Studio '19

STUDIO '19

T H E O F F I C I A L M AG A Z I N E O F T H E U N I V E R S I T Y O F U TA H C O L L EG E O F F I N E A R T S

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Alumni rising justice collide hite white whtie whtie wht

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A film production class unlike any other whihite

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Brian Sproul and the family band wgute w dj

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Sarah Shippobotham has a passionate new pursuit

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Annual Report thanks College of Fine Arts contributors

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he idea of place is an interesting one. Our identities are shaped by it. Our stories live on through it. And in many ways, we are who we are (for better or worse), because of it. Place is what makes some things familiar and some things foreign. It can lend a sense of belonging. It can make us feel. It can make us remember. It can bring us boundless joy or spark great pain. And place can also be what we make it. By defining our boundaries or breaking them down, we allow creativity the space to thrive. This means more beauty, more provocation of thought, and deeper empathy for people we may have formerly thought weren’t like us. Something profound happens through the appreciation and expansion of place, because we can achieve deeper understandings of our world and our relationship to it. It is then that we can become global citizens and not just products of

isolated existences. We can see more. We can taste more. And we can be more. I welcome you to consider ideas of place as you read the stories in this magazine. Through that lens, you might notice how travel, scholarly exploration, or experiences of cultural works of art can broaden what we perceive as our place. At the University of Utah College of Fine Arts, we use arts as a vehicle to cultivate the next generation of creative explorers who will simultaneously expand and contract the world by making more places known and fewer misunderstood. What happens here can really only happen here — in this college at this university in this state and with our people. We are the amalgamation of our circumstance, and we continue to maintain something extraordinary. I may not be the first to know it or say it, but I have come to realize that this really is the place. ≠

JOHN W. SCHEIB Dean, College of Fine Arts

LETTER from the DEAN STUDIO / 2019

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CONTRIBUTORS /

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ALUMNI RISING /

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DOING IT DIFFERENTLY / Film & Media Arts’ Connie Wilkerson reimagined the typical filmmaking course, and her two-semester class is unlike any in the country.

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KEALOHA / UtahPresents’ two-week visit from Hawaiian scientist-turned-slam-poet sparked inspired partnerships, collaborations, and learnings across campus and the state.

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Photo: courtesy of Stephen Koester

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University of Utah College of Fine Arts alumni are redefining what it means to be successful and satisfied creative professionals in the modern workforce.

FEET ACROSS THE GLOBE / The School of Dance ballet program’s reach extends to the far corners of the globe and brings worldrenowned artists right here to campus.

MAKING HARMONY / The Marching Utes are more than a successful band, they are a dedicated, talented, and supportive family.

Photo: Todd Collins

Photo: Sarah Knight Photography

THE PLACE WHERE DILIGENCE AND EXCELLENCE BECOME INFLUENCE

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CHOREOGRAPHING INTIMACY / Theatre’s Sarah Shippobotham is helping to bring the emerging field of professional intimacy directing to campus and our community.

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STEPHEN KOESTER / Modern Dance’s Stephen Koester is retiring, but not without sharing his story first.

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IMAGINATION IN FLIGHT / Theatre’s Alexandra Harbold and Robert Scott Smith brought a community together asking us all to harness our imaginations to tell our own story.

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REALITY CZECH / This is the story of two MFA candidates and adjunct assistant professor Lenka Konopasek’s two-week trip to the Art Dialogue symposium in the Czech Republic.

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GUEST ARTISTS & SCHOLARS / In addition to the impact of our renowned faculty, students in the College of Fine Arts benefit from the multitude of guest artists and scholars brought to campus each year.

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ANNE OSBORN / This dedicated and distinguished medical professional and professor is fueling the arts at the University for Utah.

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ANNUAL REPORT / It is with overwhelming gratitude that we name those who fuel the continued success of the College of Fine Arts with their generosity and philanthropy.

TABLE of CONTENTS STUDIO / 2019

contributors

Editor-in-Chief Marina Gomberg is the University of Utah College of Fine Arts Director of Communications + Marketing and a lifestyle columnist for The Salt Lake Tribune.

Front cover (From left to right) Students Alaina Choi, Nate Shone, and Jack Houghton prepare to film a scene while in their Digital Cinematography course taught by Film & Media Arts Assistant Professor, Sonia Albert-Sobrino. The course teaches advanced cinematography techniques and prepares the students for the competitive film industry.

Editor Peg McEntee is a lifelong writer and editor who worked for the AP for 10 years and for The Salt Lake Tribune for more than 20.

Writers J. Michaela Funtanilla is a designer and writer living in SLC, UT. She is a Marketing and Communication Coordinator for the University of Utah College of Fine Arts.

Back cover Student Sam Raines is holding a Multi-Image Lens filter during the Digital Cinematography class taught by Film & Media Arts Assistant Professor, Sonia Albert-Sobrino. Raines is a double major in philosophy and film, and is minoring in philosophy of cognitive science.

Debbie Hummel is a former daily journalist in Utah turned freelance writer and mother. Not often in that order. Julia Lyon has been an awardwinning newspaper reporter in two states. Before writing on deadline, she spent hours of her life playing the clarinet, singing on stage and directing her high school marching band while wearing a cowboy hat. Noelle Sharp is a member of the CFA Marketing Team, an artist and designer who splits her time between Utah and Montana.

Visit us at finearts.utah.edu to see the extended digitial version of Studio Magazine.

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Photo: Tori Duhaime

Photo: Sarah Knight Photography

On the Cover

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School of Dance student Troy Martin performs in

“Heartland: Studies of the Heart” by Dance Assistant Professor Molly Heller. The piece features the work

“Mirrored Sculpture: Angels & Ancestors III” (2008) by

Art & Art History Associate Professor Wendy Wischer.

Editorial Board

Special Thanks

Dean John W. Scheib Josiane Dubois Dan Evans Satu Hummasti Peyden Shelton Sarah Sinwell Wendy Wischer

Devon Barnes Denise Begue Blake Bratcher Sheri Jardine Sarah Knight Samantha Matsukawa Merritt Mecham Anna Oldroyd Molly Powers

Design by modern8

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Alumni

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Photo: Sarah Knight Photography

rtists have long endured the misconception of the “starving artist,” but University of Utah College of Fine Arts alumni are powerfully redefining what it means to be successful and satisfied creative professionals in the modern workforce. In this collection of stories, we share some statistics from recent alumni data and three stories of alumni growing their careers.

SNAAP U of U Alumni Professionals

By Marina Gomberg

University of Utah College of Fine Arts alumni are working as successful professionals and change agents in their fields both in and out of the arts. We partnered with the Strategic National Arts Alumni Project (SNAAP) for our second time in 2017 to collect new data on the careers and successes of our former students, and have noted some interesting trends from our alumni that bode well for our students and their futures. First of all, 79 percent of our alumni are satisfied in their current occupation in which they spend most of their time (in and out of the arts), and 74 and 81 percent of undergraduate and graduate alumni (respectively) deemed their education to be relevant to their work. The number of alumni who are or have worked in the arts is remarkable as well.

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Recent University of Utah College of Fine Arts alumni (left to right) Karem Orrego, Daniel Mont-Eton, and Samantha Matsukawa sitting on a recent-alumni panel at the UMFA as part of the 2018 Annual ArtsForce Networking Event & Luncheon.

Other alumni have found success in these sectors as well by transferring their knowledge to new industries including: communications, financial & business, engineering & science, legal, healthcare, and social services. University of Utah College of Fine Arts alumni are a force to be reckoned with in the world, bringing their broad knowledge and education, their skills in critical thinking and problem solving, ability to improve work based on constructive feedback, research, project management, artistic technique, interpersonal relations and collaborating, and leadership. For ongoing stories about our alumni or to let us know what successes you’re having as an alum, visit finearts.utah.edu/alumni. ≠

Photo: courtesy of Christina Walker

Christine Walker has spent a life full of purposeful engagement. An alumna of the Department of Film & Media Arts with both a BA (’82) and an MFA (’86), she is the only American jury member ever to serve at the Minsk International Film Festival in Belarus, and has positioned herself as a women’s role model within the film industry — all in a relatively short period of time. As a student at the University of Utah, there were three people who influenced her trajectory most: Department Chair Kevin Hanson, Adjunct Professor Emeritus Dr. Thomas Sobchack, and Professor Emeritus Bill Siska. They not only taught her the skillsets needed to be successful within the film industry, but also offered her incredible support, leadership, and generosity. Walker, who now has a rich history of screenwriting and producing films, working with some of the top actors, actresses, and cinematographers from the industry, splits her time between Los Angeles, Massachusetts, and Minneapolis, spending the last five years as the Provincetown Film Festival CEO. This position began as interim, but she soon found the festivals’ board offering her the job — one she happily accepted. Creativity as a producer is not her only asset. She also credits her grit and determination, two traits one needs — especially as a woman — to make it in the modern workforce. She’s seen and experienced for herself how hard it is for women to carve out a place in the industry and says, “it adds a new level of pressure, being a woman,” because, as she describes, it leads to women often ignoring instances of discrimination in order to succeed.

Christine Walker Role-ing Behind the Scenes

By Noelle Sharp

Walker realized in order for her to face the issues of discrimination, she would have to take a job like the one she has to do something to fix it. Women’s under-representation in film was one of the reasons she took the position with the Provincetown Film Festival. Walker realized in order for her to address issues of discrimination, she would have to take a job like the one she has to do something to fix it. She sees the mistreatment of women as “a threat to our cultural narrative and a threat to storytelling. We must have equal representation of story tellers.” She has helped facilitate the first U.S. media summit on gender within film called The Provincetown Women’s Media Summit, which is now in its second year. She also instituted the inclusion of LGBTQ filmmakers in such events as Women’s Week in Provincetown, and will soon be launching a youth mentorship program for LGBTQ youth students to attend the film festival and get paired with a mentor in the industry. Years after her time at the U, and with the #MeToo movement sweeping the world, Walker feels like things are changing, but there is still work to be done — especially at leadership levels. “We need to elevate women of color, because when we do that, we elevate all people. Change will not happen unless there is change in the boardroom.” She offers two bits of advice to current students: learn how to tell a good story and continue to push the industry’s engagement of women. “Everyone needs to work with women, because when we have equality in storytelling, the work will be richer and more enhanced.” ≠

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Photo: Pepperfox Photo

Marlor was accepted into the Merola Summer Opera Program in San Francisco, one of the best summer training programs in the country, and was invited back to attend for a second year. His role in the U’s production of “A Christmas Carol” was specifically written for him. And when the U hosted the National Association of Teachers of Singing for Western Regionals, Marlor competed in Musical Theatre and Men Classical singing categories and won first place in both. But when asked what was one of his biggest accomplishment during his time at the U, he said that this was his first time getting a perfect 4.0 grade. According to Marlor, success isn’t necessarily the awards you receive or the productions you’re in, “success is whatever you want it to be.” “Success doesn’t just mean being a star,” he said. “You don’t have to be the top 10 in the world to have ‘made it’. There are full-time singers that aren’t singing in the big houses and are still paying their bills by doing what they love.” Opera singers aren’t just born with flawless voices; From Classroom to Stage they have to undergo extensive training, and not just singing. They have to learn new languages, perfect dialects, memorize music, be able to act, and know When you hear Addison Marlor’s booming how to work well with others. These are all qualities laugh you know he’s an opera singer — it’s rich and Marlor has worked hard to achieve. colorful and fills the room, much like his personality. However, he credits much of his success to The tenor has spent the last two years training his “networking and luck.” But it’s this humble perspective voice at the University of Utah and getting his masters that is perhaps one of his greatest strengths as an in Vocal Performance. He completed his undergrad opera singer. He’s not the stereotypical aloof singer, at Utah Valley University, studying under successful said Breault. opera singer and U alumnus, Tyler Nelson, who now “His reputation as being a really great guy is teaches at Vanderbilt University, one of the top opera the most important factor that goes into a singer’s schools in the country. success,” he said. “The minute you shake his hand you Nelson recommended that Marlor complete his can tell he’s a great guy, the minute he starts talking MM at the U with Voice Director of Opera, Robert you can tell he’s smart guy, the minute he sings, you Breault. And to complete the “vocal grandfather” know you’ve the got the full package.” lineage as Marlor put it, Breault taught Nelson while he Right after Marlor graduated, he was hired as the was getting his BA and MM at the U. tenor resident artist for Utah Opera, which only accepts As a grad student, Marlor was cast in three major one tenor vocalist and holds national auditions. Marlor roles at the U, and was hired to perform outside is the first vocal performance graduate to go straight the university as well, including Utah Symphony’s from the U to the Utah Opera. His first performance production of “Candide.” He was also cast in was in Antoine de Saint-Exupéry’s “The Little Prince,” Washington Concert Opera’s “Sapho,” alongside of this past January. ≠ the famous opera singer, Kate Lindsey.

By J. Michaela Funtanilla

Addison Marlor

Left: School of Music Professor Robert Breault and Marlor perform in Utah Symphony and Opera’s production of Bernstein’s “Candide.” Photo: Dana Sohm

Center: Marlor plays the character Fred in the U’s production of “A Christmas Carol.” Photo: Robert Breault

Right: Marlor performs the grand finale of “Mignon” during his time in the Merola Opera Program. Photo: Kristen Loken

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By J. Michaela Funtanilla Photo: Karen Southam

Her desire to work with these diverse groups…align with her personal artwork, which often represents conflict that is contrasted with a sense of hope or beauty.

When Karen Southam started at the University of Utah, she thought she’d become an architect. This was one of her many interests while making sense of her career path that included interior design, scuba diving, and work for United Cerebral Palsy. Southam switched from architect to artist after a grad student recommended taking classes from Beth Krensky, Area Head of Art Teaching. “I was really lucky,” said Southam. “If I hadn’t stumbled upon the right people at the U, I would’ve been a very unhappy architect.” Last summer, Southam completed an art teaching degree with a minor in sculpture intermedia. The importance of teaching was ingrained in Southam since her mother was an educator. But when Southam realized she could be a practicing artist and teach in the community — not necessarily a school system, she knew she wanted to pursue an art teaching degree. The U’s art teaching program emphasizes being an art maker as well as an educator. In Southam’s opinion, the U is one of the few schools that still focuses on craft and not just concept, which was appealing. She attended the U on and off for the past eight years, and took advantage of every opportunity. She was an art teaching assistant, got on the Utah Art Divisions & Museums’ Teaching Artist Roster and immersed herself various art community projects. Her efforts were recognized by the Utah Art Education Association (UAEA) when she won the 2018 Preservice Student of the Year Award, becoming the first U student to receive the honor. Southam credits her UAEA award to her flexibility and proactive approach, but what makes Southam unique is her drive to seek out underprivileged communities. “There’s something to say about her compassion,” said Southam’s professor, Sandy Brunvand. “She is just exceptional at creating a safe space for everyone.” Southam’s first community art teaching experience was with resettled children as part of the university’s after school art program. Many of them didn’t speak English and would draw images of death as they processed traumatic events. By doing this, they shared their art and found comfort in other kids who had similar experiences. “When you’re teaching groups that have experienced something very traumatic, you need to be gentle and focus on them using their art as a second language,” said Southam. Through the Artist Teaching Roster, Southam also sought the opportunity to work with women and men in correctional facilities. Her desire to work with these diverse groups, and the projects she assigns, align with her personal artwork which often represents conflict that is contrasted with a sense of hope or beauty. “I try to capture the essence of what has helped me transcend into this other individual that is less conflicted,” said Southam, much like the way she teaches her students to release their own struggles through artistic expression. Southam is currently working at the Kimball Arts Center in Park City, where she’ll be able to teach at public schools as well as focus on her art making. She will also be teaching 2D and 3D to kids 14-17 in a two-week summer camp as a part of the U in Youth Education program. “I’m excited to give back to the institution that has given me so much,” she said. ≠

Karen Southam

Creating Havens through Art

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Doing it ltnereffiD Film Education Reimagined By Debbie Hum mel

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n the Film and Media Arts Building, in a space which was the University of Utah’s Museum of Fine Arts, art of a different kind is taking shape in an innovative year-long filmmaking course. In Associate Professor Connie Wilkerson’s classes, Filmmaking 4545 and 4555, students create a short film from set to costumes, auditions to editing, cinematography to marketing. “There are typically two kinds of film schools. One is project based, where students make individual pieces of work. The other is the industry model, where students get canonized as the writer or the director,” said Kevin Hanson, Chair of the Film and Media Arts Department. “What Connie is doing with this class is different than both of those.” Starting in the fall, the students take a look at finalists from a university-wide student screenwriting competition, select a script, interview for spots on the film crew and then spend both fall and spring semesters making a short film.

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Morgan Kenney (left) and Jianzhi Li (right) add finishing touches to the set of the second film production by the innovative Film & Media Arts capstone class, FILM 4545. Photo: Sarah Knight Photography

Being offered for the second year in row, Hanson says the class is not only unique among film programs, but is successful largely due to Wilkerson’s background and the students’ enthusiasm for collaboration. Wilkerson has a background in theater and has a fair amount of experience in set design, Hanson said. The film has both on location shooting and shooting on set. “She has such a huge commitment to her students and is determined to make it work as a great experience for them,” he said. “Also, this particular generation of college students want to work as a team. It is hard not to admire those desires.” Jordan Boge is the producer for the 2018-19 film titled, “The Salesman,” and the only graduate student in the class. He has produced television news and worked on documentaries but, although this is his first foray in narrative fiction, still he feels confident in his role. Seeing that happen for others in the class is what he’s finding really appealing about the course. “Our editor is going to know how to edit a short film when this is done,” said Boge. “Usually you are going to make three or four (film) projects a semester. We’re going to take a whole year.

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Wilkerson, brings her experience as both a theatre designer and filmmaker to the course. The class models the large-scale world of a professional production and emphasizes team work, communication, and creative problem-solving.

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Photo: Sarah Knight Photography

Photo: Sarah Knight Photography

Associate Professor, Connie

That’s what I think makes this class so amazing,” he said. On a gray mid-January day, FMAB 120 was buzzing with activity. Under the guidance of the film’s art director, Bobby Maughan, his classmates were moving the final large pieces of the set into place. A test shoot using a green screen was being set up by several other students in the far corner of the room and production designer Kait Gollmer was watching the set construction, cautiously hoping they wouldn’t scratch up the newly painted “wallpaper.” Gollmer had been working on the design for the set since fall semester, in addition to taking her turn that term in directing a short scene from one of the other screenplay finalists. “It’s like a full-time job,” Gollmer says of the class. “I’m putting all of my focus into it.” And Gollmer, a film major with a production and animation emphasis, is happy to have found her niche. “This class is all about experience,” she said. “I like the artsy side. I’m not so into directing. Production design wasn’t on my radar and now it’s what I want to make my career.” She proudly shows a drawing of the set — an entry hall, living room, and sliver of kitchen in an elderly widow’s cozy home. On the table next to her drawing are a couple of cheap plastic bowls that have convincingly been painted to look like Tiffany lampshades. Professor Wilkerson looks on while the panels, which will hide the mechanism for a pocket door, are screwed into place. She jokingly tells a few students that was a good example of how filmmaking is sometimes accomplished: through brute force and awkwardness. Emiliano Mora was in last year’s class and had come to see professor Wilkerson for a copy of the film they made, “Camel,” but was enjoying seeing how the next group of students were coming along. “It was really fun once you see the final product. After the blood and tears,” he laughed. “You really get to have a lot to experience on an actual film set. It was helpful to do something from the ground up.” Mora couldn’t help but note that they not only learned from his class’s experience, they also had the advantage of some pieces of set that were salvaged from last year saving them some time and money. The film’s director, Step Chatterley, says he loves how the class really puts a spotlight on how much of a collaborative effort filmmaking is.

You really get to have a lot to experience on an actual film set. It was helpful to do something from the ground up. -Emiliano Mora

Students Kirklund Rasmussen (left) and Lu Pickett (right) standby for the call of “action” on the set of “The Salesman.”

“Most classes cater more toward projects you do yourself, or have a larger responsibility for,” he said. “We had a really good variety of interests in this class. Not everybody wanted to be a director.” In keeping with the classes goal of being an authentic foray into filmmaking, there is a budget for the film and, of course, craft services on set. Wilkerson is in charge of both. She doesn’t have a hard budget, she said, but is trying to keep the film under $8,000. “I am trying to make sure the majority of things I spend money on have a life beyond this class,” she said. “We want to leave a legacy behind so the next class has that much more to play with.” The job of organizing food during shooting is one that Wilkerson says she takes on because it’s important to the project, and also no one else wants to do it. “It’s a job that is absolutely essential,” she said. “It elevates the atmosphere on any set where people know they are being cared for as a human being.” Wilkerson is effusive when talking about the hard work she has seen students put into the making of these films since she and Paula Lee, Program Manager for the Department of Film and Media Arts, conceived the idea. “We came up with the idea to do this class, because there were a lot of students who were not having the chance to specialize in an area they were interested in. It gives them a chance to drill down and really focus on one aspect of filmmaking that they really enjoy.” ≠

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A N D TH E M AG IC OF CON N

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N EC TI NG TH RO U G H C R E ATI V IT Y BY M A R I N A G O M B E R G

Pacific Islander slam poet, Kealoha, lies on the stage of the Nancy Peery Marriott Auditorium in Kingsbury Hall during his headlining performance of “The Story of Everything.� Photo: Melissa Kelsey

hen UtahPresents executive director, Brooke Horejsi, booked Hawaiian scientist-turned-slam-poet, Kealoha, she knew his visit would provide ample opportunities for collaboration on campus and in the community, but nothing could have prepared her for what would eventually transpire during the latter part of the fall 2018 semester. 13 STUDIO / 2019 2018

In what would become the campus-based arts presenter’s longest artist visit in history (two full weeks), a single performer (with the support of his dedicated team) was able to connect with students, faculty, community members, incarcerated youth, young people, old people, poets, scientists, artists, and others. As a proud Pacific Islander, artist, scientist, and educator who focuses on the importance of protecting our planet, Kealoha’s combination of interests, skills, backgrounds, and talents presented opportunities for connection so profound it was if they were served on a silver platter. The brilliance and power of UtahPresents’ work, perhaps largely manifested by Horejsi’s duel appointment as the leader of the organization and also as an Assistant Dean in the University of Utah College of Fine Arts, is brought to life by its rich partnerships on campus and in the community. It is often complicated, but it is always worth it. And the impact and complexity were not lost on Kealoha. “Being able to talk to the Diversity Scholars, being able to talk to the climate change environmentalist crew, being able to branch out and go into the community and really interface with the students throughout Salt Lake City and beyond (and not just students but teachers), and getting to have that full experience getting completely integrated into the entire outreaching system — that’s no small feat to pull off by UtahPresents,” he said. And he’s right. But UtahPresents didn’t do it alone, and Horejsi is quick to give credit where it’s due. “As we sought partnerships with the U’s Sustainability Office and Beverley Taylor Sorenson Arts Learning Program, and off-campus entities like Utah State University, a youth detention facility in Provo, the Utah Division of Arts & Museums and others, we encountered nothing but enthusiasm,” Horejsi said. “In working with us, they shared financial investment,

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…I never felt more encouraged in the collective power of people to make a difference as I felt after Kealoha’s performance.

“In the five years since I began studying climate change,” she said, “I never felt more encouraged in the collective power of people to make a difference as I felt after Kealoha’s performance.” Kealoha’s visit changed people. Lots of people. “Everyone who met Kealoha was just glued to him,” Horejsi described. “Even outside of when he was speaking his poetry — because he just has that magnetism, and I think a lot of artists have that. That’s part of how we train; we train to bring people in, and keep them interested in our explorations.” After all was said and done, and leading up to his main performance on the stage of Kingsbury Hall, the UtahPresents’ staff had successfully facilitated connections with more than 1,700 people for a total of nearly 2,000 impact hours (the organization’s measurement of the number of people multiplied by the number of hours of engagement). The folks at UtahPresents understand that what they do are generally revenue negative endeavors. That is, they don’t expect ticket sales to cover all the costs to pay performers what they’re worth, the productions, marketing, and hospitality. They fundraise and accept partnership funds to cover the gap because they aren’t trying to replicate a commercial model. Their priority isn’t money, it’s impact. (Although, it’s not bad when they can generate both.) With a largely not-yet-known artist, they had only projected to sell 300 tickets. And much to their pleasant surprise, more than 800 people — perhaps making one of UtahPresents’ most diverse audiences — packed the theatre to attended Kealoha’s headline performance. “For me, the reason why I enjoy doing outreach — I mean, the performance aspect, the art that we do is great...” Kealoha said. “But to actually go and interface with people and make an impact on their lives — that’s why we’re here. That’s part of being human.” ≠

Photo: Melissa Kelsey

they brought new audiences, and they helped connect us deeply in our community.” In addition to offering guided poetry workshops in public schools, coffee shops, and detention centers, Kealoha taught teaching workshops and facilitated an exercise with U environmental science researchers called The Think. “I had read about this exercise that Kealoha had developed in San Francisco where he gathers a group with a common interest to find solutions to a given problem,” said Robin Wilks-Dunn, UtahPresents’ Community Engagement Manager, who led the efforts to coordinate the marathon of connection points. “I knew it would be perfect for campus, so I asked if he’d be willing to do it. And, of course, he was up for the challenge.” Wilks-Dunn worked with Brenda Bowen, the U’s Director of Global Change & Sustainability Center (GCSC), to set up a lunch with faculty from various disciplines who all focus on sustainability. “Kealoha immersed us in a scenario,” Bowen said. “And invited us to think through this particular problem, pulling from our various disciplinary perspectives. It was such a powerful experience that we already have plans to replicate it in an ongoing series here on campus.” They weren’t the only group to be so moved. At a student matinee hosted in Kingsbury Hall with 14 schools, students from Mana Academy Charter School returned Kealoha’s effervescent performance with a unified call and response chant called “i ku maumau,” which is an ancient Hawaiian chant about unity and working together to accomplish a task. The moment was as powerful as it was profound. Mikala Jordan, a graduate student studying City and Metropolitan Planning who attended Kealoha’s talk at the GCSC Speaker Series and his main performance at Kingsbury Hall, also shared the experience of being so moved.

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How the U brings the world to its JuliaLyon Lyon ballet program By ByJulia

The world has come to the University of experiences they have abroad enrich their creative Utah School of Dance and it’s transforming and academic perspectives in the classroom, students’ education. enabling them to provide the students with inWith professors in the Ballet Program hailing depth knowledge about the field in which they from Argentina, South Korea, and other countries, hope to compete.” students are learning from faculty who have As a native of South Korea who studied in the trained and performed around the world. Many U.S. and his home country, Jay Kim knows the of the American professors have performed and benefit of working and studying outside of one’s researched internationally. Others have trained country and culture. stateside with international dance experts. They “It lets me look at the world with a different all bring that experience and insight back to the perspective,” said Kim, who was a principal dancer classroom, helping to widen students’ perspectives. with Universal Ballet Company in Seoul. The “When faculty members have the opportunity company was directed by a Russian and had a to work outside the University, it provides an roster of 80 dancers from 16 countries. enormous benefit for their students on campus,” Kim, now an assistant professor, will run the said Melissa Bobick, the Ballet Program Head. first-ever ballet intensive at the University of Utah “The artistic, professional, and personal Asia Campus in South Korea this summer. 17 STUDIO / 2019

School of Dance Associate Professor, Satu Hummasti, teaching class. She will co-lead a group of students from both ballet and modern programs to Panama this summer as a part of Movement Exchange. They will be teaching at orphanages, the National Dance School in Panama, the University of Panama, and also taking classes there. Photo: Nora Lang

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“It gives me another perspective to draw upon when painting this picture of what choreography is and can be for students at the University of Utah,” Bobick said. Professors hope their work can help expand students’ vision for their own future. “Considering the current political climate in the world, having a sense of how other people think is vitally important to artists and students,” said Satu Hummasti, originally from Helsinki, Finland, who is the Associate Director for Undergraduate Programs at the School of Dance. “Students’ ideas and artmaking can become more multidimensional when they study, present, and teach in international dance contexts.” Professors can also be a living link to international choreographers’ work.

Photo: Nora Lang

At least 50 dancers — a combination of American and international students — are expected to participate. Those may include students from China, Russia, South Korea, and Japan, as well. “These international trips give our students more opportunities to become global citizens,” said Kim, who performed in 14 countries and whose own choreography has been seen in Spain, Costa Rica, South Korea, and across the United States. While travel gives students unique opportunities to see international performers first-hand, professors can provide that connection to the broader world by sharing their own life experiences. During the decade that Assistant Professor Kate Mattingly spent periods living and studying in Europe, she discovered dancers experimenting with methods very different than their American counterparts. She uses her knowledge of European choreography, festivals, choreographers, and funding to shape her discussions with students about the state of dance. “I share with students the conversations I had with artists who were part of the Sommerszene festival in Salzburg, Austria, in 2008, like choreographer William Forsythe and film director Thierry De Mey,” she said. “We discuss how the different funding structures for the arts in Europe influence how dancers are treated and the risks that choreographers are encouraged to take.” While abroad, she saw dancers and choreography that are more difficult to see in the States, including Living Dance Studio based in China and Chandralekha Dance Company based in India. Her newest research project has taken her to France to study “Meanwhile,” created by Gaëtan Rusquet, a work that “challenges our ideas about humans being in control or determining the course of events.” “We are living in a moment in which ‘ballet’ means different things to different people,” Mattingly said. “My time in Europe taught me that… there is more blurring of categories like ‘ballet’ and ‘theater’ and ‘contemporary performance’ overseas…I know that some of our ballet students will thrive in environments where they are encouraged to experiment and to question.” The interconnected nature of the dance world allows professors to glean knowledge from international choreographers — sometimes without leaving the United States. Bobick’s 2018 residency at the University of North Carolina School of the Arts allowed her to collaborate with faculty there and learn from Helen Pickett, a renowned contemporary ballet choreographer. Pickett danced in William Forsythe’s Ballet Frankfurt in Germany for more than a decade.

School of Dance Assistant Professor Jay Kim teaches a ballet class in the Marriott Center for Dance.

Assistant Professor Pablo Piantino, who is originally from Argentina, met the Spanish choreographer Alejandro Cerrudo when he joined Hubbard Street Dance Chicago in 2005. After Piantino retired from dancing, Cerrudo asked him to re-stage his works on major companies across the U.S. and also in Germany. He has to painstakingly learn all the parts so he can explain them in a way the new dancers can understand. At the University of Utah, he’s often teaching Cerrudo’s choreography, a process which helps inform Piantino’s research. Students are eager to learn from him. In 2017, Piantino had seven students in his repertory class. In 2019, he had 31. “I get to teach students and I get to practice what works for them,” said Piantino while in New York restaging a Cerrudo work on Juilliard School students. “I’m giving them a professional environment so when they go out and audition for professional companies, they’ve had some experience in the re-staging process.” When Piantino danced with the San Francisco Ballet, he traveled to Iceland, Russia, and Spain, among other countries. Hubbard took him on trips to Italy, France, and all over the world. Often while on tour, he would meet dancers from other companies and share different experiences such as ballet classes, performances, and even meals together. “Those trips change the way you are as a human being and change who you are as an artist,” he recalled. Piantino wishes more international students could come to the U, but knows the cost is often prohibitive. So, Utah students will have to continue to come to them — or learn from the increasingly diverse faculty. Visiting professor Rick McCullough is encouraging School of Dance students to apply for a three-week dance intensive this summer in London, Project | CONNECT, where he will be on the faculty. Faculty include former dancers with Nederlands Dans Theater, Dance Theatre of Harlem, Compañía Nacional de Danza, National Ballet of Canada, and Staatsballett Berlin, among others. Not only will students be able to learn from international choreographers, the weekly showcase will be like a mini job fair — giving students a chance to demonstrate their talent. “They get to experience what dance culture is like in Europe,” McCullough said. But if they stay home in Utah, they’ll still get a taste of how big the dance world can be. ≠

“Students’ ideas and artmaking can become more multidimensional when they study, present, and teach in international dance contexts.”

Guest Artist, Rick McCullough, working with students in the studio. Photo: Nora Lang

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Left: Business major Jack Duff playing the trumpet. Top Right: Student Music education major Monah Valentine playing the snare drum. Photos: Emily Treasure

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G I N H C R A M E H T

HO W UTES UTES BUILD BUILD A A FAMILY FAMILY O N AND OFF T HE F IE LD By Julia Lyon 21 STUDIO / 2019

Bottom: Sociology major Chris Tam (left) and music major Sebastian Bate (right) playing the cymbals. Far Right: Aleah Horseley, music education student, playing the piccolo.

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nside the tunnel, more than 150 students have their arms around each other as they prepare to run out on the field. They sway back and forth and slowly begin to cheer: U-T-A-H! Their voices grow louder. The chant speeds up. And they sprint out to the screams of more than 40,000 fans. No, these aren’t football players. These are the Marching Utes, whose loyalty to the University of Utah is as strong as any team’s. “It’s the best thing that’s happened in college for me,” said Casey Overfield, a sophomore sousaphone player. The Marching Utes are the first sound many students hear when they arrive on campus and also the last. They play outside the President’s Welcome at Kingsbury Hall and at commencement. “We refer to it as the soundtrack to everybody’s university experience,” said Brian Sproul, Director of the marching band. The friendships and memories the students create while making that music are Sproul’s ultimate goal. While they share a love for music, most are not music majors. “We have a place where students from all points of campus can come together and share the common love for the arts and the common love for the university,” Sproul said. “I want them to forge friendships, professional connections, and have a musical experience they can carry with them for life.” It all starts before school even begins. At the end of summer, students attend two weeks of band camp where they practice both music and marching for eight hours a day, six days a week. They make friends quickly. “It really helped me to transition from high school to college,” said baritone player Raymond Hernandez. “I had this whole new support system I wouldn’t have had before.” The marching band, which is a for-credit class, practices four days a week during the fall to prepare for seven home games, two or three away games and typically a Bowl game. Many of the same students participate in pep band throughout the year for sports ranging from basketball to lacrosse.

“It doesn’t feel like a huge commitment for me because I’m enjoying every minute that I’m in band,” said Overfield. Marching band’s power to bring together people of varying backgrounds mirrors the goal of President Ruth Watkins’ growing “One U” movement on campus. Collaboration has always been key to the organization and coordination of the musicians as they rehearse, perform, travel, and represent the school across the country. “It’s been happening for years at the marching band,” Sproul said. “We have a long-standing tradition of working together with so many varying entities on campus — it leads to collaborations, not just on the field but in the classroom and professionally beyond the university.” The Marching Utes have a history of resilience. Founded in the early 1900s, the band evolved into what would be recognized as a game-day performance group in the 1940s. The band lost funding and disbanded, but then re-emerged in the 1970s. A culture shift took place over the past few years, which students describe as a move toward a more audience-engaging vibe. While still striving toward excellence, the marching band decided to increase the energy and excitement in their performances. “When you saw us perform in the past, we performed well. We marched really well. Everyone’s

They know that a six-minute halftime show may take more than 18 hours to put together. Some pieces must be memorized. Older students will mentor freshmen as the band rushes toward a new football season. These are students who succeed. When they put on their Marching Utes attire, they know they are representing something much bigger than themselves. That connection doesn’t go away. Parker, the drum major and double major in Recreation Therapy and Parks, Recreation and Tourism, doesn’t plan to pursue music as a career but he does plan to keep on playing with the Marching Utes even after graduation. He knows he’ll rejoin his section at Homecoming and in the alumni band. Because, after all, being a Marching Ute isn’t just about joining a band. “You’re getting a family,” he said. ≠

Photos: Emily Treasure

faces were really serious,” said Adam Parker, who was in his high school marching band in a small town in Virginia. “If you look at us now, I don’t think you’re going to see a straight face on a single person. We dance all the time.” Now they sometimes swap out their heavy, wool uniforms for lighter apparel. It’s allowed the students to loosen up — literally. Though they aren’t the largest band in the Pac-12, Parker, who’s a senior and drum major says, “Our size is smaller, but our spirit and excitement level at every game rivals some of the biggest bands in the country.” And this isn’t just the talk by students in leadership positions. For Overfield, the sophomore, the band has helped her come into her own. The former Bay Area resident had played in her high school marching band, but during her first week of band camp she was scared. The camaraderie — “tuba players notoriously have a good time” — buoyed her and even helped her academically. Now she has more confidence in class. At football games and pep rallies, marching band members can’t hide. “When you’re wearing a tuba, people come up to you and talk to you,” said the 20-year-old Strategic Communications major. “It’s contributed to making me a more outgoing person in general.” Hernandez grew up around the west but finished high school in Smithfield, Utah, where he played in his school’s marching band. A YouTube video of the spirited Marching Utes helped convince him that the University of Utah was the right choice. Now a junior studying music education, the baritone player still gets nervous before the game. “Once you’re out on that field, it’s no longer about you as a person — you’re now a part of something much bigger than yourself,” he said. “So my nerves go away, because I’m not nervous for me any more now. I’m performing with my best friend next to me or my best friend 10 feet away.” Football season is over, but planning for next fall has already begun. Student leaders are already talking about what worked, what didn’t, and how to make the Marching Utes an even more memorable experience.

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Students Call Vande Veegaete and Ashley Ramos perform a choreographed intimate scene in the Department of Theatre’s production of “Our Country’s Good” in Babcock Theatre, directed by

Photo: Todd Collins

Sarah Shippobotham.

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By Marina Gomberg

A passionate pursuit by Sarah Shippobotham Department of Theatre Professor, Sarah Shippobotham, grew up in Bristol, England in what she describes as a very women-centric environment. She went to primarily all-girl schools taught by female teachers, and that experience was, in part, what informed her interest in womendriven political theatre.

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Latoya Cameron and Carianne H. Jones in Salt Lake Acting Company’s production of “The Cake” by Bekah Brunstetter, for which Sarah Shippobotham was hired as the

of “Men On Boats,” gives notes during one of the

Photo: Todd Collins

Professor Sarah Shippobotham, director

Photo: dav.d daniels / dav.d photography

Intimacy Director.

production’s rehearsals.

Her lauded so-far 20-year career at the University of Utah and international work as a respected Dialect Coach (for films such as the “The Hobbit”) speak to her professional success, but it’s her effervescent kindness and sensitivity that might ultimately make her greatest mark. She is a warm and disarming presence, so it’s easy to trust her sincerity when she talks about having always been interested in ensuring the safety and comfort of those with whom she works. Yet, it’s only been recently that the world of theatre has made a clear and concerted effort to do the same — at least as it relates to creating and performing scenes of intimacy. “I’ve always been of the mind that sex and violence are choreographed,” she said. “But violence is the only one where people — until recently — have been paid to do that specific work.” And not a moment too soon. The investigations, resources and organizations dedicated to raising the visibility of ideas about consent on stage are, as one might imagine, a response to the powerful #MeToo movement, which is driving critique and conversation about the pervasive nature

I wanted to be one of the people who was going to take responsibility to fix the status quo.

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of exploitation and harassment in the workplace. Shippobotham remembers a particularly important moment when things came to a head in the theatre world. It involved a celebrated actor at Profiles Theatre in Chicago who was being outed by former castmates and crew members for his unprofessional (unethical) behavior with his colleagues. They bravely described to the media the horrific, painful, threatening interactions they’d have on stage with him that seemed to go far beyond the script, far beyond their boundaries, and far beyond what any person should reasonably expect from another human being. “It was situations like that one that made me sit up,” she said. “The sense of safety I’ve so often enjoyed cannot be assumed for anyone else on any given day.” And that’s when she began seeking resources and training for intimacy directing in earnest. “I wanted to be one of the people who was going to take responsibility to fix the status quo,” she said. What followed for her was unexpectedly and overwhelmingly powerful. Her eyes filled with tears as she remembered an exercise in which she and some eight other women engaged at a workshop hosted by a British version of Intimacy Directors International (IDI) in December 2017 in London (no men had signed up to participate).

She described how they were instructed to stand in a circle (and unlike the common theatre exercise where someone would cross the circle asking to be ‘helped’, which the other person could not refuse) the person approached had the flexibility to respond “no” to the request. For as simple as that sounds, it was profound. “The notion that we could say no,” she said shaking her head and pausing in an attempt to regain her composure and steady her voice. “That that was a new possibility very much illuminated the problem.” She went on to describe that success in the theatre world is often predicated on a person’s willingness to always answer “yes.” She says that’s even more true for women, lest they seem “difficult.” The theatre has always existed to reflect society, and in this way, it was succeeding without intentional scripting. For whatever reason — discomfort, disinterest, or disorganization — many directors have long allowed intimate scenes to be explored by the actors without much assistance or interference. But without planned and specific choreography, too much can be left unsaid, unconsented, changed over time, or exploited. Shippobotham says this is an example, a place, where language is so critically important. Choreographing a scene using anatomical language rather than euphemisms and calling scenes by titles other than sexual names, takes the potential for fear about the vulnerability of doing this kind of work out of the rehearsal room and re-focuses the work on the story that’s being told. But knowing and using appropriate language is not at all the only training an intimacy director receives. The IDI has just announced an apprenticeship program that will start this coming April. They will be looking for 10 apprentices and the requirements for eligibility to apply are stringent. Areas of personal study that can benefit an apprentice in-waiting include: Mental Health First Aid Training and knowing the Federal, State, and Municipal laws surrounding nudity in the area one works. While the entire process of training could take a person years to complete, Shippobotham is taking every chance she can get to bring about the change she wants

to see. She’s taking local and international workshops, she’s bringing those learnings into her classrooms and productions (including scenes in the department’s production of “Our Country’s Good” that she directed), she’s providing her developing knowledgebase and experience to professional theatres, and she’s reaching out to the experts when she wants or needs the additional support. “We are working to maintain one of the premier acting schools in the country,” she said. “We’re preparing our students to work in New York, Chicago, and London, and if all we do is safe work, we’d do the disservice of never providing them the opportunity to learn how to respond or to identify their boundaries. “It’s our responsibility to make these students ready for the world — not just ready to make good theatre.” ≠

Students Mila Santos and Brandt Garber perform a love scene on the beach in “Our Country’s Good.” Photo: Todd Collins

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E T S E H P

N

KO ES TE R Left: Stephen Koester in performance of a series of character studies by choreographer Pat Catterson.

Far Right: Stephen Koester (front) and fellow dance colleagues during their time studying with Nancy Hauser in Minneapolis, MI. Photos: Courtesy of Stephen Koester

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MUSINGS FROM A RETIRING MODERN DANCE GIANT By Marina Gomberg

It was during that time when the magnetic pull of Utah (or the exciting request of Phyllis Haskell Tims and Scott March, Chairs of the Department of Modern Dance at that time) brought Koester back for several master classes and residencies for the U’s modern dance program. tephen Koester, professor of Modern Dance at the University of Utah After leaving NYC and thinking he was leaving and former chair of the Department of Modern Dance, didn’t anticipate that he’d become a prolific and revered modern dancer when he started dance, he opened a bed & breakfast in Montana. But fate wouldn’t let him go from dance that easily. at the U in 1969 studying psychology on his way to an architecture degree. A serendipitous run-in with then CFA Dean In fact, dancing petrified him. Phyllis Haskell Tims who was in in Boseman, MT, But one day, he decided to answer an ad in the Daily Utah Chronicle for the to see the illustrious Doug Varone, was the final national touring cast of “Hair.” boomerang to get Koester “I could kind of sing,” he said shyly, realizing he was revealing a little-known back into a residency fact. “So, I went for it and got call back after call back.” Until the casting director (who turned out to be a sham anyway) called to tell that ultimately paved the way for his first faculty him that he sings flat, and that he couldn’t dance to save his life. position at the U. He “And that was enough to goad me into taking my first dance class,” Koester never left again. said. “It was fate.” “You know, dance He ended up taking a non-majors’ course from Shirley Ririe, the co-founder of one may be a terrible medium of Salt Lake’s premiere modern dance companies, and the rest was sort of history. to tell a story,” Koester He was good (“enough and a male,” he’d add) and he had drive, so he was given special access to majors’ courses, and got to learn from some of the greats. mused. “It can be either too abstract or if it’s He didn’t know then he’d become one of them. too literal, it becomes “I really was taken by dance. There was something about moving that was pantomime. But it tells just exhilarating and mind blowing,” he said. the story of what it is to So, he took classes for a year and a half before traveling the world to be alive — what it feels sate other curiosities. After studying Russian Studies in the Soviet Union, like to move and to be in he went to Canterbury, England, for architectural studies, then landed at one’s body. And that’s a the University of Minnesota. And, when an architecture internship in D.C. big story.” fell through, Koester decided on a whim to take a summer intensive dance But when it’s workshop with the Nancy Hauser Company (Hauser was a protégé of the done well, he says, illustrious Hanya Holm, so this was quite the opportunity). it’s magnetizing because we all can relate to the Fate again. experience of being in one’s body. It was there, with her company, that Koester realized he wasn’t going to be a “Talent is almost indefinable,” Koester said good architect, and was encouraged to become a dancer. about what makes a good dancer. “It’s a sort of je And he did. ne sais quoi — something so unique to them or so He moved next to New York, where after a short stint dancing with the Jamie untethered or uncensored that they go deeply into Cunningham Dance Company, he and partner Terry Creach started their own company: Creach/Koester — an endeavor for which he may be now most well-known. movement without thinking. It’s in their bones to give themselves to the movement, to the moment.” This dynamic duo, which later grew into a larger company of 5-6 dancers, He’s about to retire and find out how Act III of his became quickly noted for two things: 1. having all male dancers (a trait still unique in dance today), and 2. developing the notion of partnering in modern life will play out, but his legacy in the world of modern dance will long outlast his days in the studios. ≠ dance as a choreographic tool.

S

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Theatre professors join forces with local artists for new production By Julia Lyon

T

Photo: Stuart Ruckman

he kids gasped as the first dancer flew and spun on the stage. A man came out, his face illuminated by the light shining out of a book, and asked the audience a question: “If you could tell a story for the entire world, what story would you tell?” The dancing troop answered, their bodies a kaleidoscope of color as they playfully moved across the stage. “The Live Creature & Ethereal Things” premiered this winter at The Capitol Theatre in Salt Lake City for an audience of several thousand school children. But it isn’t a show just for the young: it asks all of us to harness our imaginations and memories and tell our own story. “How do we get wonder back into our vocabulary?” asked Alexandra Harbold, an Assistant Professor in the University of Utah Theatre Department and co-creator of the show. The product of a unique intersection of the Ririe-Woodbury Dance Company and University of Utah theatre professors who are co-founders and co-artistic directors of Flying Bobcat Theatrical Laboratory, the project evolved over more than a year. The group had never worked together before, but were all inspired by the Red Fred Project, created by Dallas Graham. Graham helps children living in extraordinary circumstances (rare diseases, critical illnesses, life-

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limiting situations) and helps them develop a book of their own imagination using his bird characters known as the Jolly Troop. When Daniel Charon, the Artistic Director of RirieWoodbury Dance Company, learned about Red Fred years ago, he immediately realized that some element — whether the books or the characters — could be the basis for a family dance performance. Graham, who had long respected the dance company’s artistry, connected Charon to Harbold and Robert Scott Smith at the University of Utah. Harbold and Smith had worked together in 2016 to stage “Climbing with Tigers,” one of Graham’s books, and now both found themselves on theatre faculty at the U. “I’d seen them work and loved the methodology and loved their drive to find interesting, new and unique — truly unique and surprising — ways to tell a story,” Graham said. One of the show’s “chapters” was inspired by the Red Fred book, Running on the Wind, about Meghan, now a teenager in Massachusetts. She attended the show’s evening premiere at The Capitol Theatre in February. “What just really hits me in the heart is so many of the kids I work with — physically — they will never be able to do this stuff. Some are limited to chairs. Some are in treatments forever,” Graham said. “It’s transmitting that human genius in that child that might be limited physically into a physical embodiment that is literally leaping off the page.”

Department of Theatre Assistant Professor, Robert Scott Smith, plays the Live Creature during the spring 2019 production of “The Live Creature & Ethereal Things.”

Ririe-Woodbury dancers (left to right) Megan McCarthy, Breeanne Saxton, Yebel Gallegos, Bashaun Williams, Brian Nelson, and Melissa Younker performing in “The Live Creature & Ethereal Things” at The Capitol Theatre. Photo: Staurt Ruckman

“

But the show was not a dance re-telling of one of the Red Fred books. Instead, the performance was a collection of vignettes about the personalities and adventures of the birds. Thanks to minimal language by the narrator on stage, the viewer could imagine his or her own story as the show progressed.

It’s been this incredible collaborative process of local artists — the energy behind everyone saying ‘yes’. “It’s been this incredible collaborative process of local artists — the energy behind everyone saying ‘yes,’” Charon said, including the individual dancers. “I’m excited that it’s a really accessible piece of dance that has guts to it.” This is not your normal stay-quiet-in-your-seat kind of performance. During one January showing for school children, the dancers occasionally encouraged the audience to get up and move. The slapstick antics of the narrator, played by Smith, made the students in the audience giggle. Then he turned serious, asking a bird named “Stilts”: “Is it true you can see into the future? So do you know how the story ends?” With cinematic, lush music by Utahn John Paul Hayward, the birds danced through the storyline until one of them, Penny, ran up the aisle and disappeared.

“Penny’s departure into the unknown was something Dallas gave us permission to add to the production. Sometimes the birds unexpectedly leave the Troop, which is a possible reality for these young authors, whose life expectancy is unknown,” said Assistant Professor Smith. “We didn’t want to shy away from it.” Smith reappeared to ask the audience his storytelling question again. Dozens of scraps of colored paper fluttered down from the top of the stage. “Whoa!” The kids in the audience cried as the birds raised their arms in their final flight. Parts of the performance are told exclusively in Spanish, which in one case was translated into English and superimposed onto the back of the stage. At times in the show, students responded with their own answers in Spanish. Bird-inspired costumes by costume designer Jared Gold and song lyrics by Troy Deutsch helped bring “The Live Creature & Ethereal Things” to life. The creators would like to perform the show again at The Capitol next year with Ririe-Woodbury, perhaps in a somewhat revised form. “Our hope is that ‘The Live Creature & Ethereal Things’ stirs up the recognition that each one of us has a story to tell and that there are stories all around us waiting to be heard — in myriad and diverse languages.” Harbold said. ≠

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Reality Czech: A Reminder of the Power of Art to Connect By Marina Gomberg

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T

he town of Klenová, Czech Republic, hosts an international biennial artist symposium every two years perfectly named “Art Dialogue — Interspaces” that in the fall 2018 was the two-week home of Department of Art & Art History MFA candidates, Etsuko Kato and Josh Graham, and their faculty advisor for the trip, adjunct assistant professor, Lenka Konopasek. The symposium, which welcomes a curated group of around 20 professional artists and students, is appropriately named because of the profound experience it creates uniting people from around the world to make art inspired by their common place. That place, more specifically, is a grouping of art galleries in and around a 13th century castle nestled on the hill of a rural town outside of Prague. And the inspired dialogue was profound. Konopasek, who’s from the Czech Republic, was the connector to this opportunity and in addition to being the faculty mentor, translator, and tour guide, also found time to make work. She created two installations, one of gilded gold emulating light pouring through the window of the castle, and another made from manipulated commercial fabric with feathers and synthetic fibers suspended from a wall representing a collision between nature and people. For her, the trip was a powerful reminder of humans’ ability to connect and support each other. She, Kato, and Graham all had life-changing experiences making site-specific artwork in the countryside with a house full of (formerly) strangers. The work each of them produced shows just how uniquely they experienced and were inspired by the same place.

Left: Adjunct Assistant Professor Lenka Konopasek’s installation is an exploration into a theme of natural and manmade disasters. Top: Josh Graham sits in his installed meditative space in a quiet alcove outside the castle. Right: Etsuko Kato’s individual cyanotype prints hung together to creaåte the story of her visit Photos: Jiri Stasek

For Kato, it was the cobblestone streets made with long, deep stones — the old and timeworn adjacent the those that were newer additions — that captured her attention early in the trip and provided a foundational inspiration for her work. That, and her experience connecting with the other participating artists. As a Japanese woman influenced by and living in the west, Kato often feels very much between two different cultures. Fielding westerners’ questions about her identity, especially with the complexity of language barriers, had illuminated for her how visual art is her most comfortable mode of communication, not to mention personal introspection. Through art and translators, Kato built deep connections with some of the women with whom she lived, and took great solace in learning about their families’ similar histories from across the globe during World War II, which had very directly impacted her family. Together, their stories created a fractured but powerful tapestry of that time. Kato created an installation made from small, layered squares of cyanotype prints, which she made using the few materials she had brought from home combined with the gifted supplies of paper from her new friends. Each piece represented its own unique shadow (cyanotypes are made from a chemical that’s put on paper and then exposed to the sun producing a blue image), some less perfect than others, but together making a shared history of place — not unlike the cobblestone streets and her new set of lifelong friends.

Graham, on the other hand, found his inspiration in solitude and nature. For the first several days, he walked the land and observed the culture. His intention was to create an interactive work reflective of his communication with the environment. After collecting raw materials from the factories they visited, Graham, with the help of a local craftsman, welded patinaed metal remnants from a steel mill into a 4’ x 4’ frame, the beginnings of his earthwork. Graham also gathered needles, sap, and other plant detritus from a ponderosa pine tree he visited regularly on his wanderings. By using material from that particular tree, which is also found across the western United States, he “created a meditative space that sparked questions about communication and connection, and how humans engage with the natural environment.” He situated the work in a quiet alcove, at the edge of a courtyard within the walls of the historic castle. Once finished, Graham inhabited the space for a day, using it as a way to promote dialogue with visitors to the castle, and encourage conversation about art, performance, and the environment. “The following day, when I came to check on the piece, I got to witness others interacting with it — walking around it, sitting in it. It was an incredible feeling,” he said, and described how it might pair with a similar piece here in Utah, strengthening the connection between the two locations. And that was the common thread: human connection through art. Kato said it best, “With art, there is no right nor wrong answer; it’s something everyone can understand. That is the language — art is language. We can communicate through art.” ≠

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Artists & Guest Artist Scholars

At the University of Utah College of Fine Arts, students learn from some of the top faculty in the country. But that is not all; each semester, each academic unit brings to campus world-renowned artists who offer master classes, give public lectures, screen films, host discussions, and ultimately broaden the breadth and depth of exploration into all areas of study. During the past year alone, these artists were brought to campus to share their knowledge and expertise with us.

Art & Art History Gülru Çakmak • Keetra Dean Dixon Guillermo Gómez-Peña • Stephanie Hunder Andy Nasisse • James Perrin • Kukuli Velarde — Gómez-Peña presents a unique perspective on the immediate future of the Americas. With his performance troupe La Pocha Nostra, Gómez-Peña offers critical and humorous commentary about the art world, academia, new technologies, the culture of war and violence in the US, organized crime in Mexico, gender and race politics, and the latest wave of complications surrounding gentrification in the “creative city”.

Dance Lauren Anderson • Cameron Basden • Monica Bill Barnes Katherin Baum-Hofer • Wally Cardona • Omar Carrum • Thomas DeFrantz Lauren Edson • Katie Faulkner • Hillary Goidell • Sarah Hochman Susan Jaffe • Elizabeth Johnson • Tamara King • Anthony Krutzkamp Bruce Marks • Victoria Morgan • Jerry Opdenaker Lauren Simpson & Jenny Stulberg • Kevin Thomas • Anouk Van Dijk Chelsea Weidmann Michele Wiles • Jane Wood — Anouk van Dijk is choreographer, dancer, and artistic director. She has been teaching dance since 1989 and is the creator of Countertechnique. She has trained all twenty-seven other Countertechnique teachers who are currently teaching worldwide. After having graduated from the Rotterdam Dance Academy in 1985, Anouk spent ten years as a lead soloist for Rotterdam Dance Company and Amanda Miller’s Pretty Ugly Dance Company. She was attracted to choreography from early in her career and from 1996 committed herself exclusively to creating her own work. Anouk ran her own dance company anoukvandijk dc from 1998 to 2012 in Amsterdam, and is currently Artistic Director of Chunky Move in Melbourne. She developed Countertechnique throughout her career as a dancer, choreographer, and teacher. Over the last fifteen years, the knowledge and experience she gained – in constant dialogue with her dancers – was gradually transformed into a detailed theoretical system and a teaching method, which now forms Countertechnique. 34 STUDIO / 2019

Music Paul Barnes • Geoffrey Burleson • Calefax Reed Quintet • Colleen Conway Cuarteto Casals • Kenneth Drake • David Froom • Eli Epstein Molly Gebrian • Alban Gerhardt • Vadim Gluzman & Angela Yoffe Wycliffe Gordon • Michael Hopkins • David Kim • Lachezar Kostov Lark String Quartet with Romie de Guise-Langlois • Minetti Quartet ModigLiani Quartet with Fabio Bidini • Monika Jalili & Ensemble Morris Rosenzweig • Chiao-Ling Sun • Wild Up: “We The People” • Asaf Zohar — Wycliffe Gordon (AKA Pinecone) is an American jazz trombonist, arranger, composer, band leader, and music educator at the collegiate-conservatory level, who also sings and plays the didgeridoo, trumpet, tuba, and piano. He was named the Trombonist of the Year in 2017 by Jazz Journalists Association for the 10th time in a row, and has been named by Downbeat Critics Poll as the Best Trombone for four years.

Film & Media Arts Jason Allred • Anna Akana • Peter Baxter • Jim Cummings Tamer El Said • Alvaro Gago • Bo Landin • Jason Mittell Whitney Palmer • Jose Rodriguez • Gianluca Sodaro • Silvina Szperling Matteo Troncone • Myra Washington — Akana started her YouTube channel in 2011, jumpstarting her career as an actress, producer, filmmaker, and writer. In 2013, she wrote and starred in the digital series “Riley Rewind,” which garnered over 25 million views across YouTube, Facebook, and Netflix. Now, with nearly 2.5 million subscribers, Akana produces short films, sketches, and series for her channel in addition to her weekly YouTube show, which features semi-autobiographical comedic stories that offer life advice.

Theatre Christine Albright • Kevin Asselin • Jaron Barney • Ian Bedford Neal Benan • Matthew Ivan Bennett • Drew Bielinski • Klea Blackhurst David Boushey • David Carey • Summer Chastant • Ruth Eitemiller Claybourne Elder • Ryan Emmons • Kareen Fahmy • Cynthia Fleming Susanna Florence • Frantic Assembly • Wendy Franz • Ron Frederickson Matthew Greene • C.J. Greer • Frank Honts • Elaine Jarvik Thamer Jendoubi • Julie Jensen • Geoffrey Kent • Julie Kramer Viktor Lesniewski • Rohina Malik • Lynn Maxfield, PhD • Kate Middleton Carol Lynn Pearson • Shayna Penn • Anne Penner • Jay Perry Emily Powell • Mary B. Robinson • J.T. Rogers • Joel Ruben Ganz Eric Samuelsen • Eric Santagata • Jennifer Sears-Scheier Tregoney Shepherd • Jessica Steinrock • Anne Tolpegrin • Rafael Untalan Brian Vaughn • William Waldrup • Max Woertendyke • Pirronne Yousefzadeh — Ryan Emmons is a freelance director based in NYC. He’s worked as a Resident/Associate Director on “Groundhog Day,” “Matilda the Musical,” and “Ghost the Musical” and launched the 1st national tour of “Matilda the Musical.” He is the founding artistic director of No.11 Productions, a nonprofit ensembledriven theatre company based in NYC going into its 10th year. He has directed several productions in NYC, regionally, and within educational institutions including the 2019 production of “Company” in the Babcock Theatre at the University of Utah. He has a Bachelor of Science from Skidmore College. 35 STUDIO / 2019

Fueling the University for Utah 36 STUDIO / 2019

Photo: Courtesy of Anne Osborne

Donor Spotlight: Anne Osborn

A

nne Osborn is a University Distinguished Professor, Professor of Radiology and Imaging Sciences, and holds the University of Utah’s William H. And Patricia W. Child Presidential Endowed Chair Honoring Pioneering Utah Women in Medicine. She is a by all accounts a world-renowned medical professional. What may be less known, however, is that she’s an avid appreciator and supporter of the arts. Her love for all things creative began when she was a young child growing up in Culver, Indiana. Her parents took great care to expose her and her sister, Lucy, to literature, language, and the performing and visual arts. From road trips to Chicago museums to their family’s treasured annual visit to the American Ballet Theatre’s touring production of “The Nutcracker,” Osborn relished every chance she could get to experience art in its varied forms. Well, except the piano lessons she was forced to take, but even now she’s glad she did it. “I can’t imagine being illiterate in music,” she said. “Understanding how to read the notations is what allows me to hear the music in my mind and helps me understand and appreciate it more deeply. I’m so grateful for that experience.” She remembers when she first heard a classical symphony. She was a freshman at Stanford and a woman down the hall was playing Dvorak’s “New World Symphony” loudly enough for it to float down the hallway. “I had to know what that was,” she said. “It was one of the most beautiful things I had ever heard. And that was when I decided to go out and buy a used record player and I began collecting classical LP records.” While she’s still a devoted fan of music and the performing arts, it is her connection to visual art that has been an interesting thread through her professional career. She remembers studying art history in college and being able to remember all the artists and their works from medieval art through the impressionist period. “That time taught me a trust in my visual memory that has been key to success as a diagnostic radiologist. I can remember images I’ve seen in a journal article decades ago that discussed a rare disease and then make the diagnosis in a puzzling patient case,” she said. “Art taught me that.” Imagery has always had a profound place in her mind, and it becomes easy to understand how she and her colleague, Ric Harnsberger (also a professor in radiology at the U) started Amirsys, an online radiology clinical decision support system and medical publishing company that produced what became internationally-renowned digital images of the human body.

“That’s actually one of the things so unique about the University of Utah,” she said referring to the ability to collaborate as medical professionals with other disciplines on the same campus. She’s seen the partnerships, the interdisciplinary research, and the effects of those collaborations, and it is groundbreaking. “The power of the arts is unlike anything else,” she said. “There are many things that can divide us: politics, geography, economics, religion, whatever, but the arts can bring us together as a community and as a people. Some public schools cut back on arts because they’re not considered core, and yet they are core — they go to the very heart of who we are and what we do as a people. We can find common ground in the arts and music we seem not to be able to find in many other ways. And for University of Utah students to have access to that — for free — is nothing short of amazing.”

“The power of the arts is unlike anything else… There are many things that can divide us…but the arts can bring us together as a community and as a people.”

But one of her favorite things about the University of Utah is how the arts engage the broader community through outreach. “We are the University of Utah, and we are the University for Utah — we are Utah’s University. And that means all of Utah. Not just the Wasatch front. I look forward to seeing our arts extend to every corner, nook and cranny of the state, and that’s part of what drives my giving to the College of Fine Arts.” Osborn has been a longtime contributor to the College of Fine Arts and started the Raymond Tymas-Jones Endowed Scholarship in 2017. She has also provided for an endowed chair in Fine Arts in her bequest. ≠

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Thank You

T

HE faculty, staff, and especially the students in the College of Fine Arts thank our generous donors for their contributions to the College and

its five academic units from July 1, 2017, through June 30, empowered many, and inspired us all.

Connoisseur $25,000 +

thank y Anonymous Kenneth P. and Sally Rich Burbidge Foundation I Lawrence L. Corry Kem C. and Carolyn B. Gardner Gordon and Connie Hanks James R. and Nanette S. Michie Foundation Jay and Sandhya Narasipura Stanford C. Stoddard Zions Bank

If you’re interested in supporting the work of the College of Fine Arts and its academic units, visit finearts.utah.edu

Aficionado $10,000–$24,999

Anonymous Artworks For Kids Brent and Bonnie Jean Beesley Foundation Kenneth P. and Sally Rich Burbidge Foundation II Dick and Timmy Burton Foundation Michael Manship and Andrea Dumke-Manship Susan G. Gaskill Lee A. and Audrey Mack Hollaar Charles H. and Kathie K. Horman McCarthey Family Foundation W. Mack & Julia S. Watkins Foundation Trust Ronald C. and Carol M. Werner Richard I. and Judy Winwood

Benefactor $5,000–$9,999 Anonymous M. Lynn Bennion Foundation E. J. Bird Foundation Edward L. Burton Foundation Marian A. Connelly-Jones

38

Photo: Brittany Palmer

2018. Their incredible generosity has enhanced education,

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Lawrence T. and Janet T. Dee Foundation George S. and Dolores Doré Eccles Foundation Robert H. and Katharine B. Garff Larry H. Miller Charities Anne Osborn Poelman S. J. & Jessie E. Quinney Foundation Janet M. Schaap Trust Roger H. and Colleen K. Thompson Foundation John M. and Martha M. Veranth Wells Fargo Foundation Connie Jo M. Hepworth-Woolston and E. Art Woolston

Patron $2,500–$4,999

Anonymous Sandi Jo Behnken L. Frank and Jean J. Bentley William R. Bireley The Rodney Brady Family Foundation Michael and Frances R. Carnes Lisa Chaufty and Miguel Chuaqui Shane Larson and Genevieve Christianson Howard S. and Betty B. Clark Daynes Music Company Kent C. and Martha H. DiFiore Family Foundation Lisa L. and Eric C. Evans Ira and Lili Field J. Chris and Sandra L. Hemmersmeier Leo and Harriet D.W. Hopf Emma Eccles Jones Foundation Alex and Sarah Lowe James P. Macken

k you Magicspace Entertainment Robert W. Stringham and Michelle Michie Leon and Karen F. Peterson Presser Foundation Jim L. and Bonita Robertson Bruce G. and Sara V. Robinson Salt Lake Acting Company Salt Lake City Arts Council Daniel M. and Nicky M. Soulier State Farm Companies Foundation Geoffrey S. and Adria J. Swindle Anthony R. Wallin and Jennifer Price-Wallin Von H. and Virginia Whitby Paul L. and Marilyn D. Whitehead

Advocate $1,000–$2,499

Anonymous Rodney L. and Sally Brown Charity Auctions Today Thomas D. and Joanne A. Coppin Ashby S. Decker and Anne Cullimore Decker Early Light Academy Sue J. Ellis Excellence in the Community, Inc. George B. and Debra G. Felt Jerome C. and Abby L. Fiat Susan F. Fleming Galleries West, Inc. David P. and Sheila S. Gardner Robert and Mary D. Gilchrist Ralph and Rosie Gochnour

Jonathan Horne and Colleen Wilson-Horne Elizabeth S. Hunter Kimberly A. and David R. Johnson Raymond Tymas-Jones Kory D. and Karen L. Larsen Lennox Larson Family Donald B. and Mary O. Lloyd Michael A. Kalm and Janet C. Mann Paul G. and Alison R. Mayfield Nebeker Family Foundation Wayne G. and Robyn E. Petty Douglas K. and Irene K. Pottratz John and Marcia Price Family Foundation Sarah Projansky and Kent A. Ono Lesli and Scott Rice Anne W. Riffey Steven L. Rosenberg Jonathan M. and Tina B. Ruga John W. and Amy Scheib Dan W. and Margaret K. Schultz Dorothy Ware William and Barbara Welke

Members of the University of Utah Trumpet Ensemble: Jacob Whitchurch, Jacob Greer, Eddie Johnson, Seth Fallon, and Isaac Loveland.

“When watching a movie or a play, viewing gallery art, enjoying a ballet performance, or hearing music I am temporarily removed from my world of sickness, suffering, political chaos and mundane tasks to witness creativity, passion, stories and talent which is soothing to the soul. The fine arts gives me this opportunity, this experience, this need, this escape. I can't imagine life without it.” Kent DiFiore, Fine Arts Advisory Board Chair

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“It gives me pleasure every time I think about my parent's violin scholarship knowing that their memory and legacy will go on in perpetuity.” Lisa Evans School of Music Advisory Board Chair

Friends $1–$999

Anonymous Thomas Douglas Aaron Marylin Acosta Kurt E. and Michelle C. Addison Judith and Donald Adolphson Cody Grant Ahlstrom Dominic Jr. and Virginia Albo Eleanor Altman Michelle M. Almazan and Edward W. Szatmary Brennan Mark Ambrose Diane M. and Michael J. Anderson Elizabeth Rachel Anderson Jessica Leigh and Newel Anderson Leslie H. and Sherman F. Anderson Reed O. and Wendy May Anderson Margo L. Andrews Thomas R. and Sidney H. Armstrong Audrey J. Arona Marie Y. And Jack S. Ashton Jacob Austad Bagley Amy Louise Balthrop Devon L. and R. Jake Barnes LaMar C. Jr. and Carol W. Barrus Melissa and John Barto Margaret Joyce Bennett John W. and Elizabeth Bennion Barbara E. and John E. Berg Courtney Shea Bergen Tricia Lea and Daniel Kenneth Bergeson John W. Bernstein Michelle Colleen Bickel Hope Bird Kyle William Bishop Annette Blackham Brian L. Blackham Rick G. and Rose Blackham Rebecca Lee Blue Kevin Bogdanow and Lenore Somer Patti A. Bollenbaugh Gerrit Boogert Cheryl A. Bratz Ellen R. Bromberg Joan C. Brown Michael D. Brown Sarah Elizabeth and Scott James Brown William E. Buchanan Aaron L. Bruderer Kristina F. and Kenneth J. Burton Mary Ellen B. Caine Café Zupas Monte Caldwell and Bryon Kevin Russell

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Hal K. and Joan D. Campbell Michelle Annette Campbell Priscilla J. Campbell Kathryn C. and Roger A. Carter Earl J. Catterton and K. A. Sargent John R. Cederlof CENGAGE Learning Matthew S.H. Chambers Demetria Chappo Wei-Wen Chen Corinne Cherie and Carl Wilmarth Jamie L. Chinn James N. Chipman Chipotle Mexican Grill Anne P. and Daniel R. Chisholm Necia H. and Donald G. Christensen Mark V. Christison Marquita Shell Christison Lynne H. Church Elayne B. and L. Charles Clark Joann S. Clark Michael Clary Christin Cleaver Andrew Scott Cole Rita D. Collins Carla Rae Cook and Craig Jorgensen Carol W. and David M. Coulter John A. and Moroi Cowden Janet C. Cox Cindy Dahle Lance Daniels Gina Leigh Davis Julie W. and M. Thomas Davis Patti M. and Stephen H. Davies Tina DeCaria Charles A. and Christina Deneris Michael Edward and Sheila Deputy Deseret Book Company Bonnie J. Dezzutto DonateWell Donation Xchange Dalton and Joanna Driggers Richard C. and Erin Dyer ECS PUBLISHING CORP. Eric N. and Shellie M. Eide Elaine E. and Kirk Englehardt David T. Fikstad James R. and Mary Frances Finkler Barbara L. and Millard S. Firebaugh Cynthia F. and Jeff Fleming Kimberly A. and André M. Floyd Virginia J. and Robert Bruce Folsom Lynda Grace Fowler Dominic John Fratto F. Ivan Frazier Berkley R.J. Frei Landon Louis and Ashley Ann Freter Rinda Frye Fund Raising Counsel Inc. Carl L. Gable Norma W. and Joseph Gabriel Susan M. Gabriel Rosemary T. and Bernard Ganis Nedra C. Gaskill Anne and David Van Gelder David H. and Kaye Gentry Sheena Gentry Elizabeth Maria and Eli German Noelle and Gary Glade Royden J. and Rebecca B. Glade Jon R. Glenn and Jennifer A. Mayer-Glenn April W. and Dale W. Goddard Cynthia A. Godsey and Fred L. Gottlieb Lareena Deann Goertz Kevin James Golub Wayne Lewis Goodsell

Carol A. Goodson Tamra Goodwin Romas Grazhees Richard N. and Carolyn Greene Susan H. Greene Elizabeth Camille Griggs Barbara Grossman Joshua B. Gwynn Brian Haan and Mary Wohl Haan Robert A. Haise Jette Halladay Barbara J. and E. Dean Hamblin Larry T. and Robyn L. Hancock Christina N. Hafen Sarah T. and Johnathon J. Hanks Jeffrey Paul Hansen and Julie Christine Rutledge Hansen Brooks Conn Harbertson David C. and Catherine S. Hardy Thomas L. Harkness Dana Ririe and Kenneth F. Harlos June L. Harral Caitlyn Sara Harris Richard Clinton Harris Heidi Harrison Carol O. and Thomas Martin Hartvigsen Neal and Cindy Haskins Emily Ruth Haws Mary Ann Hess and Gregory K. Hayes Ronald R. and Candace Heezen January Held Matthew Redge Henn Nancy and Dustin Heuston Leora R. and Paul W. Hewitt Rebecca A. Hickox Stephen M. and Patricia Hodson Marsha Holfeltz Boyd M. Holt Honea Ins Fin Svcs, Inc. Kerri A. Hopkins Douglas A. Howard Deborah B. and Richard V. Hoyt Gretchen Marie Huff Michael D. and Susan S. Huff Hughes & Associates LLC David and Kathryn Hughes Mary E. Hughes Shirley Y. Hughes Satu Hummasti Sara L. and David R. Hunt Laura Groussman and Bruce W. Hunter Lori A. Hutchison Karineh Hovsepian and Russell Kelly Jackman Music Corporation Stephen M. Jackson J. Boyer Jarvis Rebecca E. and Matthew Jennejohn Douglas and Claudia Jensen George E. Johnson, IV Jennifer Binford Johnson Nancy M. and Jeffrey R. Johnson Glenn R. Kaplan Elaine S. Kaufman Suzan A. Kendall Mary Sue Kessler Mary C. Kindred Kaltin Michael Kirby Brandon R. Kitterman Marsha Knight and Leigh Selting Kathleen C. Knowlton Matthew Koch Stephen J. Koester Stanley J. and Eileen Kraczek Justine Sheedy-Kramer and Hasko Kramer Marilyn W. Krantz Mischa Kuczynski

Thomas and Patrice S. Kurz Robert J. Labrum Kelsey Landry Leah Virginia Langan Paul B. and Sharon O. Larson Kimberly Latham Martha F. and David K. Lauritzen Kristina Sue Lenzi and Nini Rich Letitia P. and David Lester Joan L. Levy Daniel Jay Lewis Ruoyu Li Darron P. and Mary J. Lillian Trudy B. and L. Jon Lindgren Matthew W. Lipscomb and Tracie Palmer Wilma S. and Herbert C. Livsey Erica Lovell Larry D. and Joyce P. Lowder LPL Financial Andrea Chaston Luker Kent M. and Rebecca Lyman David J. and Leslee Magidson Paul David Majnik Sreekanta Manjunath Mary-Margaret E. Marcantonio Pamela L. March Juliana Vorkink Martin Sanjay Math Rory Dean Maxwell Janice C. McCallister and Jeffrey Bollwinkel Anne Segrest Mcculloch Dylan McCullough Colin Hull McDermott Maureen McGill Lorita S. McLeod James B. Merlette Jill E. and Brian C. Meyer D. Kent and Barbara E. Michie Mightycause Charitable Foundation Suzanne H. Mihalopoulos Duane B. Millard Harry B. Millyard Antoinette and Paul L. Mistretta Eric R. and Emilee Morgan Emily Carpenter Mostue and A. Mostue Robert C. Mueller and Lisabeth Anne Carlson Christian Munoz D.S. and N.D. Murdock Family Trust Steffani A. Mwaruka Rodney D. and Carolyn Neal Marilyn H. Neilson Andrea N. Nelson Andrea Van Nest Dr. LeighAnne T. Nevins Gregory Lamont Nielsen Nancy Green Nielsen Sean Patrick O’Hara Tyler Oliphant Mary-Martha J. and Christian Ostler Jerold D. and Jo Ann S. Ottley Brent Kevern Palmer Elizabeth Paniagua-Emerson Mary Lou P. and Ralph F. Peak R.K. & E.D. Pedersen Family Foundation, Inc. Phillips Art Gallery Tanya L. Platt Sterling S. Poulson Wendy A. and Douglas C. Preston Price Realty Group, LLC Michael B. and Yvonne Purcell Mary G. Staheli-Putnam and Howard Putnam Kristi Marlene Ragsdale George A. and Karen C. Raine Jack B. and Itha W. Rampton Ray, Quinney & Nebeker Gayle E. and Steve H. Reiber

Piper Candace Reid Natalie Reiser Julie W. and Jaryl L. Rencher Gayle F. and John D. Richards Laura Ellen Rice Loretta C. and Vernon R. Rice Gayle F. and John D. Richards Bryce Hudson Riley Chad Lee Riley Michael P. Riordan David Robertson Debra J. and Michael S. Robinson Steven T. Roens and Cheryl A. Hart Rhonda C. Rooker Chelsea Paige Rowe Richard L. Rowsell and Ronald L. Harrington Patricia Carole M. and Raymond C. Rubley Marijane Rushing Philip Russel and Joan Elizabeth Patterson Maida Rust and Lawrence Arlen Withers Judith A. Ryerson Jean Ann Sabatine Karlyn Salazar Ana Isabel Samuals and Yonn Mann Samuels Linda C. Gordon-Saunders and Charles C. Saunders Robert P. and Laverne C. Schardt Donna P. and Philip S. Schmidt Nancy J. and Eugene Schmitz Brent Lee Schneider and Kim David Blackett Mark N. and Valerie Schneider Andrew James Schummer Julie F. and Ari D. Schwartz Jonathan Scoville and Tandy Beal Seaspray Condominium Association, Inc. Robert E. and Ruth Jacob Seegmiller Rachael J. and Charles L. Sharp Jennifer Ann Timpson Shiba Yujiro Shimogori Glenda H. Shrader Cathleen and Hal Sibley Debra L. and William T. Siegel Jeffrey L. and Leslie V. Silvestrini Val I. and Barbara T. Singleton Timothy Alan Sloan James D. and Marion L. Smith Stephen Ray and Kathleen R. Snow Elizabeth H. Solomon Jeff Scott Sorensen Elizabeth Southwell Sandra S. Sowerby T.L. and Diane D. Stallings Tomislav Stanich Glenda Jean Staples Emily and Alan Stemmons Debbie D. and Robert J. Stevens Michael Henry and Ruth C. Stevens David T. Stout Venkatesh and Deepa Subramanyan Andrew V. and Alice B. Sullivan Tracy L. Sweeten Jeffrey Joseph Swindel Arthur J. Swindle Kay D. Taylor and Vincent R. Collins Milton S. and Leslie M. Taylor Louise Tedesco Alden Terry Genevieve Marie Thompson Glenda J. Thompson Wendy J. Thompson Francis E. Timlin Jennifer Tolch Meggie May Troili Sandra J. and Thomas J. Tsekouras David and Mary Jo Tufte Up Stage Design, Inc.

Dana Alice and John Taylor Vandover C. Jean Varney Fox Vernon Kara J. Vetica Rheba Vetter and Kim N. Morris Gary J. and Mary Paula Vien Merrill S. and Edward C. Wall Jacquelyn Marie and Brian Wallenberg Jackie and Jon Paul Ward Douglas Krehl Warner Julia Simmons and W. Mack Watkins Wayne Leupold Editions, Inc Alene K. Wecker Patricia L. Weeks and Brian C. Jensen Wilfred H. and Edith D. Savage Weeks Frank M. and Janell Weinstock Mary Elizabeth Wemer Richard J. and Loretta C. Wertheimer Thomas and Elinor G. Wertheimer Warren and Mary M. Whitaker Sharon L. and William E. White Whittington, Kouri & Gentry P.C. Krista Nicole Widdison Cheryl Wiesenberg Jason Aaron Wild Steve C. Labrum and Jenny Wilder Gwen G. Williams Michele L. and Thomas J. Williams West K. Willmore John Paul and Joy F. Wiscombe Deborah M. Wouden Hogan R. Wright Derryl Yeager Victoria Yee Chandra Randi Young Tieg Anthony Zaharia Christopher Zawislak

“Recently, I was given the opportunity to join the Fine Arts Advisory Board and to personally donate to a great cause—supporting scholarships and other programs that enrich the education and training opportunities available to talented and dedicated students in the College of Fine Arts. As one of Merit Medical's founders and recently appointed ambassador, I knew Merit would also want to support this cause. The company has always been dedicated to our community, education, innovation and the arts, and Merit is proud to support the College of Fine Arts scholarship fund.” Darla Gill Fine Arts Advisory Board Member

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Non Profit Org U.S. Postage University of Utah College of Fine Arts 375 S. 1530 E. Room 250 Salt Lake City, UT 84112 — finearts.utah.edu

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