Stamps Making A Difference 2013 by University of Michigan Penny W. Stamps School of Art & Design

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The Stamps School Making A Difference

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On this cover of Emergence A New Look

O N SE P T E M B E R 2 0 , 2 0 1 2 , A& D B E C AM E T HE

and students, the Stamps word mark has been designed

Penny W. Stamps School of Art & Design.

to achieve a number of goals. With it, we declare our new

Naming is a moment of transition. Internally,

identity with a bold and declarative mark; we place ourselves

a new name is an occasion for us to revisit our

within the new logo system developed by the university as

histories and anticipate our futures. For external audiences,

a whole, while at the same time visually connecting to the

naming gives us new visibility, distinguishing us from other

family of art/design schools with whom we compete.

schools of art and design. As we build our strengths as a

Over the past decade the Stamps School has rebuilt itself

destination for the most creative thinkers and makers, being

to rethink and restructure what we do as an institution.

a named school will help to keep us in the minds of the

As we move into the next phase of our growth and

national and international art and design community.

development, we hope our new name and word mark will

A new name also means a new logo mark. And we’re

help us to better broadcast our strengths to communities

pleased to present ours on the cover of this issue of Emergence. Developed with input from faculty, staff,

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across the globe.

The Stamps School: Making A Difference

NOW , M OR E THAN EV ER , THE W OR L D ’S P R ESSI N G

issues call for creative solutions. As artists/ designers, we are being asked, not just to respond to the issues of our time, but to act upon them,

“to do something.” The Stamps community has always been committed to creating work that is engaged with the world—awareness, discovery and action are built into our creative culture. There are many ways to make a difference—through teaching and learning in the classroom, in the making of creative work, through engagement with communities around the world, by mentoring students, and through financial support. This issue of Emergence offers a sampling of some of these involvements by our Stamps community.

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Neil Zemba Recycling, Design, Detroit and Community Social Services Standing in his crowded studio, Neil Zemba

explains the intricate details of his collaborative venture to design a sandal from recycled material. He runs his long fingers over the rubber-sole work in progress, which looks as if it could be worn on beaches from Tahiti to Malibu to the Hamptons.

“ T H IS IS ON L Y A PR OT OT Y PE , ” HE S AY S . “W E

marketing.” (Translation: The sandals are on the feet of

have a ways to go before it’s complete. Now, we

Zemba’s friends.)

have to create the manufacturing process.” Mastering the relationship between creative

The project is in line with Zemba’s view that fashionable design can be socially responsible and make a positive

design and practical marketplace realities is what Zemba

difference. He learned first-hand the impact of design on

refers to as the “push/pull challenge” of today’s designer.

a person and community from participating in Professor

“We live in a world where every product has to have a

Nick Tobier’s class, Design for Change, where he and other

‘design appeal,’ and it has to be cost-effective,” says Neil,

students taught the fundamentals of design to students at

who graduated this May from Stamps.

Detroit Community High, a charter school. Zemba and Stamps senior Daniel Gold have taught a

DETROIT TREADS SANDAL

footwear design class at the school. He says the class is a way

In late fall 2013, Zemba’s collaboration with Cass

to encourage students to learn about art, and inspire them to

Community Social Services in Detroit, known as Detroit

see possibilities beyond their community.

Treads, is expected to yield a “saleable sandal” made by

“Everyone needs a mentor,” says Zemba, who points to the

those who seek shelter and assistance at the Detroit-

influence of mentors like professor Nick Tobier and professors

based agency. The sandal is currently undergoing “test

Bill Lovejoy, John Marshall and Marianetta Porter during his

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“It starts with a dreamer, but it doesn’t stop with the dream.”

undergraduate years. Collectively, he credits them with shaping

“It starts with a dreamer, but it doesn’t stop with the dream,”

his “design with a conscience” sensibility, and seeing connections

says Zemba. “I have a pretty good role model who taught me

among disciplines.

how to get things done, how to make ideas a reality.”

Since winning the Nike-sponsored “Future Sole” national

Growing up in Saline and Ann Arbor, MI, Neil Zemba

competition as a sophomore, Zemba’s future has been on a

frequently attended the Ann Arbor Art Fair where he was first

high-trajectory career path. His eclectic, thought-provoking

inspired to be an artist. Neil has designed shoes for footwear

designs have attracted the attention of preeminent shoe

companies including Nike, Inov8 and Xtep, and studied under

innovators such as Nike’s legendary Wilson W. Smith III.

former Design Director of Jordan Brand, D’Wayne Edwards,

After graduation, however, rather than seek a stable job with an established shoe designer, Zemba plans to follow in

and current Nike Design Director, Wilson W. Smith III, at the Pensole Footwear Design Academy.

his father’s unconventional footsteps. “My father’s my biggest role model,” he says, noting his dad’s can-do entrepreneurial zeal. From success owning a sub shop to his current business as a liaison between medical device companies and the FDA, the elder Zemba is, according to his son, the embodiment of living life by following your dream.

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Anne Mondro The Role of Creative Work in Healthcare

Associate Professor Anne Mondro is not your average crocheter. Instead of wool, she carries a thin 26-gauge tinned copper wire. In one of her recent projects, using the wire and a pair of crochet needles, she built sculptural forms in the shape of anatomical hearts. Anne spent about a year researching the anatomy of the heart, even spending time in the U-M anatomy lab and using 3D modeling software to figure out how to create the forms with her crochet needles.

IN T A LKING A BOU T HE R WOR K, AN N E E X PL AI NS, “THI S

Center to explore the potential of art to lift the human

piece is very personal. I’ve been working with older

spirit in times of illness.

adults with memory loss and their caregivers. It’s so intense to be a caregiver. When you care for a loved

one, the two of you become intertwined. You take on their vulnerabilities but also their strengths. As I thought about

This past winter, students met weekly with the members of Silver Club Mild Memory Loss Program and the Elderberry (barely elder) group to do creative work together. Anne says, “My studio work used to be separate from

that relationship, it was important that these forms be tied

my teaching. But, recently, the two types of work have

together somehow.”

begun to inform one another. In fact, teaching social

In 2006, she developed a community engagement course titled Retaining Identity: the role of creativity in the healthcare setting, in which art and design students partner with persons with dementia. The course works with the U-M Geriatric

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engagement classes brought me in touch with older adults with memory loss and their caregivers.” The one-of-a-kind works created by Anne’s students and the elders were recently exhibited at

Matthaei Botanical gardens. And, this past year, Anne Mondro received a University of Michigan grant to pursue interdisciplinary research studying creativity’s effects on caregivers and care recipients. She was in Amherst this summer pursuing research as the 2013 Scholar in Amherst recipient, which is funded by the Emily Dickinson International society: “I love Emily Dickinson’s work and the way she used pain and grieving as inspiration.” Stamps students have clearly found inspiration from Anne’s course. One student, writing about the Retaining Identity course on the class blog, discusses its impact: “Today we worked on a piece of art, but spent most of the time discussing our families, life experiences, and what comes next for me after college. However, for the first time at the end of our meeting, my Elderberry partner expressed to me her gratitude and love for the program we are a part of. She discussed how Tuesday afternoons have been the highlight of her past few months, and how she was so upset that we don’t meet more often and that our collaboration will soon be ending. She expressed how being creative and talking with me kept her

“...at the end of our meeting, my Elderberry partner expressed to me her gratitude and love for the program we are a part of.”

mind off of the disease, and brought a lot of joy to her life. She also expressed how earlier today the group listened to music from her youth, and that it made her feel so calm, relaxed, and happy for the first time in a while. In class, we have done many readings about the positive effects the arts have on patients with dementia, but to hear it firsthand was a remarkable and enlightening experience. It also inspired me to continue this kind of work in the future.”

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Micaela McCabe Product Design For International Communities By Dana Budzaj Elger, Public Affairs Reprinted from the University Record

Even with a family connection dating back 100 years, Micaela McCabe doubted U-M was the right place for her to study art and design. A resident of Hamburg Township near Brighton, U-M didn’t feel different or far enough from home.

NO W A S PR I N G 2 01 3 G R AD U AT E OF U - M W I TH

It was during her three-month stay there that she became

a dual degree from LSA and Stamps, the

exposed to the concept of social change through her work

22-year-old credits her college experiences

teaching young Indian girls English, computer skills and

with helping her discover a passion for

offering HIV education.

international development. “My design philosophy is that

McCabe’s senior project this summer was her sixth

a product needs to be developed around the community and

time studying abroad as she continues her focus on

for the community,” McCabe says.

international development. She traveled to two countries

She describes her dream job as working for an

to work with local residents to build devices to improve

international nonprofit agency, creating products for

public health, including bio-sand water filters in

developing countries that are designed considering the

Brazil and safer, more efficient home cooking stoves in

area’s tools, resources and lifestyles. It is a position for

Tanzania. (see story on page 11)

which her studies — in international development and social change paired with the skills learned at Stamps in industrial

The globetrotter says she’s also enjoyed the cultural diversity on campus.

product design — have prepared her. McCabe has visited

“I realized that diversity is here, and there are so many

more than a dozen countries — including Turkey, Egypt,

cool people from different walks of life on campus. You just

Chile and Bolivia — through study-abroad opportunities,

have to go out there and find it.”

enabling her to build a strong sense of global awareness and the issues facing developing countries. She recalls her first experience abroad in northern India in the village of Sotla as “mind blowing.” “I ended up in this rural village six hours away from the nearest

Like her great-grandmother, a member of the U-M class of 1913, and her grandmother who graduated with a degree in art and design in 1941, McCabe will continue the century-old family history with the university as a proud U-M alum. “There’s no way, growing up in middle-class rural

city and nobody spoke English or even Hindi. We didn’t

Michigan, that I could ever understand the different

have electricity for most of the day. Everything was so

lifestyles that exist. I’m so happy I ended up coming here.”

drastically different,” she says.

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â&#x20AC;&#x153;My design philosophy is that a product needs to be developed around the community and for the community.â&#x20AC;?

Elizabeth Redmond From Thesis Project to Global Company “I never imagined that my senior thesis project would become my career.”

Elizabeth Redmond (BFA ‘06) started what would become POWERleap during her fourth-year thesis project where she set out to design systems and devices that harvest energy from the human body. Since graduation, Elizabeth has grown her small BFA project into a global company with product demand from over 50 countries. Her company has been featured on the Discovery Channel, on Forbes.com, in The New York Times, Fast Company, Metropolis Magazine and more. Her co-founder and partner, Keenan May, is also a U-M graduate with a Masters of Architecture from the Taubman College of Architecture and Urban Planning.

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“Hello World”

POWERleap

IT ALL STARTED WITH THE LESSONS MY PARENTS

Magazine Next Generation Design competition and I was

taught me. I was raised on 20 acres around a lake in

awarded runner-up. When I went out to San Francisco to

a home that ran on passive solar energy. We grew

accept the prize, I met people from a flooring company called

our own food and used only a wood stove to heat the

Mohawk. They were very interested in my idea and agreed

house in the winter. So I grew up with an awareness of just

to give me $10,000 to develop a prototype for a spot on the

how many resources were needed to support our lifestyle.

Discovery Channel that I’d been offered.

And, throughout school, my interest was in designing multi-

The project has definitely evolved since that initial stage.

functional devices that were sustainable and required some

The piezo technology is not really capable of generating

level of conscious interaction by users.

enough power for lighting systems yet, but it can power

This interest was definitely supported at Stamps. My

wireless sensors and transmit data to the cloud. We’re

mentor was Professor Jan Henrik Anderson, a proponent and

still harvesting energy, but on a smaller scale. Now we’re

supporter of sustainable design.

developing what we have branded as SPOT = self powered

For my senior Integrative Project I was looking for a

occupancy tags. We embed our technology in floors, seating,

way to create and harvest energy through the simple act

hospital beds, shoes, and more to allow them to be “smart”

of people walking around. Using the principles of piezo

without batteries or wires. It’s a more sustainable approach

energy, (transducers that produce an electrical charge in

to the Internet of Things (a market sized at $250 billion by

response to kinetic pressure) I designed an interactive

2017) because it takes all of these systems that are usually

floor surface that could produce electricity when someone

on the grid or run on batteries and makes them powered by

stepped on it. Rather than having a traditional exhibition

people’s interaction with them. We’re currently working with

of my work at the end of my senior year, I installed it on a

clients across multiple fields: healthcare, athletic apparel,

street corner in Ann Arbor.

corporate office, elder care, automotive, and more.

I never imagined that my senior thesis project would

I really love being an entrepreneur. It’s a logical outcome

become my career. But, standing on the corner of Liberty and

from a degree in art and design, particularly the multi-

Main where people were actually using a product I’d created,

disciplinary program at Stamps. I’d definitely encourage

I knew it wasn’t ending there. I could tell that I had struck

current students to go for it and take as many risks as

on one of those ideas that could be built into an inspiring

possible to develop their ideas, especially while they have the

product with a viable market. So, I used the money I received

majority of their 20s ahead of them to make mistakes and

from a Stamps undergraduate Arthur C. Tagge Award to fund

start over. Believe me, I feel like I’ve started over 10 million

the project further.

times. But now I have a company of my own that is solving

After graduation, I submitted my project to the Metropolis

real world problems!

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Keeping Home Fires Burning: Stamps Students in Tanzania

T H E L E A D E R OF A M AAS AI V I L L AG E I N T AN Z AN I A

“Little did we know that in January 2013 Professor Joe

dreams of a day when young women from his

Trumpey would be giving us one of our toughest challenges:

village become teachers or doctors. Now that

designing highly efficient rocket stoves for people halfway

dream is often put on hold because girls have

across the planet.

little time for even basic education, spending most of each

The entire Winter semester was dedicated to that very

day collecting and cutting firewood for the village cook stoves.

thing: design. We have been designing communication

These interior cooking fires also pollute the air inside Masai

through a fully comprehensive design guide. We have been

homes, creating ongoing community health hazards.

prototyping three different types of cook stoves. We have

To help improve cook stove design and, as a consequence,

been quizzing each other to speak Maa and Swahili. We are

the lives of the Maasai, fifteen Stamps undergraduates

trying to anticipate every material, every tool, every local

began an odyssey of design and travel under the guidance

resource they have to make this project as successful as

of Professor Joe Trumpey that began in the winter semester

possible.

and culminated in summer travel to Tanzania. As posted on their student blog, students describe their winter semester’s worth of preparation:

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All of this work is only part of our goal. We are trying to do the best we can to help these hard-working, pastoral people deeply rooted in their own culture, while at the same time

“The leader of a Maasai village in Tanzania dreams of a day when young women from his village become teachers or doctors.” asking them to shift from a three-stone fire (a cultural

for some spectacular wildlife observations and drawing of

heritage of hundreds of years), to new technology that

thousands of animals in one of the world’s largest intact

will remove the smoke from their homes, lengthen their

ecosystems. Next, the class spent a few days living in the

lives, and make more time for their girls and women to

village of Peace Corps volunteer and Stamps alum, Rachel

go to school.”

Boswell, learning what life is like in a Tanzanian village

By the end of the winter semester – success! The studentdesigned stove used 50% less fuel and smaller diameter

practicing sustenance agriculture. For the majority of the trip, Lesoit community members

wood, enhancing regional forest health and reducing the

and Stamps students worked together to build eight stoves.

chore of gathering wood. Less fuel would also improve

Students also attended traditional Masai ceremonies, sang,

indoor air quality, reducing respiratory illness, eye irritation

danced, feasted and lived with families while they built

and the need to launder clothing more often. Ideally, these

their stoves in the homes. Joe Trumpey confirms, “The

gains would allow for girls to spend more time in school.

Masai were grateful for our work in helping them adopt a

With a design solution in hand, travel to Tanzania began in June 2013. Once in country, the course had a full

new technology and our students were proud of their design success. A follow up course is in the works for next year.”

itinerary. The group began their journey in the park district

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Dylan Box Designing with Detroit Community Organizations “One day the light bulb went off for the group of us and we realized the need for our skills here in the city.”

Dylan Box (BFA ‘12) is Director of Wedge Detroit, a design firm that works with community organizations and non-profits through the use of design thinking and the creative process. Wedge uses design to bring people together, help organizations better serve their members, and improve the world with extraordinary ideas and quality work. Dylan describes how a course in Design for Social Change and experiences in Detroit altered his professional goals.

I CAME INTO U-M AS A MECHANICAL ENGINEER.

I think I was always civically minded to a certain extent,

I knew I liked art—I was always building things

but things really changed for me when I took the Design for

and taking photographs, but I only thought of

Social Change class—a gap was bridged between socially-

it as a hobby. I never thought it could be a job.

conscious work and the traditional design process. I really

The Mechanical Engineering program at U-M is a great

saw how the design process could, and should, be applied

program—one of the best in the country— but there weren’t

to create things other than consumer goods and lifestyle

too many opportunities for hands-on work or learning. I

products.

soon realized that if I really wanted to be building things

After my senior thesis project in Detroit and after seeing

then I needed to be doing it. A friend of mine took me to the

the amazing work being done all over the city, I knew it was

studios at A&D a couple times. I popped in on some lectures

somewhere I wanted to be. There were a number of us at

with her, and finally decided to take one of the foundation

U -M who were also interested in Detroit, like Ellen Rutt,

classes to feel out the program. It was in that lecture course

another Art & Design student, but also Laura Willming from

that I saw the possibilities of a creative degree. It was much

engineering, and Ajooni Seth in public policy, who I met

bigger than I had imagined. So I transferred into the school.

while working at TEDX UofM.

I was a dual degree candidate at first. But, after awhile,

One day the light bulb went off for the group of us, and

I convinced myself (and my parents) that I didn’t need

we realized the need for our skills here in the city. There are

mechanical engineering “as a back-up.” I was learning the

plenty of communities, businesses, and start-ups that are

skills I needed for what I wanted to do.

constantly looking for designers and creative thinkers to

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work with. And so Wedge was formed. We wanted Wedge’s first project to be something that

community arts organizations like the Untitled Bottega. We’re using Wedge as a product design firm, where the

stretched the bounds of what a typical design solution

products we’re building are solutions to problems around

would be. We took on an underused part of the city,

the city, given freely to those who want to make them

the sidewalk, and imagined a solution that would build

happen. We want good design solutions to be readily

community through play. So, we set out to build the world’s

available and accessible at all times so people can feel

longest hopscotch course, a four-mile long playground

empowered to make change happen.

along the streets of Detroit. About 100 volunteers came out over four days to build it. It was an amazing communitybuilding experience for us and the people who came together to help make it happen. It really solidified one of the parts of our vision – that not all of design or, even community activism, has to be serious. So much can happen simply by joining communities together, creating conversations, and playing together. We’re still doing big things in Detroit, and have focused our efforts on working on a direct level with neighborhood organizations like the Osborn Neighborhood Alliance, or STAMPS E M E R G E N C E

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It’s About Community Part of the curriculum here at Stamps is engaging with communities, whether it be high school students in Detroit, Alzheimer's patients, or a village in Tanzania. Students go into these classes thinking they’re going to make a difference and they do. But another profound change is what happens inside, when their worlds expand. CH ARL IE M ICH AEL S Coordinator, Detroit Connections

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Led by socially engaged and committed faculty, Stamps students also... Lead ceramic workshops with visually impaired kids

Conduct art workshops with Michigan prisoners

Visit Michigan farms to learn how to design sustainable food solutions

Work with students in Flint on short videos about their lives

Travel to Madagascar to design and build water pumps

Create sustainable designs for an off-the-grid artist house in Detroit

Build a screenprinting business with Detroit high school students

Build outdoor mini-libraries in communities where libraries have closed

Work on public sculptures for the Michigan metropark system

Collaborate with school children on a mural promoting good eating habits

Design portable tents for a homeless community in Ann Arbor

Work with Iraq veterans to tell stories through video

Travel to Ghana to teach locals how to make charcoal from industrial waste

Create a community billboard out of an abandoned building

And more…

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Penny W. Stamps School of Art & Design Celebrating The School’s New Identity

The U-M Fanfare Band, banners,

giant puppet heads, a jazz quartet, cookies and a 5-tiered “art” cake –

it was all part of the uniquely creative

celebration this April, when the University’s art and design community celebrated

the naming of the Penny W. Stamps School of Art & Design in honor of

Penny and Roe Stamps’ transformative gift.

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APRIL

4th2 0&1 53 th

(Photo of Puppet heads marching) Photo: Mark Gjukich Photography

NAMING CELEBRATION

Penny W. Sta m p s SCHOOL OF ART & DESIGN

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BANNERS ACROSS THE UNIVERSITY

announced the naming celebration, which began with an April 4th kick off at MoMA curator Paola Antonelli’s

Penny Stamps Speaker presentation at the Michigan Theater. Before the lecture began, the U-M Fanfare Band filed onto the Michigan Theater stage playing Hail to the Victors for Penny Stamps, as her family, friends and an audience of over 700 clapped in unison. The festivities continued on April 5th at a 2pm tented celebration in the Art and Architecture Building Courtyard, where over 400 members of the art and design community heard remarks by students, faculty, the community, and U-M administration. University Regent Julia Darlow received a round of applause when she stated that the School was the first at the University to be named for a woman. “So many of us here at the University care so deeply about women’s opportunities and attainments, and this is a wonderful milestone.” Regent Darlow also commended Penny Stamps for her “support of scholarships… (that) will mean enduring, invaluable opportunities for creative students… (and)…address the urgent need to make college affordable and accessible for all students.”

President Mary Sue Coleman called Penny’s philanthropy “creativity personified,” stating that “the vision of Penny Stamps to transform the experience of art and design students and faculty has been unique among Michigan alumni. Together with Roe, she has made a powerful, lasting statement about the indispensible role of creativity and the arts at a research university.”

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CONTINUED →

A sketch made by Jordan Chao, one of five Stamps students asked to commemorate the naming event. Other Stamps sketchers included: Elise Beckman, Lila Title, Ellen Nelson and Emma Berger

Marina Abromovic

Performance Artist

“It was not just about students, but the entire community. The enthusiasm, the warmth of the people I met there. It was really touching to my heart. This kind of lecture series, it’s important for culture in general.”

OUNDING OUT THE REMARKS,

previous Penny Stamps Series speakers including Oliver Stone, Ken Burns, Bill T. Jones, Marina

Abromovic, Robert Wilson and Paula Scher sent videotaped thank yous and congratulations. The celebration culminated with a jazz band led parade of huge puppet heads created by Stamps students for the upcoming Festifools celebration – including two heads created to look like Penny and Roe Stamps. And, while the jazz band played, the crowd munched on a huge “art” cake and artfully decorated cookies created by Stamps alum, Heather Anne Leavitt. The Stamps’ philanthropy provides long term support for the Penny Stamps Speakers Series, the Work • Ann Arbor exhibition space, Roman J. Witt Visitors program and Stamps Creative

Paula Scher

Pentagram, Partner

“Your event is spectacular, and the Penny Stamps lectures are going to become a permanent fixture of the University of Michigan. And that is wonderful.”

Work Scholarships.

Paola Antonelli

MoMA, Senior Curator of Architecture & Design

“It is moving to see so much passion for design. It is not only moving, it’s important.”

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Donors make a world of good things happen at the Stamps School. Our thanks to all the Stamps alumni, parents and friends listed in this honor roll.

Donor Honor Roll

by class year July 1st 2012 - June 30th 2013

By Class Year

1942 Dorothy W. Bauer Mary Lou Welz Phoebe Wyland 1943 David W. Osler

1954 W. Sue Auch Sarah A. Parsons Roddie M. Pistilli Sally S. Ruark Margaret M. Turnbull 1955 Rosemarie S. Barrow Barbara B. Patterson Edward S. Patterson

1944 Gloria J. Olson

1946 Virginia F. Bailey Evelyn L. Montgomery Jean W. Thompson

1956 Carol DeBolt Eikenbery Carl B. Hinrichs Harold M. Kiefer Judythe R. Maugh

1947 Joan R. Christensen

1957 Nancy L. Whitman

1948 Maria H. Carter Clara B. Greenwood Judy T. Kawabata William A. Lewis Nancy R. Marsh Anne N. Wood

1958 Belle A. Banks Merl J. Grossmeyer David M. Johnston Paulette W. Muir Carolyn F. Rosen Lois A. Solomon Mary K. White William C. Zandi

1950 Phyllis J. Edberg Ann T. Woodruff

1951 Charles H. Clarke Paul A. Hoogesteger David L. Smith 1952 Carol Bernstein Ruth G. Farnham David A. Lauer Jeanne M. Tennent 1953 Donna M. Clark

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1959 Triantafilos Argyropoulos Carole H. Bailey Gail B. Odgers Joachim O. Petzoldt Robert A. Sedestrom Margaret F. Wolverton 1960 Joan M. Beesley Ellen C. Childs Robert W. Curtis Edith D. Goldstein Suzanne Sugar Matthew Zivich

1961 Mary S. Brunsvold Amy S. Carlson Patricia C. Crosby William M. Crosby Nancy S. Hoffman Arline B. Johnstone Joseph B. Poodry 1962 Carol H. Epkins Marie S. Ezell Jack O. Kelley Samuel E. Morello Elisse Pogofsky-Harris Heidi Salvesen 1963 Janet H. Gwinnell Margaret A. Hamil Connie C. Norsworthy Judith C. Schwarzer Susan S. Wagstaff Ruth E. Weisberg Janet W. Winston Michael B. Zelek 1964 Nancy K. Comer Conrad M. Hafner Ashley M. Maentz William D. Mandt Stevan Melzian Sylvia K. Pixley Maxine J. Snider Donella R. Vogel Sandra R. Zisman 1965 Richard M. Burd Jane E. Fink Judith A. Mathieu Daleene Y. Menning David R. Nelson Sheila K. Partington Paul R. Shortt Lyn H. Silberman

Terry A. Thall Gloria J. Walter Suzanne L. Wolfe 1966 Harlan H. Bloomer Elaine S. Cummings Carol J. Haliday-McQueen Christine S. Kennedy Melita L. Miculs Priscilla S. Moore Joan E. Rosenstein Penny W. Stamps Nancy L. Taylor Jan G. Vonk Steven A. Zapton 1967 Joan K. Amberg Emmy L. Belcher Donna J. Brown James R. Jones John L. Murrel Ida L. Putansu Meredith Shore 1968 Virginia W. Gustafson Sylvia J. Nelson 1969 Lula M. Blocton Susan I. Brown Steven R. Cole Deborah Rogers Hamilton Linda K. Hinkle Carol J. Stevens Joyce B. Tinkham 1970 Jan M. Boynton Diane E. Linn Stephen S. McMath Amelia J. Wilks 1971 Mary E. Bloom

Gayl C. Casgrain Olaf Haakonstad Michael E. Hoeft Susan Lyman Sharron Pollack Gail Rutgers Maryanne E. Simmons 1972 Robert D. Ahronheim Mary H. Bandyke Marilyn E. Bennett Kathleen L. Kloske Phillip A. Kloske Paul D. Mindell Lucinda G. Poland Nancy C. Taylor Christopher Van Allsburg Lisa M. Van Allsburg 1973 Patricia S. Grimes Eileen P. Millard Elaine H. Mouradian Janet L. Radak Bob L. Riddle Cynthia T. Yates 1974 Gloria Gardiner Helen D. Geglio Louis H. Lozon Jane M. Siegel Scott M. Siegel George Surgent Beverly M. Walker 1975 Deborah R. Arbogast Walter Griggs Dana W. Larsen M. A. Medlar Wahr Therese R. Smith Martha M. Zimmermann 1976 Nancy B. Campbell Karen R. Copeland-Weinstein Judith A. Dean Jeanet E. Dreskin-Haig Cathy J. Muha Katherine L. Philip Leslie G. Rousseau Dorothy M. Schmidt 1977 Scott Minick Susan F. Sempere Marcy Tucker Carlotta Wilson 1978 James V. Benner Kathryn L. Darnell Shelley D. Holtzman Kevin S. Smith Cheryl S. Stewart Monica A. Wellington

1979 Martha P. Beffel Linda M. Holliday Ellen M. Kennedy James J. Lewison James E. Marshall Michele M. Schara Cary M. Sheremet Robert S. Ziebell 1980 Christine A. Golus John J. Guthrie Martha S. Guthrie Kay M. Knight Cynthia L. Wilhelm Kathleen E. Wills 1981 Pamela E. Becker Daniel G. Bowen Julie A. Christian-Bender Randi L. Gerber-Katz Louis E. King James P. Leacock Catherine S. Miller Kristen R. Scott Paul Willeto 1982 Mary C. Hafeli Frances J. Hester Cristina M. Lorenzetti Janet L. Love Sherri L. Moore-Ratcliffe Therese D. Panfil Michelle Y. Sider Elise M. Sloan Mary Lou D. Waller 1983 Amy Peck Abraham Nancy G. Bernstein Laurie G. Blume Gabriella T. Boros Carol H. Imes-Luscombe Andrew J. Keenan Karen H. Spaulding Deborah A. Trent Mary B. Trombley

Deborah A. Schreier Michelle T. Shain Nancy M. Veit 1986 Jennifer A. Doolas Lynn L. Hayes Jacqueline K. Hoats Janice L. Levy Kathleen P. Thorrez 1987 Linda C. Banks Anne M. Bedrick Gretchen J. Comai Lisa K. Gaudie Portia M. Hampton Vincent M. Hron Laurel J. Prafke Julie A. Renner Deborah A. Vliet 1988 Elizabeth A. Albert Carol A. Chaney Janet C. Clark Thomas R. Devaney Robin M. Landow Levitin Marcia L. Polenberg-Ramsay Andi F. Schreiber 1989 Kelly L. Rindfusz Curtis C. Wallin 1990 Lisa J. Allswede Sophia C. Brown Steve F. Busch Mori H. Insinger James W. Merz 1991 Cindy C. Andress Krista R. Berman Wendy S. Kirsch Karen M. Kraus Tanya M. Mathis Julie H. Roberts Alessandra L. White

1984 Paula Bass Christine A. DeCorte Brian J. Helder Katherine H. Lorenzetti Jeffrey J. Mackin Lisa J. Sevcik Joan E. Susie Christopher Weil

1992 Robyn D. Burger-Schwartz Tricia H. Koning Michele L. Trombley Beverly Weitzner Bartfeld

1985 Sandra A. Bergsten Michael G. Collins Ruth B. Green Christine M. Kierstead Martin A. Kloner Marco E. Lorenzetti Sarah A. Newhouse

1994 Rachel M. Pierson Timothy G. Wager

1993 Julie G. Cohen Theresa L. Kreske

Susan I. Wahl 1996 Amanda D. Davis Christian R. Trifilio 1997 David A. Dennis Ryan C. LaLonde Angela D. Lenhardt Jennifer A. Paradise Emily N. Taub Webb 1998 Robert M. Bertolina Noriko Hashimoto 1999 Choua M. Thao 2000 Michael K. DeMent 2002 Ann S. Aikens Kristen G. Ray David J. Yu 2003 Ryan A. Burkhalter Daniel M. O’Reilly Rebecca A. Zemans 2004 Bridget A. Rafferty Alayne J. Speltz Jessica L. Stilger 2006 Jennifer R. Buckley Jack R. Doehring Danielle A. Scarpulla 2007 Michael J. Long Adam T. Morath Sean M. Watts 2008 Wesley M. Ellison Jue Li Andrew J. Sell Lara R. Slotnick 2009 Margaret L. Chen Jeremiah C. Jaroch 2011 Sean B. Darby

1995 Stephanie L. Milanowski Amanda C. Miller Sandra L. Steed STAMPS E M E R G E N C E

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Donor Honor Roll

by gift level By Gift Level

Naming Gift Penny W. and E. Roe Stamps

$50,000+ Ann S. and Robert B. Aikens Ralph Cohen Anthony A. and Sandra J. Tamer Christopher and Lisa M. Van Allsburg Susan S. and Reid Wagstaff Susan I. and Eric M. Wahl $20,000+ Beverly S. Gillette Stephen E. and Debra S. Gorman Michele M. and Randall E. Mehrberg $10,000+ Jan M. Boynton Marc H. and Ilene Steglitz Jing Wang

$5,000+ Linda M. Holliday and Ali Naqvi James R. and Linda Y. Jones David R. and Sylvia J. Nelson Elise M. and Timothy J. Sloan

$2,000+ Deborah R. and Stephen V. Arbogast Susan I. and John M. Brown David A. Lauer Sarah A. Parsons Mark W. and Melanie N. Pearlstein Lyn H. Silberman Myron and Lenore Sopher $1,000+ Triantafilos Argyropoulos and Beth Schroeder Linda C. Banks Suzanne A. and Frederick J. Beutler George E. and Deborah S. Greer Shelley D. and Jeffrey H. Holtzman Robert B. and Viviana E. Holzer David J. Horning

23â&#x20AC;&#x201A; /â&#x20AC;&#x201A; STAMPS

EMERGENCE

Timothy R. and Jo W. Johnson Susan B. Marker Gail B. and Richard W. Odgers Marvin A. and Joyce Oleshansky Joachim O. Petzoldt Francis O. and Karen M. Scarpulla Cynthia L. Wilhelm $500+ Rosemarie S. Barrow Paula Bass Harlan H. Bloomer Richard M. and Virginia B. Burd Myra A. Larson Norman S. Miller Scott and Ping Minick Roddie M. and Frederick M. Pistilli Clarence L. and Carrie Pozza Judith C. Schwarzer Eric J. Smith and Adrienne Darcey Maxine J. and Larry K. Snider Lois A. and William R. Solomon Deborah A. and Steven J. Trent William C. and Geraldine M. Zandi $100+ Amy Peck and Jesse M. Abraham Andrew Abramson Elizabeth A. Albert Lisa J. and Michael P. Allswede David G. and Joan M. Anderson W. Sue and George W. Auch Carole H. Bailey and Calvin G. Wilcox Belle A. and Walter S. Banks Pamela E. Becker Anne M. and Scott J. Bedrick Martha P. and Michael J. Beffel Emmy L. and Harold C. Belcher Marilyn E. Bennett Carol and Jay Bernstein Nancy G. and Avi J. Bernstein Lula M. Blocton Mary E. Bloom Paula and Doug Bousley Daniel G. Bowen Mary S. and Brian G. Brunsvold Robyn D. Burger-Schwartz

Ian E. Butterworth and Sharon K. Willett Nancy B. Campbell and Carl J. Caivano Maria H. and William T. Carter Gayl C. Casgrain Zhong S. Chen and Fang Lin Ellen C. and David L. Childs Julie A. Christian-Bender Donna M. Clark Janet C. Clark Gretchen J. and Andrew J. Comai Nancy K. Comer Frank W. and Margaret C. Cook William M. and Cynthia G. Crawford William M. and Patricia C. Crosby Robert W. Curtis Judith A. Dean Christine A. DeCorte Robert and Doreen Denton Thomas R. Devaney Wendy J. Dignan Stephen W. and Lori S. Director Deborah Doppelt Phyllis J. Edberg Carol H. and Joseph W. Epkins Marie S. and Evan T. Ezell Ruth G. Farnham Christopher and Robin Fine Mary Ford Helen D. and Michael J. Geglio Jeffrey R. and Melissa E. Gembis Jonathan J. Gentile Christine A. Golus and G. Keith Taylor Dick and Anne Gould Ruth B. and Thomas A. Green Clara B. Greenwood Merl J. Grossmeyer Virginia W. and Peter L. Gustafson Mary C. Hafeli Conrad M. Hafner Noriko and Ken Hashimoto Frances J. and Timothy C. Hester Linda K. and James E. Hinkle Jacqueline K. Hoats Patricia L. Hodges Michael E. and Barbara E. Hoeft Paul A. and Joan W. Hoogesteger Thomas K. and Ann E. Hunt

Carol H. Imes-Luscombe and John H. Luscombe Frank W. and Janet S. Jeffries Judy T. Kawabata Andrew J. Keenan Jack O. and Joanne M. Kelley Chad G. and Michelle Kelman Christine S. Kennedy Ellen M. and Leonard Kennedy Otto and Anne Kern Christine M. and Steven L. Kierstead Tricia H. Koning Douglas W. and Laureen Kononen Theresa L. and David J. Kreske Frederick C. Lahser Ryan C. LaLonde and Christopher L. Moody Robin M. Landow Levitin James P. Leacock William A. and Garland A. Lewis Diane E. and Thomas W. Linn Rita M. Loesch Marco E. and Katherine H. Lorenzetti Janet L. and William D. Love Ashley M. and D. Scott Maentz Nancy R. Marsh Judith A. Mathieu Tanya M. Mathis Judythe R. and Roger E. Maugh Joann McDaniel Melita L. and Vladislavs Miculs Amanda C. and Bradley Miller Catherine S. Miller Sherri L. Moore-Ratcliffe and Blake E. Ratcliffe Samuel E. Morello Cathy J. and Michael R. Muha Paulette W. and William K. Muir John J. and Michele O. Mulholland John L. and Mary M. Murrel Sarah A. and Timothy R. Newhouse Therese D. Panfil Sandy Perkins Katherine L. Philip and Robert R. Shults Lucinda G. Poland and Philip D. Campbell Marcia L. Polenberg-Ramsay and Theodore K. Ramsay Sharron Pollack and Joseph N. Weixlmann Bridget A. Rafferty Betty A. Rahm Julie A. Renner and Gregory R. Cowles Bob L. and Margaret H. Riddle Joseph L. and Janet Roberts Carolyn F. and Joseph H. Rosen Sally S. and Eugene H. Ruark Gary D. and Patrice Samuels Brent Scully Robert A. Sedestrom Richard S. and Susan Seiler Lisa J. and Matthew F. Sevcik Michelle T. and Randy Shain Cary M. and Sharon M. Sheremet Paul R. and Marcia M. Shortt Maryanne E. and Ted L. Simmons David L. and Alyce L. Smith Kevin S. Smith and Nancy P. Ganiard Muriel L. Steinbrueck H. Howard Stephenson

Joan E. Susie and Stephen A. Bergman Takeshi Takahara Jeanne M. and David L. Tennent Choua M. Thao Jean W. Thompson Kathleen P. and Joseph Thorrez Christian R. Trifilio Mary B. Trombley Marcy Tucker Nancy M. Veit Jan G. and Katherine A. Vonk Curtis C. and Julie Wallin Ruth E. Weisberg Beverly Weitzner Bartfield and Daniel D. Bartfield Monica A. Wellington Mary Lou and Robert H. Welz Mary K. White Suzanne L. Wolfe Margaret F. and Franklin B. Wolverton Sui Kuen Wong Anne N. Wood Ann T. and James F. Woodruff Cynthia T. and Thomas V. Yates Russell and Nancy Zelenetz Rebecca A. Zemans Robert S. Ziebell and Elizabeth Ward Matthew Zivich Up to $99 Robert D. and Judith R. Ahronheim Andrea and Allen Algaze Mary Allor Joan K. Amberg Cindy C. Andress Anonymous Virginia F. Bailey Milt and Ruthanne Baker Mary H. Bandyke Nancy Barta Linda R. Bashaw Dorothy W. Bauer Joan M. Beesley James V. Benner Sandra A. Bergsten Krista R. and Reid Berman William C. and Joan G. Berndt Robert M. and Deena G. Bertolina Laurie G. and David Blume Gabriella T. Boros Donna J. and Franklin D. Brown Sophia C. Brown Glenda E. Brownson Jennifer R. Buckley Ryan A. and Amy L. Burkhalter Steve F. Busch Amy S. Carlson Carol A. Chaney Margaret L. Chen Joan R. Christensen Charles H. Clarke Julie G. and Benjamin R. Cohen Steven R. Cole Michael G. Collins and Alison B. Griffith-Collins Karen R. Copeland-Weinstein Elaine S. Cummings Sean B. Darby Kathryn L. Darnell and Robert O. Mitts

Amanda D. Davis Clara L. Davis Carol DeBolt Eikenbery and Terry L. Eikenbery Michael K. DeMent David A. Dennis Jack R. Doehring Jennifer A. Doolas Jeanet E. Dreskin-Haig and Donald D. Haig William H. and Gayle R. Edwards Wesley M. Ellison Jane E. and Karl V. Fink Gloria Gardiner Lisa K. and Bret Gaudie Richard L. George Randi L. Gerber-Katz and Randall A. Katz Roberta K. Gillette Frederick H. Gillmore Edith D. Goldstein Karen Greenberg Sylvia E. Greenberg Nancy E. Griffis Walter Griggs Patricia S. and Eugene Grimes John J. and Martha S. Guthrie Janet H. and David R. Gwinnell Olaf Haakonstad Carol J. Haliday-McQueen Margaret A. Hamil Deborah Rogers Hamilton Portia M. Hampton Lynn L. Hayes Brian J. Helder Michael J. Henrich C. Bruce and Barbara A. Hinrichs Nancy S. Hoffman Vincent M. and Cindi Hron Francis and Donna L Imbrescia Mori H. and Angela Insinger Marion E. Jackson Jeremiah C. Jaroch David M. and Mary L. Johnston Arline B. Johnstone Harold M. and Rachel M. Kiefer Louis E. King and Margaret Britt Wendy S. Kirsch George S. and Oksana I. Klapischak Martin A. Kloner Phillip A. and Kathleen L. Kloske Kenneth and Lynn W. Kneisel Kay M. Knight and Ronnie L. Parker Marilyn M. Kogan Karen M. Kraus Dana W. and Rodney C. Larsen Angela D. and Phillip M. Lenhardt Janice L. Levy James J. Lewison Jue Li Lois A. Lombardo Gregory J. and Susan A. Long Michael J. Long Cristina M. Lorenzetti Louis H. Lozon Susan Lyman Jeffrey J. and Maura Mackin William D. Mandt Norman V. and Jone Manoogian James E. Marshall Continued → STAMPS E M E R G E N C E

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Emily M. McCall Stephen S. McMath M. A. Medlar and Donald J. Wahr Stevan and Joy Melzian Daleene Y. and Curtis B. Menning James W. Merz Timothy M. Meyers Stephanie L. Milanowski Eileen P. and Ronald D. Millard Paul D. Mindell and Deborah K. Odell Evelyn L. Montgomery Polly V. Moore Priscilla S. Moore Susan M. and Thomas W. Moore Adam T. Morath Michael and Elaine H. Mouradian Jeff Nixon and Kathy Hettlinger Nixon Connie C. and Robert J. Norsworthy Daniel M. O’Reilly Gloria J. Olson David W. and Constance L. Osler Jennifer A. Paradise Sheila K. and Alan L. Partington Edward S. and Barbara B. Patterson Mary E. Patterson Douglas H. and Laurie A. Phelps Rachel M. Pierson Sylvia K. Pixley Elisse Pogofsky-Harris Joseph B. and Doris C. Poodry Laurel J. Prafke Janet U. Prote Ida L. Putansu Janet L. and Keith D. Radak Kristen G. Ray Robert L. and Jean C. Richardson Kelly L. Rindfusz Julie H. and Alex Roberts G. Bruce and Sally K. Robertson Joan E. Rosenstein and Kenneth Roberts Leslie G. Rousseau Kenneth M. and Janet M. Ruszkowski Gail Rutgers James H. and Kristine A. Rutkowski Jean Sager Heidi and Nils Salvesen Danielle A. Scarpulla Greg S. and Barbara B. Schindler Dorothy M. and William Schmidt Andi F. and Kenneth B. Schreiber Deborah A. Schreier Paul S. and Shirley J. Schriner Brad and Tammy M. Schwalm Kristen R. Scott Andrew J. Sell Susan F. and Thomas P. Sempere

25 / STAMPS

EMERGENCE

Benton and Elizabeth A. Sergi Meredith Shore Michelle Y. and William E. Sider Scott M. and Jane M. Siegel Lara R. Slotnick Betty M. and Douglas B. Smith Joan D. Smith Therese R. Smith Michael Snug William I. and Linda J. Sohl Karen H. and Rick S. Spaulding Alayne J. Speltz Sandra L. and James J. Steed Carol J. and Joseph S. Stevens Cheryl S. and Gordon J. Stewart Jessica L. and Jason Stilger Richard O. and Pamela H. Straub Suzanne Sugar George and Marla S. Surgent Emily N. Taub Webb Emily Taylor Nancy L. and John R. Taylor Nancy C. Taylor Terry A. Thall and Jon W. Seaman Philip H. and Diane M. Thomas Joyce B. Tinkham Michele L. Trombley Margaret M. and John B. Turnbull Arlinda E. Valite-Andersen W. Steven Van Deren Deborah A. Vliet Donella R. and Anthony L. Vogel Timothy G. Wager Beverly M. and Jack L. Walker Mary Lou D. and Bret Waller Gloria J. Walter Eva M. Warner Sean M. Watts Peter M. Wege Christopher Weil Alessandra L. and Bryan White Ellen R. White Nancy L. Whitman Amelia J. Wilks Paul and Karen Willeto Kathleen E. Wills and Robert B. Begley Carlotta Wilson Janet W. and Robert M. Winston Paul A. and Amy B. Wolbert Phoebe Wyland David J. Yu Steven A. Zapton Michael B. Zelek Karl F. and Karen S. Ziegenmeyer Martha M. Zimmermann Sandra R. Zisman

Foundation Family Funds CDW Corporation David Robert and Sylvia Jean Nelson H.I.G. Capital LLC Joseph L. Roberts, Rev. Liv. Trust Judy T. Kawabata, TTEE Lyn H. Silberman Revocable Trust Mary Louise Welz Trust Mehrberg-Schara Family Foundation Nancy S. Hoffman Liv Tr Rstd 8/9/04 Paulette and William Muir Fund Polly V. Moore Trust Richard Gillette Trust Rudolf E. Wilhelm Fund Sand Hill Studio LLC Stamps Family Charitable Foundation, Inc. Stamps Family Fund of the Chicago Community Foundation Stephen & Debbie Arbogast Charitable Account Stephen Russell Jewelers Suzanne Armstrong Beutler TTEE The Deborah S. Greer Living Trust The Fridolin Charitable Trust The Scarabocchio Art Foundation, INC. The Westfield Investment Trust WeinDesign Willard E. Smucker Foundation Wolverton Family Investment Trust

A listing of donor-supported funds at the Penny W. Stamps School of Art & Design Stamps School Funds

Planned Gifts and Bequests

Aikens International Travel Initiative Anne Reek Amendt Scholarship Endowment Fund Marjorie A. Bacon International Travel Fund Linda Banks Scholarship Fund Irene Bychinsky Bendler Award in Design Ann Farmer Buhr Scholarship William Carter Award Fund Martha Chandler Endowed Scholarship Fund Milton J. Cohen Endowment Fund Jean M. Dunlap Memorial Scholarship Endowment Fund Ned Dybvig Memorial Award Arden Fate Memorial Award David Gach Memorial Award Kristoffer M. and Richard Gillette Memorial Scholarship Endowment Gorman IP Studios and Professional Development Award Fund Vivian Sosna Gottlieb School of Art & Design Endowment Barbara and Dorothy Heers Memorial Endowment Riggs Hoenecke Dean’s Discretionary Fund Alice Elizabeth Kalom Fund LeRoy H. and Helen L. Kiefer Fellowship Fund William A. Lewis Prize Fund John H. McCluney Memorial Fund Anne McGrew Scholarship Fund Kelly McKinnell Memorial Scholarship Fund The David Robert and Sylvia Jean Nelson Foundation for Arts and Letters Scholarship Guy Palazzola Memorial Fund Louis G. Redstone Fund Robert D. Richards Memorial Student Support Fund Robert D. Richards Memorial Faculty Support Fund Barbara and Dean Richardson Exhibition Fund Rogers Edge Award Fund Ellen and Eugene Rontal Scholarship Fund Allen Samuels Student Award Endowment Fund Jean Paul Slusser Fellowship in Art Fund Stamps Creative Work Award Fund Stamps Art & Design Scholarships and Programs Arthur C. Tagge Scholarship Fund Tamer Travel Grants Fund Van Allsburg Scholarship Fund Van Pelt Scholarship Smucker-Wagstaff Undergraduate Scholarship Susan Smucker Wagstaff and Reid Wagstaff Graduate Fellowship Fund Emil Weddige Scholarship/Fellowship Fund Candy Wei International Travel Memorial Fund Wheeler Family Memorial Art Richard Wilt Memorial Fund

Rosemarie S. Barrow Susan I. Brown and John M. Brown Bette Klegon Halby and Gary Halby Laura Whitesides Host Richard and Odette Maskell Gail B. Odgers and Richard W. Odgers Hiroko Sato Pijanowski Fred and Cindy Reinhart Lyn H. Silberman Ilene and Marc Steglitz Elaine Alpert Stern Sara Little Turnbull Jing Wang Janet Weber Watkins and James K. Watkins

Thank You! Every effort has been made to carefully review our donor lists and provide credit to those who support the Stamps School of Art & Design. If you find an error, however, please contact us at 734-764-0586 or at artdes-dev@umich.edu

For information on how you can set up a named fund at the Penny W. Stamps School please contact Mary Alice Bankert at mbankert@umich.edu or call 734-478-5770.

STAMPS E M E R G E N C E

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The 7th Annual Alumni Show: A Gift of Time and Creative Work There are many ways to support Stamps. Each year for the past seven, a group of dedicated alumni have contributed months of time, years of learning, and decades of talent to staging the Annual Alumni Exhibition.

IT’S AN OPPORTUNITY TO SHOWCASE THE WORK

“Transitions” was the theme of the 2013 exhibition, and

of our creative graduates and to bring together,

over 165 graduates contributed work interpreting this theme.

through their work, alumni from across the country

This year’s show also included three awards juried by the

and the globe. Since its inception, the exhibition

Director of the Cranbrook Art Museum, Gregory Wittkopp.

has featured close to 700 art and design alumni.

OUR CONGRATULATIONS TO: Casey Brooks (BFA ‘06)

Ryan Hoover (BFA ‘04)

Elizabeth Hazle (BFA ‘08)

1st prize, Unmade Bed (7 days)

2nd prize, Simplicity/Complexity

3rd prize, Chips and His Bunny

Artwork credits by # 1 Susan Oehme

3 Casey Brooks

5 Dale Bogaski

7 Malcolm Powers

9 Stephanie Stein

2 Mara Millich

4 Gretchen Comai

6 Ryan Hoover

8 Susan Elizalde

10 Zera Anderson

27 / STAMPS

EMERGENCE

11 Elizabeth Hazle

Our thanks to the exhibition co-chairs and the exhibition committee: Co-Chairs:

Janet McClintock, BSDes ‘69 Kathleen Messner, BSDes ‘65 Thomas Messner Kristine Peterson, BFA ‘87 Matthew Zivich, BSDes ‘60 Committee:

Marjorie Marshall, BFA ‘00 Malcolm Powers, BSDes ‘59 Antonietta Leeds, BSDes ‘42 Phyllis Swonk, BSDes ‘62 Debra Golden, BFA ‘79, BA ‘79 DuWaine Hoy, BSDes ‘66 10

Martha Sullivan, BFA ‘64

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And, finally, our thanks to all the alumni who generously shared their work for this exhibition. Melis Agabigum Daryl Alexsy Lisa Jean Allswede Zera Anderson Dianne Austin Jane Bassuk Lin Baum Laura Baur Lisa Berman Betsy Besl Suzanne Beutler Jeffrey Blackwell Susan Bloye Dale Bogaski Mark Bonnette Michael Boonstra Casey Brooks Sheryl Budnik Stacie Bumgarner Steve Burdick Patricia Calabro-Johnson Carrie Carlson Ophelia Clark Howard Cohen Gretchen Comai Jesse Connor Janna Coumoundouros Erika Cross Peter Crow Paul Czubay Bridget Daly Sean Darby Kathryn Darnell Adrianne Davis J. Michael Davison Cheryl Dawdy Rita Dibert Robb DiMaria Barbara Dinneweth Pat Duff David Dumo Susan Elizalde Judy Enright Ryan Fox Sarah Fox Thomas Frank Laura Gillmore Debra Golden Walter Griggs Barbara Grundeman Lisa Haines Carol Haliday-McQueen Helga Haller Katie Halton Jaclyn Hamilton Samuel Harper

29â&#x20AC;&#x201A; /â&#x20AC;&#x201A; STAMPS

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Brein Harpster Amber Harrison James Hart Elizabeth Hazle Kristin Hermanson Francie Hester Megan Hildebrandt Suzanne Hodges Ryan Hoover Ruth Howell DuWaine Hoy Jr Dmytri Hryciw Judith Jacobs Mark Kidd Deanna Krueger Kristen Kubacki Jeffrey Kurland Suzanne Lalonde Joyce LaVasseur Antonietta Leeds Angela Lenhardt William Lewis David Littell Susan Longini Leigh Loranger Walter Lowe III Kaitlind Marek Jane Mariouw Leslie Masters Janet McClintock Kathryn McDonough-Lemeny Taylor McKenzie-Veal Kathleen McNutt-Hart Robin Mendenhall Kathleen Messner Melita Miculs Erika Milko Mara Millich Ian Moore John Murrel Michael Nagara Jane Namenye Thomas Newhouse Dale Newman Leila Noorani Susan Nordman Andrew Ochs Susan Oehme Emily Orzech Sheila Partington Sonya Persia Monique Piegdon Christoher Plumb Elisse Pogofsky-Harris Marcia Polenberg Sharron Pollack

Susan Pollins Malcolm Powers Laurel Prafke Idaliise Putansu Michael Rado Ernest Ranspach Leslie Raymond Suzanne Rockind Joan Rosenberg-Dent David Rubello Cynthia Rusnak Virginia Russell-Sheldon Penelope Sahara Kelly Sapmaz Anne Schaaf Jennifer Schu J. Amadeus Scott William Seabright Mark Sedgeman Camille Serre Mike Sevick Kathleen Shanahan Kelsey Shultis Mark Sisson Ruth Smith Sandra Steed Jodie Stein Stephanie Stein Shari Stoddard Julie Strabel Martha Sullivan Phyllis Swonk Sibyl Teague Russell Thayer Mary Tobin Barbara Trupp Margaret Turnbull Oliver Uberti David Vail Cathy VanVoorhis Nora Venturelli Curtis Wallin Stephanie Warburg Alessandra White Denise Willing-Booher Elizabeth Willis Franklin Willis Ellen Wilt Jean Wolff Bruce Worden Cynthia Yates Jacek Zaloga Rebecca Zeiss Paul Zenian Matthew Zivich

Artwork credits by # 1 Sheila Partington

3 Deanna Krueger

5 Ryan Fox

7 Jesse Connor

9 Barbara Grundeman

2 Stacie Bumgarner

4 Marcia Polenberg

6 Leslie Masters

8 Erika Cross

10 Kathleen McNutt-Hart

11 Kelsey Shultis

STAMPS E M E R G E N C E â&#x20AC;&#x201A;

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National Engagement “Connecting our Stamps communities across the nation is essential to an engaged and creative future.”

Since 2011 Nick Tobier has served as Director of Engagement for Stamps. Over this time he’s been travelling across the country to connect the school with alums, and link alums with one another through events, exhibitions, potlucks and projects. Nick has visited the places where art and design graduates live and work in communities from Asheville, Chicago, Grand Rapids and Trout Lake, to New York, Washington DC and Los Angeles. Here Nick reports on his travels. For more information about Stamps National Engagement contact nicktob@umich.edu

31 / STAMPS

EMERGENCE

Stamps: New York I WA S S I T T I N G the other night at the Grey Dog’s Coffee

with Brenda Natoli (BFA ‘98) and Sara Radin (BA ‘11), in a spirited inquiry that ranged from visual storytelling to anarchist urban planning, street life and need for creative community. We brainstormed a slew of things to hatch in NYC at the perennially hip café on 12th and University Place (owned by Stamps alum Peter Adrian BFA ‘93) that lists on its chalkboard menu “Michigan sandwiches.” Stamps: New York kicked off its presence in February with a great gathering at the College Art Association conference. It was a terrific opportunity for alums from the class of 1954 to the class of 2012 to reconnect with some and to meet others for the first time. In May 2013 we hosted a reception following a performance by current Stamps InterArts students and alum Erin Markey (BA ‘03),

Zweck to promote freedom of expression on public land. The Stamps flag was inspired by the White Pine tree, the state tree of Michigan. In September 2013, Stamps: Chicago sponsored a tour of “Impressionism, Fashion and Modernity” at the Art Institute of Chicago. After the tour, the group walked up Michigan Avenue to see a series of storefront windows created by artists and designers in response to the exhibition. The College Art Association is coming to Chicago this February 12-15, 2014, and in tandem with the exhibits, and performances at Links Hall organized by Stamps professor Holly Hughes, Stamps: Chicago will host an event for alums who are attending the conference or who live in Chicago. The event, tentatively scheduled at City Tavern in the South Loop, will include live performances by alums, and food and beverages.

Joseph Keckler (BFA ‘04) and past Witt Fellow Pat Olescko at the notorious performance space, Dixon Place. Our NYC group is charged up and ready to go—so watch for

Stamps: Los Angeles

an East Village outdoor mixer/friend raiser/idea generator.

W E ’ V E B E E N WO R K I N G with our alums Chelsea Neman

Other NYC projects in the mix: sketchbook tours of the city,

(BFA ‘10) of the Tappan Collective and Maura McLaughlin

mentorship and networking, seminars and discusions in

(BFA ‘85) of Off the Wall Graffiti to envison projects,

aesthetic theory and web design, a Stamps version of Airbnb,

events and collaborations on the West Coast.

potlucks and exhibits.

Stamps: Chicago

Stamps: Grand Rapids C LO S E R TO H O M E B A S E in Michigan, we’re looking

S TA M P S : C H I C AG O has connected alums, recent grads

forward to illustration parties and furniture building workshops

and fellow Chicago artists. Alum Tori Terzakis (BFA ‘08)

in Grand Rapids with Betsey Cordes (BFA ‘11), Katie Eberts

confirms, “We have become a beautiful system that

(BFA ‘11), Lucy Engelman (BFA ‘11) and Pete Hall (BFA ‘11).

engages, motivates and supports each other’s projects and shows, while growing great relationships. Whether meeting for delicious dinners across the city, grabbing a drink or attending an opening, Stamps: Chicago is an integral part of Chicago’s art network and social scene.” The year started with “Paper Legends”, an exhibition at North Branch Projects, including Stamps alums Toby Millman (MFA ‘07), Abby Bennett (BFA ‘13), Ashley Elander (BFA ‘10) and curated by Tori Terzakis. Brent Fogt (MFA ‘07), another Stamps alum who worked on the show, was drawn to the uniqueness of the North Branch space: “What I loved was the gallery’s position within a working studio, next to a workshop where people from the community learn how to make books. In addition to seeing finished work, visitors to the exhibition got a glimpse of how that work was made.” In April, Stamps: Chicago designed, built and raised a flag outside of the University of Illinois’ Gallery 400 as part

From Connecticut to Haiti LO O K I N G A H E A D, we will be working with alum Jack

Lardis’ (BSDes ‘54) Oil Drum/ Catamaran Project, as they sail a catamaran built from repurposed oil drums from Connecticut to Haiti in May-June of 2014 via the Intracoastal Waterway, and then through the Bahamas to Haiti where they will donate the catamaran to a needy fishing community. The project’s mission is to generate extensive media coverage along the way, promoting the concept as a worldwide hunger relief effort. We will be organizing Stamps events and gatherings along the route to support the project.

of Temporary Allegiance, an ongoing project by Philip von STAMPS E M E R G E N C E

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In Memory of Milton Cohen

IF YOU WENT TO U-M IN THE 1960S YOU PROBABLY

Doug Hollis (BFA 1970) was a student and life-long

knew, or knew of, Milton Cohen. A founding force

friend of Milton Cohen. He shares his memories here:

behind the famous 1960s group, ONCE, Milton was a

“ONE E VE NING IN 1965 my high school sweetheart and I went

professor at Stamps (1959-1970), a gifted teacher, and

up to Liberty Street to see a performance work we’d heard about

pioneer of new genres. To help keep his name and his memory alive for future generations his brother, Ralph Cohen, established a scholarship fund for Stamps students in Milton’s name. “My brother had a lot to offer, to his students, his colleagues and his friends,” says Ralph. I know he was happy teaching

by an artist named Milton Cohen. We climbed the creaking stairway to a studio above Leo Ping’s Chinese Restaurant, hearing what sounded like the soft purr of crickets coming from above. As we reached the open door we were met by a small sparkling man dressed in a black turtleneck and a goatee who said in a stunningly articulate voice, “Welcome to Space Theater.” A group of twenty people were there in the high, dimly lit

at U-M. I want other people to know who he was and to

space, sitting on small floor cushions looking towards an array of

remember him. Although we went our separate ways at an

screen-like panels mounted on masts. As the performance began

early age, I felt this was something I could do for him.” Milton Cohen’s early work was as a painter. But soon after

the panels were illuminated by a film and slides, as a dancer dressed in white moved around them, sending them into rotation which abstracted and reflected the projected images. Milton sat in

arriving at U-M he became interested in the use of light as

our midst among various turntables filled with lenses and prisms

a medium and art as performance. “I have urgently felt the

that caught the light and scattered it across other triangular

need for stretching imagery into a format of presentation

screens suspended from the walls and ceiling. The recorded sound

in real time, real motion, real space,” Milton stated. His

was a sonic collage with Milton’s voice periodically pronouncing

early experiments in multimedia started in 1961 and were

phrases like “BLUE TIDE...GOING OUT...GOING OUT” and “RED

known as “the Space Theater,” a twenty-sided hemisphere, equipped to manipulate light in an interactive setting.

TIDE...COMING IN...COMING IN!” It was an experience unlike any other I had had before. Thus began a long and cherished friendship, first as his student,

Located in a loft in Ann Arbor, it was there that U-M

then as an assistant in Space Theater performances, and later as

students and the Ann Arbor community gathered for their

a fortunate guest at his home in Crete, Italy, and, finally, Wellfleet,

first experiences of multimedia performance art.

Massachusetts. Always the great host, Milton took such real

Cohen’s goals were expansive. He wanted to employ

pleasure in sharing his discoveries of a good tavern or cafe, or an

contemporary technologies to create a “living museum of

old Italian stone carver, or his garden. You see, to me, Milton has

spontaneous action” with music, light, poetry and dance. In creating his light shows, Cohen used a variety of devices including slide and movie projectors, prisms, filters, a color

always been my teacher, not simply in art making (which would be enough of a gift) but more importantly, in how to live a life. For him life was not a problem to be solved, but a journey to be experienced and celebrated.”

wheel, lenses, and mirrors. He felt that electronic music would best compliment the visuals he was creating, so he

The Milton Cohen Fund supports international travel for

began working with two composers who would later become

Stamps students. “After leaving Michigan,” Ralph states,

founders of ONCE, Robert Ashley and Gordon Mumma. Using

“Milton moved to Italy to become a stage designer. He loved

amplifiers, oscillators, filters, and four-track tape recorders,

his work there and he had a real impact on the students

they began composing electro-acoustic music for the over

who worked with him. I thought supporting students travel

100 Space Theater performances presented between 1958

opportunities would be a good way to remember his legacy.”

and 1965. In 1964 the ONCE artists recreated Milton Cohen’s Space Theater at the Venice Biennale.

33 / STAMPS

EMERGENCE

The Martha Chandler Endowed Scholarship Fund

JAMES POPPY MET HIS FUTURE WIFE, MARTHA CHANDLER,

World War II we had job opportunities and advancement

in 1949 under the Magnolia tree outside of Martha Cook

opportunities. It was a wonderful time. So when I retired in

dormitory, when both of them were taking a break from

1987, we decided it was time for payback. Our U-M giving

studying for exams. He was finishing a B.A. in history

included establishing the F. Jan Behrman Professorship

and preparing to enter medical school. She was a young art

in Reproductive Medicine—Dr. Behrman was one of my

and design student.

mentors. We also funded a scholarship for graduates of my

Over the next 65 years, they married and raised four

high school who come to Michigan. And Martha loved her

children (Martha wanted and had all four before she was

time at the art school, so it seemed only natural to create an

30) and moved from Ann Arbor to California and finally to

annuity scholarship fund to help art and design students.”

Sun Valley. He became a successful obstetrician, and she a

“Martha and I believed an annuity was a good way for a retiree

highly competitive athlete—the winner of the Pike’s Peak

to gift,” Dr. Poppy confirms. “As you know, planning for the

Marathon, a ski instructor in Squaw Valley, a windsurfer, and

future includes securing income. So this type of gift was a win/

a tennis enthusiast.

win. We could help art and design students and we benefited

Martha was also a highly accomplished mountain climber,

from a guaranteed fixed income that could be calculated to last

reaching the summits of the tallest mountains in California,

a lifetime. Finally, there was the warm and fuzzy feeling of

Oregon, Washington, Idaho, Wyoming, New Hampshire and

being a part of the Michigan heritage. I would recommend an

Maine. She crossed the Sierras and the European Alps Haute

annuity for alumni requiring retirement planning.”

Route on standard nordic skiis with pin bindings. In the

In early 2013, Martha Chandler Poppy passed away. Dr.

Himalayas she completed the Annapurna Circle and hiked

Poppy chose to establish the Martha Chandler Endowed

to the base camp of Everest with a side trip to the summit of

Scholarship Fund with the residuum of their gift. The

Island Peak. In Pakistan she climbed above the base camp of

scholarships provide financial aid for qualified students

K2 and to the bases of Gasherbrum 1 and 2 and to the base of

entering the Stamps School, with preference given to

Broad peak in the Baltoro Karakoram.

students from the New Hampshire county where Martha

In 2004 Jim and Martha created the Martha Chandler Endowed Scholarship Fund at the Stamps School of Art & Design. The scholarships assist with financial aid for qualified students entering the Stamps School.

grew up. Once established, additional gifts to the fund were received in Martha’s memory from family and friends. The first recipient of the Martha Chandler Poppy Endowed Scholarship has been selected. Dr. Poppy says he is looking

The Poppys saw their endowed gift as “part of our

forward to meeting the student when he returns to campus

comprehensive University of Michigan plan. We were a

this fall, and to an opportunity to tell her all about the

fortunate generation,” Dr. Poppy acknowledges. “After

woman for whom her scholarship is named.

The Gift that Pays for Giving: Charitable Gift Annuities Charitable gift annuities are a great way

invested gift annuity provides quarterly

could be for scholarships, internship stipends,

to support the Stamps School, while also

payments for life to the donor*. A portion of

program support, or another area of interest.

providing an alternate source of income for the

the quarterly payments may also be tax-

donor’s or a loved one’s lifetime. The annuity

free. The donor may even defer the quarterly

*The donor can also designate another person

works as follows: A donor makes a minimum

disbursements until a point in his/her life when

to receive income when the charitable gift

contribution of $10,000 to U-M; the gift may

he/she wants the payments to start. When

annuity is created.

be designated to support the Stamps School.

the charitable gift annuity ends, the remaining

Immediately, the donor receives a charitable

principal of the charitable gift annuity is

For more information or a personalized

deduction for the gift, and the University

transferred directly to the Stamps School to be

illustration, please contact Eric Schramm at

invests his/her contribution. Thereafter, the

used as the donor designated. The designation

ericwil@umich.edu or 734 647 0650.

The Sylvia and David Nelson Scholarships

Fifty years ago, there were few scholarships and no loans available to U-M students. So Sylvia (BFA ’68) and David Nelson (BSD ’65) both worked their way through school.

WHEN SHE WASN’T PAINTING OR

the University of Michigan. “We’re both proud of attending

taking classes in art history, ceramics,

the U-M and proud of our ties to the School of Art & Design,”

photography and anthropology, Sylvia

David says. “We continue to believe that the arts are an

worked at the university’s Radio Isotope

essential part of human life. Without the creativity found in

Lab, earning roughly $1.75 an hour. David did a little bit of everything—from managing rock bands to illustrating books

the arts and other disciplines, society will eventually fail.” In 2005, the couple established the David Robert and

and magazine articles. Later, while attending Wayne State

Sylvia Jean Nelson Foundation for Arts and Letters. Since

University Law School, he provided market research and

then, the foundation has engaged in a wide array of arts

advertising services for builders.

philanthropy: sponsoring art programs at Detroit Children’s

Eventually, that part-time job expanded into a full-

Hospital, providing art supplies for the children who attend

time career in real estate development. In the late 1960s,

daycare at Detroit’s Coalition for Temporary Shelter, and

David founded The Nelson Companies, an organization

funding children’s educational programs of the Detroit

that develops and manages office buildings, retail centers,

Symphony Orchestra.

hotels, industrial properties and multi-family developments throughout the Midwest and beyond. Strong advocates of community service, over the years

Through their foundation, the Nelsons and their three children also provide annual scholarships for continuing Stamps students at U-M, as well as students at other

since college, David has sat on a number of non-profit

colleges and universities. As Sylvia explains, “We know

Boards, most recently the Detroit Symphony Orchestra.

how expensive art school can be and how few scholarships

Sylvia, in addition to serving on a number of non-profit

are available beyond the freshman year. It feels good to

boards, spent 12 years as a docent at the Detroit Institute of

give back this way, to help educate the next generation of

Arts before accepting a full-time position with the Charach

artists, creators and builders who will contribute so much

Gallery in West Bloomfield. (She retired in 2006.)

to our world.”

Over time, the Nelsons have cherished their memories of

35 / STAMPS

EMERGENCE

New Donor Mike Long

When Mike Long (BFA 2007) came to the Stamps School, he already knew that he wanted to work in a design field. And throughout school he envisioned his future as a product designer.

BUT AFTER GRADUATION A JOB AS A

attended the Stamps School, I would not be in the position

production artist turned into a position as an

I’m in today.” Feeling part of a community also plays a

apparel graphic designer, which led to managing

role. “After graduation I continued to work in Ann Arbor

the retail department within the company.

with fellow graduates. This helped me remain aware of the

He credits the Stamps School’s focus on critical thinking

activities on campus. And, I still enjoy attending Penny

with helping him transition from a design position into a

W. Stamps lectures when possible! I feel connected to the

career that integrates design elements into all aspects of his

school, which encourages me to donate.”

work “From the styles we carry in the store, to the signage and display, I rely on skills that I learned at Stamps.” This direct connection between his college experience

Mike directs his support to the school’s general fund because his goals are expansive. “I would like the Stamps School to continue to encourage the creative process

and his career was one of the reasons that Mike decided to

while emphasizing the development of technical skills

start giving to the School in 2009, and it’s one of the main

that are essential for success. I would advise other alumni

reasons that he continues to give each year. “I feel it’s

to consider the impact their gift has on future school

important to continue to give because I can trace a direct

improvements. Many of the changes over the past few

line from my enrollment to my current career. If I had not

years may not have been possible otherwise.”

STAMPS E M E R G E N C E

/ 36

Retirement

Professor Dwayne Overmyer

DWAYNE OVERMYER HAS BEEN A PART OF

Arts, the Toledo Museum of Art, the Ann Arbor Transportation

the U-M art and design community since

Authority, the Toledo Regional Transportation Authority,

his days as a student in the College of

the Commission on Professional and Hospital Activities, and

Architecture and Art in the late 1960s. After

various units of the University of Michigan.

graduating in 1971, he enjoyed a highly successful career

Overmyer’s work has been recognized by the American

as a senior graphic designer at firms in Detroit, New

Institute of Graphic Arts, the University and College

Haven, Toronto and Boston, returning in 1977, following

Designers Association, the Art Museum Association

the completion of his MFA at Yale, to join the Stamps

of America, the Society of Typographic Arts, and the

School faculty.

New York Art Directors Club and has appeared in Print

It is impossible to overstate Dwayne’s contributions

casebooks and Industrial Design’s Annual Review. He

over the ensuing 30+ years and his profound influence on

served on the editorial advisory board of Information

generations of designers. His creative work and scholarship

Design Journal and as editorial consultant to Monotype

have been recognized internationally and continue to

Typography (UK) and the Danish Design Centre.

influence designers around the world. His students praise

Dwayne plans to celebrate his retirement quietly and,

him for his “no-nonsense approach to teaching,” and being

as he has often said to his students, “to search for all the

“intellectually rigorous.” One recent student commented

simplicity that the moment will allow.”

“If your looking to learn design in the classic sense, he’s the guy. Blunt in the best way. Will guide you through your mental blocks to produce good design.” Another said, “He made you think, but did not make you feel stupid.” In additon to his teaching at Stamps, he has also been a regular visitor at the University of Reading (UK) Department of Typography & Graphic Communication for close to two decades including extended periods as a visiting scholar. Throughout his career, Overmyer has maintained an independent design practice. Clients of his current Ann Arbor-based practice have included the Detroit Institute of

37 / STAMPS

EMERGENCE

Retirement

Professor Doug Hesseltine

IN JANUARY OF 2013, DOUG HESSELTINE, GRAPHIC

ACM Siggraph, Schlumberger Technologies, Libbey Glass,

designer, fine artist and teacher, retired, following

General Motors, Henry Ford Health System, University of

nearly 40 years of service to the School, the

Michigan Health System and numerous other units of the

university, and generations of art and design

University of Michigan.

students. Students have called him “my absolute favorite

In 1985 Hesseltine left the University to pursue these

professor.” They praise him for his dedication.“He stayed

professional commitments, but he also continued to teach at

after class on a weekly basis to help me with projects from

the school, sharing his many gifts with generations of artists

classes other than his” and his commitment to excellence.

and designers. Most recently he served as Lecturer III in the

“He is very good at what he does and I learned the absolute

Stamps School.

most from him. He wants his students to succeed which

Along with his teaching and commercial work,

makes him brutally honest.” “You have to earn your grade in

Hesseltine maintains an active fine art practice, which

this class. But if you actually care about graphic design, you

often encompasses painting and collage. His work has

would go to every class and put effort into your work.”

been represented by several of Michigan’s premier

Hesseltine began his academic career at U-M with his 1970

galleries and is included in the collections of the Detroit

BFA from the then School of Art & Architecture. He joined

Institute of Art, the University of Michigan Medical Center

the school’s faculty in 1977, holding a joint appointment as

and the Detroit Medical Center.

assistant professor and director of design for what is now

Hesseltine is the recipient of dozens of design awards

the Office of University Development. From 1978 to 1979,

and has been awarded exceptional achievement and grand

he was the de facto director of design for the whole of the

awards from the Council for the Advancement and Support

University of Michigan.

of Education. He has juried many exhibitions and shows,

In addition to his academic role, Hesseltine maintained

most recently as a juror for the International Theater Poster

an active career as a designer. He co-founded Quorum

Art exhibition in Canada. He has also been an external

Communications and later Hesseltine & Demason Design

reviewer for the University of Wisconsin Graphic Design

Inc., both firms focusing on the design and planning of

Program and panel chair for the Siggraph Conference

communications and the development of identity systems

session, Graphic Design in the Nineties: New Roles, Options,

for health care and technology-based organizations and

and Definitions.

companies. His client list included Herman Miller Inc., STAMPS E M E R G E N C E

/ 38

Alumni Updates 1950s Jack Kelley BS 1962 On May 23, 2013 I was inducted into the Lake Michigan Sail Racing Federationʼs (LMSRF) Hall Of Fame for outstanding past performance in racing sailboats across Lake Michigan and a wide variety of shoreline races in addition to GRSC Club races held in the big lake. For 20 years, I was chairman of the GRSC team

Chica Brunsvold Anneli Arms BSDes 1958 My work was accepted into a print exhibit in September and my “eagle” (see image) was a part of the Prague show juried via Manhattan Graphics Center. I am also in the “Prints for Peace” show in Mexico with my “ripped off” portfolio print.

1960s

thousands of dollars for the local Hospice

MA in Art 1962

organization.

My painting, “Gossip,” was included

I was hired by Herman Miller, Inc. where

Exhibit in NYC this April. “Gossip”

I was the lead designer on Action Office,

was also included in my solo show of

the worldʼs first modular panel office

42 watercolors and acrylics at Green

system. I applied the characteristics of

Spring Gardens Horticulture Center in

sailboat design and performance on the

Alexandria, VA. through August 25. Much

water as a parallel effort that influenced

of the work is done on Yupo, a plastic

my award winning design solutions. At

surface that is magical (or frustrating,

80, although retired, I still, with vigor,

depending on your attitude). Very

sail a boat on Lake Michigan

possible with Yupo as the paint does not

BSDES 1960

using it on July 22 in Newport News, VA.

sink in. I taught a watercolor workshop I went through the art school in

State University. This year I served as the

the early sixties when everything was

Co-chair person for the Stamps School

abstract expressionism. Being a realist

“Transition 2013” Annual Art Alumni

at heart, I struggled, but all that flinging

Show committee. I have been a member

paint around certainly did free me up to

of the committee for the past six years

“go with the flow” now while I work with

and won the Peers Award twice, most

watercolor on Yupo! If I hadn’t had the early U-M art

Skelter” that can be seen in the online

school training, I would probably be the

gallery of the 2012 show on the Stamps

portrait painter my mother wanted me

School of Art & Design website. My

to be! Instead, the U-M Employment

painting, “Icarus,” was also included in

Bureau got me a job illustrating for the

the “Road Trip” exhibition at the Stamps

CIA (which I did for 5 years) and now

School sponsored gallery, Work•Detroit.

I’m playing/painting, which is great fun. I know art school broadened my appreciation for all the fields of art and for all the magnificence and wonder of life in general. I’ll always be grateful, as I didn’t really want to be a portrait painter anyway!

39 / STAMPS

EMERGENCE

After graduation from art and design,

in the American Watercolor Society

Matthew Zivich

recently in 2012 for my painting “Helter

named the “Grand Quacker” that raised

(Mary Sue Willey) BSDes 1961,

bright colors and surprising textures are

I am a Professor of Art at Saginaw Valley

that ran the Hospice Rubber Duck race

have affiliated with two other Maine

artist Buster Simpson, a pioneer in the

galleries: Art Collector Maine and their

field of urban environmentalism and

new Gallery at the Grand in Kennebunk,

art in public spaces. For more than four

Maine; and with The Gallery at Somes

decades, Simpson has been the ecological

Sound in Somesville, Maine. My

and social conscience for neighborhoods

paintings are at all these galleries on a

and cities in constant states of transition

continuing year around basis.

and renewal. His site-specific, agit prop,

After receiving my BS in Design from Michigan in 1961 and my MFA from

the problems, scrutinized the context,

Michigan in 1963. I taught at the State

and presented new frames of reference

University of New York, Plattsburgh

to provide local solutions for global

campus for over 35 years. Although I

issues. The exhibition presents his

taught some painting and other courses,

groundbreaking contribution to dialogues

my primary responsibility was starting

about the health of communities and

and developing the photography

the societal obligations of the artist

program at Plattsburgh. I retired in 1998

striving to affect real change in public

as a full Professor.

life. BUSTER SIMPSON / / SURVEYOR

More information may be found on my

Barbara Zucker

and process-driven art has surveyed

includes more than 50 artworks spanning

website: www.wmc-art.com including

40 years of practice as well as photo-

links to the several galleries.

documentation and restored historical video footage of under-recognized

BFA 1962

ephemeral and performance works which

I graduated in 1962, and I had some

have not been seen in decades.

amazing professors: Irving Kaufman, Al Mullen, Joe Goto, Milton Cohen, John Stevenson, and Gerome Kamrowski. It

Norm Stewart

wasn’t so much what they said or did,

BFA 1969

it was the way they were: their passion transmitted to me via art osmosis of a

& Susan Stewart

kind—they made it possible for me to

BSDes 1970

see what the life of an artist was, made

Stewart & Stewart, the printing/

it possible for me to picture it for my

publishing house owned by alums Norm

and commitment to their work was

life or some version of it, too. And I am forever grateful. Recently I’ve been in two shows: PPOW, “Skin Trade” June 27 - July 27 in New York City, and “Artpark 40,” in Lewiston, New York, a retrospective of all

Ruth Weisberg BFA 1963, MFA 1965 I was in the exhibition “I, You, We” at the Whitney Museum of American Art. It was up until the end of August.

Stewart and his wife Susan, has a busy exhibition schedule: • Impressions: Selections from Stewart & Stewart, Printer/Publisher of Fine Prints, 1980-Present, Gallery 72, Omaha, NE, 12 July – 17 August

the artists who showed there in the 40

2013. A selection of 50 fine prints by

years of the park’s existence.

30 artists created at Stewart & Stewart from 1980 to the present. • International Fine Print Dealers Association Print Fair, Park Avenue Armory, New York, NY, 6-10 November 2013 • Flint Institute of Arts Print Fair, Flint Institute of Arts, Flint, MI, 22–24 November 2013 • Impressions: Selections from Stewart &

Bill Crosby

Buster Simpson

Stewart, Printer/Publisher of Fine Prints, 1980-Present, Kalamazoo Institute of

BSDes 1966

Arts, Kalamazoo, MI, 21 December 2013 –

BSDes 1961, MFA 1963

Exerpted from the Frye Art Museum

23 February 2014.

In addition to over twenty years at the

announcement of Buster Simpson’s mid-

Stewart & Stewart is a member of

Harbor Square Gallery in Rockland,

career retrospective. “From June 15 –

the International Fine Print Dealers

Maine, I have been with the Martin

October 13 The Frye Art Museum presents

Association and has been printing and

Gallery of Charleston, South Carolina

BUSTER SIMPSON / / SURVEYOR, the first

publishing fine prints in their Bloomfield

for over ten years. This year, 2013, I

retrospective survey of work by Seattle

Hills, MI studio since 1980. Norman

STAMPS E M E R G E N C E

/ 40

Stewart earned BFA and MA degrees from the University of Michigan School of Art & Design and an MFA degree from Cranbrook Academy of Art. Susan earned a BSD degree from the University of Michigan School of Art & Design and an MA degree in education from University of Michigan Dearborn.

1970s Barbara Cervenka MFA 1971 “Bandits & Heroes, Poets & Saints” is being organized in Detroit by Con/

Schroeder Cherry

Laura Militzer Bryant BFA 1978

Vida — Popular Arts of the Americas in

BFA 1976

partnership with the Charles H. Wright

“Tevin” talks about Tuskegee Airmen at

6th) that is doing gang-busters in the

Museum of African American History.

Smithsonian Institution’s National Air

knitting world. The book is about hand-

The exhibition curators — Marion

and Space Museum, Washington, D.C.

dyed yarns.

(Mame) Jackson, Distinguished Professor

The museum exhibition program was

Emerita of Art History, Wayne State

designed for family audiences.

I have a newly published book (my

Interestingly, Vincent Castagnacci’s color class rocked my world and sent me

University; and Barbara Cervenka, O.P.,

on a journey of color exploration that

Professor Emerita of Art, Siena Heights

has engaged me for the last 35 years.

University — have traveled extensively

Both my artwork and my commercial

in Brazil’s Northeast during the past 20

design work have been steered by what

years, and worked directly with popular

I learned in that class. I have gone on

artists and scholars in this poorest region

to teach hundreds of knitters every

of Brazil to organize this exhibition.

year about color and how to make successful selections for their projects, and my color classes at consumer shows

Walt Griggs

regularly sell out.

BFA 1975 I participated in the 2013 Art and Design Alumni exhibition, Transition, contributing an animated watercolor video. The work is painted in the

Susan Ruth Cohen BFA 1977

1980s

I have created a book, entitled

Impressionist/Pointillism style with pen

Colorsong, which features a whimsical

and ink under painting and layered with

poem and artworks that correspond to

opaque water colors on acid-free archival

each line of the poem. Colorsong was

illustration board,

first featured in an interactive exhibit of

www.facebook.com/walter.griggs.12

my work at the Long Island Children’s Museum in Garden City, New York. As a Teaching Artist, I conduct classroom workshops based on my Colorsong book. Students create their own poetry and visual interpretations of the themes explored in Colorsong: the motion, sounds, shapes, lines and colors of music. View the Colorsong book and other artwork at www.susanruthcohen.com

Leslie Nobler f/k/a Leslie Farber BFA 1980 This year I was awarded a Puffin Foundation Grant to study and create work related to (extreme) societal ills, such as genocide. (I will also run workshops for education students and community workers/volunteers on teaching this topic through the visual arts). For next year I was granted a sabbatical to study ritual textiles in

41 / STAMPS

EMERGENCE

connection to the Holocaust and issues

Laurel Prafke

of tolerance, and reinterpret them in

BFA 1987

mixed/digital media. Much of this will

My life changed in June of 2000 when

be done at the Textile Research Center

a falling object knocked me out. Ten

of Leiden University in the Netherlands.

years of doctors, ER, testing etc. finally

My ongoing work exploring these ideas

determined that I had a closed head

has been included in many international

injury. Unable to draw or paint, the use

shows, and was featured in a solo

of my hands was limited to the lack of

exhibition at the Fairleigh Dickinson

thinking, processing thoughts and the

University Metro Campus Gallery (NYC/

transfer of action from my brain to my

NJ area) in August and September.

fingertips was impossible. Even today,

www.leslienobler.com

writing is difficult. This has been an uphill, slide back system of growth. Strokes inhibited me from tying my shoes

Leisa Rich

last February, today it is such a relief!

BFA 1982

My point here is that in search of

I have written a feature article Plastics in Fiber: Creative Friend or Environmental Foe published in Fiber Art Now magazine, volume 2, Issue 4 (Summer 2013) pages 20-23. I recently exhibited in the Atlanta Institute of Architects’ public art project “Urbanfronts” in Atlanta, Georgia; in “Georgia Artists”, Sandy Springs, Georgia where I received the Honorable Mention award; in “Fantastic Fibers” at the Yeiser Art Center in Kentucky; Fabricate- the Surface Design Association, winning the Award of Excellence and in “teapots!” at the Morgan Contemporary Glass Gallery in Pittsburgh, where one of my works was again purchased by the Kamm Foundation for its permanent collection. I also had work in “Georgia Artists Selecting Georgia Artists” at the Museum of Contemporary Art, up through August. I have also just completed a children’s book comprised of 26 dioramas. I was also featured in the recently released book, Mastering the Art of Embroidery, Chronicle Books, p. 249-250. I teach at The Galloway School, Atlanta, Georgia. See more at www.monaleisa.com.

Leslie Sobel

advancement through education and travel did expose me to my deficits.

BFA 1983

Travel especially taught me about living

I have an upcoming residency at

with less and led me to paint en plein air.

Canyons of the Ancients, sponsored

Painting helps me through pain, to relax

by the Colorado Art Ranch partnered

the brain and then being able to think!

with the U.S. Forest Service’s Aldo

My painting is improving. Now, I’m

Leopold Wilderness Research

trying to tackle sculpture. Considering

Institute (ALWRI) as one of their six

many times that time in Prof. Marinaro’s

Aldo & Leonardo Wilderness Science and

studio would sure help. It is a struggle,

Art Collaboration projects. I spent the

one that I will enjoy wrestling with. I

month of September at Canyons of the

would like to add that my mother made

Ancients working with archeologists

it possible for my daughter, who was

and two other artists—composer/cellist

ten when the injury occurred, to attend

Esther Rogers and sculptor Benjamin

school, sports and music lessons.

McCarthy. My work has long been

In July, I begin the MAAT program

environment focused, working with

at St. Mary of the Woods. Keeping my

scientific data and imaging to explore

fingers crossed that for that no seizures

human impact on the natural world.

of strokes would stop or inhibit me.

Canyon of the Ancients, in southwest

The risk is financial with loans and

Colorado, is a national monument with

transportation, my drive is here. Therapy

more than 6000 known archeological

in the arts is essential! A graduate

sites mainly of the Ancestral Puebloan

certificate in arts psychotherapy

peoples but also hunter gatherers dating

from Queen Margaret’s University in

back to 8000 BC. Our work during

Edinburgh, along with dance movement

this residency will result in an e-book,

therapy have me convinced, it does work.

multiple videos and exhibitions.

My art, as an artist is separate. It is important to be recognized as an artist! My appreciation goes out to all those who

Michelle (Gurfein) Shain BFA 1985 The one thing I remember most about

have helped me along this path and the solid education received at the School of Art, now Penny Stamps. God Bless you all and keep active!

The School of Art at U-M was Professor Bruce Ian Meader for graphic design. His classes were fun and full of great lessons. I learned dozens of typographic skills that I still use to this day, professionally, almost 30 years later. www.headlightscreative.com

STAMPS E M E R G E N C E

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Kevin Deras BFA 1993 I received my MBA this spring from Oakland University in Rochester, MI. In addition I was promoted recently to the position of Global Technical Manager at my company, Inalfa Roof Systems of Auburn Hills, MI.

received two Mellon grants, in 2012 and 2013 respectively, to pursue research related to image-text explorations in lithography and to study interdisciplinary approaches to color theory. Last fall I delivered lectures on my studio practice at conferences at the School of Visual Arts and the Mid-America College Art Association. I am currently an Associate Professor of Art in Holland, Michigan. www.katherineasullivan.com/

Shari Stein BFA 1987

Andrea Urbiel Goldner

As part of the Team-4-Community, formed in 2012 by professionals in architecture, interior design, landscape

BFA 1998

architecture and interior design, I am

I recently completed a 2012-2013 US

spearheading the ALOeTERRA project,

Department of State Fulbright project in

that will move an entirely solar powered

Morocco: Community Appliances: Resilient

home from the City of Troy to the Warm

Places in the City Landscape. Under the

Training Center on the grounds of Focus

name Peregrine Workshop, Gary Urbiel

Hope, in downtown Detroit. The 800

Goldner (my husband) and I have been

square-foot solar house will be utilized as

awarded a 2013 Kresge Artist Fellowship

a hands-on training resource to educate

which began this July.

the next generation of workers in the renewable energy field. Constructed of sustainable materials, the house uses no gas or grid-tied electricity, and adheres to the standards of universal design. Once the move is complete the house will open to the public for tours, education, and workshops on renewable materials, consumer education, and as a tool for

Marc Sirinsky

2000s

BFA 1997 In June and July I was in an exhibition, “Photography: Process and Perspective,” at Gallery Plan B here in Washington, DC.

green consulting for businesses and municipalities.

1990s

Deanna Krueger Katherine Sullivan BFA 1997 I have been awarded a 2013-14

Michael Sevick

Fulbright-Nehru grant to research and teach at Jamia Millia Islamia in New

BFA 1980, MFA 1990

Delhi. My research there will explore

U-M Flint Associate Professor of Art

nagi iconography, painting pedagogy,

Michael Sevick and his nine students

and the use of color in historical and

in the 2013 spring mural painting class

contemporary Indian art. This June,

recently finished an 8’ x 12’ aquatic-

I participated in a seminar in South

themed mural for the Genesee County

Africa that convened a select group of

Health Department’s waiting room lobby.

North American and Southern African

The mural is expected to be installed in

artists to consider the critical role of

the Saginaw St. location in mid-July.

the visual arts in society. I also recently

43 / STAMPS

EMERGENCE

BFA 2002 I have been awarded a four-week artist residency by Brush Creek Foundation for the Arts. The residency is located on Brush Creek Ranch, a luxury guest ranch located on 15,000 acres of scenic splendor at the base of the Medicine Bow National Forest outside of Saratoga, Wyoming. I will use the time to continue my “Shards” and “Liminal” series. In November my work will be included in “Meditative Surfaces,” a three-person exhibition at Fort Wayne Museum of Art. www.deannakrueger.com www.brushcreekarts.org

H. Adam Dougherty BFA 2005 I was recently promoted to On-Field Graphic Designer at Under Armour in Baltimore, Maryland. I am currently designing special event and team uniform graphics for all of our college sports accounts and European soccer teams. I’ve been working at Under Armour for 3 years as a men’s apparel graphic designer, where I have designed graphics for football, baseball, lacrosse, Run and Tough Mudder. My current transition to the OnField team allows me to work on team uniforms, which has been a passion of mine since I was a student at Michigan.

Lindsey Stern MFA 2009 In April of this year I celebrated

Toby Millman MFA 2007 I was recently awarded a grant from the Pollock-Krasner Foundation to support my studio practice in printmaking and works on paper.

three years as Education Coordinator at the Center for Photography at Woodstock, where I continue to manage all educational and interpretive programming, including the Woodstock Photography Workshop & Lecture Series. (Still waiting for a U-M intern to come my way...) I was recently curated into

Allison (Ally) Apprill BFA 2009 I just finished my dual Master’s Degree for Art Therapy and Counseling at Southern Illinois University at Edwardsville and just started a job as an Art Therapist at an all-women’s

an exhibition at the Islip Art Museum where I have three collages. I have been awarded the Ora Schneider Residency at Womens Studio Workshop in Rosendale, NY. I will spend my month there this fall printing a new silkscreen series and I am expecting my first child any day now!

residential retreat in Tennessee! I’ll be working towards my certification both as a licensed therapist and art therapist. I’m very grateful for my Michigan education!

Catherine Meier MFA 2009 I have been awarded a 2013/14 McKnight Visual Artist Fellowship. Designed to identify and support outstanding midcareer Minnesota artists, the McKnight Artist Fellowships for Visual Artists provide recipients with a $25,000 stipend, public recognition, professional encouragement from national visiting critics, an artist book, and exhibition at the MCAD Gallery. The 2013/14 McKnight fellows were selected from a group of 190 applicants by a panel of arts professionals.

STAMPS E M E R G E N C E

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In Memoriam

At his retirement party in March 2011, Dean Rogers was launched into retirement with a jetpack designed by Stamps School faculty.

Bryan Rogers 1941 - 2013

Following a lengthy illness, former Stamps School Dean Bryan Rogers passed away at his home on May 28, 2013 in the care of his wife Cynthi and son Kyle.

their creative pursuits and with the wider world through interdisciplinary collaborations, regional outreach programs and global learning exchanges; and (3) to send into the world well-rounded individuals with a strong set of technical and conceptual skills, a deep well of creative confidence, a capacity for continuing self-education, an appreciation for other cultures and perspectives, a well-honed critical

BORN IN 1941 IN TEXAS, BRYAN GRADUATED IN 1963 WITH

intelligence, and an abiding passion for engagement with

a BE in Chemical Engineering from Yale. He received an

their communities and their world.

MS in Chemical Engineering in 1966 from the University of

Bryan’s successes in achieving his vision are everywhere—

California, Berkeley, where he also went on to receive an MA

an endowment for the school that ensures a bright future

in sculpture in 1969, and a PhD in Chemical Engineering in

for the visual arts on campus; a curriculum that encourages

1971. Prior to coming to the University of Michigan, Bryan

thoughtful, creative, interdisciplinary problem-making

held teaching positions at the University of California,

and problem-solving; a tenured/tenure-track faculty that

Berkeley, San Francisco State University and Carnegie

doubled in size during his tenure and reflects the range of

Mellon. Both a practicing artist and a writer, Bryan published

contemporary creative practice; expanded and improved

and exhibited his work nationally and internationally.

facilities including private studio space for faculty, graduate

Bryan was appointed dean of the Stamps School in 2000,

students, and seniors; thriving national and international

following a successful tenure as head of the School of Art

engagement programs that move art-design out of the

at Carnegie Mellon University. As soon as he arrived on

classroom and into local and global communities; a

campus, Bryan set about to transform the school and the

dedicated and professional staff capable of supporting

arts at Michigan. His vision for the Stamps School was

ambitious programs and services; and a hard-won

three-fold: (1) to make the arts part of the intellectual DNA

recognition of the importance of art and design on campus,

of the wide-ranging domains that compose the University

including the founding of ArtsEngine.

of Michigan; (2) to connect A&D students and faculty with

45 / STAMPS

EMERGENCE

In Memoriam

Photo: Shaun Jackson center top row surrounded by students from his course Designing A Brand.

Shaun Jackson 1949 - 2013

Professor Shaun Jackson passed away on January 15, 2013 as a result of injuries sustained in the crash of a small airplane.

founded his first company, Eclipse

accomplishments, Shaun considered

Inc., while still a student. Soon after

teaching to be his highest calling.

this, he started two more successful

He was passionate about instilling a

business ventures, Higher Ground, Inc

love of design and a drive for design

and Shaun Jackson Design.

excellence and cross-disciplinary

In 1993 he returned to the University

teaching and learning in students

of Michigan as an adjunct faculty

and colleagues. In 2009, Shaun, along

member and rose to the rank of

with Professor William Lovejoy,

Professor at three schools, while

was honored by the University of

FOR MORE THAN TWO DECADES,

continuing an active professional

Michigan as the inaugural recipient

Shaun had been a dedicated and

practice. His honors included the

of the Provost’s Teaching Innovation

respected member of our community,

prestigious IDEA award from Business

Prize. He believed that we all should

mentoring generations of designers

Week, and a nomination by the Cooper

work hard, exercise our craft, try to

and sharing his optimism and love of

Hewitt National Design Museum for

find a moment of perfection, love

life with all of us. He was the model of

a National Design Award. He also

it, and share it with others. Shaun’s

the interdisciplinary design educator,

served as a trustee of the Worldesign

positive energy, generosity, high

teaching across units and holding

Foundation, and chaired the 2001

standards, and his challenge to live

faculty appointments in art and design,

IDEA Awards jury; the inaugural

every day to the fullest, will continue

architecture, and business.

Business Week Catalyst Awards jury;

to inspire his many students,

and the National Design Conference.

colleagues, and friends.

A native of Ontario, Canada, Shaun first came to the University of

His designs have been featured in

Michigan as an undergraduate on a

numerous publications including Time

gymnastics and diving scholarship.

Magazine, The New York Times, The Los

But it was industrial design that

Angeles Times and The Washington Post.

captured his focus at U-M, and he

Even with these professional STAMPS E M E R G E N C E

/ 46

In Memoriam

Richard Sears

Photo of Richard Sears from the A&D faculty exhibition at the University of Michigan Museum of Art in 1971.

1924 - 2013

On May 25, 2013, Professor Emeritus

perceive the spatial compositions of his environment in

Richard Sears passed away. Dick was a

paint, pencil, sculpture, and photography. Thousands of

beloved faculty member and colleague, and a dedicated artist who continued to

students benefited from his encouragement, corrections, and reminders to measure, all delivered in a sneakily relaxed manner. Upon retirement, Dick moved to Maine

create and exhibit new work long after

and returned to his real work of full-time seeing, painting,

his retirement from the University in 1989.

and drawing, particularly enjoying the trees and rocks of

Dick’s wife, Robin A. S. Haynes, shared the following announcement about this remarkable individual:

Maine. Richard Sears exhibited from Maine to California, often more appreciated by the eyes of other artists than by the public at large. His last show, which was in Bath, Maine during the fall of 2012, contained numerous examples of his joyous and colorful works, particularly watercolors of

RICHARD L. SEARS, A BELOVED, KIND, AND GENTLE MAN,

recent years. Richard Sears is survived by his wife Robin A.

died on May 25, 2013. Born and raised in the small towns of

S. Haynes of Bath, his daughters Anne L. Sears and Alison

the high desert of southern rural California, “Dick” grew

de los Santos, both of Kalamazoo, Michigan, son-in-law

up expecting life to be framed by mountains. The only

Robert Mata de los Santos, and the family of close friends

child of Mildred and Harold Sears, the dreamy boy drew

and former students who treasured him. His memory is best

sailing ships and World War I-era airplanes, far beyond his

honored by remembering the ideas he taught and looking

experience, but not his imagination. After service in Africa

daily at the beauty of a loved one’s face, the fascinating and

and Europe during World War II, Dick received an education

shifting movements of the open sky, and the simple lines

he never thought possible, thanks to the GI Bill. After

and intricacies of all landscapes – none of which, like Dick,

graduate work at the University of Iowa and a MFA from

is ever only ordinary.

University of California, Berkeley, he came to the Midwest as an instructor in drawing and painting at the University of Michigan in 1953. He retired in 1989 as a full professor in the Department of Art and Design from the same institution. Ignoring the administration as best he could, Dick focused on what mattered most to him – teaching students to see better, while trying to increase his own ability to

47 / STAMPS

EMERGENCE

In Memoriam

Ken Baird 1930 - 2013

Professor Emeritus

HIS STUDENTS REMEMBER HIM AS

Fellowship. His was the first

Ken Baird passed away

“a professor, mentor, and friend”

fellowship awarded to a British

and a guiding force as photography

photographer. His work is included in

was moving toward digital. “Ken took

museum collections in New Mexico,

a keen interest in my exploration of

Hawaii, Sweden and Great Britain.

on March 22, 2013. A distinguished photographer, instructor, and researcher,

the new digital media. He could see the

Professor Baird joined the

amazing potential of the technology.

aerial photography, with documentary

He simply understood how it would

projects focusing on navigation of

impact the arts and his encouragement

the Pacific Ocean and the North Sea,

fueled my curiosity.” His friends

navigation of the Marshall Islands,

teaching career in the

and colleagues recall his insightful

the impact of the Channel Tunnel on

United Kingdom. At U-M,

eloquence.“The last time I spoke with

the English landscape, and a study

him he talked about the effect of wind

of the American Southwest provided

and water on the landscape, rocks and

contradictory but compelling

people. His words were the distillation

landscapes for Ken’s creative

photography, including

of his long exploration of those effects

work. Ken shared his unique and

history and criticism,

through his art.”

remarkable vision through his photos

Stamps School faculty in 1982 following a lengthy

Professor Baird taught a range of courses in

Ken was particularly known for his

Ken’s creative work has been

and, after his retirement, through

exhibited extensively around the

his drawings and paintings. Ken’s

world and honored with numerous

students and colleagues and family

imaging. He retired from

prestigious awards, including a John

remember him as a mentor and a

teaching in 1996.

Simon Guggenheim Foundation

kind and gentle man.

aerial photography, and lens-derived digital

STAMPS E M E R G E N C E

/ 48

Get Involved & Stay Connected Thereâ&#x20AC;&#x2122;s real power in the

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art and design community.

you can send us your news and receive ours, network with fellow alumni, be a mentor/contact for current students,

You knew that when you were

host an alumni event in your city... the list goes on.

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We want to be respectful in the way we reach out to you.

The benefits can continue for a lifetime.

You can tell us your preferences about being in contact with Stamps by going to: www.art-design.umich.edu/alumni/alumni_contact/

DEAN’S ADVISORY COUNCIL

Ann Aikens Robert Aikens Linda Banks Thomas L. Dent MD Joan K. Rosenberg-Dent Debra Gorman Steve Gorman Bette Klegon Halby Gary Halby Gretchen Hoenecke Odette Maskell Richard M. Maskell Sally Angell Parsons Luke Raymond Ellen L. Rontal Maxine Snider Larry Snider Penny Stamps E. Roe Stamps IV Ilene Steglitz Marc Steglitz Chris Van Allsburg Lisa Van Allsburg Susan Smucker Wagstaff Reid Wagstaff Susan Isaak Wahl

Our thanks to Susi and Reid Wagstaff, whose generous support of Stamps Communications makes Emergence possible.

REGIONAL ALUMNI CO - CHAIRS: Roddie Pistilli, Northern California Bill Reuter, Northern California Linda Banks, Southern California Arden Rynew, Southern California Kevin Smith, Southern California Dick Maskell, Illinois Ellen Rontal, Illinois Judy Maugh, Michigan - Ann Arbor Ann Aikens, Michigan - Detroit Sally Parsons, Michigan - Detroit Janet Watkins, Michigan - Grand Rapids Bette Klegon Halby, New York Susan Wahl, New York Susan & John Brown, Wisconsin

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Contact us: Penny W. Stamps School of Art & Design • 2000 Bonisteel Blvd, Ann Arbor, MI 48109-2069 • T E L . 734 764 0397 • FA X . 734 936 0469

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Nondiscrimination

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Policy Statement

Julia Donovan Darlow, Ann Arbor

The University of Michigan, as an equal opportunity/

religion, height, weight, or veteran status in

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affirmative action employer, complies with all

employment, educational programs and activities,

applicable federal and state laws regarding

and admissions. Inquiries or complaints may be

nondiscrimination and affirmative action. The

addressed to the Senior Director for Institutional

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Equity, and Title IX/Section 504/ADA Coordinator,

of equal opportunity for all persons and does not

Office of Institutional Equity, 2072 Administrative

discriminate on the basis of race, color, national

Services Building, Ann Arbor, Michigan 48109-

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origin, age, marital status, sex, sexual orientation,

1432, 734-763-0235, TTY 734-647-1388. For other

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University of Michigan information call 734-764-1817.

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RW G EESNT C E e d i t o r K A T E W E S T • d e s i g n e r C A R L G R E E N E • w r i t e r s L I N D A F I T Z G E R A L D, F R A N K P R O V E N Z A N O, K A T H E R I N E W E I DSTAMPS E R-R O O S ,EKMAE TE

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www.art-design.umich.edu/alumni/alumni_show

Transitions is now online!

7th Annual A&D Alumni Exhibition

TA K E A LO O K

The Stamps School: Making A Difference

EMERGENCE

University of Michigan Penny W. Stamps School of Art & Design 2000 Bonisteel Blvd., Ann Arbor, MI 48109-2069

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