Embed Size (px)
DESCRIPTION
Designed by Robert Finkel and Shantanu Suman
Citation preview
University of FloridaCollege of Fine Arts
I found the combination of faculty, facilities, and students to provide a rigorous and stimulating creative environment.
Kim A.
Making Connections, Engaging Possibilities.
Art Smart, Life Smart.
UF Ranked in U.S. News & World Report “Top Public Universities.” (August 2010)
No.17
In 2010 Gainesville was ranked in “Top College Towns” by Livability.comand No. 5 in “Top 10 Small Cities” by USA Today.
No.1
UF Ranked in Kiplinger’s “Best Values in Public Colleges.”(2010)
No.2
The University of Florida’s tuition is among the very lowest in the United States and
state flagship universities in the country.49th among the 50
The professors in the School of Art + Art History created an intensive environment in which their scholarship and passion was neatly integrated into their teaching.
Michael P.
Recent Visiting Artists and Scholars have included: Vito Acconci, Beth Cavener Stichter, Diana Al-Hadid, Jim Drain, Alec Soth, Janine Antoni, Dan Cameron, Brody Condon, Gregory Green, Fritz Haeg, Christine Hill, Steve Kurtz (The Critical Art Ensemble), Kerry James Marshall,James Victore, Mike Perry, Michael Rakowitz, and James Turrell.
University of FloridaCollege of Fine Arts School of Art + Art History
Through AcTion Theory is embodied
D E A N ’ S M E S S A G E 08
D i r E c t o r ’ S M E S S A G E 09
S A+A H r E S o u r c E S 10
Ar E A S o f S t u D y 12
t H E G A l l E r y
Art Education, Art History, 15 Museum Studies Faculty
Studio Art Faculty 29
A b o u t o u r fA c u lt y 55
8
SC
HO
OL
OF
AR
T +
AR
T H
IST
OR
Y
DEAN’S MESSAGE The School of Art + Art History shares a national
reputation for teaching excellence and creative research with the 35 year-old College of Fine Arts’ School of Theatre and Dance and School of Music.
This publication celebrates the work of our faculty—the central facilitators of our mission to educate students, contribute to new and existing bodies
of research, and foster ways of knowing and understanding ourselves, our neighbors, and our world.
I invite you to view the pages of this catalog to learn more about the significant efforts and accolades of our faculty and to view images of works representing the dynamic relationship between students and their faculty mentors.
These highlighted works are made possible by the unique resources and opportunities established by our community of artists, teachers, students,
alumni, and staff here at the University of Florida. These include international learning programs organized and led by our faculty, opportunities to engage
with the national arts community through participation in major domestic events and activities (e.g. Art Basel Miami Beach, studio visits in New York
City), facility and technology resources, and internships and entrepreneurial development opportunities nurtured through on- and off-campus programs
and activities. Our faculty continues to promote the conditions for creative collaboration, diversity, interdisciplinary exchanges, inspiration, appreciation,
and a culture of courageous risk. As a major presenter and facilitator of creativity for our surrounding community and region, the School of Art + Art
History hosts dozens of exhibitions, interdisciplinary events, and discussions led by renowned guest artists, scholars, and historians, while our own faculty,
alumni, and students are sought to share their works and research on campuses and in communities throughout the world.
Our alumni are among the ranks of educators in K-12 and higher education institutions, artists, art dealers, museum curators, gallery owners, designers,
creative entrepreneurs, and other fields in which they apply their creativity, complex problem-solving skills, and ability to construct ideas from diverse,
often disparate, points of view.
We celebrate this opportunity to share our achievements as the University of Florida remains proudly dedicated to providing an environment that nurtures
those artists, historians, educators, and leaders who are committed to the challenges and promises of a life in art.
Lucinda Lavelli began her tenure as Dean of the College of Fine Arts in 2006. She currently serves on the boards of The Cade Museum Foundation, New World School of the Arts in Miami, among others. Lavelli serves as the President of the Florida Higher Education Arts Network (FHEAN) and Secretary of the International Council of Fine Arts Deans (ICFAD).
luciNDA lAvElli COLLEGE OF FINE ARTS
9
SC
HO
OL
OF
AR
T +
AR
T H
IST
OR
Y
DirEctor’SMESSAGE Praxis has been defined as “the process by which a theory,
lesson, or skill is enacted, practiced, embodied, or realized.” It represents a reflexive relationship between theory and action. Praxis emphasizes the need
for a constant cycle of conceptualizing the meanings of what can be learned from experience in order to reframe strategic and operational models, embracing a cyclical process of experiential learning.
The School of Art + Art History (SA+AH) offers this synthesis of theory and practice in an innovative and collaborative learning experience that
explores the art world through academic inquiry, research, technology, and creative studio practice.
The SA+AH is composed of over 400 undergraduate art majors, more than 160 graduate students, and 40 full-time faculty. It is a curriculum that
embraces history and theory, explores and challenges contemporary visual culture, and plays an active role in creating the future of the art world.
Our innovative curriculum combines both freedom and structure in a challenging, yet supportive learning community for the individual student artist and scholar. We offer BA, MA, and PhD programs in Art History,
an MA in Museum Studies, a BA and MA in Art Education, a BA in Visual Art Studies, as well as BFA and MFA programs in Studio Art.
The BFA studio program begins with the Workshop for Art Research and Practice (WARP), our nationally recognized, alternative foundations program
that introduces the study of art through theory and practice. Our Art History students study with top academics in the field gaining interdisciplinary
research and critical-thinking skills. The Museum Studies graduate program offers sound academic grounding, museum theory, and practical experience.
The Art Education program provides students with extensive opportunities to hone their knowledge and skills as pre-professional art teachers through
on-campus, as well as on-line learning environments. All combine to create a stimulating and dynamic environment that allows our students to discover and follow their passions as artists, designers, and scholars.
We are proud to say that art and creativity are recognized as a critical component of the University of Florida’s overall mission. Our internationally acclaimed faculty and outstanding student body combine with the overall
intellectual community of our creative campus to make the School of Art + Art History an exceptional place to become immersed in the studio arts, design, art history, museum studies, and art education.
Richard Heipp is an award winning artist and educator who has taught painting at UF for 30 years and currently serves as the Director of the School of Art + Art History. Heipp also remains active as an exhibiting artist having had more than twenty-five solo exhibitions. He has also been included in over one hundred group shows, and has been commissioned to complete 20 site-specific public art projects.
richArD HEipp SChOOL OF ART+ ART hISTORy
10
SC
HO
OL
OF
AR
T +
AR
T H
IST
OR
Y
SA+Ah RESOURCES
AnnuAl new York Trip 2011 will mark the 30th consecutive year the School of Art + Art History has conducted the New York Museum, Gallery, and Studio Excursion. This trip has provided an opportunity for almost 600 art students, both graduate and undergraduate, to be immersed in an intense guided educational experience. Students visit the major art museums and gallery districts, attend meetings with gallery professionals and experience intimate studio visits with well-known and emerging artists. This successful trip has fostered a thriving community of former SA+AH students who are active in the New York artistic community.
The ArT & ArchiTecTure FAbricATion lAborATorY (A² FAblAb) is a rapid prototyping facility developed and operated collaboratively by the College of Fine Arts and the College of Design Construction and Planning with initial funding provided by the UF Office of Research. The FabLab provides digital fabrication technologies such as Laser cutting, 3D printing, 3D scanning, and CNC milling. These tools provide different ways of bridging the physical and digital realms, and offer exciting opportunities for students and faculty to explore new ways of thinking and making. Visit http://www.arts.ufl.edu/aafablab
The ArchiTecTure And Fine ArTs (AFA) librArY primarily sup-ports academic programs associated with the School of Art + Art History, as well as the School of Architecture. Today, with over 125,000 print volumes and an array of electronic formats, AFA is the largest visual arts and architecture library in Florida and one of the top collections in the Southeast. AFA’s specialized video collection consists of over 1,500 cataloged art and design titles. The periodical collection includes 2,700 titles with approximately 250 current subscriptions, many with an online equivalent. Fifteen networked computers (some with attached scan-ners) allow users to access proprietary databases and use production and imaging software.
GrAduATe AssisTAnTships And Fellowships Grad- uate students in the SA+AH are eligible to receive a Graduate Assistantship (GA) or a Graduate School Fellowship. 95% of MFA, 90% of PhD, and 75% of MA
resident graduate students receive funding awards. Fellowship awards can be as much as $16,000 per year. In addition to stipends, graduate assistants and fellows receive health insurance and a full tuition waiver valued at over $20,000 per year for out-of-state students and over $8,000 for Florida residents.
The hArn eminenT scholAr chAir in ArT hisTorY proGrAm is a lecture and symposium series dedicated to fos-tering an ongoing discussion of current scholarship in art history. Each year the faculty of the School of
Art + Art History and curators at the Harn Museum of Art choose a group of distinguished scholars to
present their current work on campus. The scholars represent a range of fields in the history of art and are outstanding art historians, critics, and curators. Each scholar gives a public lecture and interacts with students, whether in the classroom or at more informal gatherings. The hescah Program is made possible by an endowment generously gifted by Dr. and Mrs. Cofrin.
reid hAll’s Fine ArTs livinG And leArninG communiTY houses 166 students and is open to any UF student with an interest in the arts. This art-inspired on-campus community consists of diverse students who share a common passion to pursue creativity and expression. Reid Hall offers resources to its residents, such as studio space, a gallery, a musical practice
facility and an Artist-in-Residence apartment within Reid Hall, which allows the artist to share the residence hall living experience with students.
The sA+Ah visiTinG ArTisT And scholArs proGrAm annually invites a diverse range of notable speakers that offer significant contributions to the contemporary discourse in the fields of
art, art practice, theory, history, and criticism. Visiting speak-ers regularly offer lecture presentations, workshops, and critiques, as well as interacting with students through dis-cussions, seminars, and studio visits. The program is made possible through the endowed Marston Lectureship in the Fine Arts. In addition, this program regularly partners with the Harn Museum of Art, the SA+AH Infinite Energy Sculpture
and Hot Clay Ceramics Lecture Series, as well as other units on the UF Campus.
scholArships Each year the School of Art + Art History awards a number of competitive scholarships based on artistic and ac-ademic merit. Awards range from $250 to $2500. The SA+AH is thankful for the generous donations that allow us to help support
our most outstanding graduate and undergraduate students through scholarships such as: the Ahrens Scholarship Fund, the Amy Nicole DeGrove Memorial Scholarship Fund, the Carolyn A. Novogrodsky Memorial Award, the Dennis and Colette Campay Studio Art Schol-arship Fund, the E. Robert Langley Scholarship Fund, the James J. Rizzi Scholarship Fund, the Stephen Kippert Memorial Scholarship Fund, and the Jerry Cutler Graduate Travel Scholarship.
11
SC
HO
OL
OF
AR
T +
AR
T H
IST
OR
Y
sTudY AbroAd opporTuniTies UF values the study abroad experience as an enriching component of the college career and offers a wide range of opportunities from which to choose. The SA+AH encour-ages students to experience other cultures and earn credit toward their degrees. Students in approved college programs can receive financial aid and can utilize courses taken abroad toward their required summer study. Study abroad programs have included such offerings as: Installation Art in Ireland and Scotland; Art History, Painting, Drawing, Photography and Digital Media in France; Graphic Design in Japan; Art History and Photography in Italy; Printmaking in Greece; and Woodcarving with an eco-logical perspective on Andros Island in the Bahamas.
underGrAduATe AdvisinG oFFice The University of Florida’s School of Art + Art History is committed to quality academic advising for all SA+AH students. SA+AH provides specialized advising for the school’s eleven majors. Our full-time advisor, Dana Myers, and her staff are dedicated to serving the unique needs of our undergraduate majors. Myers ensures our students understand the complexities and special requirements of their degree plans, while also serving as a primary support, enabling students to achieve their specialized educational goals.
universiT Y oF FloridA, ArT in sTATe buildinGs proGrAm, operated by the SA+AH’s University Galleries, consists of more than 150 artworks located at various UF facili-ties throughout the state. The majority of the pieces are site-specific artworks commissioned through a program mandating that up to 0.5% of the total construction costs for new state-funded buildings is to be used for the acquisition of artworks. Visit http://arts.ufl.edu/asb
The universiTY GAlleries The University Gallery is an integral part of the programs and curricula of the School of Art + Art History. High quality, thought-pro-voking exhibitions are presented every four to eight weeks that engage the university and wider community in stimulating dialogue facilitated by contemporary visual language and culture. Exhibitions feature inter-nationally recognized artists as well as the annual faculty exhibition, a juried student art show, and a series of MFA graduating thesis project exhibitions. The 3,000 square foot space is a lively, exciting ven-ue that is utilized for many events throughout the academic year.
Focus Gallery is an 850 square foot space that presents monthly exhibitions of student-curated exhibitions featuring student-created artworks. Focus Gallery is located adjacent to the lobby of the School of Art + Art History’s Fine Arts Building “C”.
Grinter Gallery is located in the lobby area of Grinter Hall. Its mission is to present international and multicultural art-work. Input from many campus organizations is included in planning the Grinter Gallery exhibition schedule.
The visuAl resources cenTer provides access to the ARTstor Digital Library, which promotes and shares collections from hundreds of museums, artists, artists’ estates, photographers, scholars, special collections, and photo archives with access to over one million digital images. In addition, the VRC main-tains a comprehensive collection of over 325,000 fine art and architecture slides and reproductions. It also houses computer
workstations, flatbed scanners, image editing software, and a copy-based lighting and digital photography station.
The sAmuel p. hArn museum oF ArT
The Harn promotes the power of the arts to inspire and educate people and enrich their lives. Founded in 1990, the museum is an integral part of the University of Florida. Its holdings include more than 8,000 works in five main collecting areas: Asian art, African art, photography, modern art of the Americas
and Europe, and international contemporary art. In addition to rotating installations drawn from its permanent collection, the Harn organizes traveling exhibitions, public lectures, panel discussions, academic sym-posia, and educational programs for adults, students and children. The museum includes
the Cofrin Pavilion, a 6,500 square foot exhibition space that features exhibitions of international contemporary art. In 2012, the Harn will open the 26,000-square-foot David A. Cofrin Asian Art Wing, which will feature three levels, including new galleries, storage and conservation spaces, as well as outdoor gardens.
12
SC
HO
OL
OF
AR
T +
AR
T H
IST
OR
Y
creATive phoToGrAphY (bfA, MfA) The Creative Photography program offers an innovative blend of provocative and experimental approaches. As one of the most established programs of graduate and undergraduate study in photography in the United States, it draws on substantial faculty strengths in photography, as well as expertise in the broad field of contemporary visual inquiry. Students are encouraged to develop their personal artwork through a constructive dialogue that builds on a student’s individual strengths. Work that engages the future trajectories of photogra-phy and related practices (such as electronic media, installation, and performance) and evolves from an informed inquiry into the histories, theories, and prac-tices of photography and culture is encouraged.
ArT + TechnoloGY (bfA, MfA) Technology and mediated in-formation are transforming the world, resulting in shifts in social interaction and the way we perceive ourselves and our environment. As a culture we need artists to interpret and address these developments. The Art + Technology program approaches forms or technologies located at the cutting edge
of science or commerce as sites of potential creative discourse simultaneously realizing alternative possibilities and connections with traditional media. Learning is viewed as a participatory experience whereby students learn aesthetic, technical and pro-duction skills in a hands-on environment. Students are encouraged to approach ideas, materials, and experiences from a multidis-ciplinary perspective, using technology to critically explore and understand the world as well as technology itself.
drAwinG And pAinTinG (bfA, MfA) Students in the Drawing and Painting programs work from a considerable variety of perceptual, conceptual, procedural, imaginary, and theoretical models. Through practice and the development of research and studio skills, students are en-couraged to work to create an environment where the making of drawings and paintings and the ideas behind them are simultaneous
and engaging. Emphasis is on the development of the concepts and skills related to art-making and the development of a personal artistic idiom. Students learn to effectively use in-depth research practices, technical investigation, and experimentation to develop a coherent discourse surrounding their work and ideation.
ArT educATion (bA, MA) The mission of the Art Education program is to provide students with a thorough understanding of the ways in which art education evolves in response to changing cultural, economic, political, and technological conditions. While our un-dergraduate program is intended to prepare future art teachers for positions in Florida’s public schools (preK-12), our graduate program aims to develop leaders within the field who demon-strate reflective, critical thought and scholarship, as well as a commitment to ongoing professional development. Graduate students in the Art Education program can complete either the campus-based or online Master of Arts in Art Education. In both graduate tracks, students have the option to complete the Educator Preparation Institute that allows students to earn a Master’s degree and K-12 Florida Art Teacher Certification.
ArT hisTorY (bA, MA, PhD) The Art History program introduces students to the wide range of artistic styles and periods in Western and non-Western cultures, art historical theory and criticism, and research methodology. Five general areas of art history are offered: Ancient, Medieval, Renaissance/Baroque, Modern, and Non-Western. The student is exposed to research of increasing depth through the material presented, as well as through course assignments, projects, and special programming such as visiting lecturers. Critical thinking skills are encouraged and cultivated in this program, which emphasizes visual identification, knowledge of history and the social forces and ideologies that contribute to different periods and styles, and sound research practices.
cerAmics (bfA, MfA) Ranked by US News and World Reports as one of the top 15 programs in the country, UF Ceramics is designed to promote growth in aesthetics, technical knowledge, theory, criticism, and conceptual approaches. The strength of the program resides in its diversity; no one style, aesthetic, or technical focus is stressed over others, and experimentation is encouraged. The curricu-lum addresses the broad range of perspectives found in contemporary ceramic art, from sculpture to vessel-reference works to pottery, and includes historical and contemporary references. Professional practices information helps undergraduate and graduate students make the transition from school into the professional arena. Ceramics also offers a highly selective, full year, Post-Baccalaureate experience, as well a Certificate in Studio Art with a specialization in Ceramics.
ArEAS oF STUDY
13
SC
HO
OL
OF
AR
T +
AR
T H
IST
OR
Y
GrAphic desiGn (bfA, MfA) The Graphic Design program prepares students for professional work in this dynamic and changing field. The curriculum emphasizes research, concept development and application, work with clients and users, and professional development, including the establishment of a working portfolio. Students work together in a studio environment that builds a vibrant community of learners and fosters exceptional cre-ativity and innovation. Each spring the student organization voxGraphis, produces Ligature, a weekend-long celebration of graphic design featuring internationally renowned speak-ers and a juried student design exhibition. UF graphic design graduates are extremely competitive in the job market and find work in a number of design-related fields. Some students choose to earn a master’s degree in the field or pursue other professional degrees.
museum sTudies (MA) The Museum Studies program was established in 1999. This two and one-half year graduate degree program offers sound academic grounding, museum theory, and practical experience. Students select and pur-sue a disciplinary emphasis of their choice (for example Anthropology, Art Education, Art History, Education, English, History, Historic Preservation, Tourism, Recreation, and Sports Management) while participating in comprehen-sive museum studies seminars, practicum, and internships. Upon completion of the program, graduates will have attained the skills and knowledge necessary to pursue careers in a variety of institutions, including art museums, natural history museums, history museums, anthropology museums, children’s museums, historic sites, and various other interpretive sites and institutions.
prinTmAkinG (bfA, MfA) The goals of the Printmaking program are to introduce students to the expressive nature of printmaking, both historically and conceptu-ally, and to examine the purpose, function and aesthetics of this art form within the larger context of the contemporary art world. Students from other areas of art will discover ways to incorporate and extend their interests to further develop aesthetic think-ing, skills, and career goals. Instruction embraces
technique, conceptualization, experimentation, and encourages collaboration. Students may pursue work in lithography, intaglio, relief printing, screen printing, photo-based processes, letterpress, book arts, mixed media, installations, and other experimental
processes. No style or aesthetic approach is stressed over another.
sculpTure (bfA, MfA) The goals of the Sculpture program are to encourage and guide the development of each student through a process of creative inquiry in the belief that learning is deepened through the cycle of conceptualization, realization, and critique. Students are provided instruction in a wide array of technical
skills and conceptual approaches that are transferable to many other fields and disciplines. Promoting serious investigation of all facets of contemporary sculpture, including history, theory, technical processes, conceptual strategies, and formal issues specific to the study of sculpture, the program encompasses a wide range of media and methods ranging from the traditional to the highly experimental.
visuAl ArT sTudies (bA) The Bachelor of Arts in Visual Art Studies (VAS) enables students to achieve proficiency in general art, including concept development, experimental approaches, technique, and formal composition. Through the study of art theory, art history, and con-temporary art, students gain knowledge of art genres and systems of thought. Emphasis is on the development of new approaches to art-mak-ing. Students learn to effectively use sound research practices, to discuss
the development of their work both in speech, in writing, and, to begin to develop a portfolio and résumé.
The workshop For ArT reseArch And prAcTice (wArp)
WARP is housed in a dedicated facility known as WARPhaus. It is the cornerstone of the SA+AH Foundations program. This innovative program provides students with lifetime tools for interpreting, understanding, and creating art in the ever-changing fields of art and design. Upon completion of this semester-long course, students have an accurate sense of their own potential, a notion of the possible career paths available in the arts, and an understanding of the skills and level of commitment required for success.
This unique team-taught course was conceived and developed by visionary faculty members in 1993 to build a strong concep-tual foundation and to prepare students for the rigorous expectations in subsequent SA+AH coursework. WARP pairs a 3 credit hour lecture with a 6 credit hour studio course providing students with a comprehensive introduction to the study and practice of art in the twenty-first century. Immersed in a broad range of creative activities and media, WARP students concurrently debate diverse theories related to design, popular culture, art history and contemporary art practice.
WARPhaus is a completely renovated 7,000 square foot, off-campus facility that provides a progressive studio/classroom environment which includes two student/artist run galleries: the WAPRhaus Gallery, and the “4-Most Gallery,” a SA+AH student, retail gallery. It also houses the “4-Most Post-Graduate Residency Studio”.
This unique learning environment provides SA+AH students a valuable opportunity to think broadly, deeply, creatively, and critically about art in a local and global context and encourages hands-on participation with art and culture.
14
ST
UD
IO A
RT
15
ST
UD
IO A
RT
16
AR
T E
DU
CA
TIO
N,
AR
T H
IST
OR
Y,
MU
SE
UM
ST
UD
IES
Ionic Capital from Eretria.
Dr. Barletta’s research has focused on the
interaction of the ancient Greeks in various
parts of their world, ranging from Southern
Italy and Sicily, to Mainland Greece and the
Aegean Islands, to Asia Minor. She has traced
this interaction particularly in sculpture and
architecture. Most recently, she is studying
the Temple of Athena at Sounion (near Athens),
which is an early example of the adoption of
Ionic architecture (developed in the Aegean
Islands and Asia Minor) in Mainland Greece.
Ionic influences reach their most famous
expression later on the Athenian Acropolis.
BARBAR A A . BARlET TAProfessorcl A S Sic A l A r t & A rcH A Eol o G y
17
AR
T E
DU
CA
TIO
N,
AR
T H
IST
OR
Y,
MU
SE
UM
ST
UD
IES
Cover of Melissa Hyde’s book published by the Getty Research Institute, 2006.
Texts & DocumentsISBN 0-89236-743-1
Makin
g Up th
e Rococo
me
lissa
hy
de
To admire the seductively brilliant works of FrançoisBoucher (1703–70), Denis
Diderot decreed, was to be astranger “to the truth, to just
ideas, and to the serious-ness of art.” Making Up the Rococo challenges the long-
standing critical disregard forBoucher’s oeuvre and for
rococo aesthetics in general,offering an engaging analysis
of the cultural and artisticimplications of makeup andof making up social, gender,
and painterly identities.m e l i s s a h y d e
Making Up the Rococo
François Boucher and His Critics
prin
ted
in c
anad
a
Dr. Hyde has made a career out of
understanding the gendering of aesthetic
culture in the eighteenth century. Her book,
Making up the Rococo: Francois Boucher and
his Critics, traces the links between the
identification of Rococo painting with women
and femininity in eighteenth-century French
art criticism and the “feminization” of elite
culture in social and philosophical discourses
of the Enlightenment. Hyde has also published
numerous articles on women as artists and
patrons in the eighteenth century. Her research
has been funded by fellowships from the
Getty Research Institute, the Association of
American University Women, National
Museum of Women in the Arts, the Clark
Institute, and INHA (National Institute
of Art History, Paris).
Associate Professor E A rly MoDErN E uroPE A N A r t
MELISSA LEE HYDE
18
AR
T E
DU
CA
TIO
N,
AR
T H
IST
OR
Y,
MU
SE
UM
ST
UD
IES
Warring States bamboo manuscript.
Assistant Professor cHiNESE Art & ArcHAEoloGy
Dr. Lai’s research interests include all
aspects of the visual, verbal, and material
cultures in early China, and he has
conducted research and published on early
Chinese mortuary arts, manuscript culture,
and architectural and heritage conservation
in China. In 2008 he received the Jack Wessel
Excellence Award for Assistant Professors and
was named the UF International Educator
of the Year (junior faculty category) in 2009.
His next research project entitled Manuscript
Culture in Western Han Local Courts: An
Archaeological Study is supported by the
Henry Luce Foundation/American Council
of Learned Societies Grant (2010–2011).
GuOLONG l Ai
19
AR
T E
DU
CA
TIO
N,
AR
T H
IST
OR
Y,
MU
SE
UM
ST
UD
IES
The 2008 edition of A History of Art in Africa, considered to be the primary text for the discipline, is among the publications Robin Poynor
has written on the arts of Africa and the African diaspora.
Professor A fric A N A r t
Dr. Poynor’s past research has addressed
art in the context of Yoruba culture in
Nigeria, exploring topics such as Edo
influence on the arts of Owo, the social
significance of Owo textile arts, masquerades
of the Owo Yoruba, naturalism and stylization
in Owo art, the ritual costumes of Owo kings
and chiefs, and representations of the deceased
in burial ritual. Recent work addresses
relationships between the Yoruba of Nigeria
and Yoruba Americans who have adopted
aspects of Yoruba religion and attempt to
live a Yoruba lifestyle in the United States,
specifically those in Florida.
ROBIN pOYnOR
20
AR
T E
DU
CA
TIO
N,
AR
T H
IST
OR
Y,
MU
SE
UM
ST
UD
IES
Article heading in January 2010 issue of Art Education journal. National Art Education Association. © 2010. Used with permission.
Dr. Roland has been exploring ways of using
technology to enhance and transform teaching
and learning in the art classroom for over
two decades. His current research revolves
around the use of a social network called Art
Education 2.0 that he started to connect art
classrooms around the world and provide
ways for art teachers and students in
different geographical locations to work
together on shared artistic and educational
goals. A recent outcome of this research is an
article he wrote titled “Preparing Art Teachers
to Teach in a New Digital Landscape,” which
was published in the January 2010 issue
of Art Education journal.
Associate ProfessorA r t EDu c At ioN
CRAIG ROlAnD
21
AR
T E
DU
CA
TIO
N,
AR
T H
IST
OR
Y,
MU
SE
UM
ST
UD
IES
Three Religions in Jerusalem: Domes of the Church of the Holy Sepulcher between the Minarets of the Mosque of Umar ben al-Khattab and Salahiyya
Khanqah, as seen from the Jerusalem city walls. © Elizabeth Ross.
Dr. Ross’s forthcoming monograph
examines a landmark work published in
1486, the Peregrinatio in terram sanctam
(Journey to the Holy Land), which set out to
use the new medium of its day—print—to
reconceptualize the form and making of a
book. Innovation with print opened an era
when the nature of a work of art, a book,
an artist, and an author stood in flux.
The Peregrinatio prominently features its
creators’ experiences of Venice and the
Levant, so Dr. Ross’s research also engages
the cross-cultural exchange between Europe
and Islam and artistic interaction between
Renaissance Venice and Northern Europe.
Assistant Professor rEN A iS S A NcE / E A rly MoDErN E uroPE A N A r t HiS t ory
ELIzABETh ROSS
22
AR
T E
DU
CA
TIO
N,
AR
T H
IST
OR
Y,
MU
SE
UM
ST
UD
IES
Designs by Maimouna Diallo (Mali), fashion show in Niamey, Niger, 2009.
Dr. Rovine is fascinated by the roles of
authenticity and tradition in art markets,
and in the discourses about cultural identity
that are closely linked to those markets.
Perceptions of authenticity and tradition are
particularly complex in trans-cultural
contexts, and perhaps nowhere more complex
than at the intersection of African and
Western cultures. An object’s status as
“authentic” or “traditional” can have critical
implications for the artist who created the
object and for the culture out of which it
emerges. To explore these issues, she has
focused her research on the movements of
objects, styles, and identities as they cross
cultural boundaries, often transformed in
style or in meaning as artists and consumers
adapt them to new contexts.
Associate Professor A fric A N A r t HiS t ory Joint Appointment cENtEr for AfricAN StuDiES
VICTORIA L. ROvinE
23
AR
T E
DU
CA
TIO
N,
AR
T H
IST
OR
Y,
MU
SE
UM
ST
UD
IES
Christ of the Earthquakes Emerges from the Cathedral of Cusco on
Holy Monday, 2003. Sculpture ca. 1570, Cathedral façade
completed in 1658.
Dr. Stanfield-Mazzi specializes in art of the
Pre-Columbian and Spanish colonial Andes.
Much of her work deals with painting and
sculpture from colonial Cusco, Peru. She is
currently finishing a book entitled Object and
Apparition: Envisioning the Christian Divine
in the Colonial Andes, and is conducting
research on tapestry textiles from sixteenth-
century Peru. She is also planning an
exhibition of Pre-Columbian art at the Harn
Museum of Art. Her scholarly interests
include the role of art in spiritual conversion
and the ways in which artistic traditions
are transmitted and preserved.
Assistant Professor PrE- c ol uMbi A N / l At iN A MEric A N A r t
MAyA STAnFiElD-MAZZi
24
AR
T E
DU
CA
TIO
N,
AR
T H
IST
OR
Y,
MU
SE
UM
ST
UD
IES
“Digital Visual Culture: The Paradox of the [In]visible” INTER/ACTIONS/INTER/SECTIONS: Art Education in a Digital Visual Culture, 2011.
Dr. Tillander’s research engages education,
technology, and culture as integrated
processes to rethink art educational
practice. Learning and teaching are
interactions mediated by tools in the
culture. By looking at the digital interface,
she examines the cultural aspect of education
and instructional practice and the social and
visual expressions of digital visual culture
that impact teaching and learning. One
research trajectory focuses on selected
digital artists and educational practitioners
by examining digital media artworks (art/
technology), culture (values, beliefs, and
assumptions), and everyday technology
experiences (students/teachers).
Assistant Professor A r t EDu c At ioN
MIChELLE TillAnDER
25
AR
T E
DU
CA
TIO
N,
AR
T H
IST
OR
Y,
MU
SE
UM
ST
UD
IES
“Excavating Surface: On the Repair and Revision of László
Moholy-Nagy’s Z VII (1926).” Bauhaus Palimpsest Bauhaus Construct: Fashioning Identity,
Discourse, and Modernism. edited by Robin Schuldenfrei
and Jeffrey Saletnik. London: Routledge, 2009.
Dr. Tsai’s research and teaching address
theories and histories of media and technology,
history of photography, aesthetic philosophy,
and modernist art. Mobilizing close visual
analysis, conservation science, and intellectual
history, her current book project, Painting after
Photography, focuses on the work of László
Moholy-Nagy and his reconceptualization
of painting. In addition to her articles on
Moholy, she has also published essays on
photography, film, and contemporary art.
Her next project explores how abstraction
emerged as a powerful strategy for fulfilling
various self-described realist imperatives
since the mid-nineteenth century.
Assistant Professor MoDErN c oN t EMP or A ry E uroPE A N A r t HiS t ory
JOyCE ChIA ChI TSAi
26
AR
T E
DU
CA
TIO
N,
AR
T H
IST
OR
Y,
MU
SE
UM
ST
UD
IES
Dr. Westin has worked on Italian Baroque
sculpture with a focus on the School of
Bernini. He was co-author of Carlo Maratti
and His Contemporaries: Figurative Drawings
from the Roman Baroque University Park:
Museum of Art, Pennsylvania State University
and Transformations of the Roman Baroque,
University of Florida Press. He has worked
on the theme of death: Ars Moriendi
Tradition and the Visualization of Death in
Roman Baroque Sculpture published in the
International Journal of Death Education.
He has also researched Art Restoration
techniques and processes.
1972 Restoration of Michelangelo Pieta simulation.
Professor rENN A iS S A NcE / b A ro QuE E uroPE A N A r t HiS t ory
ROBERT h. WESTin
27
AR
T E
DU
CA
TIO
N,
AR
T H
IST
OR
Y,
MU
SE
UM
ST
UD
IES
Dr. Willumson’s research is bifurcated
by his duties as the director of a graduate
program in Museum Studies and his
training as a historian of American visual
culture. As a teacher of museum studies
and museology, he is engaged in the current
debates about the social role of museums
in American society and culture. As a
historian of American visual culture, his
research examines photography in an effort
to tease out the institutional structures that
convey meaning to photographic production.
In brief, he looks outside the museum walls
and to the ways in which photography
enters everyday life.
W. Eugene Smith and the Photographic Essay
Cambridge University Press,1992.
Professor A r t HiS t ory an d Mu SEuM S t uDiE S
GLENN WillUMSOn
28
ST
UD
IO A
RT
29
ST
UD
IO A
RT
30
ST
UD
IO A
RT RED WiTH WinTER lEAvES
Majolica glaze and decoration on terracotta10.75" × 5" × 2.5" 2011collection of Emily Galusha, Director, Northern clay center, Minneapolis, MN
LINdA ARBUCklEProfessor c Er A Mi c S
Professor Arbuckle’s pottery embraces indulgence in color and surface on functional forms. This is a reminder to bring richness and satisfactions as seen in nature into life on a daily basis. The plants and seasons are glorious, but ephemeral.
31
ST
UD
IO A
RT
nATURA nEl SCATOlA iiiHerend porcelain, slip cast from 3D rapid prototype model, fired to cone 11, gold luster, museum board, paper, glue, metal grommet 23" × 17" × 3"2011
ANNA CAllUORi-HOlCOMBEProfessor c Er A Mi c S
In this new series, Professor Calluori-Holcombe uses the box to hold something precious while also serving as a frame. She is particularly interested in the juxtapositions she can create that include the permanence of clay versus the ephemera of paper, the 2D collage versus the 3D clay object, and nature versus the current technologies she is using to create the clay work.
32
ST
UD
IO A
RT
TEnSiOnOil on panel 48" × 48"2009
AMy FREEMAnVisiting Assistant Professor PA iN t iN G
Professor Freeman’s work explores concepts of domesticity and grandeur. Utilizing visual metaphors both cliché and obscure, she combines a sense of social expectation with desire and absurdity. Working and overworking the image, she exposes a narrative that originates as common but evolves to something more remarkable and intimately immense.
33
ST
UD
IO A
RT
THY nEiGHBOR’S FRUiT Neighbor’s fruit preserved as jam and marmalade, wooden shelves, video16' × 12', dimension variable Installation room approximately 20' × 20'2010
KATERIE GlADDYSAssistant Professor A r t + t Ec HN o l o G y
For Professor Gladdys, exploration informs her art practice. Her work maps landscapes and familiar interactions into alternative geographies that transform how we experience a known place, space, and dynamic. As she transmits her own sense of wonder in the familiar, she seeks to encourage others to examine what constitutes their everyday existence.
34
ST
UD
IO A
RT
STill liFE: viSiBlE AnATOMY SERiES - plASTiC MEDiA Acrylic paint on PVC, Enamel paint on Plexiglas framed61" × 99" × 3" 2011
RIChARd HEippDirector Professor PA iN t iN G
Professor Heipp is interested in the way in which contemporary culture and media voraciously consume the plethora of images we are confronted with on a daily basis. He believes the twenty-first century has brought about an important difference between looking (the superficial way we digest most images) and seeing (a profound looking which includes an aspect of ocular, lens-based and digital contextualization and understanding).
35
ST
UD
IO A
RT
UnTiTlED pAinTinGOil on Linen20" × 10"2010
RONJAnOWiCHAssociate Professor PA iN t iN G
From the beginning of his art practice, Professor Janowich has searched for a way to reflect his inner reality through the language of abstraction. He strives to create a perceptual field that is complex, nuanced, and utterly sensitive to the emotional and spiritual makeup of the artist regardless of medium.
36
ST
UD
IO A
RT
UnTiTlED (CEnTRE lE CORBUSiER) FROM WE BEGin WHERE OUR EYE BEGinSDigital Chromogenic Print40" × 50"2011
WES klinE Assistant Professor c r E At i v E PH o t o Gr A PH y
Professor Kline’s photo and video work addresses philosophical problems related to affective ideals of modernism, marginal ecologies, and the aesthetics of ethics. Or, failing that, it acts as spiritual illustration.
37
ST
UD
IO A
RTWilD GiRlS REDUx: An OpERATOR’S MAnUAl
Letterpress printed handmade book. Text adapted from the Missouri Department of Revenue Motorcycle Operator Manual. 9" × 5" × 1" (closed size of one book)2009. Edition of 100 books.
ELLEN knUDSOnAssociate In b o o k A r t S
The aim of Professor Knudson’s imprint, Crooked Letter Press, is the synthesis of words and images in the form of letterpress- printed handmade books and ephemera. Through the physical craft of making books by hand, issues of visual design and structure are addressed in the effort to evoke the genuine content of each book produced by the press.
38
ST
UD
IO A
RT
COvERGraphite on magazine page2009
LAuRENGARBER lAkE Assistant Director Graduate Coordinator Associate Professor Dr Aw iN G
Professor Lake’s artwork explores both the celebratory and mournful nature of domestic events. These works create artifacts that provide order and memorialize domestic life while serving as a focus for the contemplation of the universal issues of the human condition.
39
ST
UD
IO A
RT
liGHT SOURCEAcrylic on canvas80" × 54"2009
ARNOLd MESCHES2009 UF Honorary Doctorate DegreeAdjunct Professor Gr A D u At E Dr Aw iN G an d PA iN t iN G
Professor Mesches’s latest series PAINT pays homage to the importance of art and art making in bringing levity, beauty, and expression to our lives. Robert Storr, Dean of the Yale School of Art, and curator says of his work: “Mesches speaks in the visual equivalent of an oratorical voice—boldness and fervency are hallmarks of his imagery…”
40
ST
UD
IO A
RT JOHn ERiCkSOn MUSEUM OF ART: GAllERY FOR ART MUSEUM DUST
Wood, paper, and dust balls composed of dust from over 60 art museums.4"×12"×14"2010
SEANMillER Assistant Professor S c ul P t ur E an d wA r P
Professor Miller’s work explores situations, practices, and information that sustain and define existing power structures in contemporary art and politics. Miller employs obsessive activities, absurd scenarios, humor, and extreme aesthetics to question and destabilize existing categorical and organizational methods within these hierarchal structures. Miller’s processes utilize collaboration, collective action, multi-media art, relational aesthetics, and alternative art venues.
41
ST
UD
IO A
RT
pOllY EYES: SURvEillAnCE AnD All THAT DETAilED, HElpFUl, inFORMATiOnGypsum board, acrylic, drywall patch10' × 10' × 5/8"2009
JuLIAMORRiSROEAssociate Professor Dr Aw iN G an d PA iN t iN G
Professor Morrisroe’s research is based in the tradition of painting and drawing and engages with the essence of their definition—the relationship of substance and support. Her work is a focused examination of the environment around her. She looks critically at the “stuff” that fills our space, that is marketed to us every moment of every day and imagines the metaphysical impact of this on our society.
42
ST
UD
IO A
RT
ExCERpTS FROM “8 WinDS”Limited Edition Artist Book Pigment, coffee, lithography, silkscreen22.75" × 30" × .5" 2008Published by the robert Blackburn Printmaking Workshop.
Master Printer and Director: Phillip Sanders.
ROBERT MUEllERAssociate Professor Pr iN t M A k iN G
Professor Mueller’s images describe the poetry, history, mythology and natural qualities of the eight winds. It was in his solo wilderness experiences in Iceland, that he first took note of the effect of wind on his well-being. These male and female emblematic images describe his respect for their awful powers.
43
ST
UD
IO A
RTCHAiRS FOR MininG
Waterjet-cut copper plate, stainless steel plate, laser-cut carbon steel plate, welded and fabricatedEach 42" × 17.5" × 21.5"2009
CELESTEROBERGEProfessor S c ul P t ur E
Proessor Roberge focuses her research on materiality and sculptural concepts related to the intersection of geological time and human time. Concepts such as stratification, sedimentation, and fossilization relate to her stacks of antique furniture embedded in walls of stone. Algae are the current focus of sculptures and drawings relating to the ocean floor.
44
ST
UD
IO A
RT
DESiGn FOR DEvElOpMEnT: RESEARCH On TOURiSMInkjet on paper8.25" × 6" × .25" (12" × 8.25" flat)2011
MARIAROGAlAssociate Professor Gr A PHi c DE Si GN
Professor Rogal’s work explores the potential of design andvisual communication to positively shape the human experience. Through Design for Development she collaborates with her students and partners in rural communities to develop prod-ucts and business strategies relevant to constituents and the context. Through shared interactions, design thinking and processes with partners informs her work by learning in context.
45
ST
UD
IO A
RT
CHEROkEE pHOEnix nEWSpApER (Detail) 1828courtesy united States library of congress, lc-uSZ62-115660.
BRIANSlAWSOnAssociate Professor Gr A PHi c DE Si GN
Professor Slawson’s research interest combines the notions of typography, technology, and culture. These technologies can be digital or rooted in the mechanisms of the Industrial Revolution. For example, his recent research investigates the creative, technical, and social aspects of the printing by the Cherokee in the 1820’s.
46
ST
UD
IO A
RT
MOnSTERS OF nATURE AnD DESiGn iii (W/ COlin BEATTY)Mixed Media (Live Original Music, Naval Signaling Smoke, Cricket Jumper, Tyvek Coveralls, Hydraulic Lift, Golf Balls, White Chalk, Megaphone)Time 00:30:00, Space Variable2009
CRAIGSMiTHAssociate Professor c r E At i v E PH o t o Gr A PH y
Dr. Smith is engaged with multiple forms of lens-based media, performance art, and the space and time of interactive or
“relational” artworks. He considers the audience or “user” of an artwork as integral to the medium of the work itself. He celebrates collaboration with artists and non-art professionals such as athletes.
47
ST
UD
IO A
RTGARDEn
Glazed earthenware with china paint decals, steel, wood, and backlit photographs132" × 96" × 168"2010
NAN SMiTHProfessor c Er A Mi c S
Professor Smith uses beauty to create and sustain visual memory. Her installations combine sculpture, ceramics, and photography. Ceramic figures and still life elements placed in composed settings present social narratives. The work explores the relationship of environment and health, specifically impacts to the land and waterways that bio-magnify up the food chain.
48
ST
UD
IO A
RT
OpEn HOUSEConcept rendering of networked installation2010
JACK STEnnERAssistant Professor A r t + t Ec HN o l o G y
Dr. Stenner’s work addresses issues related to our socio-culturally constructed “reality.” He is interested in the forms and means with which ideology is embedded, particularly how meaning is manipulated and transcoded in “place.” To this end, his work explores the construction of a “hybrid subject”— a subject neither entirely human nor machinic.
49
ST
UD
IO A
RT21st CEnTURY AlBATROSS
Drawing installation; engraving on recycled plastic144" × 144" × 2" Installation variable in size2009
BEThANy TAYlORAssistant Professor Dr Aw iN G an d wA r P
Professor Taylor’s current work deals with psychological and socio-political relationships between the self and a culture in flux. She is interested in notions of “the uncanny” and in turning materials and objects against themselves to uncover, repressed social, environmental, and cultural conflicts.
50
ST
UD
IO A
RT
STill FROM pARADiSE REAl TiME (MAn Up, MAn DOWn)Inkjet print on paper6.1" × 10.8"2010
SERGIO vEGA Associate Professor c r E At i v E PH o t o Gr A PH y an d S c ul P t ur E
For the past fifteen years Professor Vega has developed a project titled El Paraíso en el Nuevo Mundo based on a book by Antonio de Leon Pinelo written in 1650. This multimedia project demonstrates how Edenic fantasies about the New World shaped South America’s identity throughout its history. Vega’s sensualist approach mischievously blends theory, empirical experiences, and an incisive critique of society in order to endlessly explore the idea of paradise in art.
51
ST
UD
IO A
RT
RUBYFabric, found objects, thread 84" × 59"2011
AMy viGilAnTEDirector uNi v ErSi t y G A l l Er iE Sf l o r iD A A r t iN S tAt E buil D iN G S Pro Gr A M
Dr. Vigilante’s research is guided by interdisciplinary collabora-tion and dedication to alternative educational methodologies. Experiencing art is a way to utilize differing modes of inquiry. Her gallery exhibition program strives to educate through visual aesthetic presentations that provide sources for fully integrated perceptual experiences as well as an arena for campus-wide cross-disciplinary dialogue.
52
ST
UD
IO A
RT
DECOnSTRUCTivE “D” (PoStEr SEriES)
Print 24" × 36"2009
MENGFu (MuRphy) ZHAnGVisiting Assistant Professor Gr A PHi c DE Si GN
Professor Zhang’s intention in her creative project —Design By Accident —is to create things that are beyond her control, to seek outcomes that are beyond her expectation, and which are also beyond who she is. She is interested in challenging linear and stereotypical approaches to solving problems. Considering accidents in a visual way, she creates a space to allow them to happen in a variety of ways. She employs accident in design as a method that creates unintentional results, and provides a way to encourage unpredictable elements to take center-stage in the creative process.
53
ST
UD
IO A
RT
TEAChING LAB SpECiAliSTS
ALISSON BiTTikER c r E At i v E PH o t o Gr A PH y, Dr Aw iN G an d PA iN t iN G
Alisson Bittiker received her BFA in Creative Photography from the University of Florida. She is currently the Managing Director of the Florida Experimental Film/Video Art Festival. In addition to festival duties, she assists in the yearlong program-ming of experimental film and video art events in Gainesville and around the world.
MIChAEL CHRiSTOpHER A r t + t Ec HN o l o G y, Gr A PHi c DE S i GN
Michael Christopher holds a BFA in Creative Photography from the University of Florida. Industry standard computer certifications include DCSE, ACSP, A+ Certification and Network + Certification. Previous work experience includes Photographer for Office of Instructional Resources at UF as well as a Field Technician for IBM.
RAyMONd W. GOnZAlEZ c Er A Mi c S
Raymond Gonzalez received his Bachelors of Arts degree from California State University, Northridge and Masters of Fine Arts Degree from New Mexico State University. Recent exhibitions include: You Know You Want To… at AIA Tampa Bay, Florida Souvenirs at Mindy Solomon Gallery, and Toys Art Us at the Wiregrass Museum of Art.
BRAdLEy REx SMiTH S c ul P t ur E
Bradley Smith’s sculptures have been exhibited throughout Florida and have been included in nationally-juried and invitational exhibitions. Recent commissions include Rejoined, a public sculpture commissioned by the City of Gainesville and the J. Crayton Pruitt Recognition Sculpture commissioned by the College of Engineering. Smith is the recipient of two University of Florida Superior Accomplishment Awards.
SlAM Earthenware, Glaze, Flocking, Rubber Grommets19" × 12" × 17"2011
EnERGY STUDYBronze, marble and steatite26" × 9" × 8"2007
54
ST
UD
IO A
RT
55
ST
UD
IO A
RT
56
SC
HO
OL
OF
AR
T +
AR
T H
IST
OR
Y
linDA ARBUCklElindaarbuckle.com
MFA, Rhode Island School of DesignBFA, Cleveland Institute of Art
Linda Arbuckle has recently received an Honors Award from the National Council on Education for the Ceramics Arts for service to the field, and NCECA has included a DVD on her art life in their Spirit of Ceramics series documenting significant artists in the field.
AnnA CAllUORi HOlCOMBEannaholcombe.blogspot.comannaholcombe.com
MFA, Louisiana State UniversityBA, Montclair State University
Anna Calluori-Holcombe is an elected member of the Inter-national Academy of Ceramics, 2002; Fellow of the National Council on Education in the Ceramic Arts, 1997; exhibits on a national and international level with work included in collections in Italy, France, Germany, Hungary, Switzerland, South Korea, China, and Australia.
BARBARA A. BARlETTAPhD, Bryn Mawr CollegeMA, Bryn Mawr CollegeBA, University of California, Santa Barbara
Barbara Barletta teaches ancient art, with an emphasis on Greek sculpture and architecture. She has published two books, most recently on the origins of the Doric and Ionic orders, and has contributed chapters and articles on various topics including the Parthenon. Her current work is funded by an NEH fellowship.
AMY FREEMAnamyfreemanart.com
MFA, University of Massachusetts DartmouthBA, University of Wyoming
Amy Freeman is a figurative painter, new to the Gainesville area. She has received a number of awards in national juried exhibitions, taught painting in Provence, and traveled extensively. Her artwork is in a number of collections around the world and has been exhibited in the United States and France.
kATERiE GlADDYSlayofthland.net
MFA, University of IllinoisBA, University of Chicago
Katerie Gladdys has shown in the United States, Canada, and Europe. Her artistic practice includes
video, installation, and interactive digital media. Recent achievements include participation in NEH Summer Institute in Mapping in the Art of the Americas, CFA Graduate Mentor Advisor of the Year 2010, and UF
Sustainability Fellow 2010.
RiCHARD HEipprichardheipp.com
MFA, University of WashingtonBFA, Cleveland Institute of Art
Richard Heipp has had more than 25 solo exhibitions and been in over 100 group shows. He is included in numer-ous public and private collections nationally, and has been
commissioned to complete twenty public art projects. Heipp has received four Florida Individual Artist Fellow-ships, an SAF NEA painting fellowship, the 2006 Southeast-ern CAA Outstanding Artistic Achievement Award, and the
2007/08 CFA Teacher of the Year award.
MEliSSA lEE HYDEPhD, UC BerkeleyMA, UC BerkeleyBA, Colorado College
Melissa Hyde’s field is eighteenth-century French art with an emphasis on cultural history, gender studies, feminist theory
and the history of art criticism. She teaches courses on European art of the eighteenth and nineteenth centuries; gender and the visual arts. She has been the recipient of teaching awards at UF and was recently a UF Research Foundation Professor.
ROn JAnOWiCHrjanowich.com
ronjanowich.com
MFA, Maryland Institute College of ArtBFA, Maryland Institute College of Art
Ron Janowich’s artwork is in the collection of the Metropolitan Museum of Art, New York, Tate Gallery, London and the Harn Museum, FL. His work is published in: The History of Modern Art by Arnason, The Aesthete in the City by David Carrier. His recent exhibition “Meditations” was at the Howard Scott Gallery, NYC .
ABout our FACUlTY
57
SC
HO
OL
OF
AR
T +
AR
T H
IST
OR
Y
WES klinEweskline.com
MFA, University of Illinois, ChicagoBFA, University of Maryland, Baltimore County
Wes Kline received his MFA from the University of Illinois, Chicago, and he has shown work at the Appleton Museum of Art, Harn Museum of Art, Heaven Gallery in Chicago, SPACE gallery in Pittsburgh, and Maryland Art Place and School 33 in Baltimore.
EllEn knUDSOncrookedletterpress.com
MFA, University of AlabamaBFA, North Carolina State University
Ellen Knudson produces letterpress printed artists’ books under the imprint Crooked Letter Press. Her work has been exhibited in over 35 national and international juried exhibitions. Her work is in the collections of San Francisco MOMA (CA), Yale University (CT), Duke University (NC), and many other col-lections. Her book Wild Girls Redux was the recipient of the 2009 Florida Artists’ Book Prize.
GUOlOnG lAiPhD, University of California, Los AngelesMA, Beijing UniversityBA, Jilin University
Guolong Lai is an assistant professor of Chinese Art and Archaeology at the University of Florida. Before coming to UF, he has worked at the National Museum of Chinese History and the Getty Conservation Institute, and received Pre- and Postdoctoral Fellowships from the Smithsonian Institution, Columbia University, and Stanford University.
lAUREn GARBER lAkElaurengarberlake.com
MFA, University of Wisconsin-MadisonBA, University of Florida
Lauren Garber Lake’s artwork has been exhibited throughout the United States and abroad. In 2007 she was the recipient of the Southeastern College Art Conference Excellence in Teaching Award. In 2008 she received the University of Florida College of Fine Arts Teacher of the Year Award and the College of Fine Arts International Educator of the Year Award.
ARnOlD MESCHESAttended the Art Center School, Los AngelesHonorary Doctorate of Fine Arts, University of Florida
Mesches has had over 130 solo exhibitions. His works can be seen in the permanent collections of such major museums as the Metropolitan, the Whitney,
the National, the Hirshhorn, the High, the Harn, the Albright-Knox, and the Weatherspoon Museums, to name but a few, as well as countless private collections throughout the U.S.
SEAn MillERjema.us
MFA, University of ColoradoBFA, Iowa State University
Sean Miller’s selected exhibitions include: ACC Galerie (Weimar, Germany), Deitch Projects Art Parade (New York), National Museum of Ireland (Dublin), Schalter Gal-lery (Berlin), Indianapolis Museum of Art, Contemporary Museum (Baltimore), Golden Thread Gallery (Belfast, N.
Ireland), Post Gallery (Los Angeles), Limerick City Gallery (Ireland), Museo Raccolte Frugone (Italy), UnimediaMod-ern Contemporary Art (Italy), and Villa Croce Museo d’Arte Contemporanea (Italy).
JUliA MORRiSROEjulia.morrisroe.com
MFA, University of WashingtonBFA, Northern Illinois University
Julia Morrisroe has had solo and group exhibitions at museums and galleries internationally. Her site-specific projects have been commissioned at Purdue University, Bakehouse Gallery, Carnegie Mellon University and SPACES. Morrisroe serves on
the Artist Services Committee of the College Art Association, writes exhibition reviews published by Sculpture Magazine and curates exhibitions. She has received grants from the State of Florida, Michigan, and City of Chicago and was commissioned to complete a
public art project for the Jacksonville Airport.
ROBERT MUEllERMFA, Arizona State UniversityBFA, University of Utah
Robert Mueller’s artwork has been exhibited nationally and inter-nationally and is included in many collections. Mueller was a Fulbright Scholar in Iceland in 1997 and returned there to continue his research in 1999 and in 2001.
58
SC
HO
OL
OF
AR
T +
AR
T H
IST
OR
Y
DAnA MYERSSA+AH Undergraduate Advisor
MEd, EdS, University of FloridaBA, University of Florida
Prior to becoming the SA+AH Undergraduate Advisor, Dana My-ers worked in the mental health field, specializing in crisis inter-vention, suicide prevention, and directing the training program for a crisis counseling agency working closely with UF student volunteers. As Undergraduate Advisor, Myers advises approxi-mately 400 art and art history majors and serves as the lead contact for admissions and recruitment. In addition, she is a faculty member of the University’s Student Conduct Com-mittee, and serves as an Emergency Dean with the Dean of Students’ Office.
ROBin pOYnORPhD, Indiana UniversityMA, Indiana UniversityBFA, San Francisco Art instituteBA, Southeastern Louisiana University
Robin Poynor has received College of Fine Arts Teacher of the Year and Florida Blue Key Distinguished Faculty Awards. Publications include A History of African Art, (with Monica Blackmun Visona and Herbert M. Cole). The 2000 Abrams edition was named to Library Jour-nal’s Best Books of 2000 List and received Honorable Mention in the Arnold Rubin Awards. A 2008 edition was published by Pearson Education. Poynor’s current project is an edited volume of 23 chapters covering 500 years of African Presence in Florida, to be published by University Press of Florida.
CElESTE ROBERGEcelesteroberge.com
MFA, Nova Scotia College of Art and Design BFA, Maine College of Art Skowhegan School of Painting and Sculpture Honorary Doctorate of Human Letters, University of Maine
Celeste Roberge has been awarded two Pollock-Krasner Foundation Grants, a MacDowell Colony
Fellowship, and Bunting Fellowship at the Radcliffe Institute in addition to receiving the William Ran-dolph Hearst Fellowship at the American Anti-quarian Society. Her sculptures are included in the
collections of the Nevada Museum of Art, Port-land Museum of Art, Farnsworth Art Museum, Harn Museum of Art, Crystal Bridges Museum of American
Art, Runnymede Sculpture Farm, Agnes Scott College, University of New England, and Emory University.
MARiA ROGAlmariarogal.com
MFA, Virginia Commonwealth UniversityBA, Villanova University
Maria Rogal is the founder of Design for Development (D4D), an initiative in which graphic design faculty and students work with indigenous artisans, farmers, and or-ganizers in rural Mexico. Since 2003, she and her students have collaborated with community partners to foster social, cultural, and economic development. She is the recipient of the inaugural AIGA Design Research Grant, three Fulbright grants, and the CFA Senior International Educator of the Year Award.
CRAiG ROlAnDartjunction.org/blog
arted20.ning.com
EdD, Illinois State UniversityMA, Miami UniversityBS, Northern Michigan University
Craig Roland is an Associate Professor of Art Education and director of the online MA program in art education at the University of
Florida. He is author of The Art Teacher’s Guide to the Internet (2005) and writes a companion blog under the same title. Roland re-ceived the 2007 Scholarship of Engagement Award from the UF
College of Education, the 2004 UF College of Fine Arts Teacher of the Year Award, and a Distinguished Service Award in 1997 from the Florida Art Education Association.
EliZABETH ROSSPhD, Harvard UniversityMA Fine Arts, Harvard UniversityDAAD Annual Grant to Ludwig-Maximilians
University MunichBA, Yale University
59
SC
HO
OL
OF
AR
T +
AR
T H
IST
OR
Y
Elizabeth Ross has been awarded a Deutscher Academischer Austaus-chdienst (DAAD) fellowship and has also held fellowships from the Mel-lon Foundation and Harvard University. She has taught courses at the Rhode Island School of Design as well as the Cooper-Hewitt, National Design Museum. Her research focuses on 15th and 16th-century art in Europe, including the art of prints and history of the book.
viCTORiA l. ROvinE PhD, Indiana University MA, Indiana University BA, Grinnell College
Victoria Rovine studies African textiles, clothing, and contem-porary arts. Her book Bogolan: Shaping Culture through Cloth in Contemporary Mali (2001) was republished by Indiana University Press in 2008. Her current research focuses on African fashion designers and Africa’s influence on Western fashion design. She has conducted fieldwork in Mali, South Africa, Senegal, Ghana, Niger, and France and has published numerous articles and chapters on African fashion.
BRiAn SlAWSOnbrianslawson.com
MFA, University of MichiganBFA, University of Michigan
Brian Slawson has taught upper-division courses in graphic design as well as graduate-level seminars at the UF School of Art + Art History since 1990. Originally from Michigan, he studied graphic design at the University of Michigan and worked at the studio, Lettering Inc.
CRAiG SMiTHfatalfieldgoal.blogspot.com
PhD, Goldsmiths College, University of LondonFellow, Whitney Independent Study ProgramMFA, State University of New York at BuffaloFellow, American Photography Institute National Graduate SeminarBFA, University of Oklahoma
Craig Smith has exhibited, lectured, and performed internationally including projects for galleries, mu-seums, and related cultural institutions in New York City, Hong Kong, Berlin, Sydney, Bangalore, London, Dublin, Belfast, Los Angeles, and others. Smith’s exhibitions and publications have been supported through grants, commissions, and research awards.
nAn SMiTHnansmith.com
MFA, The Ohio State UniversityBFA, Tyler School of Art /Temple University
Nan Smith’s figure sculptures and installations are recog-nized internationally. They are the subject of book chap-ters in “The Figure in Clay” and “World Famous
Ceramic Artists Studios” and the focus of numerous fea-ture articles in Ceramics journals. Her work is in collections of the American Express Corporation, plus The World Ceramics
Exposition Korea International Collection.
MAYA STAnFiElD-MAZZiPhD, University of California, Los AngelesMA, University of California, Los AngelesBA, Smith College
Maya Stanfield-Mazzi taught as a visiting professor at Tulane University before coming to the University of Florida. Her fel-lowships include a National Resource Fellowship to study Quechua and a Fulbright-Hays Dissertation Research Abroad Fellowship for study in Peru. She has published articles in the journals Current
Anthropology, Hispanic Research Journal, and Colonial Latin American Review.
JACk STEnnERjackstenner.com
PhD, Texas A&M UniversityMS, Texas A&M University
BED, Texas A&M University
Jack Stenner is an artist and teacher with degrees in computer vi-sualization and architecture. He founded and ran an alternative art space in Houston, Texas for almost 10 years. He has exhibited inter-nationally at venues including Siggraph, ACM Multimedia, ISEA, Ze-
roOne Biennial, Alternative Museum, Museum of Modern Art, Toluca, Mexico, and others.
60
SC
HO
OL
OF
AR
T +
AR
T H
IST
OR
Y
BETHAnY TAYlORMFA, University of Colorado, BoulderBFA, University of Southern California
Bethany Taylor’s work has been exhibited at venues including Post, Los Angeles, Seattle Arts Commission Gallery, Seattle, Museum for Arts and Sciences, Macon, Georgia, the Los Angeles Center for Digital Art, Los Angeles, California, the Musei di Genova Raccolte Frugone, Genova Nervi, Italy, and the Limerick City Gallery, Limerick, Ireland.
MiCHEllE TillAnDERnewmediapedagogy.org
PhD, The Pennsylvania State University, University ParkMFA, Old Dominion University/ Norfolk State UniversityBA, Moravian College
Michelle Tillander is assistant professor and director of gradu-ate study for art education. She presents her research at national in international conferences and recently her chapter entitled
“Digital Visual Culture: The Paradox of the [In]visible” was published in Intersection/Interaction: Digital Visual Culture (NAEA). She is currently co-developing an online MA in Art Education for the University of Florida.
JOYCE CHiA CHi TSAiPhD, Johns Hopkins UniversityMA, Johns Hopkins UniversityMA, Johns Hopkins UniversityAB, Princeton University
Joyce Chia Chi Tsai specializes in inter-war European and post-war American art. Her research has been supported by the Fulbright-Hayes program; Center for Advanced Study in the Visual Arts at the National Gallery of Art, Washing-ton, D.C.; and the Dedalus Foundation, among others.
SERGiO vEGA MFA, Yale UniversityWhitney Museum Independent Study Program
Sergio Vega was born in Buenos Aires in 1959 and lived in New York for fifteen years before moving to Florida in 1999. Vega’s recent solo exhibitions include: Ikon Gallery, Birmingham, UK, The Art Museum of the Americas, Washington DC, Karsten Greve galerie, Paris, the Landesmuseum in Mün-ster, Germany, the Institute of Contemporary Art, Boston, and Palais de Tokyo in Paris.
AMY viGilAnTEPhD, Florida State UniversityEdS, Florida State UniversityMFA, Florida State University
BA, Hampshire College
Amy Vigilante has been a gallery director/curator and public art administrator for the past twenty years, and has taught widely in arts disciplines for 16 years. Arts administration experiences include many city, statewide and private leadership endeavors. Vigilante is
both an exhibiting artist and published author with re-search in aesthetics/creativity.
ROBERT H. WESTinPhD, The Pennsylvania State UniversityMA, The Pennsylvania State University Birbeck College, University of LondonBA, The University of Minnesota-Morris
Robert Westin came to UF as the Department Chair in 1978. He teaches Italian Renaissance and Baroque art history and his special area of research is Italian Baroque sculpture. Dr. Westin’s writings have been published in The Art Bulletin, The Burlington Magazine, and other professional journals.
GlEnn WillUMSOnPhD, University of California, Santa BarbaraMA, University of California, DavisBA, St. Mary’s College
Glenn Willumson is a professor of art history and the director of the graduate program in museology at the University of Florida.
He served as curator at the Getty Research Center and as curator at the Palmer Museum of Art. He is the recipient of fellowships from the National Endowment for the Humanities, Smithsonian
American Art Museum, Yale University, and Stanford University. He is the author of W. Eugene Smith and the Photographic Essay (Cambridge), and Iron Muse (University of California, forthcoming).
MEnGFU (MURpHY) ZHAnGmurphyzhang.com
MFA, Virginia Commonwealth UniversityBFA, Central Academy of Fine Arts
Mengfu (Murphy) Zhang has taught graphic design and digital arts at Virginia Commonwealth University, American University, and the Corcoran College of Art + Design. As a graphic designer, she has participated in the visual design project of the 2008 Beijing Olympic
Games, working on Pictograms Design and Medal Design of the Beijing 2008 Olympic Games. Zhang is also a principle member of the Beijing-based design studio M-Studio.
The SA+AH is accredited by the National Association of Schools of Art and Design (NASAD)
DEAn OF THE COllEGE OF FinE ARTS Lucinda Lavelli
DiRECTOR OF THE SA+AHRichard Heipp
ASSiSTAnT DiRECTOR OF SA+AHLauren Garber Lake
COnTACT101 Fine Arts Building CP.O. Box 115801Gainesville, FL 326111-5801
Phone: 352.392.0201Fax: 352.392.8453
www.arts.ufl.edu/art
facebook.com/ufsaah
twitter.com/uf_saah
CATAlOG DESiGn Robert FinkelShantanu Suman
pRinTER ALTA Systems, Inc.
© 2011 School of Art + Art History, College of Fine Arts, University of Florida, Gainesville Florida, USA.
UF has ranked among the nation’s best athletic programs in each of the last 20 years.10
The freshman retention rate of is among the highest in the country.
95percent
Norman Bryson, Andrew Wallace-Hadrill, Eleanor Heartney, Thomas Cummins, Michael Fried, Amelia Jones, Lucy Lippard, Ruth Phillips, and William Truettner.
Recent Harn Eminent Scholars have included:
UF has the largest natural history museum in the Southeast.
63
ST
UD
IO A
RT
In fall 2010, UF admitted
International Baccalaureate students — more than any other university in the U.S.
1,315
My professors worked with me individually to help me with my own conceptual concerns in relation to the form of my work.
Erica M.
It was the preparation I received in graduate school at UF that allowed me to make the most of the opportunities presented to me.
Tina M.
Creativity, conversation,
community.
64
ST
UD
IO A
RT
arts.ufl.edu/art
