incubation , Colloquium 4.4, Parsons Inte-

grated Design, “LISTEN, RESEARCH, PERSONALIZE, PRACTICE, SOCIALIZE Teaching Professional Practices for Designers” New York, NY, June 2018

◊C  reative Quarterly, Runner Up, 2018 ◊U  niversity & College Designers Association (UCDA),

Design Education Summit, “Designing for Death” with Professor Elaine Cunfer and Vicki Meloney, Kutztown, PA, May 2017

NY, September, 2018

◊ Junior Faculty Development Grant, College of Visual and Performing Arts, Kutztown University of Pennsylvania, Kutztown, PA, October, 2018

◊ Junior Faculty Development Grant, College of Visual and Performing Arts, Kutztown University of Pennsylvania, Kutztown, PA, April, 2018

Website: https://hollytienken.design/

◊ P anelist, “Portfolio Success: Strategies for Professional Development”, Design Incubation/Type Directors Club, New York City, NY, September 2018

Page 78

2019 Faculty Biennial


Geraldine's Branding, 2015

Page 79


John Howell White Position: Professor Art Education & Crafts

Biography:

White’s career explores both the creativity of visual and written language. A practicing artist for more than 40 years, he works primarily in painting, embracing mediums like oil, acrylic, watercolor, and egg tempera, to explore the relationship between sensation and cognition.

Education:

Website: http://www.johnhowellwhite.com/

The Pennsylvania State University, PhED Art Education The Pratt Institute, MFA Painting

Publications: ◊G  etty Doctoral Fellowship for his dissertation, "Truth and Community: Constructing the Cultural Self."

◊W  hite, John Howell, Experience Painting. Davis Publications, Inc. 2014.

Page 80

2019 Faculty Biennial


SCRIPT, Oil on Canvas, 2018

Page 81


Gwendolyn Yoppolo Assistant Professor Art Education & Crafts

Biography:

Yoppolo’s creations interact with ideas of human relationships and textural sensuality. Though simple in shape, her work forces audiences to engage with their own worldly perceptions and speak to physical interaction between individuals. Her handmade kitchen utensils literally reference ideas of consumption through our associations with food and dishware, and their intended purposes, while simultaneously stimulating our own visual consumption of the pieces.

Education:

Website: https://www.gwendolynyoppolo.com/

Penn State University, MFA Ceramics Columbia University, MA Education Haverford College, BA Sociology

Awards & Achievements: ◊ J unior Faculty Development Grant Kutztown University, 2018

◊ I nstructional Materials Grant Kutztown University, 2018 ◊B  est of Functional Category Zanesville Prize for Contemporary Ceramics, 2017

◊ P rofessional Travel Grant Kutztown University, 2017 ◊ J unior Faculty Development Grants (2) Kutztown University, 2017

◊ I nstructional Materials Grant Kutztown University, 2017 ◊O  pportunity Grant Montana Arts Council, 2010 Page 82

2019 Faculty Biennial


Mug with tea infuser and stand, Cone 6 Matte crystalline glazed porcelain, 2018

Page 83


Special Thanks Catalog Designer & Compilation Shelby Otto Cover Design Matt Stachewicz Essay Contributors Dr. Peg Spiers Karen Stanford Dan R. Talley Faculty Member Dr. Daniel Haxall Gallery Director Karen Stanford

Note from the Author: I want to offer my own personal thanks to Dr. Daniel Haxall and Karen Stanford. To both, I say thank you for taking a chance on me as a writer and art historian, and also as a brand new designer, and for sticking with me throughout the entirety of this project. What began as an assignment for an independent study has grown into the largest and most diverse publication I've put together to date. So to Dan, thank you for your constant encouragement of my writing and application of art historical knowledge as well as the months of edits which went into this catalog, and to Karen, thank you for your endless support and supply of information, and your assistance in networking. This catalog would not have been concievable without help from these two esteemed individuals.

Photographer Ethan Storms

Page 84

2019 Faculty Biennial


Profile for Kutztown University, Miller Gallery

Faculty Biennial: Spring 2019  

Faculty Biennial: Spring 2019  

Profile for millerku
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