A&D Undergraduate Brochure 2011

SCHOOL OF ART & DESIGN at

the

UNIVERSITY OF MICHIGAN

Undergraduate students Graphite on paper  From an assignment on dramatic lighting

“

The artists of this generation are the most

i m p o r ta nt ag e nt s of c h a ng e i n thi s c e ntu r y.

Most of these young artists say they do E V E R Y T H I N G ­— f r o m b o o k m a k i n g a n d p a i n t i n g to sculpture & performance.

”

Massimiliano Gioni, Director of Special Exhibitions, the New Museum

“

It’s a post-medium attitude. None of these

artists are constrained by what they make their work out of, or how they make it.

Laura Hoptman, Curator

”

Times have changed.

Once upon a time it was enough to be good at just one thing.

Now you have to know more…

more about a range of tools and techniques, more about the ideas that fuel your creative practice, more about how to bring your ideas and skills together i n t h e r i g h t w a y ­­ — e a c h t i m e y o u c r e a t e .

That ’s why we moved beyond the boundaries of departments and majors to create our unique program.

There’s only one major at A&D: art and design.

This means you can move organically across media as your ideas and projects evolve.

It ’s all about expanding your vision and your reach.

IT B EG INS by offering you ways to tailor your creativity to meet your individual goals.

4 degree options BFA IN

BA IN

DUAL

BFA IN INTERARTS

ART & DESIGN

ART & DESIGN

ADMISSION

PERFORMANCE

The Bachelor of Fine Arts in

The Bachelor of Arts in

Dual admission offers two

The Bachelor of Fine Arts in

Art & Design is the anchor

Art & Design is the degree for

concurrent degrees for

Interarts Performance is an

degree for students who are

students whose educational

students whose interests and

interdisciplinary degree jointly

passionate about pursuing

goals include broader

educational goals include

offered by the School of Art &

an intense, rigorous program

exploration of the University’s

earning undergraduate

Design and the Department of

in art and design. The BFA

academic resources, as well

degrees in more than one

Theatre & Drama in the School

prepares graduates for a

as a rigorous program in art

academic unit. Prospective

of Music, Theatre & Dance.

broad range of eventualities,

and design. The BA program

freshmen may apply to both

This is the perfect program

integrates art and design

parallels the elements and

the School of Art & Design

for adventuresome students

methodologies, interweaves

attributes of the BFA degree

and another UM academic

who have interests in both the

traditional techniques with

program, but with fewer

unit, including the School of

visual arts and theater, as well

contemporary technologies,

studio course requirements

Kinesiology; the College of

as a desire to create original

bridges the personal to

and a more comprehensive

Engineering; the College of

performance pieces. Interarts

the social, and engages

exploration of University

Literature, Science, and the

Performance introduces

the rich resources of the

courses. The BA degree

Arts; the School of Music,

students to a diverse range

University and the community.

is particularly well-suited

Theatre & Dance; and the

of art forms and creative

The BFA also includes

to students who plan to

School of Nursing. A&D

practices from new media

an international study

complete two undergraduate

applicants may also apply

to traditional acting skills,

requirement and student

degrees or to prepare for

to the Preferred Admission

with the aim of generating

exhibition opportunities.

medical or other professional

programs of the School of

work that transcends the

The first two years of the

schools. International study,

Education, the Taubman

boundaries between the

four-year program are

exhibition opportunities,

College of Architecture and

visual arts and performance.

structured; the second two are

and career planning are

Urban Planning, and the

extraordinarily flexible. Career

integral components

Ross School of Business.

exploration and planning

of the BA program.

begin in the first year.

from the moment you arrive we bring you into a continually evolving conversation with people who make creative work of all kinds.

S A R E E S I LV E R M A N Undergraduate Student I am one and also two  An installation of ceramic Ginkgo leaves, using the Ginkgo as a symbol for resilience.

500+

70+

30+

ART & DESIGN

INTERNATIONALLY

ART & DESIGN

UNDERGRADUATE

RECOGNIZED

GRADUATE

STUDENTS

FACULTY

STUDENTS

from across the US and

are your primary resource

offer models for the possible

20 other countries bring a

throughout your study.

shape and development of

wealth of experiences, ideas,

With thriving national and

your own creative practice.

and abilities, becoming an

international practices, faculty

You’ll see their exhibits

essential part of your learning

can teach you how to navigate

in the Warren Robbins

community. Your exchanges

the increasingly complex

Gallery. You’ll work with

with other students—as

terrain for creative work.

them in some of your

friends, collaborators,

Faculty skills and research

courses. You will get to

supporters and critics—are

interests include sound art,

know them and hear their

vital to the development of

film, video, installation, clay,

ideas and observations in

your art and design practice.

graphic novels, women’s

your discussion sessions

rights, political satire, graphic

and in your critiques.

design, biology, social justice, mixed race identity, industrial design, to name just a few.

The images on the following pages are a sampling of the creative work of our community of faculty, students and visitors.

you’ll meet and learn from

MORE THAN 50 visiting artists, designers and innovators

who come each year through the School’s Penny Stamps Speaker Series and the Roman J. Witt Visitors Program.

P E N N Y S TA M P S S P E A K E R S E R I E S P R E S E N TAT I O N A packed house of over 1600 UM students, faculty, staff and Ann Arbor community members at the presentation by author and designer Temple Grandin .

PENNY STAMPS SPEAKER SERIES With the generous support of Art & Design alumna Penny W. Stamps, each week the series presents public lectures by renowned creative innovators from a broad spectrum of fields. Speakers may also work with students, participate in panel discussions, generate exhibitions, create site-specific installations, and present performance pieces.

Past Stamps presenters have included: filmmaker Michael Moore, graphic designer Chip Kidd, performance artist Marina Abramovic, design firm Droog Design, and painter Julie Mehretu.

THE ROMAN J. WITT VISITORS PROGRAM Creative makers and thinkers come from around the world for both short- and long-term residencies at the School of Art & Design.

Short-term Witt visitors may offer workshops, demonstrations, public presentations, or individual student critiques. Long-term Witt residents come to the School for extended visits over the length of a semester. During that time they work in a centrally located studio space, adjacent to the School’s main gallery, to develop a new work in close collaboration with students and faculty.

Witt Visitors have included: Performance artist Pat Oleszko, kinetic sculptor Trimpin, public artist William Dennisuk, and installation artist Franz John.

C H R I S TO P H E R S P E R A N D I O of Kartoon Kings Roman J. Witt Fellow During his semester-long residency Christopher Sperandio worked with students from A&D and across campus to create, Conflict Theory as Game, a large-scale, interactive site for a series of collaborative games.

TRIMPIN If VI was IX Sound artist and Witt Visiting Artist.

WILLIAM DENNISUK Pulse Sculptor and Witt Visiting Artist.

beyond a&d you’ll belong to a vibrant university-wide community.

As part of a premier research institution you’ll have access to everything from aerospace engineering to Middle Eastern studies.

And, your creative community includes the UM Museum of Art, schools of music, theater and DAV I D C H U N G

dance, screen arts and culture,

Faculty

creative writing, and curatorial

Pyongyang, installation Symbols and impressions from Professor Chung’s trip to North Korea, the birthplace of his parents, form the basis of this installation.

studies, to name just a few.

LEARNING EXPERIENCES stretch your ideas, skills and abilities— challenging you as a creative thinker and maker.

You’ll never be asked to compartmentalize your thinking or your creative practice.

“

You learn that it ’s not just about

making something beautif ul. You end up asking why you’re making it.

Yo u l e a r n t o b e a q u e s t i o n e r. ­— Undergraduate Student

”

M I C H E L L E PA N A R S Undergraduate Student Sculpture  Deconstruction and reconstruction open the door to a new surreal context for the humble pencil.

R O N A N LY N A M Undergraduate Student Migrating East Isn’t As Safe As It Seems, Digital Illustration An epic adventure, starting at the left and ending at the right. The story should be different for every person.

drawing & digital are key to all parts of the program.

DRAWING is that essential link between eye, mind and hand — it’s still a primary tool.

SHIFRA WHITEMAN Undergraduate Student Graphite The repetition of simple shapes can be a form of distraction or meditation. However, sometimes the shapes take over, flow off the page and evolve into something greater.

DIGITAL media are core components of the program, increasing your capacity as a creator and communicator.

During your time at A&D your personal MACBOOK

PRO,

outfitted with the latest Adobe Creative Suite, will be one of your primary creative tools. To maximize learning and teaching opportunities, all faculty, staff and students share this common computing platform.

three foundation course sequences range across

media , concepts and history to help strengthen your

ideas, your skills, and your understanding of your place in the world.

A&D’s integrative program challenges you to work in all media available in the school, with a balance between traditional and cutting edge approaches.

M I R A N DA R A E S T E F F L E R Undergraduate Student Self Portrait: on being a mermaid Silver Gelatin Prints, Glass, Wood, & Other Media  I wanted a soul to exist within a bottle and to see what would happen without air and without freedom.

M E I R AV G E B L E R Undergraduate Student

one

Felt and wire From an assignment on body transformation

TOOLS, MATERIALS & PROCESSES (TMP) courses—Construction, Messages, and Time—offer you experiences with the spectrum of methods and tools essential to contemporary art/design practice including wood, fiber, metals, graphic design, printmaking, photography, performance, video, animation, drawing, and sound.

A LY S S A C H A M B O Undergraduate Student Bracelet, burnt paper and metal YO N I T O L S H A N From a series referencing book burning and the holocaust

Undergraduate Student Dragon Queen

SARAH BURKE Undergraduate Student Photography

A N A C L A R A D E A R AU J O Undergraduate Student Rug, installation

two CONCEPT, FORM & CONTEXT (CFC) courses complement work in TMP by emphasizing context and the development of ideas under the broad categories of The Human Being, Culture, and Nature.

Undergraduate Students Paper  A collaborative project to create a sculpture based on repeating forms like those found in nature.

three ART/DESIGN PERSPECTIVES (ADP) courses offer a glimpse into how your own creative work fits within the larger culture, past and present, focusing on The Creators, Society, and Technology and the Environment.

M A L LO R Y B U R G E S S , E R I N C A M P B E L L , E M M A C H A N , DOUGLAS GALANTE, SAMUEL HANSON Undergraduate Students lithograph print From a collaborative composite-print project entitled “Elements-Water”

GABRIELLE CEGELIS Undergraduate Student Matches

MICHAEL SYRON Undergraduate Student X-ray photograph An umbrella is transformed through X-ray

you’ll explore everything from sound art to social activism in the

50+ ELECTIVE COURSES offered every semester. Here’s a sampling:

E R I C L AV I N Undergraduate Student Photograph An assignment on creating work using fire, from the course Perception and Notation: Light

Perception & Notation: Light,

Digital Character Fabrication,

Photography and Animation: Animating

E D WA R D W E S T

E LO N A VA N G E N T

Images through Optical Toys and Other

Light is a primal force, fundamental to

This course investigates experimental

Amusements, R E B E K A H M O D R A K

our existence. Without light there is no

approaches to 3-D digital character design

Before modern cinema, 19th century optical

image. This cross-disciplinary studio

and construction. Our primary tools are a

toys such as the “wonder turner” and the

seminar explores light as an art making

variety of 3-D modeling software packages—

“wheel of the Devil” entertained people

source and resource. Sample assignments

for designing characters— along with

through the illusion of motion. This class

concern fire, the electromagnetic

laser cutting, CNC machining, and rapid

considers how still images can be used

spectrum (X-ray), light from the sky, as

prototyping to make them physically real. All

for animation. Students learn to make

well as more theoretical investigations.

of these activities will be framed by

thaumatropes, flipbooks, and zoetropes, as

investigations of depictions of life forms—

well as peep shows and moving panoramas.

real and imagined—from different time periods and cultures.

Where Art Thou? Creative Practice Outside the White Cube, O S M A N K H A N This course explores creative practices in public contexts including the historical, theoretical, and practical production and consumption of culture and art beyond the traditional institution. Students develop projects exploring and responding directly to the social, cultural, physical and economic contexts of the public sphere.

Prints Bigger Than Your Car: Exploring Grand Scale Printmaking, E N D I P O S KOV I C This course explores monumental scale as a point of departure to create large and unusual format prints. Students investigate a range of established, new, and unorthodox print technologies that challenge preconceived notions of size, matrix, reproduction, and sequence.

Making Science Visible, B R A D S M I T H Students explore a variety of methods to observe, measure, document, and depict nature and science. The course blends image making skills (drawing and digital) and concept development. Students visit labs and museums around the University to see and use various imaging technologies, and then produce their own images, objects, and representations to depict science and nature. They also deliberate on the intended and unintended consequences of these portrayals.

THE STUDIO is your practice space. You’ll work to find what you’re good at, what you love, what you can’t live without.

And, the

FACILITIES

you’ll

work in are some of the best in the country with studios devoted to clay, fibers, metals, painting, drawing, photography, printmaking, sculpture, woodworking, rapid protoyping, and video production.

S H I VA A H M A D I Faculty

L I N D S AY P R E S TO N Z A P PA S Graduate Student

M A L LO R Y B A R A N Undergraduate Student

PAINTING & DRAWING STUDIOS With large window-walls for natural light, the expansive studios provide painting racks, drawing tables, easels, and storage units.

MEGAN O’NEIL Undergraduate Student Jacob, painting

from an independent study with Professor Jim Cogswell

CASSANDRA M C Q UAT E R Undergraduate Student Collage

MEREDITH HOFFMAN

SARAH JONES

Undergraduate Student

Undergraduate Student

elective painting course,

Altered Representations

Painting

Where Do Paintings Come From?

Drawing

 Created in the advanced

CLAY encompasses 5,400 square feet of studio space including three full-size gas kilns, as well as outdoor firing areas.

K AT H E R I N E D R A K E Undergraduate Student Amalgamation, clay My work explores the concepts of morphology, communication through gesture, and the form and surface relationship of ceramic sculpture through largescale ceramic sculptures inspired by my natural surroundings and various biological organisms and their life courses.

M A I DA N I KO C E V I C Undergraduate Student Tailored Couture, fabric Reconsidering our current approach to materials, manufacturing, and marketing of fashion by re-purposing secondhand apparel to meet the modern standards of the fashion industry.

M AT T G R A N D I N Undergraduate Student Better Ways to Carry leather and fabric Bags that compliment people’s lifestyles, using recycled materials to demonstrate more efficient uses of current resources.

A LY S S A O L S O N Undergraduate Student Screen printed fabric

The

FIBERS STUDIO

features rooms for sewing, construction, and weaving, as well as a general work room for designing, fabric printing, batik, and many other fiber techniques.

SCULPTURE STUDIO The renovated 5,400 square foot studio includes a foundry, wax workshop, and torch welding. There are also rooms for plaster mixing, woodworking, and figure modeling.

C A R O LY N W I E D E M A N Undergraduate Student Who We All Are The dynamic of the individual versus the strength of the whole, where the essence of the feather is in its connection with other feathers. In the words of Lehmah Gbowee, “I am what I am because of who we all are.”

ALLISON STURM

LO U I S M A R I N A R O

Undergraduate Student

Faculty

Bronze sculpture

Mourning Painted bronze In commemoration of 9/11

ANNE MONDRO Faculty Carillon Bells Carillon bells cast by students in the course Shaping the Sound of Bronze

Detroit’s Shadow, steel and copper wire A life-sized crocheted, steel and copper wire reproduction of a 1916 Model N Ford engine

M I K E V I TA L E Studio Coordinator Breakfast Ritual, Stainless steel spoons & sterling silver cast Cheerios

A LY S S A C H A M B O Undergraduate Student Fairy Tales: Gilded Persecution, metal Focusing on Grimms’ Fairy Tales, these sculptural adornments address

THE MASKELL METALS STUDIOS include a hot room that houses welding, soldering, and forging equipment; a cold room with

situations in which female

equipment for milling, smithing,

characters’ individuality

cutting, drilling, sanding, lathing,

and independence are restrained in some manner

and other metal processes; and

appropriate to each story.

a classroom for various other processes for non-ferrous and jewelry design metals techniques.

The metals studios are made possible through the generous support of Dick and Odette Maskell.

K AT I E B R O O K S Undergraduate Student Bracelet, metal This jewelry series contains materials that show the interaction between the wearer and the jewelry over time and through movement.

The

WOOD STUDIO has

everything from the simplest handtools to a CNC router and a laser cutter.

R YA N B O R A Undergraduate Student Chair

ERIC HARMAN Undergraduate Student Natural Interaction, wood S H A I L I DA S Undergraduate Student Table

 

PHOTOGRAPHY and PRINTMAKING share the Print Media Studio. Digital resources include: Epson large format inkjet printers, workstations for film and flatbed scanning, and an area for paper and mat cutting. Traditional printmaking features etching presses, a proofing press for relief printing, and lithography presses.

STEPHANIE B OXO L D Undergraduate Student Photograph from an assignment on shadow

M E G A N L AC R O I X

K E L LY N C A R P E N T E R

Undergraduate Student

Undergraduate Student

Photograph

photograph

From an assignment on creating an “altered head”

Painting with light

Undergraduate Students Woodblock An assignment for all freshmen focusing on water as part of the foundation course, TMP: Messages

E N D I P O S KOV I C Faculty A View From the Black Mountain in Yellow and Green with Red and Blue Woodblock

MULTI-PURPOSE STUDIOS offer flexible space for everything from paper sculpture to graphic design.

BEN ENGLISH

A series created for 826michigan

Undergraduate Student

to advertise their Liberty Street Robot

Two-color silkscreen on colored paper

Supply & Repair store in Ann Arbor.

B R YA N T Y E E Undergraduate Student Graphic design A S H L E Y L AU Undergraduate Student Graphic design A series of grocery totes inspired by Michael Pollan’s rules on what to eat.

Design of tent cards for the UM TEDx conference.

K AT I E J AC Q U E Z

A N N A S C H U LT E

Undergraduate Student

Undergraduate Student

Graphic design

Mixed media

Created for the foundation course, TMP: Messages

Undergraduate Students Paper designs Wearable paper designs for the advanced course, Paper Sculpture

BEN ENGLISH Undergraduate Students Graphic design Poster created for the Senior Show Epoch.

VINCENT ROBERTS Undergraduate Student Greetings from Huron-Clinton Metroparks A series of greeting cards designed to promote Huron-Clinton Metroparks featuring simple illustrations of the inhabitants of these parks

ERIN STROBLE Undergraduate Student Double Take Booklets showcasing the various neighborhoods of St. Louis through conversations and observations about the city

L I N D S AY B I E N I C K Undergraduate Student Graphic design Poster from a course assignment to redesign the visual identity of a local, nationallydistributed pasta company

The

VIDEO STUDIO provides all the equipment necessary

for digital video editing, DVD authoring, and projection.

Video by V I C TO R U H A L Undergraduate Student, Tear

Video by WA LT E R LO W E I I I Undergraduate Student, Protocol of Person and Social Syntax: Lesson One

Video by S E A N T H O M P S O N Undergraduate Student, REKORD: An Animated Short

Video by C O L L I N M C R A E Graduate Student, Stitch

M A L LO R Y B U R G E S S ,

DIGITAL 3-D

K AT I E J AC Q U E Z , R AC H E L M C G U F F I N ,

Courses focus on 3-D modeling

S C OT T TO L I N S K I

and animation using state-

Undergraduate Students

of-the-art software like MAYA

Digital 3-D modeling

and RHINO. Projects utilize

A collaborative

fabrication processes with CAD

assignment to design an interior space from

data and include technologies

the course 3-D Modeling

such as rapid prototyping and

and Animation

digitally-based machining.

M AT H E W S C H WA R T Z Undergraduate Student Rapid Prototype 3-D modeling A custom algorithm with motion capture technology renders the performative arts into static sculptural forms creating an aesthetic that focuses on the path of motion instead of on the subject’s figure.

E LO N A VA N G E N T Faculty LegsAllRound Plaster-based powder rapid prototype

DUDERSTADT CENTER In addition, directly across the street from the School, the Duderstadt Center offers state-of-the-art digital media labs, a video studio, a virtual reality lab, two electronic music studios and an audio recording studio, in addition to a library housing an extensive collection of art and design books, journals, and digital resources.

talented studio coordinators each one a professional artist-designer in his/her own right, manage the studios and can give you the technical support you need to make your ideas real.

BEYOND THE STUDIO You’ll have opportunities to find your place in the community and the world.

OSMAN KHAN Faculty Installation Site specific installation on climate change, as part of a “floating residency” on a 100 year old steel-hulled schooner travelling the Arctic Circle.

Y E S U N G PA R K

From the course Where

Undergraduate Student

the Wild Things Aren’t

engagement courses help you explore how you can change—and be changed by— working with new communities.

A SAMPLING OF COURSES Ways of Seeing: Working

Journeys, Dreams, and

with the Visually Impaired

Fellow Travelers; Recording

S A DA S H I I N U Z U K A

Stories from the Road of Life

In collaboration with the Ann

STEPHANIE ROWDEN

Arbor Center for Independent

Senior citizens from University

Living, students work with visually

Living, a senior residence

impaired individuals to explore

in Ann Arbor, work with

the sculptural potential of clay.

students to explore various forms for oral narratives.

Detroit Connections J A N I E PAU L

Where the Wild Things Aren’t

This course connects

H O L LY H U G H E S

students with fourth graders

A collaboration with the

at two elementary schools

Huron Valley Humane

in Detroit through semester-

Society investigating animal/

long art projects.

human relationships.

From the course Ways of Seeing: Working with the Visually Impaired

international study expands your creative engagement with communities and cultures. As part of our curriculum

EVERY A&D STUDENT is

expected to arrange and carry out study and travel in a country outside of the U.S.

A&D has partnerships with 22 cultural institutions and programs worldwide. And the University has more than 100 study abroad programs.

Students may participate in A&D programs, UM programs, or they may choose to study abroad through another institution.

showing your work —whether it’s seen by 2 people or 2,000—is at the heart of any creative practice. Your work speaks for you, and at A&D your work will be constantly on view.

Each year the All Student Exhibition offers awards totaling $30,000.

M A L LO R Y B A R A N Undergraduate Student Concretely An exploration in taming the utilitarian material that is concrete into sculptural seating.

a&d’s 5 galleries Jean Paul Slusser Gallery Work • Ann Arbor Work • Detroit Warren Robbins Gallery www.playgallery.org

practice being a professional through ongoing

INTERNSHIP

opportunities.

A&D STUDENTS HAVE RECENTLY INTERNED AT: Interlochen Arts Camp

Bauer, Dunham & Barr

Donghia Furniture & Textile

Gemological Institute

J Walter Thompson

Betsey Johnson

DP Design and Print

General Motors Design Center

American Greetings

Biolumina

DPRO Marketing

Glacier National Park

Ann Arbor Film Festival

Campbell-Ewald

DraftFCB

Graphis

Anna Sui Corp.

Chelsea Center for the Arts

Duncan Fuller Interiors

Great Commission Ministries

Anne Kessor Photography

Chapter

EIC

Great Faith Ministries International

Anthropologie

Coach

Elizabeth Dow Ltd.

iDL Merchandising Solutions

Apple

Conde Nast

Endgame Entertainment

Inner Concept Media Studio

Arnold Worldwide

Cranbrook Art Museum

Etro

L.E.G. Productions

Artrain USA

Domestic Violence Project, Inc.

Food Network Magazine

Landscape Forms, Inc.

ArtsAlliance

Safe House

Fragments

Latitude Digital, L.L.C.

Band of Angels

Doner Adverstising

GE Medical Systems

Liz Claiborne Inc.

A&D has an annual PORTFOLIO REVIEW EXPO with representatives from national and local organizations looking for emerging creative professionals.

LOGO

The New Museum

Real Time Technology

Toledo Museum of Art

Mad Magazine

New Work Enterprises

Rubies Costume Co.

Tri-State Hospital Suppy Co.

Mars Advertising

Opera Theatre St. Louis

Saatchi and Saatchi (Taiwan)

UM Ford School of Public Policy

Mary Engelbreit Studio

Parents Magazine

San Diego Union Tribune

UM Kelsey Museum

Massachusetts Audubon Society

Pewabic Pottery

Scout Productions

Universal Images

Michael Kors

Phillips de Pury & Luxembourg

Scoutvision (film)

UM Hospital & Health

Moosejaw Mountaineering

Pixel/Starcom MediaVest

Shane&Shawn

UM Matthaei Botanical Gardens

MTS Seating

Project Sunshine

Sparrow Health Systems

Urban Institute for Contemporary Art

MTV Networks

Proteus Design

Surface Magazine

Villing & Company

MOCAD

Publicis Hong Kong

The Rockport Company

Vogue

NBC News

QLTD

Thomson Reuters

WahlRich Design

New Line Cinema

Ray Brown Production

Thrivent Financial for Lutherans

Whirlpool Corporation, Global

YOU’LL SYNTHESIZE YOUR EXPERIENCES IN YOUR FINAL YEAR As a BFA student you’ll advance to the year-long

INTEGRATIVE PROJECT (IP).

This capstone of your undergraduate efforts allows you to bring together academic and studio work in the development of an individual project.

C A R O L I N E AU L I S Undergraduate IP project Ice and string  Installation of 300 spheres of ice, exploring ways to slow time and motion in order to emphasize a single moment.

your integrative project draws on all of the experiences and resources in your creative tool kit.

It’s your first step into the world as an emerging artist/designer.

K AT I E B R O O K S Undergraduate IP project Charcoal and silver  From a jewelry series showing the interaction between the wearer and the jewelry over time and through movement.

each ip student is provided with an individual dedicated studio space for the year — a space that can be customized to meet your project needs.

each ip student is provided with an individual dedicated studio space for the year—a space that can be customized to meet your project needs.

you’ll conceptualize and generate a personally defined project that describes your growth as a creative thinker and maker.

Here’s a sampling of the work IP Profile

from the 90 + IP Students who graduate from A&D each year.

SARAH SIMMONS Undergraduate IP Student My project represents the connection

attention women’s struggles to be viewed as

neck is a support tasse. The standing ruff of the

between undergarments and the gender ideals

equals and allowing me to do a great deal of

time period has fallen to the waist mimicking the

of seven different eras, as a way to appreciate

research, confirming that undergarments are

silhouette of the cartwheel farthingale, which gives

the strides that have been made in women’s

perfect illustrations of larger sociological issues.

shape to the skirt. A mirror hanging off a “lady’s”

rights. My many courses in Women’s Studies

This piece is drawn from the Elizabethan era

skirt was fashionable at the time, allowing a

greatly influenced my work, bringing to my

(1545 – 1620). The structure around the model’s

woman to be aware of her appearance at all times.

IP Profile

you’ll begin to chart

K E L S I E K AU F M A N Undergraduate IP Student Through the art of storytelling, Travelog communicates the importance of intercultural connectivity and cultural immersion. Featuring stories from students who have recently traveled, each episode underlines the importance of seeking out international experiences.

Each CD cover is individually designed in response to the themes. The representation of intercultural connectivity and

the direction of

cultural immersion is emphasized

your future.

my home life with international

by overlaying photographs of experiences, creating overlapping life perspectives.

For the gallery presentation of Travelog, a listening space was created for viewers to experience the project at varied levels of involvement. The visual focus of the space was a painted map on the center wall, with images of the storytellers in Travelog, and captions with the countries where the stories take place.

Cocktail table: The selected olive burl floats in clear cast acrylic. 3D scanning technology mapped the burl’s natural contours, providing the geometry needed to accurately manipulate and CNC route the materials. The lattice cherry base features a tapered profile and mitered edges, whose complex geometry and angles are only possible through digital fabrication.

ERIKA CROSS Undergraduate IP Student Evo Series The Evo Series explores the realm between digital and handcrafted furniture manufacturing methodologies,

IP Profile

incorporating digital tools with craft materials, techniques and traditions.

3D scanning technology

A form entirely informed

mapped the slab’s natural

by material and process, E-03

live edges and this mapped

is comprised of horizontal

geometry was manipulated

interlocking ring components

in CAD software.

reminiscent of stereotypical CNC machined furniture.

MICHAEL SYRON Undergraduate IP Student Absence/presence To photographically depict the fluidity and momentary rhythms of life, one must force light to become absent and present. My method is a combination of open shutter and strobe light. The strobe light, in its perpetual flicker, provides the mathematical rhythm of absence and presence. I use the light to dissect; I remove what I do not feel is necessary.

The result is images that show phases of motion, multiple viewpoints, perspectives, and overlapping fragments.

The fragmentation and the overlap create the collective image. The images are, in essence, multiple exposures. Every flash of the strobe is a new exposure. The image becomes denser and denser, as multiple viewpoints and moments pile up on one another.

IP Profile

IP Profile

B R YA N T Y E E Undergraduate IP Student A redesign of LED packaging to enhance protection of bulbs, promote use of “green” materials, and improve information design.

The package assembly requires no glue and is constructed from 100% post consumer recycled paper. It also serves as a prepaid return-shipping container, so consumers can send used bulbs for recycling. The new labeling’s clear information display helps consumers select the right bulb.

I remember when I was finishing this project, nothing else mattered to me, not even eating or sleeping. And it all paid off. My thesis has been featured on the prominent design blogs ID-Mag.com, TheDieline.com, PackagingOfTheWorld.com, published in Computer Arts Projects magazine and Gestalten’s Boxed and Labelled 2, and awarded the student runner-up prize in Core77’s 2011 International Package Design Contest.

S Y D N E Y E VA N S Undergraduate IP Student Turned Out Turned Out is a line of clothing where people wear what’s on the inside on the outside. Each outfit is made out of screenprinted patterns based on microscopic parts of the human body, then turned into clothing based on the function of those parts.

For example, I did a print using stem cells. Something really unique about stem cells is that they can turn into something else once they are fully developed. So I used the stem cell print to make a reversible coat which can turn into two different things, as well.

IP Profile

IP Profile

KENT CALDWELL Undergraduate IP Student  My art explores narratives and dif ferent methods of visual storytelling. For my IP project I created an installation of narrative, miniature dioramas, titled Balder and the Last Light. The Last Light is a visual narrative told in a series of seven sequential dioramas that were installed within a wall I constructed that featured small viewing windows so viewers had to peer into each scene. The narrative itself charts the allegorical voyage and return quest of a small boy as he struggles with the responsibility of the Last Light.

ALLISON CARRON Undergraduate IP Student Impact was an exploration of the body—as well as physical and mental endurance through performative action—focused on themes of sin, guilt, punishment, and atonement.

IP Profile

An audience participatory event was performed during the opening of the Senior Show. For this presentation I was blindfolded, wearing all white in an all white space. I offered a bag of black chalk to members of the audience who then threw the bag at me. Upon impact black residue would remain on my clothes, the floor, and the wall, mimicking bruises. After the bag hit and fell I would then search for it (still blindfolded). Once the bag was found I would return it to an audience member and the exchange would be repeated over and over again.

IP Profile

E R I N M U R R AY Undergraduate IP Student This project attempts to instill genuine curiosity in strangers through acts of hiding, finding, and trusting. To accomplish this goal, I chose to work with books.

I found that the library was an ideal place for an anonymous gift, as libraries already promote discovery within their shelves.

I wanted my project to interact with people in a very intimate way, but I didn’t need to be present for the interaction.

My goal for the books is that random people perusing the shelves will pick up and take the books home. That exact moment when the finder decides to “trust” their discovery and take the book is really what my whole project is about. In that moment, they have found something unexpected, decided to trust an unknown author, and gained a gift from me.

MAX COLLINS Undergraduate IP Student No More Talking No More Talking is a series of portraits that address a developing trend toward interpersonal disconnect and indifference as a result of digital technology. The portraits of these college students are lit solely by computer screens as a way to create a new physical and psychological space, mirroring the way the internet has become a separate “reality.” The dull, hypnotic expressions in the faces are meant to capture the look of a generation interacting with computers at an ever increasing rate. Captured in expressions of disconnect, these faces appear more absorbed in cyberspace than the tangible world, suggesting how social skills are being stunted as a result of too much time spent in solitude surfing the internet, playing video games, etc.

IP Profile

L AU R A T H O M P S O N Undergraduate IP Student Interference  Interference is a multi-channel video installation that delves into the aftermath of sexual assault by telling a series of stories through dance. While studying abroad in the Netherlands, I began researching the body and its functions. My work uses movement to explore the human experience through found patterns and repetition and I

IP Profile

have worked with music, dance, video, sculpture, performance, and programs like Processing and Max/MSP/Jitter.

IP Profile

K E L S E Y S H U LT I S Undergraduate IP Student Earch Earch is a series of “beingstructures,” a set of sculptural paintings that chronicle a search for both strength and an underlying structure in the midst of physical chaos.

I used materials that represent physical effort in terms of strength, movement, and action.

The paintings are built with construction materials—caulk, insulation, tar, house paint, spray paint, wood, metal, etc. The nature of these materials helps to convey a sense of productivity, longevity and resistance, as well as inner strength.

wanted to explore. I liked that A&D didn’t require me to declare a concentration, and that exposure to a wide variety of mediums was part of the curriculum. And I really liked that it was a small school in a big university. I didn’t want to only take art

WHAT’S NEXT Stories from graduates

classes and studying at UM would allow that.

But it was an A&D foundation course on for me. It introduced me to a topic that I became super passionate about—local food

issues that changed everything for me.

”

design job in Boston lined up after graduation!

I’ve just started work in the Boston office, and I have no idea what to expect. I assume

began to drive my creative work. I started

I will be at my computer moving lines, type,

taking courses about environmental topics

and images right and left a few pixels here

throughout the University. These classes gave

and there, for awhile, but I’m okay with that.

my work context and meaning. I also took

What I am most excited about is that I will

some business and marketing courses, which I

be working with people in all different roles.

think are important for every artist or designer.

I will work alongside other creatives, but also

Internships were critical. I never took

information architects, business strategists,

a graphic design course at UM, but my

media planners, project managers, and

two design internships provided me with

developers. I love this, because my most

experience of collaboratively working on

exciting classes at UM were those where

real projects, for real clients. I got insights

we collaborated with other departments.

into how the industry actually functions—

I’m super excited to start working.

there can be 60 revisions before you see

(I NEVER thought I’d feel that way.)

Without these internship experiences, my resume would have read “Worked on an organic farm in Northern Michigan.”

At the start of senior year, I began to

I still remember the first week of school,

on environmental

and organic agriculture—and this topic

field is much more than a 9-5 commitment.

Alyssa Ackerman

foundation course

environmental issues that changed everything

the end of a project, and any job in this

A&D Profile

“ It was an A&D

panic just slightly about,“What am I going to do after school?” Then I read an email from John Luther (A&D’s Career Coordinator)

pulling out my beautiful new MacBook Pro

about a design firm, Sapientnitro, that

to start my homework. My homework?

was coming to campus. I submitted my

making font monsters in Illustrator.

resume and portfolio and after three rounds

When I came to A&D, I had no idea what

of interviews, I had gotten a job. It was

medium I wanted to pursue, I just knew I

November of my senior year, and I had a

to three different student newspapers. I also

worked with Move Communications, where I

gained experience working as a design intern for

had interned as a student, to develop a concept

a small business and for a marketing firm, Move

car booth at the Detroit Auto Show. I wrote and

Communications.

designed a booklet to accompany the concept

“ At A&D the

vehicle; helped lay out the graphics and display work surrounding the concept car; art directed

curriculum necessitates exploration. My friends at other schools were A&D Profile

Adam Morath When I was at A&D, I knew friends who

went to other fine arts schools to study

developing technical skills, but not doing much conceptually or cross-media.

”

animation for the video; and worked with a friend from UM on the music.

About two years ago a colleague from Winding Road, also a UM graduate, was working for AOL. He knew of my broad skill set and suggested I apply for a position there. When I was first hired I was asked to come up with a concept for a video series. I proposed a weekly series and blog exploring the cross section between mobility, technology and innovation. AOL liked the idea, and we

painting and stayed with painting. At A&D the

Since graduation I’ve had a number of

created Translogic, a show that’s aimed at

curriculum necessitates exploration. I could

positions where my range of skills was a

redefining the auto enthusiast for the 21st

see that my friends at other schools were

real advantage. Right after I left school I

century. It recently won a Telly Award and was

developing technical skills, but not doing

took a position as Winding Road magazine’s

recogized by the Webby Awards. In addition to

much conceptually or cross-media.

associate art director where my duties

running Translogic, I currently head up AOL’s

During my time in school I served as photo

included car photography, layout, illustration,

automotive video strategy.

editor for a student-run magazine, while

and video editing.

contributing as a designer and photographer

After Winding Road downsized, I again

gave me the opportunity to find out what I was really passionate about.

When I graduated, I went to a local cake shop and volunteered to help out on busy weekends. Then, the owner asked me to be her assistant on a series of Food Network Challenges. I met cake artists from all over the country, learned lots of new techniques and got a better sense for the ins and outs of the cake business.

“ Instead of being

prepped to fit into a specific career path, A&D Profile

Heather Anne Levitt I arrived at college thinking I’d go into

Graphic Design. But I realized pretty quickly that I had a lot more fun working in three dimensions. I entertained the idea of going into Industrial Design, but a semester in Italy studying sculpture and falling in

going to A&D gave me the tools to figure out what I really wanted to do, and the ambition to figure out how to get there.

”

love with cooking changed my path.

I currently run a cake business called

I came back, passionate about food,

Sweet Heather Anne here in Ann Arbor. I

and eager to express this passion through

use the skills from my sculpture, industrial

my artwork. I did what any sensible

design, and painting classes on a daily

pastry novice would do, I dove right into

basis. My time in one of A&D’s foundation

sugar sculpture. I also tried working with

courses, Concept, Form and Context

chocolate molds, and even jello, but cake

(CFC), has also had a big impact on

was the most versatile, and the most fun.

my work. Most of the cakes I make are

I actually started making cakes for

completely different from anything I’ve

my senior thesis project. Being able to

ever made before, so I rely heavily on

spend a full year on one project, after

the creative problem solving skills, and

trying out so many different media,

perseverance that I learned in this class.

retouching images at Gladstone Gallery and I met a lot of people there, including Mathew

“ Most really successful

Barney. I started interning with Mathew as

young artists are doing

an artist assistant on my days off from the

multidisciplinary work.

gallery. Eventually he offered me a job and I worked full-time for him until I started grad school, then I continued to work part-time.

Now I have my MFA from the School of Visual Arts and I work as an artist assistant

Work now centers around ideas, not necessarily a material.

with Rob Pruitt. I was hired when he had to

”

ramp up for a show, but now I’m one of the few people on his permanent staff. I think it’s because I have a lot of skills that he needs.

A&D Profile

I can wear a lot of hats. I can oil paint, I can sculpt, and I can work with Photoshop.

Kevin Stahl I graduated from A&D a few years

I also have my own studio practice and I try to make sure that 3-4 nights a week and one day on the weekend I work in my own

ago and now that I’m a working artist, I

studio. My work has changed so much. I

show at Perry Rubenstein last year, and I’m

think A&D’s curriculum was so important.

haven’t made a painting in 2-3 years. I’ve

currently in the BAM, Next Wave Art, curated

Traditional curriculums don’t prepare

been sculpting and making a lot of drawings

by Dan Cameron. The central challenge for

you for the contemporary art world…

with Adobe Illustrator. My recent work has

me remains making and growing my work. I’m

at least not in New York. Most really

a personal narrative and a lot of humor. I

excited by my new work and I don’t know what

successful young artists are doing

try to show as regularly as possible. I had a

I would do without this life. It’s what I need.

multidisciplinary work. Work now centers around ideas, not necessarily a material.

Before I came to A&D I went to a standalone art school. I transferred because I knew I would get a much better education at UM. A&D required me to learn different media and my professors gave me the freedom to become more experimental and to begin thinking on my own. I also took classes in art history, astronomy, statistics, and anthropology. My academics sparked interests that still inspire my work.

After A&D I moved to New York and began looking for a job. I got lucky. My Photoshop experience at A&D helped me get a job

“

If there were an option to

start over from scratch, this is the program that would be built.

The School of Art & Design and the University of Michigan have created an opportunity to lead the academic conversation in art a n d d e s i g n i n t h i s c o u n t r y.

�

The School of Art & Design is accredited by the National Association of Schools of Art and Design (NASAD). A recent re-accreditation review of the School elicited this response from the NASAD review team.

U-M SCHOOL OF ART & DESIGN UNDERGRADUATE ADMISSION INFORMATION The School of Art & Design offers four undergraduate programs: the BFA in Art & Design; a BA in Art & Design; Dual Admission / Joint Degree Programs, and the new Interarts Performance BFA. For questions or to schedule a visit call the School of Art & Design at 734.764.0397 or send email to a&d@umich.edu.

Application Instructions 1) Submit a completed Common Application which includes: •• Common Application •• University of Michigan Supplement •• Counselor Recommendation •• Academic Teacher Recommendation •• Art Teacher Recommendation •• Common Application Essay •• Two University of Michigan Essays •• MELAB, TOEFL, or IELTS test scores are required of all speakers of English as a second language.

2) Request an official copy of your transcript from your high school.

3) Send your ACT or SAT scores directly to the University of Michigan-Ann Arbor 4) Upload a portfolio of your work online at http://um.slideroom.com.

Applicants should upload a total of 15-20 images (jpg), videos (mov, wmv, flv), music (mp3) or PDF documents. Read the

following General Portfolio Guidelines for details .

For detailed application information— including special requirements for Interarts Performance, Dual Degree, Transfer and International Students— go to:

Submitting Your Portfolio A&D’s portfolio review process uses SlideRoom. Applicants register and submit their portfolio on the SlideRoom website using A&D’s portal: http://um.slideroom.com.

www.art-design.umich.edu/ prospective/undergraduate

General Portfolio Guidelines Freshman and transfer applicants must submit a portfolio of 15 – 20 examples of representative and current work in a variety of media.

Include only your best work, work that shows us your media skills as well as evidence of creativity, imagination, and risk-taking.

Every portfolio must include drawings from direct observation.

Each piece in a portfolio should be there for a reason—for example, to show a particular skill, to demonstrate your range, or to highlight your creativity.

A Strong Portfolio Includes: •• Drawings from direct observation. Include sketches as well as finished drawings •• 2D media: Design, drawing, painting, photography, printmaking, and mixed media •• 3D media: Fibers, ceramics, metalwork, sculpture and installations •• Digital media: computer animation, video, audio, interactive art and internetbased projects •• Performance, conceptual work, or other work not easy to categorize

SlideRoom charges applicants a $10 transaction fee to submit a portfolio. For concerns regarding the SlideRoom fee, or to request a fee waiver, please contact us at a&d@umich.edu.

Applicants may upload images (jpg), video (mov, wmv, flv), music (mp3) or PDF documents. Image files should be sized no larger than 1220px @ 72 dpi. Please keep video files under 60MB each. If you’d like to submit a larger file, upload it to Vimeo or YouTube, and submit the video’s URL. Use the description fields to help us understand your work.

•• If the work was a class assignment, describe the assignment and how your work solved the problem.

•• If the work was selfdirected, tell us why you made it, and describe your ideas and concepts.

•• Explain why you chose to include this particular work in your portfolio, what it means to you, and what you were trying to achieve.

•• Discuss any research and preparation you did for your final work.

Our SlideRoom portal offers additional instruction for submitting work. For technical assistance, access the help desk at http://slideroom.zendesk.com.

BFA IN ART & DESIGN semester 1

semester 2

semester 3

semester 4

semester 5

semester 6

semester 7

semester 8

Required Core Studio Courses Senior Integrative Project

Elective Studio Courses

A&D Academic Courses University Academic Courses 16-17 credits

16-17 credits

16-17 credits

16-17 credits

16-17 credits

16-17 credits

16-17 credits

16-17 credits

semester 4

semester 5

semester 6

semester 7

semester 8

BA IN ART & DESIGN semester 1

semester 2

semester 3

Elective Studio Courses

Required Core Studio Courses

Elective Studio Courses (E.S.C.)

E.S.C. University Academic Courses A&D Academic Courses Stamps Speaker Series 16-17 credits

16-17 credits

16-17 credits

16-17 credits

16-17 credits

16-17 credits

16-17 credits

16-17 credits

semester 6

semester 7

semester 8

BFA IN INTERARTS PERFORMANCE semester 1

semester 2

semester 3

semester 4

semester 5

A&D and T&D Advanced Studio Electives

A&D and Theatre & Drama (T&D) Introductory Electives

A&D and T&D Senior Integrative Project

A&D Academic Courses University Academic Courses 14 credits

14 credits

17-18 credits

17-18 credits

17-18 credits

*These charts represent basic credit distributions for a sample plan of study. Schedules will vary for each student.

17-18 credits

17-18 credits

17-18 credits

U-M SCHOOL OF ART & DESIGN UNDERGRADUATE PROGRAM DETAILS Required Core Studio Courses Eight required Core Studio courses are completed during the first two years of the program.

Fundamentals of Drawing: Includes life-drawing, technical drawing, design drawing, and illustration.

Digital Studio: Includes basic computing skills and programming, 2D image generation and manipulation, web design, and 3D object generation and surfacing.

Tools, Materials, and Processes: A series of three studio courses that expose students to a wide variety of the physical materials, tools, and processes useful to contemporary art and design practices.

University Academic Requirements University Academic Requirements develop basic familiarity with the three traditional components of liberal arts - humanities, social sciences and natural sciences; an introduction to analytical reasoning; empathy with other cultures; and familiarity with contemporary environmental issues.

Requirements: •• First Year Writing •• Upper Level Writing •• History of Art •• Social Science •• Natural Science •• Analytical Reasoning •• Environmental Studies •• Race and Ethnicity •• Academic Electives

Concept, Form, and Context: A series of three studio courses that teach problem solving and problem generation, focusing on the development and structuring of ideas.

The University of Michigan, as an equal opportunity/affirmative action employer, complies with all applicable federal and state laws regarding nondiscrimination and affirmative action. The University of Michigan is committed to a policy of equal opportunity for all persons and does not discriminate on the basis of race, color, national origin, age, marital status, sex, sexual orientation, gender identity, gender expression, disability, religion, height, weight, or veteran status in employment, educational programs and activities, and admissions. Inquiries or complaints may be addressed to the Senior Director for Institutional Equity, and Title IX/Section 504/ADA Coordinator, Office of Institutional Equity, 2072 Administrative Services Building, Ann Arbor, Michigan 48109-1432, 734-763-0235, TTY 734-647-1388.

For other University of Michigan information call 734-764-1817.

Art & Design Academic Requirements A&D’s academic requirements are designed to engage students in both the history of art and design and the current practice of emerging artists.

Requirements: •• The Penny Stamps Speaker Series brings creative thinkers and makers to the School for a public lecture and to engage with students. Students must enroll in the 1-credit/ semester Lecture Series and attend the weekly lecture each semester through all four years of the program.

•• First and second year students complete Art & Design Perspectives, a series of three 3-credit courses designed to be broader in scope than traditional art history courses, integrating art and design issues, ideas, and history.

Milestones A&D students have to complete the following milestones, which are required for graduation.

1) Sophomore Review: a formal presentation of work to date in the program to an ad-hoc faculty committee.

2) International Study: An international experience prepares A&D graduates to enter the globalized economy, makes them more competitive for graduate study, fellowship opportunities, and employment, and helps them to become informed global citizens.

3) IP Critique (BFA students only): A required review, which is an opportunity for students to receive faculty advice and feedback midway through the year-long Integrative Project.

Minors: The flexibility of the A&D academic curriculum allows students to pursue any minor offered at UM. Most minors require the completion of 16-18 credits (5-6 courses).

UNIVERSITY OF MICHIGAN REGENTS

A&D DESIGN TEAM

Julia Donovan Darlow Ann Arbor

Olivia P. Maynard Goodrich

S. Martin Taylor Grosse Pointe Farms

Editor/Art Director Kate West

Laurence B. Deitch Bingham Farms

Andrea Fischer Newman Ann Arbor

Katherine E. White Ann Arbor

Designer Carl Greene

Denise Ilitch Bingham Farms

Andrew C. Richner Grosse Pointe Park

Mary Sue Coleman {ex officio}

Photography Carl Greene James Rotz Patrick Young Caitlin Kleiboer John Baird

University of Michigan School of Art & Design 2000 Bonisteel Blvd, Ann Arbor, MI 48109

www.art-design.umich.edu 7 3 4 76 4 03 97  |  a & d @ u m i c h . e d u