UF SA+AH digital catalogue 2014

+P L A C E

PRACTICE P E R C E P T I O N

+

C O LLEGE OF T H E ARTS

DEAN’S STATEMENT

T

he School of Art + Art History shares a national reputation for teaching excellence and creative research, with the College of the Arts’ School of Theatre + Dance and School of Music.

This publication celebrates the work of our faculty—the

Our faculty continues to promote the conditions for

central facilitators of our mission to educate students,

creativity—collaboration, diversity, interdisciplinary

contribute to new and existing bodies of research, and

exchanges, inspiration, appreciation, and a culture of

foster ways of knowing and understanding ourselves,

courageous risk. As a major presenter and facilitator

our neighbors, and our world.

of creativity for our surrounding community and

region, the School of Art + Art History hosts dozens of

I invite you to view the pages of this catalogue to learn

exhibitions, interdisciplinary events, and discussions

more about the significant efforts and accolades of

led by renowned guest artists, scholars, and historians,

our faculty and to view images of works representing

while our own faculty, alumni, and students exhibit their

the dynamic relationship between students and their

works and research on campuses and in communities

faculty mentors. These highlighted works are made

throughout the world.

possible by the unique resources and opportunities established by our community of artists, teachers,

Our alumni are among the ranks of educators in K-12 and

students, alumni, and staff here at the University of

higher education institutions, artists, art dealers, museum

Florida. These include international learning programs

curators, gallery owners, designers, creative entrepreneurs,

organized and led by our faculty, opportunities to

and other fields in which they apply their creativity, complex

engage with the national arts community through

problem-solving skills, and ability to construct ideas from

participation in major domestic events and activities

diverse, often disparate, points of view.

(e.g. Art Basel Miami Beach, studio visits in New York

City), facility and technology resources, and internships

We celebrate the publication of this faculty catalogue

and entrepreneurial development opportunities nurtured

as an accolade to the University of Florida, proudly

through on- and off-campus programs and activities.

dedicated to providing an environment that nurtures

those artists, historians, educators, and leaders who are committed to the challenges and promises of a life in art.

Lucinda Lavelli DEAN

UF Ranked No. 3 in the Fiske Guide to Colleges list of Best Buys Among Publics (2014)

+

+

S CH OOL OF A R T + ART HI STORY

DIRECTOR’S STATEMENT

P

LACE, PRACTICE, PERCEPTION celebrates the innovations and accomplishments of this dedicated group of Art + Art History faculty.

PLACE symbolizes not only our geographic location, but also this moment in time.

PRACTICE corresponds to the process of making and

Our innovative curriculum combines both freedom

scholarship and PERCEPTION represents how we look

and structure in a challenging, yet supportive learning

at the world, literally, theoretically and historically.

community for the individual student artist and scholar.

The 2014-15 academic year marks a milestone in

We offer BA, MA, and PhD programs in Art History, an

our school’s history with the 50th anniversary of the

MA in Museum Studies, a BA and MA in Art Education,

School of Art + Art History (SA+AH) Annual Faculty

a BA in Visual Art Studies, as well as BFA and MFA

Exhibition held at UF’s Samuel Harn Museum of Art titled

programs in Studio Art.

“Solo::Together.” Over the 50-year history our program and faculty have grown and evolved to encompass

The BFA studio program begins with the Workshop

a wide variety of scholarly, conceptual, and creative

for Art Research and Practice (WARP), our nationally

approaches to art research and practice.

recognized, alternative foundations program that introduces the study of art through ideation and theory

The SA+AH offers a creative learning environment that

in a collaborative working community and evolves to

provides small classes within a large, comprehensive,

an in-depth studio concentration in each student’s

highly selective, top ranked, AAU institution. Students

chosen media. Our Art History students engage with top

in the art program can expect to work individually with

academics in the field gaining interdisciplinary research

faculty that have achieved national and international

and critical thinking skills. The Museum Studies graduate

reputations. Our programs feature an integrated

program offers sound academic grounding and museum

synthesis of theory and practice in an innovative and

theory, combined with practical experience. The Art

collaborative learning experience that explores the art

Education program provides students with extensive

world through academic inquiry, research, technology,

opportunities to hone their knowledge and skills as

and creative studio learning. With this in mind, the

art teachers through residential, as well as, on-line

mantra we have embraced is “pursue your passion and

learning opportunities. The school’s award winning

create your life.”

and internationally acclaimed faculty and outstanding student body all combine with the overall intellectual

The SA+AH encompasses over 350 undergraduate

community of our creative campus to make the School

art majors and minors, almost 200 graduate students,

of Art + Art History an exceptional place to become

and 38 full-time faculty as well as a highly qualified and

immersed in study of the interrelationship of art to the

dedicated team of adjunct faculty and support personnel.

world at large. Our stimulating and dynamic learning

Our faculty maintains a strong commitment to teaching

environment allows students to discover and follow

while actively engaging in creative and scholarly research.

their passions to pursue careers as artists, designers,

Our curriculum embraces history and theory, explores

scholars, and educators prepared to make life-long

and challenges contemporary visual culture, and plays an

contributions to art and visual culture.

active role in educating artists and scholars who will be creating the art world of the 21st century.

+

Richard Heipp UF ranked No. 15 on the Forbes list of best public universities (2013)

DIRECTOR

+

HA R N MU S EU M OF A RT

“SOLO::TOGETHER” 50 th Annual Art Faculty Exhibition

T

he School of Art + Art History at the University of Florida has provided the Harn Museum of Art with a bounty of new art from a wide range of media for the 50th Annual Art Faculty Exhibition.

The “50th” of anything is a cause for celebration; in this

Howard Singerman, author of Art Subjects, a history

instance, it is to recognize and applaud the efforts of the

of art education, writes that the most important thing

artists who define the University of Florida’s current art

to teach and learn in art school is, “how to be an artist,

studio faculty, building on the foundation laid by eminent

how to occupy the name, and how to embody that

faculty before them. As curator to this exhibition, I was

occupation” through deeply felt motives and beliefs that

struck by what it takes to be a working artist while also

will last the forty+ years of an artist’s career. Alone in

teaching at a major university. This balancing act demands

the studio or together on campus, this present UF art

from these artists an ability to be part of a collective,

faculty ‘embodies their occupation.’ They are joined by

and to communicate to students what is often un-

a passion for self-expression and a collective life-style

communicable—self-discovery, motivation, dedication

that is engaged in this place, at this unique time—the

and perseverance; all the while finding the necessary

second decade of the 21st century—giving eloquent

solitude (an elusive ingredient) to make their own art.

form to personal quests or political concerns great and

The exhibition’s title, “Solo :: Together,” acknowledges

small. Whether through video, printmaking, sculpture,

this contradiction: artists by necessity work alone, yet

or clay, a refined realist technique or a raw gestural one,

through these solitary acts, they alter our perceptions

they express—within the boundaries of their medium, yet

of the world at the same time establishing national

with mastery over it—a complex vision. Such commitment

and worldwide reputations for themselves and the

deepens our understanding of the human experience

school in which they teach.

through art, and accomplishes what the painter Eric Fischl (paraphrased here) once wrote all good art should do:

Now more than ever before, artists are products

stop us in our tracks, make us step outside ourselves, and

of university art programs. They earn advanced

trade places with the artist. We walk into the exhibition

degrees that allow them to teach, with the classroom

solo, and leave together with the artist.

becoming an important part of their art practice and identity. It is an arena rich in opportunities to mentor, cross-fertilize with other disciplines, and contribute to the larger discourse in one’s chosen medium. A teacher can become the center of a set of ideas, a style, or movement that excites new work (think of the Bauhaus or Black Mountain College cohorts). All the while the university demands that studio faculty engage in theoretical global art trends, learn new artmaking methods and teaching technologies, and market themselves through public commissions and/ or a steady schedule of exhibitions. These Herculean efforts generate visibility for the school, keeping it a vital destination for the study of art.

+

UF has one of the largest university-affiliated art museums in the United States sized at 108,800-square-feet and houses a permanent collection of more than 9,000 original works

Carol McCusker CURATOR Carol McCusker is the Curator of Photography at the Harn Museum of Art. She received her B.F.A. from Massachusetts College of Art, and the M.A. and Ph.D. in art history with an emphasis on the history of photography at the University of New Mexico. McCusker has received two National Endowment for the Arts Awards.

SA+AH FACULTY Linda Arbuckle

Robin Poynor

Barbara A. Barletta

Celeste Roberge

Anthea Behm

Maria Rogal

Anna Calluori Holcombe

Craig Roland

Amy Freeman

Elizabeth Ross

Katerie Gladdys

Brian Slawson

Richard Heipp

Craig Smith

Melissa Lee Hyde

Nan Smith

Lisa Iglesias

Maya Stanfield-Mazzi

Ron Janowich

Jack Stenner

Ashley Jones

Rotem Tamir

Ellen Knudson

Bethany Taylor

Guolong Lai

Michelle Tillander

Sean Miller

Joyce Chia Chi Tsai

Julia Morrisroe

Sergio Vega

Robert Mueller

Amy Vigilante

Dana Myers

Glenn Willumson

Teaching Lab Specialists

Alisson Bittiker Michael Christopher Derek Reeverts Bradley Rex Smith

+

The University of Florida’s tuition is among the very lowest in the United States and 49th among the 50 state flagship universities in the country

+

+

AREAS OF STUDY Art + Technology Technology and mediated information are transforming our lives, resulting in shifts in social interaction and the way we perceive our environment and ourselves. Culture needs artists who can intelligently engage these developments. The Art + Technology program sees culture as inseparable from its technologies, and therefore looks outward for potential sites of creative action.

Learning is viewed as a participatory experience whereby students learn aesthetic, technical and production skills in a hands-on environment. Students are encouraged to approach ideas, materials, and experiences from a multidisciplinary perspective, using a growing range of technological practices to critically explore and understand the world.

Art Education The mission of the Art Education program is to provide students with a thorough understanding of the ways in which art education evolves in response to changing cultural, economic, political and technological conditions. While our undergraduate program is intended to prepare future art teachers for positions in Florida’s public schools (preK-12), our graduate program aims to develop leaders within the field who demonstrate reflective, critical thought and scholarship, as well as a commitment to ongoing professional development. Graduate students can complete either the residential or online Master of Arts in Art Education program. For more information visit: http://education.arts.ufl.edu. Residential graduate students have the option to complete the state-approved Educator Preparation Institute (EPI) that allows students to earn a Master’s degree and K-12 Florida Art Teacher Certification.

Art History The Art History program offers in-depth study of the world’s art traditions. Students learn to identify, describe, and interpret works of global art in the fullness of their cultural and historical context, while gaining progressive mastery of the field’s methods of critical analysis, scholarly literature, and interdisciplinary perspectives from related fields. The curriculum is thoughtfully designed to build skills in critical thinking, research, writing, and oral communication. The Harn Eminent Scholar in Art History program brings a slate of internationally renowned art history scholars to campus each year, while internships and other opportunities at UF’s Harn Museum afford hands-on engagement with a significant collection of art objects.

Ceramics Ranked by US News and World Reports as one of the top 15 programs in the country, the Ceramics program is designed to promote growth in aesthetics, technical knowledge, theory, criticism, and conceptual approaches. The strength of the program resides in its diversity: no one style, aesthetic or technical focus is stressed over others, and experimentation is encouraged. The curriculum addresses the broad range of perspectives found in contemporary ceramic art including sculpture, vessel-referenced works, installation and pottery, and includes historical and contemporary references.

Opportunities to work in new technologies such as 3D printing and CNC routing are encouraged. Professional practices information helps undergraduate and graduate students make the transition from school into the professional arena. Along with the BFA and MFA degree programs, Ceramics also offers a highly selective, full year, Post-Baccalaureate experience, as well a Certificate in Studio Art with a specialization in Ceramics

Creative Photography The Creative Photography program offers an innovative blend of conceptual and experimental approaches to the visual image. As one of the most established programs of graduate and undergraduate study in photography in the United States, the UF Creative Photography program provides highly experienced faculty supervision in photography, as well as research expertise in the broad field of contemporary visual inquiry. Students are encouraged to develop their personal artwork through a constructive dialogue that builds on each student’s individual strengths and interests. Work that engages the future trajectories of photography and related practices (such as electronic media, installation, and performance) and evolves from an informed inquiry into the histories, theories, and practices of the photographic image and visual culture is encouraged.

Drawing Students in the Drawing program work from a variety of perceptual, conceptual, procedural, imaginary and theoretical models. Emphasis is placed on the investigation of drawing as a media in which to create strong statements of personal expression. Through practice and the development of research and studio skills, as well as the study of histories, theories and practices of their discipline, students develop a studio practice where the making of drawings is deeply embedded and informed by the ideas behind them. Through a range of drawing courses students hone their individual voice and vision and construct their visual language.

The UF freshman retention rate of 96% is among the highest in the country

+

SA+AH has the highest ranked MFA program in the state of Florida, with Ceramics being ranked the 15th best program nationally

Painting Students in the Painting program study a range and multiplicity of ideas to develop contemporary, traditional and experimental approaches to painting. Training in painting’s history, research and studio skills all prepare students to develop a practice where the making of paintings and the ideas behind them are simultaneous and engaging. Emphasis is on the development of concepts and skills and the creation of a vocabulary of painterly forms to realize a personal vision. Students learn to effectively use in depth research practices, technical investigation and exploration to develop a coherent discourse surrounding their work and ideation.

Graphic Design

Printmaking

We offer the undergraduate BFA in Graphic Design and the graduate MFA in Studio Art with a Graphic Design concentration. Both programs are centered on a uniquely collaborative studio/classroom environment where students build a vibrant learning community to foster exceptional creativity and innovation. This structure is key to our curriculum as it empowers and prepares students for life-long careers in this dynamic field. As a professional degree, our BFA teaches the practice of graphic design. Our MFA, which builds on professional proficiency, emphasizes advanced research in design.

Our alumni consistently indicate that our programs—with their vibrancy, community, and conceptual orientation—prepared them well for rich and rewarding careers in diverse positions.

The goals of the Printmaking program are to introduce students to the expressive nature of printmaking both historically and conceptually and to examine the purpose, function and aesthetics of this art form within the larger context of the contemporary art world. Students will discover ways to incorporate and extend their interests to further develop aesthetic thinking, skills and career goals. Instruction embraces technique, conceptualization, experimentation and encourages collaboration. Students may pursue work in lithography, intaglio, relief printing, screen-printing, photo-based processes, letterpress, book arts, mixed media, installations, and other experimental processes. No style or aesthetic approach is stressed over another.

Museum Studies

Sculpture

The Museum Studies program, established in 1999, is a two and one-half year graduate degree program that offers sound academic grounding in a selected discipline, museum theory, and practical experience. Students select and pursue a disciplinary emphasis of their choice (for example Anthropology, Art Education, Art History, Education, English, History, Historic Preservation, Tourism, or Science) as well as participate in comprehensive museum studies seminars, practice, and internships. Upon completion of the program, graduates will have attained the skills and knowledge necessary to pursue careers in a variety of institutions, including art, natural history, history, anthropology, or children’s museums, historic sites, the National Park Service, and various other interpretive sites and institutions.

The goals of the Sculpture program are to encourage and guide the development of each student through a process of creative inquiry that is deepened through the cycle of conceptualization, research, realization and critique. Students are provided instruction in a wide array of technical skills and conceptual approaches that are transferable to many other fields and disciplines. While promoting rigorous investigation of all facets of contemporary sculpture, the program encompasses a wide range of media and methods ranging from the traditional to highly experimental.

Visual Art Studies The Bachelor of Arts in Visual Art Studies (VAS) enables students to achieve proficiency in general art, including concept development, experimental approaches, technique and formal composition. Through the study of art theory, art history and historic and contemporary art, students gain knowledge of art genres and systems of thought.

Emphasis is on the development of new approaches to art making.

Students learn to effectively use sound research practices, to discuss the development of their work both in speech and in writing, and to begin to develop a portfolio.

+

In spring 2014, UF admitted 1,260 International Baccalaureate students – more than any other university in the U.S

+

SA+AH RESOURCES Art in State Buildings Program The University of Florida’s Art in State Buildings (ASB) Collection, managed by the SA+AH’s University Galleries, consists of more than 150 artworks located at various UF facilities throughout the state. The majority of the pieces are site specific artworks commissioned through the state program mandating that 1/2% of the total construction costs for new state-funded buildings are to be used for the acquisition of artworks. The ASB program will be coupled with UF’s Art Across Campus program, which will include an overall campus master plan for public art that can be purchased through private funding. The built environment on campus includes many important public art landmarks, from Alachua, by John Henry, to Tom Otterness’s bronze sculpture, DNA, located in the Genetics, Cancer Research, ICBR Pavilion.

www.arts.ufl.edu/asb/

Samuel P. Harn Museum of Art

Harn Eminent Scholar Chair in Art History The Harn Eminent Scholar Chair in Art History (HESCAH) is dedicated to fostering an ongoing discussion of current scholarship in art history. Each year the SA+AH faculty and curators at the Harn Museum of Art choose distinguished scholars to present their

The University of Florida’s Samuel P. Harn Museum of Art,

current work on campus. The scholars represent a range of fields

founded in 1990, collaborates with university and community

in the history of art and are outstanding art historians, critics, and

partners to inspire, educate and enrich people’s lives through art.

curators. Each scholar presents a public lecture and interacts with

The museum brings the joy of experiencing great works of art

students, whether in the classroom or at informal gatherings. The

to diverse university, community, national and global audiences

HESCAH Program is made possible by an endowment generously

through relevant and enlightening art collections, exhibitions

gifted by Dr. and Mrs. Cofrin. Recent Scholars have included:

and learning opportunities. The museum’s collections include

Ariella Azoulay, Holland Cotter, Thomas Cummins, Michael Fried,

more than 9000 works focusing on African, Asian, Ancient

Dan Grahm, Elizabeth Harney, Eleanor Heartney, Elisabeth Helsinger,

American, Oceanic, modern and contemporary art, photography

Amelia Jones, Pamela Lee, Lucy Lippard, Amy Meyers, Ruth Phillips,

and a growing collection of natural history works on paper. The

Jock Reynolds, William Truettner, and Andrew Wallace-Hadrill.

108,800-square-foot facility contains eleven galleries displaying

paintings, drawings, ceramics, sculpture, photography, video,

Visiting Artist and Scholars Program

beadwork, textiles and more. Gardens are also located within and

The Visiting Artist and Scholars Program annually invites a diverse

around the museum, two of which are Asian-inspired.

http://www.harn.ufl.edu/

range of notable speakers that offer significant contributions to the contemporary discourse in the fields of art, art practice, theory, history and criticism. Visiting speakers regularly offer lecture presentations, workshops, and critiques, as well as interact with students through discussions, seminars, and studio visits. The program is made possible through the endowed Marston Lectureship in the Fine Arts. In addition, this program regularly partners with the Harn Museum of Art, Hot Clay Ceramics Lecture Series, as well as other units on the UF Campus. Recent Visiting Artist and Scholars have included: Diana Al-Hadid, Janine Antoni, Dan Cameron, Beth Cavener Stichter, Brody Condon, Mark Dion, Jim Drain, Gregory Green, Tue Greenfort, Fritz Haeg, Oliver Herring, Christine Hill, Eduardo Kac, Steve Kurtz (The Critical Art Ensemble), Tea Mäkipää, Kerry James Marshall, Michael Rakowitz, and Alec Soth.

+

UF ranked No. 4 in the number of start-up companies created in 2012

Study Abroad Opportunities

+

UF is home to one of the world’s largest butterfly and moth collections, with more than 9 million specimens

The University values the study abroad experience as an enriching component of the college career and offers a wide range of History encourages students to experience other cultures and

Graduate Fellowships, Assistantships and Scholarships

earn credit toward their degrees. Students in approved college

Graduate students in SA+AH are eligible to receive a Graduate

programs may utilize courses taken abroad toward their required

Assistantship or Graduate School Fellowship. Ninety percent

summer study. Study abroad programs have included such

of PhD students and seventy-five percent of resident MA students

unique offerings as installation art in Ireland or Scotland, graphic

receive funding awards. Almost one-hundred percent of MFA

design in Japan, or woodcarving with an ecological perspective on

students receive awards for the full 3 years of the program.

Andros Island in the Bahamas. Traditional study abroad programs

Fellowship awards can be as much as $16,000 per year. In

in France, Greece and Italy provide opportunities to study art

addition to stipends, graduate assistants and fellows receive

history, painting, drawing, photography, or digital media.

health insurance and a full tuition waiver valued at over $28,000

opportunities from which to choose. The School of Art + Art

per year for out-of-state and international students and almost

Scholarships Each year, the School of Art + Art History awards a number of competitive scholarships based on artistic and academic merit.

Awards range from $250 to $2500. The SA+AH is thankful for the generous donations that allow us to help support our most

$10,000 for Florida residents. Graduate travel and additional scholarship awards are also available to qualified students.

WARP - The Workshop for Art Research and Practice

outstanding graduate and undergraduate students through

This unique team-taught course was conceived and developed by

scholarships such as the Amy Nicole DeGrove Memorial Scholarship

visionary faculty members in 1993 to build a strong conceptual

Fund, the Carolyn A. Novogrodsky Memorial Award, the Dennis

foundation and to prepare students for the rigorous expectations

and Colette Campay Studio Art Scholarship Fund, the E. Robert

in subsequent SA+AH coursework. This innovative program,

Langley Scholarship Fund, the James J. Rizzi Scholarship Fund,

housed in a dedicated facility known as WARPhaus, provides

and the Jerry Cutler Graduate Travel Scholarship.

students with lifetime tools for interpreting, understanding and creating art in the ever-changing fields of art and design.

Undergraduate Advising Office

WARP integrates an exposure to contemporary art, theory, and

The University of Florida’s School of Art + Art History is committed

a comprehensive introduction to the study and practice of art in

to quality academic advising for all its students and provides

the twenty-first century.

research methods with studio coursework, providing students with

specialized advising for the school’s eleven majors. The advising staff is dedicated to serving the unique needs of our undergraduate majors. This ensures that students understand the complexities

Annual SA+AH New York Trip

and special requirements of their degree plans while serving as

For over 30 years the School of Art + Art History has conducted

a primary support, enabling them to achieve their specialized

the New York Museum, Gallery, and Studio Excursion. This trip has

education goals.

provided an opportunity for over 600 graduate and undergraduate art students to be immersed in an intense guided educational experience in the capitol of the art world. Students visit the major art museums and gallery districts, attend meetings with gallery professionals and experience intimate studio visits with wellknown and emerging artists. This successful trip has fostered a thriving community of SA+AH alumni who are active in the New York art scene.

sā+äh Salon The sā+äh (say –ah) salon is a interdisciplinary collision space located in Fine Arts Building “C” where student and faculty can hold informal meetings, gatherings, as well as collaborate and study. The space features several seating arrangements including, comfortable seating, a conferencing area with a wall mounted 60” monitor, study and small group meeting spaces. In addition the Salon offers SA+AH document and slide scanning equipment and services.

+

SA+AH FACILITIES

WARPhaus (Workshop for Art Research and Practice) 534 SW 4th Avenue

Architecture and Fine Arts Library 1389 Stadium Road The Architecture & Fine Arts (AFA) Library is the primary UF repository for research materials in architecture, art, art history, historic preservation, interior design, landscape architecture, museum studies, and music, with key resources for building construction and urban & regional planning. The collections of the AFA Library primarily support academic programs associated with the College of the Arts and the College of Design, Construction & Planning. In addition to over 130,000 bound volumes (books, journals, musical scores), the library holds over 12,000 sound and video recordings, making the AFA Library the largest arts and architecture library in Florida and one of the top collections in the Southeast.

http://cms.uflib.ufl.edu/afa/Index.aspx

Reid Hall – Fine Arts Living and Learning Community 1316 Museum Road The Reid Hall Fine Arts Living Learning Community houses 166 students and is open to any UF student with an interest in the arts.

This on-campus arts community provides our diverse students a living environment where they can share a common passion for creativity and expression. It is located adjacent to the SA+AH facilities and boasts an outdoor swimming pool and tennis courts.

Reid Hall also features resources such as a studio space, a gallery, a musical practice facility and an Artist-in-Residence apartment within Reid Hall, which allows guest artists to share the residence hall living experience with students.

The University Galleries 400 SW 13th Street The University Galleries are comprised of three separate exhibition spaces; + University Gallery is a 3000 square ft. non-collecting, cutting edge exhibition venue celebrating its 50th Anniversary in 2015. It presents high quality, original, thought-provoking exhibitions that engage the university and wider community in a dialogue surrounding contemporary visual language and culture. It also publishes high quality catalogues to accompany the majority of curated exhibitions.

Exhibitions include site-specific installations, prestigious collections or solo exhibitions by established artists as well as faculty, student, and MFA exhibitions. + Grinter Gallery is located in the lobby area of Grinter Hall. Its mission is to present international and multicultural presentations. + Focus Gallery, located in Fine Arts building “C,” is an 850 square ft. space that regularly features student curated exhibitions that focus on our student artworks.

http://www.arts.ufl.edu/galleries

WARPhaus is a completely renovated 7,000+ square foot, off campus, facility that provides a progressive studio/classroom environment, outdoor work space and two student run galleries, WAPRhaus Gallery and the “4Most Gallery,” a SA+AH student/alumni focused retail gallery. The facility also houses the “4Most Post-Graduate Residency Studio”. This unique learning environment provides SA+AH students with a a flexible working and installation space to think broadly, deeply, creatively and critically about art in a local and global context and become immersed in hands-on participation with art and culture.

GRADhaus Studios (Graduate Research for Art Development) 818 NW 1st Place GRADhaus Studios is the School of Art + Art History’s recently renovated, off campus, ‘warehouse format’ graduate studio facility.

The building has over 7,500 square feet of space, featuring 30’ ceilings, excellent lighting, 25 climate-controlled studios, with common work, critique and display spaces. It provides 24/ 7 access to studios for Art + Technology, Creative Photography, Drawing, Painting, and Printmaking graduate students.

A² FabLab 1480 Inner Road The Art and Architecture Fabrication Laboratory (A² FabLab) is a rapid prototyping facility developed and operated collaboratively by the College of the Arts and the College of Design Construction and Planning with initial funding provided by the UF Office of Research.

The FabLab provides digital fabrication technologies such as Laser cutting, 3D printing, 3D scanning and CNC milling. These tools provide different ways of bridging the physical and digital realms, and offer exciting opportunities for students and faculty to explore new ways of thinking and making.

arts.ufl.edu/aafablab

FAC - Fine Arts Building “C” 1370 Inner Road Fine Arts Building “C” houses the classrooms, labs, shops, studios and faculty offices of the Art + Technology, Art History, Ceramics, Graphic Design, Museum Studies, Printmaking, and Sculpture areas.

It also features the Focus Gallery, the sā+äh Salon and the SA+AH administrative offices. The 4-story building has 35,402 square-feet and is located in the Fine Arts Complex, adjacent to the University Galleries and the Architecture and Fine Arts Library.

FAD - Fine Arts Building “D” 1357 Stadium Road Fine Arts Building “D” houses the classrooms, labs, studios, and faculty offices of Creative Photography, Drawing, and Painting areas.

The 3-story building has 13,447 square-feet and is also located in the Fine Arts Complex, adjacent to the University Galleries and the Architecture and Fine Arts Library.

NRN - Norman Hall 1221 SW 5th Avenue Norman Hall features 2,108 square-feet of classrooms and faculty offices of the Art Education area. It is adjacent to the UF College of Education facilities.

UF has the largest natural history museum in the Southeast with over 25 million specimens

+

CAREERS IN ART + ART HISTORY

+

Advertising

Museum Director

Creative & Art Director

Museum Preparation

Graphic Designer

Museum Registrar

Producer

Jeweler

Freelancer

Photographer

Illustrator

Sculptor

Medical Illustrator

Tattoo Artist

Children’s Book Illustrator

Urban Planner

Science Illustrator

Architecture

Marine Illustrator

Fabricator

Media Director

Sculptor

Storyboard Artist

Art Appraiser

Animator

Art Consultant

Model Maker

Public Art Administration

Prosthetics Designer

Program Manager

Web Designer

Stop Motion Animator

Game Designer

Character Designer

Interaction Designer

Environmental Designer

Television & Film

Information Designer

Animator

Package Designer

Gallery Assistant

Typeface Designer

Art Handler

Graphic Novel Artist

Art Conservator

Physical Computing

Art Buyer

Social Media Developer

Art Critic

Retail Designer

Art Educator

Archivist

Art Therapist

Screen Printer

Fashion Designer

Studio Artist

Cinematographer

Gallerist

Gallery Operator

Public Artist

Museum Curator

Colorist

NEARLY 2

3

of UF graduates leave the university with no student loan debt

+

+

LINDA ARBUCKLE

Linda Arbuckle Professor arbuck@ufl.edu http://lindaarbuckle.com

MFA Rhode Island School of Design

BFA Cleveland Institute of Art

Linda Arbuckle is a popular workshop presenter at schools and arts centers.

The National Council on Education for the Ceramics Arts has awarded her lifetime honors for service to the field. CV details are available on her web site http://lindaarbuckle.com Professor Arbuckle believes that the functional vessel brings experiences through the useful art object into daily life. Line, color, gesture, and the lure of materiality articulate the value of indulgence and the transience of (plant) life. The alchemy that transforms common terra cotta points the way toward parallel transformations possible in the observed moments of personal life.

+

Fall Leaves w Green Fruit, 2014 (opposite) 11.5” x 8” x 1.5” Majolica on terracotta

Dessert Plates: Pink Flowers, 2014 (above) 7.5” x 1.25” Majolica on terracotta

ceramics

Barbara A. Barletta Professor

Barbara Barletta teaches ancient art, with a

bbarletta@arts.ufl.edu

specialty on the Greeks. She has focused particularly on the transmission of sculptural

PhD Bryn Mawr College

and architectural ideas among different regions of the Greek world and the resulting impact of these new ideas.

MA Bryn Mawr College

BA University of California Santa Barbara

classical art + archaeology

+

BARBARA A. BARLETTA

D

r. Barletta’s research focused initially

At UF, Dr. Barletta has been recognized

on the introduction of artistic forms

as a Research Foundation Professor and a

and styles from the Greeks of the

Distinguished Teaching Professor. She was

East (coastal Asia Minor and the Aegean Islands)

awarded a Rome Prize/Andrew W. Mellon

on those of the West (southern Italy and Sicily),

Fellowship in Classical Studies at the American

resulting in her first book, Ionic Influence in

Academy in Rome, both a National Endowment

Archaic Sicily: The Monumental Art. Her second examined the origins and early use of the architectural orders, and is entitled The Origins of the Greek Architectural Orders. She has just completed her third book on the Sanctuary of Athena at Sounion, to be published this summer (2014). She has also written articles and book chapters on sculpture and architecture, especially the Parthenon in Athens.

for the Humanities Senior Research Fellowship and a Whitehead Visiting Professorship at the American School of Classical Studies at Athens, and a Fellowship from the National Endowment for the Humanities. In addition, she recently received a Margo Tytus Summer Residency Fellowship at the University of Cincinnati and an Archaeological Institute of America/German Archaeological Institute Fellowship for Study in Berlin.

The sanctuary of Athena at Sounion

+

ANTHEA BEHM

Anthea Behm Assistant Professor antheabehm@ufl.edu

Anthea Behm has participated in the Whitney Museum of American Art Independent Study Program, New York and the Core Program, Museum of Fine Arts, Houston. Her work has been exhibited at Dallas Contemporary,

MFA School of the Art Institute of Chicago

BFA

Dallas; the Dedalus Foundation, New York; and the Kiasma Museum of Contemporary Art, Helsinki. Reviews of her work have appeared in X-TRA, Kaleidoscope, and Art & Australia.

University of New South Wales, Australia

Professor Behm’s interdisciplinary practice engages the legacies of Modernism in current artistic, social, and political structures.

+

Adorno/Bueller, 2011 (opposite) No set dimensions Video documentation

Objective Confess, 2011 (above) Installation view

creative photography

+

ANNA CALLUORI HOLCOMBE

Anna Calluori Holcombe Professor ach@ufl.edu www.annaholcombe.com

Anna Calluori Holcombe is a ceramic artist and educator. She has been teaching in higher education since 1978. She exhibits her work in national and international venues. She is an elected member of the International Academy of Ceramics and a Fellow of NCECA. Wanderlust has led her to many

MFA Louisiana State University

countries, most recently to Turkey on a Fulbright.

BA Montclair State University

As Professor Calluori Holcombe travels and explores the world, she cannot help but make connections. Nature is one place that she looks for these connections. Interestingly, the word nature has multiple definitions, ranging from a person’s inherent character to an organ’s function and to the flora and fauna found in the landscape.

+

Piante 44, 2013 (opposite) 4.5” x 10” x 9” Jingdezhen porcelain, slip cast, 3D scanned and printed models, Pâte de verre

Natura Viva IX, 2014 (above) 11” x 11” x 2” Mid-range porcelain, laser decals, silkscreened decals

ceramics

+

AMY FREEMAN

Amy Freeman Visiting Assistant Professor amyfreeman@ufl.edu www.amyfreemanart.com

Amy Freeman’s artwork is in a number of private and public collections around the world and has been exhibited in the United States and France.

Professor Freeman is a figurative painter who explores concepts

MFA University of Massachusetts Dartmouth BA University of Wyoming

+

related to domesticity. She juxtaposes social expectation with desire and absurdity. Visual metaphors and elements of repetition create a sense of psychological drama, exposing a greater narrative that originates as common.

Mother’s Dream, 2011 (opposite) 36” x 108” oil on paper mounted to panel

Releasing Pink, 2011 (above) 40” x 78” oil on paper mounted to panel

painting + drawing

+

KATERIE GLADDYS

Katerie Gladdys Associate Professor kgladdys@ufl.edu http://layoftheland.net

MFA University of Illinois at Urbana-Champaign

Katerie Gladdys examines place, marginalized landscapes, sustainability, mapping, consumption, food, agriculture, and disability, creating installations, sculpture, video, and performances. Recent collaborations include UF Office of Sustainability and Institute of Food and Agricultural Sciences Center. Her creative work has been exhibited in national and international juried venues, including in the UK, Canada, Germany, Spain, and Croatia.

MA Southern Illinois University BA University of Chicago

Professor Gladdys’ artwork and research interrogates and re-presents ubiquitous spaces such as abandoned groves and orchards, the liminal zones between suburban and rural, housing subdivisions, and lately managed pine forests. She seek to transform mapped landscapes and familiar interactions into alternative geographies that transmit her own sense of wonder in the every day, encouraging others to look more closely at what constitutes their everyday existence.

+

Forest Art Colab Space or FACS, 2013-present (opposite, details above) 15’ x 8’ X 12’ Fire Tower cab repurposed as a mobile art space collaboration with Dr. Michael Andreu and Video Art Class 2013, UF School of Forestry + Natural Resources,

art + technology

+

RICHARD HEIPP

Richard Heipp Professor and School Director heipp@ufl.edu richardheipp.com

Richard Heipp has taught painting at UF for over 30 years and has served as the Director of the School since 2011. He remains active as an exhibiting artist having had more than

MFA University of Washington BFA Cleveland Institute of Art

25 solo exhibitions and his work has been included in well over 100 group shows. He has also been been commissioned to complete more than 20 site-specific public art projects.

He was awarded a Florida Foundation Research Professorship in 2009, and has twice been named the CFA Teacher of the Year. In addition, he has been awarded six Florida Individual Artist Fellowships, the most recent in 2014.

Professor Heipp employs computer scanned still-life constructions that are translated into highly crafted paintings that attempt to address issues surrounding the way in which contemporary culture and media voraciously consumes all forms of imagery.

He contends that this image glut has brought about an important difference between simply

looking, the superficial way we digest most images, and seeing, a more profound way of looking that can lead to a more profound contextualized experience.

+

Seeing Anatomy: Scanning Stylostixis + Self Portrait (opposite) 98” x 62” Acrylic on PVC, enamel paint on plexiglas

Visible Anatomy: Clinton With Rider, 2010 (above) 61” x 99” x 3” framed Acrylic on PVC, enamel paint on plexiglas

painting

Melissa Lee Hyde Professor mhyde@arts.ufl.edu

Melissa Hyde’s field of specialization is eighteenth- and nineteenth-century European art, with an emphasis on cultural history,

PhD University of California Berkeley

gender studies, feminist theory and the history of art criticism. She teaches courses on

MA

European art and on gender and the visual arts.

University of California Berkeley

She has been the recipient of the CFA Teacher of the Year Award, and was named the CFA’s International Educator of the Year in 2005 and 2011. She was awarded a UF Research Foundation Professorship for 2008-11.

art history

+

MELISSA HYDE

D

r. Hyde is the author of numerous

Hyde’s current research focuses on French

publications that focus on gender and

women artists. Thanks to a year of sabbatical,

visual culture in eighteenth-century

she is bringing two book projects to a conclusion.

France. Her books include Making Up the Rococo:

One focuses on a little known académicienne,

François Boucher and his Critics (2006), and

Marie-Suzanne Roslin, who was the author of

co-edited volumes: Women, Art and the Politics

a precocious and fascinating self-portrait - the

of Identity in Eighteenth-Century Europe (2003),

centerpiece of this book. Soon to be finished

and Rethinking Boucher (2006), to which she

is another book, co-authored with Mary D.

was a contributing editor. Her most recent

Sheriff, entitled Women in French Art. Rococo to

co-edited volume entitled Plumes et pinceaux

Romanticism 1750-1830. The proposal for this

de Elisabeth Vigée-Lebrun à Johanna von Haza.

book won the inaugural Mellor Prize, an award

L’art français vue par les Européenes 1750-1850

bestowed by the National Museum of Women in

was published in 2012. Rococo Echo: Art, Theory

the Arts (NMWA). She was a consulting curator

and Historiography from Cochin to Coppola, a

for an exhibition on 18th- and 19th-century women

collection of essays edited with Katie Scott, will

artists entitled Royalists to Romantics, which

be published by Oxford University Studies in the

opened at the NMWA in February 2012 before

Enlightenment in 2015.

traveling to Sweden, and has written catalogue essays for this and several other exhibitions, including Anne Vallayer-Coster. Painter to the Court

of Marie-Antoinette (2002) Alexander Roslin (2007), and Rococo: The Continuing Curve (2008).

Marie-Gabrielle Capet, Self-Portrait, c. 1783 National Museum of Western Art, Tokyo

+

LISA IGLESIAS

Lisa Iglesias Assistant Professor Liglesias@arts.ufl.edu www.LasHermanasIglesias.com

Lisa Iglesias was born in Queens, New York, has attended many residencies such as the Fine Arts Work Center and Bemis Center for Contemporary Arts, and has exhibited at spaces including El Museo del Barrio and the Queens Museum of Art. She also works collaboratively with her sister Janelle as Las

MFA University of Florida

Hermanas Iglesias.

BA

Professor Iglesias’ work is based on constellations of association, cycling

Harpur College,

toward an internal syntax. Materials and meaning bounce back and forth

State University of New York at Binghamton

between projects at staggered rates of tempo. Concrete-slab paintings, graphite renderings, and stop-motion animations reflect an exploration into the personal and geological act of creation and construction. The mark of the hand, varying temporal scales, and isolation of imagery are all mainstays of a practice that hark to a curiosity in time.

+

In the Very Roof of the Vault, 2013 (opposite) Assorted Dimensions Frames, cement, Sumi ink, salt, gouache, paper, acrylic, found sidewalk & asphalt chunks, rocks, collage, wood, graphite, embroidery floss

Mountain Mountain, 2013 (above) 40” x 44” Collage

drawing

+

RON JANOWICH

Ron Janowich Associate Professor Janowich@ufl.edu www.Ronjanowich.com

Ron Janowich’s artwork is in the collection of the Metropolitan Museum of Art, New York; Tate Gallery, London; Harn Museum, Florida.

His work is published in: The History of

MFA Maryland Institute College of Art BFA Maryland Institute College of Art

Modern Art by Arnason, The Aesthete in the City by David Carrier. His recent exhibitions “Meditations” & “Silverpoints” were held at the Howard Scott Gallery, NYC. Professor Janowich has, since the beginning of his art practice, searched for a way to reflect his inner reality through the language of abstraction. Janowich strives to create a perceptual field that is complex, nuanced, and utterly sensitive to the emotional and spiritual makeup of the artist regardless of medium.

+

Tessellation 1, 2012 (opposite) 20” x 10” Oil on linen

Untitled 1, 2011 (above) 18” x 14” Silverpoint & encaustic on clay coat paper

painting

Ashley Elizabeth Jones Visiting Assistant Professor ashley.jones@ufl.edu

Ashley Jones is the recipient of numerous awards, including the David E. Finley Fellowship at the Center for Advanced Study in the Visual

PhD Yale University MPhil Yale University

Arts, National Gallery of Art, Washington, D.C., and a Max Planck Fellowship from the Kunsthistorisches Institute in Florenz, Florence, Italy.

MA Yale University BA Grinnell College

art history

+

ASHLEY ELIZABETH JONES

D

r. Jones’s research focuses on

coins in jewelry in Late Antiquity, and the

Europe and the Mediterranean in

corresponding use of the numismatic imperial

Late Antiquity and the early Middle

portrait as a powerful, protective, or amuletic

Ages. Her work investigates the material,

image. The project also interrogates the nature

iconographic, and ideological traces of Rome

of the relation of jewelry to the body in the

in the late-Classical and early Medieval and

Classical and Late Antique world, questioning

Byzantine periods. She is particularly interested

the relationships not only between jewelry

in portraiture, imperial art and its reception,

and eroticism, but also between tactility and

and questions of the body. Her current book

magical thinking.

project investigates the practice of mounting

Barbarian medallion after the image of the Roman emperor Valens, (r. 364-378) From the 1797 find from Szilágy-Somlyó.

Münzkabinett Wien, Inv. Nr. RÖ 32,481. (Photo by Ashley Jones)

+

ELLEN KNUDSON

Ellen Knudson Associate In: Book Arts eknudson@ufl.edu www.crookedletterpress.com

Ellen Knudson is a book and print maker working under the imprint Crooked Letter Press. She has been a book artist and graphic designer for over 20 years. Ellen has taught at

MFA University of Alabama

University of Florida, University of Alabama, Mississippi State University, Wayne State

BFA

University, and other workshops across the

North Carolina State University

United States. Her work is in San Francisco MOMA (CA), Yale University (CT), Library of Congress (DC), and many other collections.

Professor Knudson’s work is the synthesis of images and words in the form of letterpress printed handmade books and printed matter.

In the work produced by Crooked Letter Press, a visual environment is created in which the reader/viewer is an active participant; the typography is to be viewed, the imagery to be read, and vice versa. The choices of text, imagery, materials, and binding structure are made entirely in support of the environment of the printed piece.

+

Good for Nothing, 2014 (opposite) 12” x 18” Linoleum reduction and multiple block print.

Letterpress printed with handset metal types.

Edition of 24.

Chock Full, 2014 (above) 12” x 14” Color woodcut reduction print on Kitakata paper Edition of 8.

printmaking

Guolong Lai Associate Professor

Guolong Lai was awarded membership in the

gllai@ufl.edu

Institute for Advanced Study at Princeton for 2014-15. His many other recent awards include

PhD

a ACLS/CCK’s Comparative Perspectives on

University of California Los Angeles

Chinese Culture and Society Grant in 2015, a

MA Chinese Archeology and Paleography, Beijing University BA International Law, Jilin University

Smithsonian Institution Freer/Sackler Library Travel Grant in 2013 and a ACLS/Henry Luce Foundation Postdoctoral Fellowship in East and Southeast Asian Archaeology and Early History awarded in 2011.

chinese art + archaeology

+

GUOLONG LAI

D

r. Lai’s research interests include early Chinese art and archaeology, Chinese paleography, museology,

collecting history and provenance studies, and historic conservation in modern China. He is the author of Excavating the Afterlife: The

Archaeology of Early Chinese Religion (Seattle: University of Washing Press, forthcoming Spring 2015), co-editor of conference volume

Collectors, Collections and Collecting the Arts of China: Histories and Challenges (2013), co-author of exhibition catalogues Terracotta

Warriors: The First Emperor & His Legacy (2011) and A Bronze Menagerie: Mat Weights

of Early China (2006).

Tomb 18 at Yutaishan, Jingzhou City, Hubei province.

21.7�

Wood, pigment, and deer antlers.

Warring States period (450-221 BCE) Hubei Provincial Institute of Cultural Relics and Archaeology, China

+

SEAN MILLER

Sean Miller Assistant Professor

Sean Miller’s exhibitions include ACC Galerie (Germany), National Museum

swarp@ufl.edu

of Ireland, Deitch Projects Art Parade (N.Y.), GT Gallery (Belfast), Museo

www.jema.us

Raccolte Frugone (Italy). Miller co-founded SOIL Gallery (Seattle). His work has been covered by: CBS News, Sculpture, New York Times, The Nation, and

MFA University of Colorado

the documentary film “How to Start Your Own Country” by Jodi Shapiro.

BFA Iowa State University

Professor Miller’s work explores situations, practices, and information that sustain and define existing power structures in contemporary art and politics.

His art employs obsessive activities, absurd scenarios, humor, and extreme aesthetics in order to introduce objects and events that question existing categorical and organizational methods within these hierarchal structures.

+

LOW-LEVEL CHATTER CORPS., LOW-LEVEL MONUMENTAL MESSAGE BOARD, 2012 (opposite, detail above) 18” x 12” x 5” Sean Miller in collaboration with Shawn Wolfe.

sculpture + warp

+

JULIA MORRISROE

Julia Morrisroe Associate Professor Julia01@ufl.edu Julia.morrisroe.com 13waysoflookingatpainting.com

Julia Morrisroe has exhibited paintings, drawings, prints and installations in over 14 solo and 75 group shows throughout the United States, Europe, Asia and Africa. She has been awarded artist residencies in Holland, New York, Georgia and Vermont, and received numerous state and university grants.

MFA University of Washington BFA Northern Illinois University

She also was awarded a commission for a public artwork for the Jacksonville International Airport.

Professor Morrisroe is attracted by the lack of hierarchy in our visual stimuli, all information is equal and the illusion of democracy is pervasive.

Her unconscious attempts to make sense of this sensory overload, to sort it, arrange it, and make images from it. She grapples with it all, stilling the noise while engaging with what it takes to make a painting today.

+

Your Eyes Proclaim Series #TH_012214, 2014 (opposite) 15” x 16” Acrylic and Polymers on Canvas

Your Eyes Proclaim Series #HMG_111913, 2014 (above) 14” x 15” Acrylic and Polymers on Canvas

drawing + painting

+

ROBERT MUELLER

Robert Mueller Associate Professor bmueller@ufl.edu

Robert Mueller directs a student run visiting artist print project called Alagarto Press. He was awarded a Fulbright to conduct creative research in Iceland for the summer of 1997. In 1998 and 1999 he was awarded a Teaching

MFA Arizona State University

Improvement Program Award. His artist book was recently purchased by the New York City Public Library for their special collections.

BFA University of Utah

Professor Mueller’s work describes his stewardship and direct working of his land. It is amidst his tending the land that he recognizes his ignorance and ineptitude, which provides fuel for imagination and curiosity. In the “uncertain” studio he steps out of his way and lets it rip.

+

Controlled Burn in the Nursery, 2013 (opposite) 108” x 180” Muslin, Bamboo, House Paint – Latex, Zip Ties

Deadfall, 2013 (above) 108” x 180” Muslin, Bamboo, House Paint – Latex, Zip Ties

printmaking

Robin Poynor Professor rpoynor@ufl.edu

Robin Poynor’s research and teaching interests focus on the cultural and historical context of the arts of Africa and the African diaspora.

PhD Indiana University

Poynor has received CFA Teacher of the Year and Florida Blue Key Distinguished Faculty

MA

Awards. His History of Art in Africa was named

Indiana University

to Library Journal’s Best Books of 2000 List

BFA San Francisco Art Institute

and received Honorable Mention, Arnold Rubin Awards. In 2013 University Press of Florida published his Kongo across the Waters and in

BA

2014 Africa in Florida.

Southeastern Louisiana University

african art Africa in Florida

+

ROBIN POYNOR

D

r. Poynor completed two books and

individuals of African descent have negotiated

a major exhibition in 2013-14. Kongo

African cultural practices, whether through

across the Waters, both exhibition

remembrance or rediscovery, as strategies

and book, combines two research interests –

for their physical and psychological health.”

the history of the art of Africa and that of the

A second project, Africa in Florida: 500 Years

African diaspora in the American South. The

of African Presence in the Sunshine State

collaborative project with UF’s Harn Museum

co-edited with Amanda Carlson, contains the

of Art and Belgium’s Royal Museum for Central

work of anthropologists, historians, specialists

Africa opened in Gainesville in 2013. Subsequent

in religion, literary specialists, archaeologists,

venues include Atlanta’s Jimmy Carter Presidential

and art historians whose research focuses on

Museum and Library, the Princeton Museum of

Florida. One review calls it “An inspiring, original,

Art and the New Orleans Museum of Art. The

and significant work that takes our notions of

project explores the art, history and culture of

‘diaspora’ to exciting places and offers new and

the Kongo peoples of Central Africa and Kongo

thoughtful data on the presence and impact

cultural connections in the United States. The

of ‘Africa’ in Florida history, lives, and objects.

multidisciplinary volume, co-edited with Susan

Africa in Florida is an important contribution

Cooksey and Hein Vanhee, has been nominated

to American history and to the continuing and

for several prizes. A review calls it: “A powerful

transforming histories of African diasporas and

statement through both word and image of how

Africa itself.”

Kongo across the Waters

+

CELESTE ROBERGE

Celeste Roberge Professor

Celeste Roberge has received numerous awards and fellowships, including

croberge@ufl.edu

a three-month residency at the Kohler Arts/Industry Program in Fall 2013.

www.celesteroberge.com

In 2008, she held the William Randolph Hearst Fellowship for Historical Research by Creative and Performing Artists at the American Antiquarian

Honorary Doctorate of Humane Letters University of Maine MFA

Society. She has received two Pollock-Krasner Foundation Grants and a MacDowell Colony Fellowship. She was a Bunting fellow at the Radcliffe Institute in 1988-89.

Nova Scotia College of Art & Design BFA Maine College of Art

Professor Roberge’s sculpture Ocean Floors II is an analogy for the presence of thermal radiation in all materials. Ocean Floors II is dedicated to my deceased parents who passed away in 2006 and 2009 respectively. They

Skowhegan School of Painting and Sculpture

are represented in the thin layer of precious gold and copper leaf that overlays the elemental iron and radiates through time and space.

BA University of Maine

+

Ocean Floors II., 2010 (opposite, details above) Height varies x 96” x 96” Cast Iron, gold leaf, copper leaf, perforated steel

sculpture

+

MARIA ROGAL

Maria Rogal Associate Professor mrogal@ufl.edu www.mariarogal.com www.d4dproject.org

Maria Rogal’s research focuses on how we can use design to positively shape the human experience. She conducts research in Mexico under her Design for Development (D4D) initiative—working with indigenous artisan-entrepreneurs to foster local development. Rogal disseminates

MFA Virginia Commonwealth University BA Villanova University

her research, including D4D’s findings, internationally–through journals, exhibitions, and conferences.

Professor Rogal’s work uses design to explore social, cultural, and political issues, especially as these relate to globalization and decoloniality. Her primary site of research has recently been southern Mexico, where she and her students have pursued two main threads: 1) the Design for Development (D4D) initiative, in which she partners with Maya artisan-entrepreneurs to develop, brand, and market their products; and 2) the Mira Project, where she explores the visual representation of Mexican-ness.

+

The Mira Project: Tourism 2.1 (opposite, detail above) 5.25” x 4” Paper; inkjet printed, saddle stitch binding

graphic design

Craig Roland Professor croland@arts.ufl.edu http://www.artjunction.org

Craig Roland taught Art Education classes at Eastern Illinois University and Purdue University before coming to the University of Florida. Prior to his university career, Roland

EdD Illinois State University MA

taught K-12 art classes at The American Foundation of Monterrey, Mexico and at Shawnee Middle School in Lima, Ohio.

Miami University BS Northern Michigan University

art education

+

CRAIG ROLAND

D

r. Roland has been exploring ways

ways for art teachers and students in different

of using new technologies for

locations to work together on shared artistic and

teaching and learning purposes in art

educational goals. In seven years this network

classrooms for over three decades. His current

has grown to over 14,000 members, while

research involves the use of a social network

becoming the preeminent site for art teachers

called Art Education 2.0 (arted20.ning.com)

seeking innovative classroom ideas, useful

that Roland started in 2007 to connect art

curriculum resources and professional dialogue.

classrooms around the globe and provide

Art Education 2.0 arted20.ning.com A social network with over 14,000 art educators from around the globe

Elizabeth Ross Associate Professor

Elizabeth Ross has held fellowships from

elizross@ufl.edu

the Mellon Foundation and Deutscher Academischer Austauschdienst. She has

PhD

been UF’s Teacher of the Year (2012) and

Harvard University

junior faculty International Educator of the

AM Harvard University

Year (2011), received an Excellence Award for Assistant Professors (2012), and served as the college’s Faculty Chair (2011–2013).

BA Yale University

renaissance/early modern european art history

+

ELIZABETH ROSS

D

r. Ross’s first book was recently

a contest in the Mediterranean between

published by Penn State University

the Christian city of Venice and two Muslim

Press with support from the

empires. The Peregrinatio shows how and why

Mellon Foundation’s Art History Publication

early printed books constructed new means

Initiative: Picturing Experience in the Early

of representation from existing ones—and

Printed Book: Breydenbach’s Peregrinatio

how their form emerged out of the interaction

from Venice to Jerusalem.

of eyewitness experience and medieval scholarship, real travel and spiritual pilgrimage,

Bernhard von Breydenbach’s Peregrinatio in

curiosity and fixed belief, texts and images.

Terram Sanctam (Journey to the Holy Land), first published in 1486, is a seminal book of

Dr. Ross is currently working with Ashgate

early printing, especially renowned for its

Publishing on an edited volume of essays that

woodcuts. Breydenbach, a cleric in Mainz,

explore how the production and circulation

recruited the painter Erhard Reuwich for a

of maps and cartographic texts informed

religious and artistic adventure in a political

the visual arts in the fifteenth and sixteenth

hot spot—a pilgrimage to research the

centuries. She has also begun a book project

peoples, places, plants, and animals of the

on the visual imagination of gardens in late

Levant. The book they produced ambitiously

medieval and Renaissance Europe, with an

engaged with the new print medium to

emphasis on France.

give an account of their experiences. The

Peregrinatio also aspired to rouse readers to a new crusade against Islam by depicting

Picturing Experience in the Early Printed Book: Breydenbach’s Peregrinatio from Venice to Jerusalem.

+

BRIAN SLAWSON

Brian Slawson Associate Professor slawson@ufl.edu brianslawson.com

Brian Slawson teaches upper-division graphic design courses and since 1990 has chaired more than twenty MFA-level creative projects. Slawson frequently serves on school and college committees that link the arts with business, engineering and the sciences.

MFA University of Michigan BFA University of Michigan

Professor Slawson is interested in the intersection of technology, culture and design. Recent examples are a workshop “Making History Visible: Design Thinking in Action” at the Humanities Education and Research Association conference in Washington, DC and a paper on “Typographic Form and Cultural Identity: A Look at the Cherokee Alphabet and Printing Type” at a School of Visual Arts conference in New York.

+

Design Thinking Workshop (opposite) Students from across campus learn the creative methods of designers.

Printing History. Detail from the Cherokee Phoenix newspaper (1828). (above) Courtesy of the United States Library of Congress, LC-USZ62-115660.

graphic design

+

CRAIG SMITH

Craig Smith Associate Professor c.smith@ufl.edu

Craig Smith’s exhibitions of photography and performances have been featured at an international range of museums, galleries, art fairs, and athletic facilities, the Corcoran Gallery, PS1 MOMA, Tate Modern, George Eastman

PhD Goldsmiths College, University of London

House, and Burchfield Penney Art Center as well as galleries including CEPA, Galerie Schuster Photo, RARE Art, SCM Hong Kong, ARTSPACE Sydney, Kent Gallery and White Columns.

Whitney Museum of American Art Independent Study Program MFA University of Buffalo, State University of New York American Photography Institute Tisch School of the Arts, New York University

Dr. Smith is a media artist whose art and research focuses on the process, aesthetics, and ethics of human-to-human interactivity in contemporary art, especially photography, sound, and socially engaged performances. He has had twenty-three solo exhibitions of photography and other media in the last ten years of his career and has published the books Training Manual for

Relational Art (2009) as well as On the Subject of the Photographic (2007) and the sound recording The Parasite (2011).

BFA University of Oklahoma

+

Bored, Board, Bored (Musée de l’Orangerie; Paris FR), 2011 (opposite) Dimensions and Time Variable Location-Oriented Performance and Photographic Documentation

creative photography

+

NAN SMITH

Nan Smith Professor nan@ufl.edu www.nansmith.com

Nan Smith’s sculpture has been exhibited in over 100 exhibitions; recently at SOFA Chicago and AMOCA. Her awards include four Florida Individual Artist Fellowships, a Southern Arts Federation Fellowship, and a UF Research Foundation Professorship. Her sculpture is featured in 35 publications and

MFA Ohio State University BFA Tyler School of Art / Temple University

housed in public collections in Korea, Israel and the United States.

Professor Smith’s current studio practice is spurred by environmental and health concerns combining research from science with art. Mercury based on research of mercury bio-magnification and its impacts to seafood contributes to a growing awareness of human health issues. Through it she hopes to inspire care for the natural world that sustains us. Mercury was funded by University of Florida Scholarship Enhancement Awards, a CFA Summer Research Completion Award, and sponsored by Fisher Textiles Inc.

+

Mercury; view of installation (in progress), 2014 (opposite, details above) 120” x 144” x 240” Glazed and painted ceramic, photomontage on fabric and wood.

Mercury website: mercuryartscience.com

ceramics

Maya Stanfield-Mazzi Assistant Professor

Maya Stanfield-Mazzi specializes in art of

mstanfield@ufl.edu

Latin America, especially Spanish colonial art of the Andean region. She received a

PhD University of California Los Angeles MA University of California Los Angeles

Fulbright-Hays Fellowship to conduct her dissertation research in Peru. In 2013 she was chosen as CFA Junior Faculty International Educator of the Year.

BA Smith College

pre-columbian/ latin american art

+

MAYA STANFIELD-MAZZI

D

r. Stanfield-Mazzi’s research

three-dimensional statues of Christ and the

focuses on the ways in which

Virgin Mary helped root Christianity in the

native Amerindians contributed to

Andes. It also shows how two-dimensional

creating new forms of Catholicism in the New

painted images of these statues visualized

World. She has published articles in Current

a uniquely Andean version of Catholicism.

Anthropology, Hispanic Research Journal,

Dr. Stanfield-Mazzi is now researching

Colonial Latin American Review, and Religion

liturgical textiles created in the colonial

and the Arts. She also wrote bibliographic

Americas. Planned as a second book, this

essays on painting in the Viceroyalty of

research will explore various Amerindian

Peru and on Andean textiles for Oxford

techniques, such as featherworking and

Bibliographies Online. Her book Object and

tapestry weaving, and show how they were

Apparition: Envisioning the Christian Divine

adapted to the requirements of the Catholic

in the Colonial Andes (University of Arizona

Church and colonial society. It will also

Press, 2013) explores the ways in which

examine how Amerindian artisans adopted European techniques such as lacemaking and embroidery as they developed their trades within the colonial economy. An article currently in press, for the journal The

Americas, focuses on the role of the textile artisan as intermediary in colonial Andean society. It is entitled “Weaving and Tailoring the Andean Church: Textile Ornaments and Their Makers in Colonial Peru”. For this research Dr. Stanfield-Mazzi is working with surviving textile pieces, written archival documents, and colonial oil paintings that depict church interiors and rituals.

Object and Apparition: Envisioning the Christian Divine in the Colonial Andes (University of Arizona Press, 2013)

+

JACK STENNER

Jack Stenner Associate Professor

Jack Stenner’s lifelong art practice has encompassed multiple forms

stenner@ufl.edu

from sculpture to video to networks and computing. He has worked with

http://www.jackstenner.com

artists in the context of an alternative art space he founded in Houston and was a registered architect in the State of Texas. His work has been

PhD Texas A&M University MS Texas A&M University BED Texas A&M University

exhibited nationally and internationally at venues including Siggraph, ACM Multimedia, International Society of Electronic Artists (ISEA), ZeroOne Biennial, Alternative Museum, Museum of Modern Art, Toluca, Mexico, Polk Museum of Art, Tampa Museum of Art. Dr. Stenner synthesizes culture, hardware and software to create conceptual work taking forms such as networked installation and experimental cinema.

His work investigates our sociocultural conceptions of “reality” by looking at forms and means with which ideology is embedded, particularly how meaning is manipulated and transcoded in “place.” To this end, his work explores hybrid subjectivity and the “grammatization” of human action.

Using electronic media, he encourages us to reconsider what we think we

+

know about our world and imagine an alternative utopia.

Installation view showing networked computer application controlling foreclosed home in Gainesville, Florida. (opposite) Still from live, cross-continental, network video stream of Open House: The Blue Line performance. (above)

art + technology

+

ROTEM TAMIR

Rotem Tamir Visiting Assistant Professor rtamir@ufl.edu rotemtamir.com

Rotem Tamir is an Israeli artist who came to the United States in 2011 to pursue her MFA degree. She is the recipient of the Toby Devan Lewis Fellowship and was appointed a residency at the Seven Below Arts Initiative in Burlington, VT. While in Tel Aviv, her work was exhibited frequently in

MFA Virginia Commonwealth University

galleries and venues such as Kav 16, Artists’ House and Nachshon.

BFA

Professor Tamir creates work that is the outcome of long investigations,

Bezalel Academy for Arts and Design

research and studio experiments. She utilizes sculpture, installation and

California College of the Arts

video to embody projects that are often time-based and ephemeral. Among many of her interests is the process of invention of tools and games that require the viewer to take an active part in imaginary and symbolic systems.

+

Modular Envelopes, 2013 (opposite) Game board: 108” x 216” x 1.5” Envelopes: Expanded: 96” x 108” each

Folded: 12” x 12” x 60” each Mixed media, including Tyvek paper, wooden dowels, stainless steel rods, vinyl tubing, plywood, paint, foam.

sculpture

+

BETHANY TAYLOR

Bethany Taylor Assistant Professor bwarp@ufl.edu www.bethanytaylor.net

Bethany Taylor’s work has been exhibited at national and international venues such as Post, Los Angeles, Museum for Arts and Sciences, GA, Los Angeles Center for Digital Art, Bellevue

MFA University of Colorado Boulder BFA University of Southern California

Art Museum, WA, Bob Rauschenberg Gallery, FL, Musei di Genova Raccolte Frugone, Genova Nervi, Italy, Limerick City Gallery, Ireland, and Nelimarkka Museum, Alajärvi, Finland.

Professor Taylor’s work is autobiographical with a strong desire to communicate social, political and environmental issues, pervasive, but somehow invisible in everyday life. Reflected in both the content and process of the work, is the inherent impossibility of articulating experience, a collapse of certainty, and the illusion of familiarity. She investigates a flux of meaning, and materiality. Her work plays between poetic and intentionally literal gestures, and often involves the active transformation or destruction of an object or image to create something new from the debris.

+

Don’t Go There, 2014 (opposite, details above) 74” x 32” x 20” Ink on duralar, parking cone, and cut, reusable orange plastic safety fence

drawing + warp

Michelle Tillander Assistant Professor mtilland@ufl.edu http://www.michelletillander.org/

Michelle Tillander co-developed the nationally recognized UF online MA in Art Education.

She was an invited keynote speaker at the 2012 City and Aesthetics International

PhD Pennsylvania State University

Conference, Taipei, Taiwan. Recognitions include the 2012 Higher Education Student

MFA

Chapter Sponsor Award (NAEA) and the 2013

Old Dominion University/

Pacon Corporation Art Award (FAEA). In 2014

Norfolk State University BA Moravian College

her chapter entitled, A Cultural Interface:

New Media Research in Art Education, was published in Practice Theory: Seeing the

Power of Art Teacher Researchers (NAEA).

art education

+

MICHELLE TILLANDER

D

r. Tillander’s research focuses on

publications have employed a vision of the

issues pertaining to art education,

city as a framework for understanding the

technology, and culture as integrated

technical and social aspects of art education

processes to rethink art education. While many

in an age of digital media. Tillander’s recent

scholars focus on the use of digital ‘tools’ in art

artistic series, Interface Self Portraits, link to her

education, Tillander expands the discussion to

scholarly interests in the sociocultural aspects

include the cultural impact of technology as

of visual technologies influencing creativity

it shifts our experiences and perceptions. The

and ways of knowing through the collision of

result is a practice-based approach involving

culture and data. Her aim is to improve the

digital experiences in teaching and learning in

articulation between technology, pedagogy,

a mediated society. This innovative pedagogy

and art by researching and facilitating teaching

creatively engages the digital cultural dynamic

and learning experiences with technology in

of contemporary teaching and learning through

art education that move beyond the digital/

hybrid learning environments, curriculum

non-digital divide. In response to this goal, art

designs, teaching strategies, and artistic

education, real world context, and personal

practices, which all involve cultural interfaces

expression coalesce through her research,

of new technologies. Most recently, her

teaching, and art-making to become the foundation for empowering individual creativity, critical inquiry, technology use, and digital visual culture production—a continual process of action and reflection on visual learning and communication for the 21st Century.

Chapter 37: A Cultural Interface: New Media Research in Art Education. In Practice Theory: Seeing the Power of Art Teacher Researchers (NAEA).

Joyce Chia Chi Tsai Assistant Professor joyce.tsai@ufl.edu

Joyce Tsai earned her PhD jointly from the Humanities Center and the History of Art Department at Johns Hopkins University. Her

PhD Johns Hopkins University MA Johns Hopkins University AB Princeton University

work has been supported through a number of prizes and fellowships, including the GWU/Phillips Collection Post-Doctoral Fellowship; the ChesterDale Pre-Doctoral Fellowship at the Center for the Study of Visual Arts; a Dedalus Foundation Fellowship; and a Fulbright Scholar Grant.

modern/contemporary european art history

+

JOYCE CHIA CHI TSAI

D

r. Tsai’s research focuses on the

1930, emerged not only out of pragmatic and

recurrent artistic engagement with

aesthetic considerations, but also out of a

abstraction from the nineteenth

growing recognition of the economic, political

to the twenty-first century across media. Her

and ethical compromises required by his

interests include the history of photography,

large-scale, technologically-mediated projects

technical art history, history of animation,

aimed at reforming human vision. Without

aesthetic philosophy, and the intersection of

abandoning his commitment to fostering

art and technology. She has published and

what he called New Vision, Moholy came to

lectured internationally on topics that include

understand painting as a particularly plastic

Austrian workers’ photography, avant-garde

field in which the progressive possibilities

theater design, contemporary art and film,

of photography, film and other emergent

and the work of László Moholy-Nagy. She

media could find provisional expression. This

is currently completing her book, László

manuscript has been awarded the 2014 Phillips

Moholy-Nagy: Painting after Photography,

Collection Book Prize and will be published by

which attends to the fraught, but central

University of California Press. She is also guest

role painting played in shaping the aesthetic

curator of an exhibition, opening summer of

project of this renowned photographer and

2015 at the Santa Barbara Museum of Art that

theorist. The book argues that his sustained

examines Moholy’s use of new materials like

engagement with painting, especially after

aluminum and plastics in his paintings.

Exhibition Catalog design by Margaret Bauer for Shape of Things to Come, opening at the Santa Barbara Museum of Art in Summer 2015.

+

SERGIO VEGA

Sergio Vega Professor

Sergio Vega’s recent solo exhibitions include: Sublime Entropies at Galerie

veryvega@ufl.edu

Karsten Greve in Köln, Paradise in the New World at the Landesmuseum in

www.paradiseinthenewworld.blogspot.com.br/

Münster, Tropicalounge at ICA Boston, Crocodilian Fantasies at Palais de Tokyo in Paris. Group exhibitions: dOCUMENTA(13), the 51st Biennale di

MFA Yale University Whitney Museum of American Art Independent Study Program

Venezia, the 1st Yokohama Triennale and the 5th Biennale de Lyon.

For the past eighteen years Professor Vega has developed “El Paraíso en el Nuevo Mundo” a multimedia project that examines systems of representation related to colonialist ideologies. Vega’s sensualist approach blends theory, myth, empirical experiences and social criticism to explore the ways in which the idea of paradise permeates the realm of art.

+

Paradise: Real Time, 2010 (opposite, details above) Variable dimensions (Installation at Ikon Gallery, Birmingham, UK) Video, six channels, 30 minutes

creative photography + sculpture

+

AMY VIGILANTE

Amy Vigilante University Galleries Director amyv@arts.ufl.edu www.amyvigilante.com

Amy Vigilante’s work in arts administration has included directing eight gallery programs and four public art programs, as well as curating hundreds of exhibitions. Additionally she serves on several statewide arts boards. Her curatorial research has focused on developing campus-wide collaborations

PhD Florida State University

to present interdisciplinary shows and related programming for the three University Galleries.

EdS Florida State University MFA Florida State University

Dr. Vigilante began her art practice as a painter, but began working in textiles in 2004. Since then she has been included in 17 exhibitions, four of which were solo and several others were two or three person shows. Her quilts are created from found objects, including Marimekko fabrics, and other collected

BA Hampshire College

+

materials. They are machine-pieced and hand-quilted using thick embroidery thread that creates wild line drawings.

Sophie’s Choice (opposite) 48” x 48” Linen napkins, drapery scraps, felt, Marimekko scraps, embroidery thread

Georgina, 2013 (above) 84” x 75” Synthetic fabrics, embroidery thread

university galleries, art in state buildings program

Glenn Willumson Professor gwillumson@arts.ufl.edu

Glenn Willumson has served as curator at the Getty Research Center and at the Palmer Museum of Art. Willumson has organized many

PhD University of California Santa Barbara MA University of California Davis BA St. Mary’s College

exhibitions and held affiliate and visiting faculty positions at the University of California, Irvine, and at Penn State. He is the recipient of fellowships from the Getty Center, NEH, and the Smithsonian.

In May 2013, he was named a Florida Foundation Research Professor of Art History.

W. Eugene Smith and the Photographic Essay

art history + museum studies

+

GLENN WILLUMSON

D

r. Willumson’s research includes both museology and American visual culture. As a teacher of museum

studies and museology, he is engaged in the current debates about the role of museums in American culture. His art historical research has examined photography in an effort to tease out the institutional structures that convey meaning to photographic production. He looks outside the museum walls and to the ways in which photography enters our everyday life. In addition to essays in academic journals, he has published two books: W. Eugene Smith and the

Photographic Essay and Iron Muse: Picturing the First Transcontinental Railroad.

Iron Muse: Picturing the First Transcontinental Railroad

Bradley Rex Smith Senior Teaching Lab Specialist brsmith@ufl.edu

Brad Smith received his MFA and BFA in sculpture, University of Florida. His sculptures have been included in numerous nationally

MFA University of Florida

juried and invitational exhibitions. His commissions have included “Rejoined”, a

BFA

public sculpture commissioned by the City of

University of Florida

Gainesville. Smith is the recipient of two UF Superior Accomplishment Awards. Smith’s sculptures are an effort to make real a vision that is revealed through a dialogue of concept and material. He draws inspiration from the elemental forces of nature and how they have been depicted throughout history, searching for ways to exploit and hopefully exalt the innate essence of the material.

+

Artifact, 2012 (above) 65” x 22” x 11” Walnut and steel

sculpture

Derek Reeverts Teaching Lab Specialist

Derek Reeverts’ recent exhibitions include

dreeverts@arts.ufl.edu

“Push Play” at NCECA Seattle and a solo

derekreeverts.wordpress.com

exhibit titled “The Devil you Know…” at The Clay Studio in Philadelphia. His work deals

MFA Miami University BFA Western Illinois University

with satirical reflections of human nature through small-scale figurative ceramics. Ideas of identity carry much of Reeverts’ attention in his artwork. His inspiration comes from the flaws and foibles of human nature, where he believes they are the most interesting and defining part of what make us human.

+

Tarred and Feathered, 2013 (above) 11.25” x 12” x 7.5” White earthenware, mixed media, hand built

ceramics

Alisson Bittiker Teaching Lab Specialist robot@ufl.edu www.flexfest.org

Alisson Bittiker is currently the Managing Director of the Florida Experimental Film/ Video Art Festival. In addition to festival duties, she assists in the yearlong programming of

BFA University of Florida

experimental film and video art events in Gainesville and around the world.

creative photography, drawing, painting, printmaking

Michael Christopher Teaching Lab Specialist

Michael Christopher holds industry standard

mchristo@ufl.edu

computer certifications including DCSE, ACSP, A+ Certification and Network + Certification.

BFA University of Florida

Previous work experience includes Photographer for Office of Instructional Resources at UF as well as a Field Technician for IBM.

art + technology, graphic design

Dana Myers Undergraduate Advisor dmyers@arts.ufl.edu

Prior to becoming the SA+AH Undergraduate Advisor, Dana Myers worked in the mental health field, specializing in crisis intervention,

MEd University of Florida

suicide prevention, and directing the training program for a crisis counseling agency working

EdS

closely with UF student volunteers. As

University of Florida

Undergraduate Advisor, Myers advises

BS University of Florida

approximately 400 art and art history majors and serves as the lead contact for admissions and recruitment. In addition, she is a faculty member of the University’s Student Conduct Committee and the Common Reading Program Selection Committee, and has served on the University Advising Council’s Steering Committee. Myers is excited to lead the School of Art + Art History’s newly founded student ambassadors program.