You are so right. The EDTPA is the worst thing ever. So miserable. Good luck with it!

Like. this should qualify as corporal punishment….the hours of sleep I’ve lost of it is insane

havent shared much abt school lately but I'm graduating very soon! My thesis project was this game that was installed at our BFA exhibition. Now that the show's over I decided to put it up on itch.io, so anyone who's interested can download and play for free!

Hello tumblr, here I am, back again after all these years. I was active around 2012-2016 so it's been a minute.

I'm Henry (he/they), 26 year old autistic, gay, transmasc, and dog obsessed. I have a BFA in Filmmaking, my thesis film was a documentary about the Kromfohrlander breed. I am currently the Board Secretary of the Kromfohrlander Club of America. I have recently started my own photography business, specializing in pet photography. In addition to dogs I love arts and crafts, and improving and decorating my fixer upper home.

Tonks The River Otter CA CGC TKN (Tonks) is an 11 year old amstaff mix, she is the love of my life, and the best dog. She couldn't care less about toys but is intensely food driven. She loves agility and trick training, is passionate about lure coursing ability tests, and has been my emotional support dog for 10 years.

Dragonfly Hollow's Anders (Fisher) is a 2 year old Kromfohrlander and all-around silly little guy. He loves catching his frisbee, has enjoyed doing some flyball and agility training so far, is starting to come around on the whole swimming thing, and tolerates conformation shows. He's sensitive.

There's our introductions. I will be posting mostly photos of Tonks and Fisher here, and maybe some occasional training updates.

Yesterday was the FSU graduation for the BFAs

We drove down to watch the premiere of all the thesis films

Including the one I was in, Resonance (which when I auditioned was called Deep space)

Also when I auditioned my role was Seth, they changed to Javier after

It's funny cause I mostly saw it as the brainchild of Ryan, but Bryce was very much responsible for its creation

And last night I really got to talk to him and I learned so much

He's such a nice (and cute) guy

And his girlfriend is so cool

Everyone was so fucking nice

We got to the screenings 45 minutes late because we couldn't leave early ebough

I had to get the house ready for me being gone for a month and pack to go to Spain, and to get everything Cody needs ready, and stuff for the road and get the cats ready to be alone for a week

Driving 4.5 hours

Eating lukewarm eggplant parm leftovers in the car

Going through a very scary storm, could barely see

We missed 5 of the films (the animation ones were very short)

Mani (Ryan's dad) gave me a t-shirt with the poster (featured in the pic)

Our movie was great

I was amazed at the special effects

I had not seen any of the green screen footage

It looked so real

Then back to the hotel to check on Cody and after party, Michael stayed at the hotel with Cody

Missed Matt, tried to talk to Isabella, who looked fabulous, but she was hard to reach

Finally talked to Ryan about the film

Talked to Chris, the cute PA, who got into the program (when we were on set had just applied and wasn't sure he'd get in)

Took pics with the boys

Dance like a maniac to Kill VS Maim

Then they kicked us out way too early

There was an after party, but it was at Paolo's and most of the people I was with didn't want to go there because he defended someone that sexually abused this guy, which ended being expelled, a whole mess

So we ended up at a bar, after taking Jenicel to Ryan's place cause her high heels were killing her

Mostly hang with Bryce and his cousin, and his girlfriend, Jami

Then they kicked us out at 2am

So we ended up hanging at Isabella's and Amal's place

Talked to Andrew about jazz and following your dreams

with Imani about emotionally immature men

and just had a great time overall

And everyone was so complementary of my performance

But what are they going to say, that they hated it?

Though I did like my performance as well

It was actually very exciting to watch

Then walking back to the hotel at 4am from Isabella's

Google said 54 min, I did it in 35. I showed her what's what

Now off to St Augustine

When I was small, a family friend gave me a copy of The Little Bookroom by Eleanor Farjeon, and it became one of those companion-books, comfort books, that I returned to and re-read over and over. Some stories stood out to me more than others and some I never really got; that’s the way sometimes, and sometimes those stories wait in the back of our minds until we’ve ‘lived our way into the answers’, or at least into a different perspective; until we’re ready for them. So that’s how I came back to the memory of this story last night, processing the after effects of christmas dinner with family who love me but seem unable or unwilling to grapple with my gender identity; half asleep, like the ground dropping out beneath me; they destroyed it because it didn’t have a name...

I read half of On The Way To Language for my BFA thesis, so I know that Language is the House of Being, and I know what that means when I say it (and yes, I also know that Heidegger was an antisemite, a coward at best and a full-on nazi at worst, I know all of that and his work has still had value for me; you can re-read your harry potter books, you just can’t buy new copies, y’know? anywho). I had to take the long, painstaking way around to understanding that it’s almost impossible to recognise, realise, conceptualise a Thing without a Word. Which is how come I couldn’t know, until I was in my early thirties, that I’m nonbinary, genderqueer, demisexual, &c. I didn’t know it was a thing. I didn’t know the words. And I think about that a lot. We destroy the possibilities of those things that we cannot name. The Wise Men say it cannot be. I’m not here tryna say that E.F. wrote this story as a trans/nonbinary allegory. I very much doubt it. But it’s there all the same. More things in heaven and earth than dreamt in your philosophy, you arbiters of possibility, you deciders of lot. We are emergent, not fixed. We’ll name ourselves if we have to. We’ll find the people who will speak those names with love. And your power will fade. And it won’t matter that you couldn’t believe.

~ ~ ~ ~ ~

THE FLOWER WITHOUT A NAME

One day a Cottager's child, whose name was Christie, went into the meadows beyond her Mother's garden and picked a flower.  This happened long ago, yet not so long ago as all that; that is to say, it did not happen today, nor did it happen on the first day of all, but on some day in between.

Christie was delighted with her flower, for it was very beautiful, and she came running to find her Mother, who was watering the pinks in the round bed.

'Mother,' cried Christie, 'look at my pretty flower I've found!'

Her Mother was never too busy to look when Christie asked her to, so she put down her jug of water and took the flower in her hand.

'There's a pretty flower now!' she said.

'Yes, Mother, isn't it?' said Christie.  'What is its name?'

'Why,' said her Mother, 'it is a--it is a----  Dear me, to think I don't know its name!  You must ask Father.'

Christie ran to the Cottager, who was mending the fence, and she held up her flower.  'What is its name, Father?' she asked.

'Let me see now,' said the Cottager, laying down his hammer.  He looked at the flower for a minute or two, and then he scratched his head. 'Well, well!' said he.  'I've forgotten its name, if ever I knew it. But give it to me, for I'm to see my Lord's Keeper about some mole-traps, and maybe he'll know, being woodwise.'

When Christie's Father had had his talk with the Keeper, he showed him the flower.  'What's the name of this here?' asked the Cottager.

The Keeper looked at it, and sniffed at it, and thought a bit.  But at the end of his thinking he said, 'I never saw its like before, in wood or field or marsh or hedge.  I don't know its name.  However, I'm just about going up to the Manor, so I'll take it along and ask my Lord's Clerk, for he's a clever young man, and has to wear spectacles along of reading so many books.'

Now my Lord's Clerk had studied most things, and flowers not the least of them.  He had indeed in his Lord's library all the books about flowers that ever were written.  So when the Keeper sought him out and said, 'I've a flower here I'd like to know the name of,' the Clerk answered, 'Show it to me, and I'll tell you its name.'

But when he set eyes on it he knew he had spoken too soon.

'That's a queer thing!' said my Lord's Clerk.  'For I know the names of all the flowers in the world, by both their court and country names, yet I don't know the name of this one.  Leave it with me, and I'll see if I can find out.'

The Keeper left the flower with the Clerk, and the Clerk pressed it and dried it, and spent a whole year trying to find out something about it. He put the question to the wisest scholars in the kingdom, and the matter spread abroad till wise men in lands over the sea were all puzzling their wits about the name of the flower.  But in the end they could not find one for it.

So after a twelvemonth the Clerk came to the Keeper and said, 'That flower you brought me has no name at all.'

'What flower's that?' asked the Keeper, who had forgotten all about it. The Clerk reminded him of it, and said:

'The wisest men in the world have but one opinion, and it is this.  We know that Adam gave names to all the flowers created, and as this flower has remained unnamed since the days of Eden, it is doubtless one which was forgotten at the Creation, and the Lord has only just remembered to make it.  But as it was never named by Adam, it has no name now; therefore, the wise men have destroyed it--for how can anything be without a name?'

'I'm sure I couldn't say,' said the Keeper.  'I expect you're right.' And the next time he met the Cottager he said, 'That there flower of yours hadn't any name at all.'

'What flower?' said the Cottager, who had a short memory.  The Keeper reminded him of the flower, adding that the wise men had destroyed it.

'Well, no harm's done,' said the Cottager; and that night at supper he said to his little daughter:

'Seemingly your flower had no name of its own after all.'

'But where _is_ my flower?' asked Christie.

'The wise men destroyed it,' said the Cottager.  No more was said, and from that day no one except Christie remembered that such a flower had ever been.

But all her life, and when she was quite an old woman, Christie would sometimes say to herself and others:

'When I was a child I found such a pretty flower.'

And when they asked her what flower it was, she smiled and answered, 'Only our Lord could tell you; it hadn't got a name.'

For our 8th study to our class took a trip to the New York embroidery studio. I had never heard of the New York embroidery studio prior to going. But I definitely think that I will be making a trip back, especially now knowing that they work with senior thesis students. The New York embroidery studio is a business to business company so you can't just walk in and purchase embroidery but you can work with them and commission them. The embroidery company does work for a lot of designers like Marc Jacobs and even designers for the met gala. I thought it was very cool to see some of the fabrics and embellishments that were specifically done for the Marc Jacobs show since I admire him as a designer. I saw some other smaller brands, logos and embroidery like stony clover that I also really liked. I thought the machines that they had were super interesting. I'd never seen a custom rhinestone machine. I also never seen some of the machines that can sew ribbon into all different shapes. This is a resource that I definitely think that I will use for my senior BFA thesis collection. The tour guide Rob said that I would be able to actually mail my pattern pieces to the New York embroidery studio and that they would be able to embellish the pieces within a deadline and send them back to me for my garments. I'm super excited about this opportunity and very glad that I went!

12 architecture and design projects from the Savannah College of Art and Design students

From a New York hub that aims to help people live more sustainably, to addressing the decline of water-based travel in Mumbai, the Savannah College of Art and Design presents 12 student projects in our latest school show.

The undergraduate and graduate projects also include an analysis of the tourist industry's impact on the Galapagos Isabela Island's mangrove forests and a project proposing the repurposing of Oregon Pacific Railway's defunct trains for immersive storytelling shows.

Savannah College of Art and Design

School: Savannah College of Art and Design Courses:  Master of Architecture, BFA Architecture, MFA Furniture Design, BFA Furniture Design, MFA Interior Design, BFA Interior Design, BFA Preservation Design, Master of Urban Design Tutors: School of Building Arts Faculty Members

School statement:

"The Savannah College of Art and Design (SCAD) is the preeminent source of knowledge in the building arts. With preservation design and interior design programme as two of the university's original eight programmes, SCAD has prepared talented students for professional careers in this multibillion-dollar market for more than 40 years.

"SCAD enrols upwards of 1,200 building arts students across six disciplines focused on architecture, interior design, furniture design and other building arts-related industries. It is the only art and design university in the United States to offer a Master of Urban Design degree and the first and only university to offer an MFA in Architectural History."

Transfora: Your tool to becoming a sustainable New Yorker by Chloe Arenzana Du Boys

"Leading a sustainable lifestyle in metropolitan cities has become much harder to accomplish because of inconvenience, social constructs and difficulty in changing hard-wired habits. Transfora is a sustainability hub in New York City that provides its users with tools that help provide the essentials to live more sustainably in the city.

"Through a personalised immersive learning experience and a sustainable indoor market, users can learn and engage in eco-conscious actions that they can then easily implement into their lifestyles. It creates a community of 'green citizens' that support, motivate and help each other in their journey towards a sustainable lifestyle."

Student: Chloe Arenzana Du Boys Course: BFA Interior Design with minor in Design for Sustainability Email: [email protected]

In'terminal: Reunion District by James K. Jung

"In'terminal is a multi-modal transit hub that embodies the transformative power of architecture in the creation and evolution of the built environment. The project aims to redefine the streets not only as spaces in-between but as places to promote social interaction and refuge. It seeks to promote a sustainable urban lifestyle by transforming an abandoned parking garage into social infrastructure.

"By reconciling mobility as the public realm prioritising social capital, In'terminal adopts placemaking strategies layered in rich shared spaces where a community becomes the domain of many – a common network – woven with empathy to unify social identity and a sense of belonging."

Student: James K. Jung Course:  Master of Architecture Email: [email protected]

Rising With the Seas by Jillian Nadolski

"This project came as the result of a quarter-long design project for PRES 480 Studio VIII: Innovative Adaptation Collaborative Practicum with Professor CT Nguyen. My design solution was developed to prompt communities to start embracing climate change. It uses the industrial port of Porto Marghera, Italy, as a catalyst.

"The project is built around the idea of 'living with water'. It asks the question: what if we can rise with the seas instead of fighting it? This radical, integrative redevelopment plan hopes to put to rest the longstanding conflict of humans vs nature."

Student: Jillian Nadolski Course: BFA Preservation Design Email: [email protected]

Fleeting Moments by Kathryn Luu

"Situated in scenic Portland (OR), on the Oregon Pacific Railway (OPR), the proposed Caper Express provides an opportunity for adults to re-experience their childlike wonderment for the Polar Express anew through live 'theatrical dinner' mysteries. By repurposing OPR's defunct trains, adults can take part in immersive storytelling shows tailored to them. It's these fleeting moments that will linger as lifelong memories while the rest fade to grey."

Student: Kathryn Luu Course: BFA Preservation Design Email: [email protected]

Exploring the emerging Potentials Of Urban Infrastructure - The Hyperloop Urban Hub by Pranav A Ghadashi

"The future is bright, uncompromising and unstoppable! Technology is progressing at accelerating rates. Cities are experiencing a resurgence in population growth, which in turn is pushing transport systems to expand and improve.

"The thesis intends to design a portal that will introduce a new paradigm of transport, reconfigure the urban infrastructure and the mental mapping of a city and thus reshape our habitual understanding of distance and proximity.

"It proposes a hyperloop station that reconfigures the concept of 'regional becoming the new local'. It embraces the potential of transport and explores innovative sustainable strategies integrating the natural environment and urban functions."

Student: Pranav A Ghadashi Course: Master Of Architecture Email: [email protected]

The Nodal Connector, Incubator for the FinTech industry by Preethi Chitharanjan

"Nodal Connector is an incubator for the financial technology industry. It is a space dedicated to the development of the industry driven by diverse users and technology. The incubator is designed in the fast-growing city of Atlanta, Georgia.

"The nodal connector acts as a catalyst for research and workspaces, with the core idea to connect, collaborate and conserve through primary, secondary and tertiary interactions that influence spatial planning.

"These ideas are the macro, micro and nano-scale networking that happen with diverse users while also attracting the local neighbourhood. The project facilitates a collaborative approach in education, community-driven, professionals and corporate employees while prioritising creators."

Student: Preethi Chitharanjan Course: Master of Architecture Email: [email protected]

The Portal - Redefining the water transit of the city by stitching the land to the water by Sanjana Sanjay Vadhavkar

"This thesis aims to observe the decline in water-based travel in Mumbai and design a solution to the problem. To revitalise the essential industry for Mumbai, creating a water transit hub would reduce the load on other modes of transportation and transform the water-based industry in the city, bringing a new mode of transportation to Mumbai.

"To bring back the missing identity of a port city, the city plans to redevelop Mumbai's eastern waterfront. In addition to the proposal, this thesis seeks to bring about a change through architecture by resolving the current problems and proposing a terminal that will cope with the city's increasing population demands and give the region a renewed identity. It will be an epitome and a means for the city's potential water transport."

Student: Sanjana Sanjay Vadhavkar Course: Master of Architecture Email: [email protected]

Area 10: The Last Nuclear Bomb Memorial by Sophie Ribeiro

"As part of the Nevada Testing Site, Yucca Flat was the host for over 900 bomb tests. As a result, a crater on the site – Sedan Crater – is 300 feet deep and 1,150 in diameter. Sedan is the proposed site for the Area Ten Interpretation + Research Centre.

"Area Ten will inform people of nuclear war and the consequences of it on humanity and nature through learning spaces that use exhibitions, viewing points and atomic gardening – the study of plants that can grow from the radioactivity of the land.

"The goal is for visitors to leave with an understanding of the site's history and an awareness of the importance of peace."

Student: Sophie Ribeiro Course: BFA Architecture Email: [email protected]

+ by Tasha Akemah

"Almost a century ago, we thought that nuclear weapons were the solution for world peace, but history tells us otherwise. The detonation that ended world war two set humanity for a new course that would determine the future; our present.

"Currently, humanity is facing a similar war, except this time we have to fight it together. This project asks for repent against the crime that society has done to itself by offering hope. The architecture is composed of a series of experiences divided between the structure and the memorial.

"While the structure serves as a church that would house the procession, the memorial offers salvation. The main structure offers a diving facility, and the memorial will restore endangered coral reefs in the area. The war that we were fighting a hundred years ago may have different causes, but both were fighting for the same objective: humanity."

Student: Tasha Akemah Course: BFA Architecture and BFA Architectural History Email: [email protected]

Hiraeth by Teddy Breedlove

"Hiraeth is a collection of furniture designed for the high-end luxury market. The pandemic has made the home the centre of our lives again. It has become a place for personal expression and function.

"As a result, trends have begun to change from a minimalistic approach towards a more ostentatious design language. Hiraeth is contemporary in design language featuring soft curves, ribbing and a neutral colour palette. It brings a breath of fresh air into the home while keeping your soul at peace."

Student: Teddy Breedlove Course: BFA Furniture Design Email: [email protected]

Interwoven by Tingxin (TX) Zheng

"Under the business strategy of fast-fashion brands, disposable clothing is part of a trend toward fast fashion. Consumers start throwing away the old items they owned and moving on to the next trend quickly.

"Interwoven is a multi-functional space for exhibition, experience, retail, communication that connects to people's memories and clothes. It aims to bring the diluted awareness of cherishing clothing back to the people to drive the rebirth of old garments, promote sustainable fashion and inform the community about the increasingly negative effects of fast fashion."

Student: Tingxin (TX) Zheng Course: BFA Interior Design Email: [email protected]

Isabela Island: Infrastructure for Tourism and Conservation by Zhiying Deng

"The proposal is based on the analysis of the Galapagos Isabela Island's mangrove forests and the status of tourism on the island. It aims to provide tourists with a better chance to experience the island's natural resources while not disturbing its species.

"Paths and boat routes are designed within the mangrove forests to allow visitors to experience different mangrove zones and watch species within the habitat while other mangroves are conserved. The design also responds to the climate change and sea-level rise."

Student: Zhiying Deng Course: Master of Urban Design Email: [email protected]

Partnership content

This school show is a partnership between Dezeen and Savannah College of Art and Design. Find out more about Dezeen partnership content here.

The post 12 architecture and design projects from the Savannah College of Art and Design students appeared first on Dezeen.

I started playing on MU*s when I was idk. 18? ish? I started on Lion King MUCK. They’re all text-based games with dozens of players connected at any given moment. I have a whole sketchbook full of art I did for people. TLK artists were great, too. I used to browse through the TLK art archive pretty regularly. I never used to be jealous of other people’s art. I could actually enjoy it without worrying about what other people thought of mine, because there was a sort of equal exchange there. I did a lot of art trades. It was pretty awesome. I still had trouble with BPD issues, but at that age I was still kind of in the Internet People Are Bad phase so I was never close with anyone. One of the people I knew on TLK MUCK invited me to Final Fantasy MUSH, then Black Gate IIRC. There was this girl there that did phenomenal art. Every time she posted something she’d get tons of praise for it. At first, that was okay. After all, I hoped that when I posted mine, I’d get the same kind of reception. But I didn’t. I guess it sort of became a challenge for me to get some sort of reaction from the people I was showing my art to. I joined internet whiteboards (AKA Oekaki) and often spent hours on things only to receive no comments. This one person, though. She had so many fans. I think the attention she got compared with the lack of attention my work got is what started this jealousy. I really wish I could just stop. I don’t know how, though. Every time I see art with more notes than mine, I always ask “why not me?” I know there’s logical reasons, most of them revolving around the fact that I’m not technically talented enough, or popular enough. But it still hurts, to spend all that time on something and have no recognition for it. I know I should be holding people up, not bringing them down. But here I am. I’d love to be able to work through that jealousy. To not feel that stab of anger when I see art with hundreds of notes. Who cares if I get 7 notes or 70, right? Art should be for me, not for other people. But I feel like my whole life is a complete dead end. I spent thousands of dollars going to school for this. Hours of my life trying to improve. I think the jealousy stems from the fact that I know I’m not good enough, and I should have chosen a different career path. It’s not that I’m angry at these other people, with their beautiful art and amazing talent. I’m pissed at myself for the irrevocable damage I did to my own life. It’s what I wanted to do, so I did it. Because at the time, the general consensus was “follow your heart.” I wanted to draw, so I should definitely get a degree in that, right? It didn’t matter if I could do nearly any kind of science blindfolded. It didn’t matter that I got a full-ride scholarship at the prestigious Miami University. I was young and poor and crazy, to quote Roger Taylor, and I was going to do what I wanted to do. So I went into debt. But hey, I have a BFA I’ve never used. Maybe if I’d done what I was good at, I’d be a high-level researcher somewhere, working on a cure for cancer. Discovering ways to search for life outside our galaxy. Writing a thesis on space dust Already done, oops. I don’t know what I need to work on to get past this. Maybe forgiving myself for fucking up the most important decision of my life? How can I go back in time and stop that bristling rage I feel when someone gets more attention than I do? How can I stop hating things I should enjoy? I’ve discussed this with my therapist already, but I can’t seem to find the correct combination of right answers to unlock the puzzle. ( D O N O T R E B L O G )

Next, featuring PrintCamp2019 artist, KRISTIN SARETTE

WEBSITE :

https://www.kristinsarette.com

ON HER WORK:

Through print media, I examine continual growth and transformation.  Blending of complimentary colors creates the muddy area where we find ourselves during change, and in spaces which might not make sense or paths that cease to continue. I strip away any excess mark-making, leaving the viewer with a raw, saturated feeling of change and an uncertain, but ever present optimism. 

Transformation, a formal representation within my work, presents itself through the layering of embossment, folding, and blending. I use the grid as a formal element in which to abstract further. My emotional charge and human connection come from the smaller pieces which make up the grid. I make aesthetic choices on when and how the prints within the grid can and will match up. These choices echo the seamless, and confusing, ways in which we navigate our surroundings while chartering unmarked territory. 

The simultaneity of meaning and experience, and the relationship between form and method become of paramount importance within the work and the shapes themselves. The action of folding leaves a memory of how I have created each line in each piece. The fold breaks the paper free from any boundary a frame would represent, and brings the work into the space of the viewer. Three dimensionality increases empathy by showing both or all sides of the work, and opens up the possibility of notions beyond itself. 

 WHAT SHE WILL BE DOING AT PRINTCAMP:

My goal for print camp is to experiment with the mixing of collagraph and lithography while conceptually considering the weight of wishes or hopes, and how these intangible premonitions become considerable factors in our visceral reality. I plan to do this with the use of the arch, the shape of the keystone, multiple blended colors, and carborundum grit mixed with shellac.

SKILLSHARE: Her fabulous blend rolls!

RESUME

Education

 2019   MFA Indiana U, Printmaking Full Assistantship

2013-2014    Tamarind Institute

Professional Printer Trainer Program 2010-2013    BFA Plymouth State U

 Solo/2 Person Exhibitions

 2019    Turning Point, Grunwald Gallery, Bloomington, IN

2015    Nestlings, with Molly Kempson; Display Gallery, Gainesville, Fl 2014   

In Flight, Albuquerque Cathedral, Albuquerque, NM

 Group Exhibitions

 2019    Saturated, Barrett Art Center, Poughkeepsie, NY

2018    Impression, d’Art Center, Norfolk, VA

The Print Effect: Small Works/Big Impact, Manhattan Graphics Center, New York, NY

Salt City Dozen Portfolio, Syracuse, New York

  2017  3rd Annual Hand Pulled Prints: The Current Practice in Printmaking, Site:Brooklyn, Brooklyn, NY

Lasting Impressions, Museum of White Mountains, Plymouth, NH

MFA Exhibition, Grunwald Gallery, Bloomington, IN

2016    (re) Access, Fuller Projects, Bloomington, IN

Printer’s Printer, Robert Blackburn 20/20 Gallery, New York, NY

2015    Beauty and the Beasts, Thomas Canter Galleries, Gainesville, Fl

2014    Computer Aided Market, 4MOST Gallery, Gainesville, FL

Group Show, 4MOST Gallery, Gainesville, FL

Rock Paper Pressure, Tamarind Institute Gallery, Albuquerque, NM

2013    BFA Thesis Exhibition; Karl Drerup Gallery, Plymouth, NH

 Traveling Exhibitions

 2018    Viscosity: Women of Print

Noise Gallery, Bloomington, IN

Link and Pin Gallery, Austin, TX 

  Frontline Arts, Branchburg, NJ

The Great Hope

Union Gallery at UMass Amherst, Amherst, MA Tiny Town Gallery, Tucson, AZ

Annex Gallery at Monterey Peninsula College, Monterey, CA

 Employment

 L VIS Press; Studio Assistant

Lithography Instructor; Scuola Internazionale di Grafica Venezia, Venice, IT

Print Shop manager, Venice IT

Kaitlin Jencso: Disenchanted

Kaitlin Jencso is a photographer who lives and works in Washington, DC. Jencso explores the emotional terrain of ever-expanding and evolving relationships through loss, ephemera, bloodlines, and the land. Jencso graduated with a BFA from the Corcoran College of Art + Design in 2012. She won Best Fine Art Series at FotoWeek DC in both 2014 and 2016 and received the Award of Merit in the 2014 Focal Point show at the Maryland Federation of Art.

https://www.kaitlinjencso.com/

What challenges did you face in creating a long-term project that spanned over four years?

The main challenges I experienced while undertaking this long-term project was selecting an edit because of the large archive I had accumulated. I was shooting constantly on whatever camera I happened to have at hand at the time, so I was producing hundreds of images a month. All of these certainly didn’t make the cut, but it made for a glut of imagery to process.

The other most challenging part of doing this type of long-term work was dealing with repetition. Much of the imagery produced was taken at my parent’s home over the years, so there was a lot of recurring locations, rooms, and people. The variables were the poses, events, light, distance from the camera, and gestures. There were so many beautiful moments that were similar over the years that made for some tough editing decisions.

Did you find there was an opposition or dichotomy between, as you state, “the immediacy of the need to capture the moment as it unfolded” and the long-term nature of the work?

I think these things went hand-in-hand. The immediacy of the work stemmed from using the camera to capture an event as it occurred or a fleeting moment or feeling. I found that even when I wasn’t in the hospital room, or with a grieving family member, the weight of loss was upon me and tinting how I viewed my everyday experiences. I decided to photograph whatever triggered those feelings.

This allowed me to feel like I was doing something instead of idly standing by. I would review my image choices weekly/monthly and it became clear that this was a space for me to dwell in and process the experience. Because I was not interested in reporting events as they happened, but rather capturing fleeting feelings to convey the overall arc of grief, this became a long-term project with no distinct narrative.

Was it difficult to embody the role of voyeur within your own family? Did you feel removed or closer to them by capturing them through your lens?

I am the youngest of four children and have always been an observer of my family. As a child I would tuck myself into the corner of a room and just watch everyone around me. As I got into photography in my teens it felt only natural to continue this type of observation of those I was closest to, but this time through the lens. I have made work about my parents for various projects while pursuing my BFA, including my thesis work 20161, so they were accustomed to me following them with a camera. It never occurred to me to not document my family during this time. Although we were all grieving this loss in our own ways independently, we were also bound together by it.

During the actual act of photographing I was aware that I was using my camera as a barrier to acknowledging the reality of the situation and graveness of emotion. This was both a coping mechanism and a reflexive instinct. I’ve always believed art should be personal and authentic, and photographing these difficult times allowed me to process through a visual, emotive diary while also bringing me closer to my family by actively seeing and realizing their experiences.

How did you find beauty in painful and deeply personal topics?

I believe that there is beauty in the mundane. There is a captivating moment to be had in any scenario if you’re open to seeing it. I’ve trained myself to look for these scenes—magical light, a brief gesture, a small detail – that goes beyond recording reality to relaying an experience.

I follow this same mode of photographing when dealing with deeply personal or painful experiences. I harness the intensity of a feeling and distill it into a visually captivating and emotionally poignant image. The rawness and closeness push me to create images that are fiercely personal to me but convey an atmosphere that the viewer can also identify and empathize with.

What is next for you, will you continue working on this same series or are you embarking onto a new project?

I will always continue to photograph my family but am putting a period on Disenchanted. My goals are to take my final edit of 50+ images I have for this body of work and create a book within the next year. I am currently working on a new body of work which will be shown at the Hamiltonian gallery in April 2019.

Gingold Theatrical Group
 presents six free readings of new plays-in-progress, developed in GTG's Speaker's Corner Development Lab, beginning June 5th

Posted by: Official_Press_Release 02:14 pm EDT 06/04/21 Gingold Theatrical Group Announces the Phase 1, Plays-In-Progress Readings from Speaker's Corner Writers Group: Kate Douglas, Aeneas Sagar Hemphill, Divya Mangwani, Seth McNeill, Sophie Sagan-Gutherz, and Marcus Scott Six FREE Online Readings June 5th - 17th Gingold Theatrical Group (David Staller, Artistic Director), now in its 16th Season, continues its new play development with the Phase 1 Plays-In-Progress virtual table readings of this year's SPEAKER'S CORNER Writers Group. This season, writers Kate Douglas, Aeneas Sagar Hemphill, Divya Mangwani, Seth McNeill, Sophie Sagan-Gutherz, and Marcus Scott are developing works in response to Shaw's Arms and the Man. To learn more about these closed developmental table reads, and to register in advance to join, please visit gingoldgroup.org. This year's readings will be: The Apiary by Kate Douglas, directed by Colette Robert June 5th at 2:30 PM ET Karma Sutra Chai Tea Latte by Aeneas Sagar Hemphill, directed by Arpita Mukherjee June 8th at 7 PM ET the scold's bridle by Sophie Sagan-Gutherz, directed by Jaye Hunt June 10th at 7 PM ET Untitled Conspiracy Play by Seth McNeill, directed by Lico Whitfield June 12th at 7 PM ET Vigil-Aunties by Divya Mangwani, directed by Aneesha Kudtarkar June 15th at 7 PM ET There Goes the Neighborhood by Marcus Scott, directed by Christopher Burris June 17th at 7 PM ET Named after the corner of London's Hyde Park where George Bernard Shaw and other political speakers have delivered speeches since 1855, GTG's SPEAKERS' CORNER brings together six to ten writers each year who will spend the year exploring a specific Shaw play and writing individual new plays in response to that text and Shaw's forward thinking humanitarian ideals. The group is led by GTG Associate Director Ilana Becker, a producer and director specializing in new play and musical development, community-driven projects, and arts education. In addition to serving as Gingold Theatrical Group's Associate Director, Ilana is The Civilians' R&D Program Director. She has served on the staff of All for One Theater, Lincoln Center Education, and Bret Adams Ltd, and spent a year as the Associate Artistic Director and Interim Artistic Director of Sun Valley Center for the Arts' Company of Fools. Ilana is a proud member of the WP Theater 2018-2020 Producers Lab, an alum of the Civilians' R&D Group, Lincoln Center Theater Directors Lab, DirectorsLabChicago, Fresh Ground Pepper PlayGroup, The Orchard Project's Liveness Lab, as well as a Playwrights Horizons Robert Moss Directing Fellow and an Emerging Leader of NY Arts Fellow. She is the creator of Argument Sessions, an ongoing series of immersive variety-theater events that weave SCOTUS argument transcripts and decisions with ensemble-driven, collaboratively developed original material, and is a member of Producing Blue. "It has been a joy to witness and participate in the from-scratch development of these six ferociously funny, wildly intelligent, and genuinely ambitious plays. While they're all unique pieces in tone and exploration, they're also all distinctly emerging from this moment of vast friction and change. This cohort supported one another's development over the past season, and we look forward to inviting our community into the next stage of their processes," said Ms. Becker. Speakers' Corner members meet virtually, bi-monthly, and GTG will host showings of the works that Speakers' Corner develops at the end of the season. The group's members were identified through an open application process under the guidance of Becker, GTG Artistic Director David Staller, and this season's Speakers' Corner Readers and Advisory Committee: é boylan, Stephanie Rolland, Dina Vovsi, along with Speakers' Corner alumni Hank Kim, Mallory Jane Weiss, and Lorenzo Roberts. Kate Douglas (she/her) is a writer, composer and performer. Recent work includes The Ninth Hour, her operetta with Shayfer James at The Met Cloisters (the first performance of its kind in the Fuentidueña Chapel), her immersive play Extinct (produced with support from a LMCC Engagement Grant) and her audio experience Dandelion Story, which received an Honorable Mention from SPACE on Ryder Farm's CSArt Program. Her work has been developed at The Orchard Project, New Victory Theater, The Civilians R&D Group, SPACE on Ryder Farm, Rhinebeck Musicals and the Writer's Colony at Goodspeed. She is a Dramatists Guild Fellow and a current member of The Orchard Project Greenhouse. As a complement to her artistic practice, she is a student of herbalism, horticulture and biodynamic craniosacral therapy. www.kate-douglas.com Aeneas Sagar Hemphill (he/him) is an Indian-American playwright and screenwriter based in NYC and DC. Weaving through many genres, his work builds new worlds to illuminate our own, investigating the ghosts that haunt our lives and communities with passion, pathos, and humor. He was a 2019 Resident Artist with Monson Arts Center and 2017-2018 Playlab fellow at Pipeline Theatre, as well as semi-finalist for the 2019 Princess Grace Award, semi-finalist for the 2019 Mabou Mines Resident Artist Program, and finalist for the 2017 Many Voices Fellowship. His plays include: Black Hollow (Argo Collective, Dreamscape Theatre), The Troll King (Pipeline), Childhood Songs (Monson Arts), The Republic of Janet & Arthur (Amios), The Red Balloon (Noor Theatre), A Stitch Here or There (DarkHorse Dramatists, Slingshot Theatre), A Horse and a Housecat (Slingshot Theatre). MFA Playwriting, Columbia University. Divya Mangwani (she/her) is a writer and theatre artist from Pune, India, now based in New York. She examines the absurdities of the social, political and mythical. Divya was the founder and Artistic Director of Moonbeam Factory Theatre, where she wrote, directed and produced plays that were staged in India, Singapore and Glasgow. In New York, she has developed work with UNICEF, Soho Rep, New York Theatre Workshop, The Flea, Rattlestick Playwrights Theatre, Mabou Mines, Hypokrit Theatre, Project Y, Pipeline Theatre, Rising Sun, LMCC and Governors Island. Selected work: Elements of Change (UN Climate Change Week), Yes, Uncle (finalist, Leah Ryan Prize 2018), Rise of the River (semi-finalist Playwrights Realm 2019), and One, Two, Three (winner of best script, director, play and audience vote, Short+Sweet Festival). Divya was a NYTW 2050 Artistic Fellow, Hypokrit Theatre Tamasha playwright, Playlab fellow at Pipeline Theatre and is currently in the Soho Rep Writer/Director Lab. Seth McNeill (he/him) is a New York City based playwright and theatre artist. His plays include Bastard (Dixon Place, Last Frontier Theatre Conference, Up Theater Company), we're all athletes (Amios First Draughts, Samuel French OOB Festival), and Natchetoches (Fresh Ground Pepper, Hambidge Center, JookMS). Other plays have been presented or developed with Fresh Ground Pepper, Amios NYC, Exquisite Corpse, The Barrow Group, Primary Stages, TinyRhino, The Secret Theatre, and Rule of 7x7, and he has been a semifinalist for the Shakespeare's New Contemporaries Prize and Primary Stages ESPA Drills. As a script reader and dramaturg he has worked with Theatre for a New Audience, the American Shakespeare Center, the Hambidge Center, and The Farm Theater, and he is a two-time recipient of the Vera Mowry Roberts Fellowship. Member of the Dramatists Guild. Education: Masters from Hunter College. Teaching: Hunter College. www.sethmcneill.com. Sophie Sagan-Gutherz (they/them) is a NYC based writer, actor and singer. Their first full-length play Marked Green at Birth, Marked Female at Birth has been supported by Pride Plays (Rattlestick), the Williamstown Theatre Festival and the Tribe Theatre Company. They've written a monologue with the 24 Hour Play Festival (performed by Lea DeLaria) and have devised and performed a 10 minute solo piece Disability & Celebrity Culture (Am I Write Ladies?). They have been a finalist for the Emerging Writers Group (The Public) as well as a semi-finalist for The R&D Group (The Civilians) & PlaySpace (Pipeline Theatre Company). BFA: NYU Tisch in Drama with an Honors Thesis in Theatre Studies. sophiesagangutherz.com Marcus Scott (he/him) is a playwright and journalist. Selected works: Fidelio (Libretto; Heartbeat Opera at Baruch Performing Arts Center, 2018; called "poignant" by The New York Times), Tumbleweed (Finalist for the 2017 BAPF; semi-finalist for the 2017/'18 New Dramatists Princess Grace Fellowship Award), Cherry Bomb (recipient of the 2017 Drama League First Stage Artist-In-Residence; 2017 Finalist for the Yale Institute for Music Theatre) and Sundown Town (Finalist for Abingdon Theatre Company's Virtual Fall Festival Of Short Plays). His work has been developed or presented by Joe's Pub, 54 Below, APAC, Dixon Place, Space on Ryder Farm, Cherry Lane Theater (DUAF), CoLAB Arts, Symphony Space, MicroTheater Miami, among others. Scott is a four-time finalist for the R&D Group at The Civilians, a two-time finalist for NBT's I AM SOUL Playwrights Residency and a 2019 finalist for the Bushwick Starr's Starr Reading Series. His articles appeared in Time Out New York, American Theatre, Playbill, Elle, Out, Essence, among others. MFA: NYU Tisch. In addition to Speakers' Corner, GTG's on-going play development also includes PRESS CUTTINGS, which, in recognition of Shaw's career as a theatre critic, supports the development of new plays written by theatre journalists. Press Cuttings has commissioned new plays by Jeremy McCarter, Robert Simonson, and David Cote, and, in June of 2017, presented an AEA workshop of David Cote's Otherland directed by May Adrales. Now celebrating its 16th year, Gingold Theatrical Group's Project Shaw made history in December 2009 as the first company ever to present performances of every one of Shaw's 65 plays (including full-length works, one-acts and sketches). They are now also including plays by writers who share Shaw's activist socio-political views embracing human rights and free speech, including work by Chekhov, Ibsen, Elizabeth Robins, Rachel Crothers, Pinero, Wilde, Barrie, and Harley Granville-Barker. GTG's other programs include its new play development and educational programs. For those interested in lively off-site discourses, each Project Shaw event is followed by a talk-back with cast members. GTG will be back on stage in person this autumn with a full production of one of Shaw's most provocative plays. Details to follow, soon. Their highly acclaimed Off-Broadway engagement of Shaw's beloved almost historical comedy Caesar and Cleopatra at Theatre Row, hailed as a New York Times Critic's Pick, was named Best Classical Production in Terry Teachout's year-end recap of The Best Theater of 2019 for the Wall Street Journal: "David Staller and the Gingold Theatrical Group nailed it for the second year in a row with another insufficiently appreciated play by George Bernard Shaw, this time a small-scale off-Broadway staging of Caesar and Cleopatra that brought a rarely seen show to persuasive life." In his review earlier this year in The Wall Street Journal he declared "As always, Mr. Staller, who knows more about Shaw than anyone else in America, gets it right, situating the action of the play in a modern-day archaeological dig and keeping the costumes simple and the diction crisp and clear., ...all the more reason to cheer David Staller's splendid new adaptation of one of Shaw's most glittering, least Shakespearean conversation pieces. This is the third of Mr. Staller's small-scale Gingold Theatrical Group productions to be presented off Broadway at Theatre Row. It follows in the wake of his all-but-flawless 2018 Heartbreak House, an uncommonly hard act to follow, and leaves nothing whatsoever to be desired. May his Shaw stagings become annual events!" For more information about Speakers' Corner Writers Group and all the projects of Gingold Theatrical Group, including the acclaimed Project Shaw, call 212-355-7823, email [email protected], or visit online at www.gingoldgroup.org. Linkhttp://www.gingoldgroup.org

Third Thursday events and exhibitions for May 20

The next Third Thursday — the monthly evening of art in Athens, Georgia — is scheduled for Thursday, May 20, from 6 to 9 p.m. All exhibitions are free and open to the public.

Georgia Museum of Art, University of Georgia

Yoga in the Galleries via Zoom, 6 p.m. — Join us via Zoom for a free yoga class surrounded by works of art in the galleries. Led by instructors from Five Points Yoga, this program is free and open to both beginner and experienced yogis. Registration is required: https://zoom.us/meeting/register/tJErc-6tqz8vGdxmanu3g8tBhQmDByvXIume

On view:

“Whitman, Alabama” — This ongoing documentary project by filmmaker Jennifer Crandall brings Walt Whitman’s words to life through the voices of modern-day Alabama residents.

“Extra Ordinary: Magic, Mystery and Imagination in American Realism” — This exhibition examines the formation and legacy of the magical realist tradition in American painting, from the late 1930s to the early 1970s.

“In Dialogue: Look, Paint, Repeat: Variations in the Art of Pierre Daura” —This exhibition uses the museum’s recent acquisition of Daura’s “View of Saint-Cirq-LaPopie” to highlight how the artist depicted certain subjects over and over again.

“Contemporary Japanese Ceramics from the Horvitz Collection” — This exhibition presents Japanese pottery and porcelain created by three generations of master ceramic artists. Made with both ancient and modern materials and methods, their works are exceptionally diverse. They share the exceptional craftsmanship and sophisticated design characteristic of Japanese contemporary ceramics.

“Power and Piety in 17th-Century Spanish Art” — Works by premiere Spanish baroque painters such as Francisco de Zurbarán, Bartolomé Murillo, Pedro Orrente and others, on loan from Bob Jones University Museum & Gallery.

“Modernism Foretold: The Nadler Collection of Late Antique Art from Egypt” — An extraordinary assembly of Coptic objects dating from the 3rd to the 8th century CE belonging to Emanuel and Anna Nadler.

The museum’s days of operation are Thursday – Sunday, and a free timed ticketing system is now in place to limit the number of people in the building, along with new policies for safety during COVID-19. Reserve a ticket and see our policies at https://georgiamuseum.org/visit/.

The Porcelain and Decorative Arts Museum at the Center for Art and Nature

The Porcelain and Decorative Arts Museum at the Center for Art and Nature at the State Botanical Garden of Georgia will be opening its doors for timed ticket access (https://botgarden.uga.edu/porcelain-and-decorative-arts-museum-timed-access-now-available/). The newest building at the garden holds the personal porcelain and decorative arts of Deen Day Sanders, a longtime supporter of State Botanical Garden. The space is designed to draw environmental and conservation connections to the collections in the museum.

Eight different gallery spaces blend conservation, botanicals, art, beauty and curiosity. Adjacent to the building is the Discovery and Information Garden, where visitors can connect to the living botanical collection that is represented in many of the porcelain works in the museum. Please join staff and docents for a time in the Porcelain and Decorative Arts Museum to develop your own ideas on art and nature and become inspired to see the natural environment through the lens of the many artists on display.

Lamar Dodd School of Art Galleries, University of Georgia

Closed for the summer.

Hotel Indigo, Athens

“Nouveau Bridal” by Tabitha Fielteau — Funded by the 2020 Arts in Community Resilience Award presented by Athens Cultural Affairs Commission and Athens-Clarke County Unified Government, this exhibition is a drive-by, walk-by, bike-by art experience, viewable from outside and perfect for social distancing. The Glass Cube at Hotel Indigo is an art experience all day and all night.

“Athens Facades” — Photography by Mike Landers. The artist took these building portraits at dark downtown and in Five Points between 2000 and 2002. His first building portrait shows what had been The Gap on Clayton Street, which left a beautifully symmetrical illuminated façade and an empty interior. Landers finds this an exercise of looking in and looking out.

ATHICA: Athens Institute for Contemporary Art

“Lost in the Weeds: Climate Change and Human Nature” — Organized by Macon-based artist/curator Craig Coleman, this exhibition features the works of 11 individual artists and four collaborative artist teams from across the country and beyond. All use the stuff of nature to convey the beauty, mystery and inescapability of its rule and perhaps its ruin. The technology-infused works on display take form through new approaches to sculpture, installation, video, interactive sound and video, virtual reality, animation, blown glass, weaving and more and derive their substance from natural materials, the ecosystems of the world and data from natural phenomena. Thought-provoking, energetic and urgent, these works both analyze our changing environment and substantiate a new way for art to express the effects of humanity on our small planet. Open Third Thursday, 4 – 9 p.m.

ATHICA@Ciné

“Pandemic Portraits: Photographs by Cindy Karp” — www.athenscine.com for open hours.

Lyndon House Arts Center

6 p.m., 3Thurs Artist Talks: Will Eskridge & 46th Juried Exhibition Artists — Will Eskridge will discuss his new solo exhibition “Endless Party” and juried exhibition artists Ophelia Culpepper, Maria Elias and Bradley Spaulding will speak about their work in a conversation led by curator Beth Sale. Reservations are recommended for this free, in-person event, available at this link.

On view:

“46th Juried Exhibition” — This year’s show was selected by guest juror Hallie Ringle, the Hugh Kahul Curator of Contemporary Art at the Birmingham Museum of Art.

“Green Life Awards” — Youth Community Program sponsored by the ACC Recycling Division. The 2021 theme for K – 12 students is renew, reinvent, rejoice.

“Window Works: Noraa James” — “Window Works” is an outdoor project located at the entrance of the Lyndon House Arts Center. Using the banks of windows as a palette, Noraa James has designed a triptych and diptych inspired by love, the Black body and primary colors.

We require face coverings and social distancing and follow all CDC guidelines. As we navigate through these unusual times, we recommend visiting our website, social media or calling the Arts Center for further information regarding procedures for visiting the galleries. Please note gallery hours and numbers of visitors at one time are subject to change and will follow CDC guidelines. For more information, please call 706.613.3623. Please visit us at accgov.com/lyndonhouse or on Facebook and Instagram.

Lamar Dodd School of Art Galleries, University of Georgia

First round of BFA Thesis Work on display.

tiny ATH gallery

“Scenes from Quarantine” by Manda McKay — Instagram Live artist talk at 6 p.m. and Third Thursday open hours following at 6:30 – 9 p.m.

Safety precautions in place for tiny ATH gallery:

Please, please, please WEAR YOUR MASK (we will have gloves and sanitizer and extra masks readily available as well).

4 people will be allowed in at a time or a larger family group that has been sheltering together.

ENTER through front porch door, EXIT through back of gallery (one-way traffic).

Please consider parking on Pulaski St. or Cleveland Ave. to alleviate parking issues, and allow for extra space for the entry line.

Please follow signage instructions and maintain safe 6-feet-plus distancing while waiting to enter the gallery.

Feel free to mingle (6 feet safely away from one another) on the back patio area.

If you feel unwell or have been in contact with anyone who has been sick, please stay home.

The Classic Center

No art is on view this Third Thursday.

Creature Comforts Brewing Co.’s CCBC Gallery

Contact the venue for May 20 info or learn more at GetCurious.com.

—

Third Thursday was established in 2012 to encourage attendance at Athens’ established art venues through coordination and co-promotion by the organizing entities. Rack cards promoting Third Thursday and visual art in Athens are available upon request. This schedule and venue locations and regular hours can be found at 3thurs.org.

Contact: Michael Lachowski, Georgia Museum of Art, [email protected].

GVL / Big Body Play

Andrea Vail, Duck Pond, detail

Big Body Play June 7 - September 10 Fine Arts Center Sheffield Wood Gallery

Tiger Strikes Asteroid Greenville (TSA GVL) and the Fine Arts Center (FAC) are excited to present their summer exhibition, BIG BODY PLAY, on exhibition from June 7th through September 10th at the FAC’s Sheffield Wood Gallery. Visits to the gallery are by appointment only - Monday - Thursday, 10am -4pm. Sign up for an appointment by using the following link. A closing reception will be held on Friday, September 10th from 6-8pm including artist presentations and performance from 6:30-7.

BIG BODY PLAY is an exhibition that uses humor and imagination to explore the banality of the everyday. This show uses playful colors and materials, on plush, oversized forms to celebrate boredom, experimentation, and absurdity. Addressing themes of the body, pop culture, nostalgia, and domesticity, this collection of soft sculptures highlights the fascination these artists have with their materials and their love of “playing” in the studio. These works push scale while using current material culture as inspiration - these objects tell personal narratives, make punny jokes, and address our need for recreation and distraction.

Featuring work by:

Amelia Briggs

Amelia Briggs is a visual artist currently based in Nashville, TN. Her work has been exhibited internationally and throughout the US including recent and upcoming exhibitions in Paris, France; London, UK; Florence, Italy; Denver, CO; New Orleans, LA; and New York, NY. Briggs has worked for David Lusk Gallery since 2012 and served as the Director for the past four years. In May 2021 she will be stepping down in order to pursue her work as an artist full time. In June Briggs will release a series of mirrors with Exhibition A and her work is included in the current issue of New American Paintings.

Andrea Vail

Andrea Vail investigates contemporary American society and its objects -- specifically home goods deemed stylistically obsolete, or unattractive by the standards of 21st century mainstream culture. Hinged on textile traditions and techniques, her practice materializes as tapestry, woven sculpture, and collaborative exchange. Vail’s nationally exhibited work has received awards from Arts and Science Council; North Carolina Arts Council; HappeningsCLT Visual Artist Grant; CultureWORKS; and residencies with Goodyear Arts, McColl Center for Art + Innovation, and Elsewhere Museum. She is a graduate of Virginia Commonwealth University (MFA) and UNC-Charlotte (BFA). Vail lives and works in Western North Carolina.

Vail’s collaborative projects include: Bridging (Central Piedmont, Charlotte, NC), a large-scale fabric installation patterned with student- and staff-sourced imagery, Signalling Hello (Elsewhere Museum, Greensboro, NC), a process-based greeting initiative, COLLECTING_PILE, an interactive art work which involves the community as both content and collaborator; Friendge, an ongoing global invitation to collaborate; Woven Community (Richmond, VA), a citywide weaving event ; and Gathering Clouds (Richmond, VA) at Anderson Gallery.

Coorain

Born in Australia, Coorain studied at Georgia State University, earning an MFA in Photography, and Tufts University and the School of Museum of Fine Arts, receiving a BA in Philosophy and a BFA in Fine Arts respectively. Coorain currently resides and gardens in Atlanta, with plenty of chickens and carnivorous plants.

Jaime Bull

Jaime Bull builds a cast of sparkly clad forms that embody a strong, sexy, dangerous female presence. She is a collector and uses found, repurposed materials in her work to reference the body with a feminist perspective. Spending her time dumpster diving at the recycling center or scouring Goodwill to amass second-hand tube tops and sequined prom dresses, Bull’s sculptures have the rhinestone aesthetic of a bedazzled jean jacket or a Mardi Gras float. She examines and questions our relationship with the environment by highlighting a preoccupation with hoarding mass quantities of “stuff."

Bull received her MFA in Drawing and Painting from the University of Georgia, Athens in 2013. She is a recipient of the Willson Center for the Arts research grant for her thesis work Lady Beasts: An Investigation of Womanliness. She has exhibited in Atlanta with Whitespace, Camayuhs, Hathaway Gallery and at the Airport in Terminal E. Regionally, she has shown work at the Zuckerman Museum of Art, University of North Georgia, Auburn University, Albany Museum and the COOP Gallery in Nashville. Most recently, her sculptures were featured in a two woman show with artist Melissa Brown (Brooklyn, NY), entitled Fountain, at the Lamar Dodd School of Art. She is a Vermont Studio School Fellow, attended a two-month residency at the Bernheim Arboretum in Louisville, KY and was an Atlanta Contemporary Art Center Studio Artist in Residence from 2016-2019. She was featured in and on the cover of the 219th edition of Ambit Magazine, London. She currently lives in Athens, Ga and teaches at the University of Georgia.

Kat Sánchez Stanfield

Katrina Sánchez is an interdisciplinary Panamanian-American artist based in Charlotte, NC. Working with fibers and mixed materials Kat creates vibrant and tactile works that explore ideas of joy, play, community, healing and renewal. Katrina received a BFA in Fibers from the University of North Carolina at Charlotte, is a recipient of the NC Arts and Science Council Artist Support Grant and is an alumni artist-in-residence of Goodyear Arts. She has exhibited work at Bedford Gallery (CA), Abigail Ogilvy Gallery (MA), Max I. Jackson Gallery at Queens University of Charlotte and Gallery C3 (NC).

Madison Creech

Madison Creech was the 2018-19 Fountainhead Fellow in the Department of Craft and Material Studies at Virginia Commonwealth University. She holds an MFA in fibers from Arizona State University and a BFA and BS in textile, merchandising, and fashion design from the University of Nebraska-Lincoln. She has served as faculty associate at Arizona State University, instructing surface design and served as the 2016-18 Brown Visiting Teacher-Scholar at Stetson University teaching digital art and textile art courses. Creech has held residencies at Metro Community College Prototype Lab in Omaha, Nebraska, Houston Center for Contemporary Craft in Texas, and Techshop in Chandler, Arizona. Her work has been widely exhibited across the country, and she has been the recipient of a number of distinguished awards, including the Juror's Award from the Surface Design Association's Explorations exhibition, the Rudy Turk Award for History in American Craft from ASU, and the Mary Beason Bishop and Francis Sumner Merit Scholarship from the Haystack Mountain School of Crafts. She is currently a co-director of Fresh As Fruit Gallery in DeLand.

Matthew Creech

Matthew Creech received his Associate of Arts Degree from Cape Fear Community College in 2006. Creech has been included in a range of various exhibitions including, “This Must Be the Place” at Robert Hillestad Textile Gallery in Lincoln, NE and “Now or Neverland Urban Uproar” at the Miami Urban Contemporary Experience in Miami, FL. Alongside this body of work, Creech will be releasing a book, working within the same genre of off the wall humor and topics dealing with death and behind closed door secrets.  Creech currently resides and works in Wilmington, NC.

Mindy Sue Wittock

Mindy Sue Wittock is an artist and mother who works out of her home studio in Cedarburg, Wisconsin. She makes soft sculpture that explores the intersection of childhood memory and experiences in motherhood. Wittock has an MFA from Arizona State University with a concentration in fibers. She has previously worked as an associate lecturer of art at the University of Wisconsin Fond du Lac and the University of Wisconsin Green Bay. Wittock has an extensive exhibition record and has taught many textile-based workshops. She survives on coffee and enjoys watching vintage television shows, listening to 80’s music, and going on adventures with her husband, daughter, and pup. Mindy Sue Wittock is also a co-founder of The Wondermakers Collective with the incredible illustrator and coffee drinker Jenna Freimuth. They work together to build beautiful, layered embroideries, pen palling them back and forth from Wisconsin to Minnesota.

Natalie Baxter

Natalie Baxter (b. 1985, Lexington, Kentucky) explores concepts of place-identity, nostalgic americana, and gender stereotypes through sculptures that playfully push controversial issues. Natalie received her MFA from the University of Kentucky in 2012 and a BA in Fine Art from the University of the South in Sewanee, TN in 2007. Her work has been exhibited in galleries and museums internationally with recent shows at Intersect SOFA Chicago with Elijah Wheat Showroom (Newburgh, NY), Birmingham Museum of Art (Birmingham, AL), Spring/Break Art Show with Gloria’s (New York, NY), Material Art Fair with Beverly’s (Mexico City, MX), Institute 193 (Lexington, KY), Yale University (New Haven, CT), and Brandeis University (Waltham, MA). She has been an artist in residency at the Wassaic Project, a fellowship recipient at the Vermont Studio Center, and twice awarded the Queens Art Fund Grant. Press for Baxter’s work includes, The New York Times, The Boston Globe, Hyperallergic, The Guardian, and Bomb Magazine. She is currently a resident at The Wassaic Project in Wassaic, NY.

Tiger Strikes Asteroid Greenville is the newest part of the Tiger Strikes Asteroid network of artist-run spaces and joins locations Philadelphia, New York, Los Angeles, and Chicago. They are a platform for artists that is curated and organized by a group of artist-volunteers. Their mission is to create the physical, mental, and emotional space for artists to show their work, meet, and exchange ideas on their own terms. TSA GVL will specifically focus on connecting the art communities in Greenville and the greater Southeast to the global art world. TSA was founded in 2009 in Philadelphia and is a 501c3 non-profit organization.

The Fine Arts Center (FAC) of Greenville County School District was established in August of 1974 as the first pre-professional arts school in the state of South Carolina for gifted and talented high school students in the Fine, Visual, and Performing Arts.  Since its opening, thousands of students have chosen to become members of this unique community in which individual talent and expression are nourished in a supportive environment and stimulated by instructors who are themselves highly regarded professionals in their fields.  The Fine Arts Center offers the highest level of instruction in Architecture, Creative Writing, Dance (Ballet and Modern), Digital Filmmaking, Music (Chamber Strings, Jazz, Voice, Winds/Brass/Percussion), Theatre (Performance and Design/Production), and Visual Arts.  

For more information please contact TSA GVL at [email protected] and FAC at [email protected]

By Appointment Only

Gallery Hours: June 7th - September 10th Monday - Thursday 10am - 4pm

FINE ART CENTER Sheffield Wood Gallery 102 Pine Knoll Drive Greenville, SC 29609

Come see our BFA thesis show! April 13-27 Opening Reception: April 13th 5-7pm @The Martha and Robert Fogelman Galleries of Contemporary Art University of Memphis Arts and Communications bldg 3715 Central Ave. Memphis TN 38152 #art #bfa #bfashow #universityofmemphis #emiliokosoku @ipreferstormagedon @lizzd @megchennn @denise.wakeman @alexandralizabeth @natalieroseeddings @pay_jellens @kithuddleston

Ten most popular Dezeen School Shows of 2021

We have now published over 170 school shows! As we approach the end of 2021, here are the ten most popular showcases of student work from throughout the year.

Dezeen School Shows provides universities with an affordable digital platform to put the work of their students in front of Dezeen's huge global audience of over three million monthly readers.

Read on for a selection of the most popular school shows published in 2021, and contact us for details and pricing at [email protected] if you would like to put on a Dezeen School Show.

December slots are still available, as well as dates throughout 2022.

Dezeen School Shows is complemented by our new resource Dezeen Courses, which launched in September. This new service presents details of undergraduate and postgraduate degree courses, as well as short courses and remote learning programmes.

Dezeen Courses provides an essential resource for anyone wanting to study architecture, interior design or any design-related discipline.

Read on for a selection of the most popular school shows we published in 2021:

Pratt Institute Interior Design BFA and MFA

From a building that could purify contaminated floodwater to analysing how to improve users' airport experiences (above), these projects by interior design students at Pratt Institute explore how interiors affect our environment and behaviour.

The digital exhibition displays a selection of ten projects by students on both the school's undergraduate and postgraduate interior design courses.

See the school show ›

View courses at Pratt Institute ›

University for the Creative Arts BA (Hons) Illustration and Animation and BA (Hons) Illustration

An animation exploring a student's fear of the unknown after graduating and a project which examines the human destruction of coral reefs (above) is included in this school show by students at the University for the Creative Arts.

The ten projects were selected from the studios of the undergraduate BA illustration and combined BA illustration and animation courses.

See the school show ›

Lucerne School of Art and Design, Lucerne University of Applied Sciences and Arts Bachelor VS Jewellery

Jewellery designed to enhance people's connection with dogs, glasses that improve with age and a jewellery prototype that resists facial recognition technology (above) are among projects by students at the Lucerne School of Art and Design that feature in this school show.

This trio of projects are presented alongside five further school shows from Lucerne University containing projects by students from its product, textiles and lighting design courses.

See the school show ›

Hongik University, Korea BA Industrial Design

Hongik University, Korea presented ten projects by students enrolled on the institution’s BA Industrial Design course.

The digital exhibition features a fashion store (above) designed to reference a garden and a series of cocktail-making objects intended to enhance the work of bartenders (top image).

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School of the Art Institute of Chicago Graduate Thesis Projects

School of the Art Institute of Chicago’s school show presented ten graduate thesis projects by architecture students.

This school show presented a variety of projects, including one using hand-drawing techniques to explore "contemporary ruins" and another that examines how "house museums" serve as an opportunity to think about the way architecture communicates (above).

See the school show ›

View courses at School of the Art Institute of Chicago ›

Monash Architecture, Monash University Bachelor of Architectural Design, Master of Architecture

A project that addresses the lack of public space in Beirut (above) and an urban care home designed to enhance dementia patients' quality of life are included in this showcase by students of Monash University.

The ten projects were created by undergraduate and postgraduate students of the university’s architecture faculty.

See the school show ›

View courses at Monash University ›

Ravensbourne University London BA (Hons) Architecture, BA (Hons) Interior Design Environment Architectures and BA (Hons) Urban Landscape Architecture

Ravensbourne University London displays nine student projects in its showcase, including one which explores rituals around death through the use of mycelium and a pandemic-necessitated digital repair centre (above).

The ten highlighted projects were drawn up by undergraduate students from across the studios of architecture, interior and urban landscape design.

See the school show ›

View courses at Ravensbourne University London ›

Sydney Design School Diploma of Interior Design and Advanced Diploma of Interior Design

A hotel interior informed by drag culture and a hospitality space that has a zero food waste philosophy (above) are among projects presented by Sydney Design School in its showcase.

The show features ten projects by students enrolled on the school’s interior design diploma courses.

See the school show ›

L’ecole de design Nantes Atlantique MDes Care Design, MDes City Design, MDes Food Design, MDes Digital Design, MDes Media Design, MDes Design and Innovation Management in apprenticeship, MDes Transcultural Design – China studio, MDes Transcultural Design – Brazil studio, MDes Transcultural Design – India studio, MDes Design and Entrepreneurship – Le Studio Montréal

A lamp that helps individuals with bipolar disorder understand their behavioural changes (above) and a drone programme tackling beaches affected by algae are among projects by students from a wide range of courses at L’ecole de design Nantes Atlantique.

The ten showcased proposals were drawn up by undergraduates and postgraduates from across the school's architecture, furniture and interior design courses.

See the school show ›

The New School's Parsons School of Design Architectural Design (BFA), Architecture (MArch), Industrial Design (MFA), Interior Design (AAS), Interior Design (BFA), Interior Design (MFA), Lighting Design (MFA), Product Design (BFA)

The nine featured projects in this showcase by The New School's Parsons School of Design were completed by both undergraduate and postgraduate students across the studios of architecture and design.

They include a project exploring how architecture is integral to healing trauma and another investigating how bioluminescence could change our relationship to interiors (above).

See the school show ›

View courses at Parsons School of Design ›

The post Ten most popular Dezeen School Shows of 2021 appeared first on Dezeen.

“Weaving Equality — Exploring Gender & The Arts”… An International Women’s Day Celebration

Sunday, March 8, International Women’s Day, 3-5 pm

It’s our third year of celebrating International Women’s Day! What better way to dialogue with fellow artists and art lovers than under the umbrella of the Gender Weave Exhibition. We are delighted to mix it up with an unfolding list of participants including Lascivious Jane (Liberty City Kings), Van Nguyen (performance artist), Arleen Olshan (painter), Kathryn Pannepacker (fiber artist), E. Simon Ruchti (Asst. Prof. Women’s and Gender Studies, Westchester U.), Jennifer Turnbull (Spiral Q), Chea Villanueva (writer), and others.

Artists will examine the intersection of sexuality, gender identity, women’s equality and “social norms” within their work and lives. It’s an interactive and empowering afternoon celebrating International Women’s Day and the Gender Weave Project. Build community, be part of the conversation. Join us. $10 donation.

Panelists Include:

Lascivious Jane

Lascivious Jane is a full time producer and performer. She has been performing and producing burlesque for more than 8 years and is the founding member and Artistic Director & proud Glitter Mama of Philadelphia’s multi award-winning Liberty City Kings Drag & Burlesque AKA LiCK, Philly’s largest and most diverse performance troupe. She is a Canadian transplant to Philly who moved here 13 years ago for grad school and never wants to leave. When she is not working on her Ph.D in Human Sexuality or working out new numbers for the stage, she can be found covered in dirt on her organic mini urban farm or standing over a hot canning pot in the kitchen preserving the harvest. She is the producer of LiCK’s monthly Vixens & Vagabonds Queer & Kinky Cabaret, the longest running drag (and burlesque) show at her home bar Tabu, every 1st Saturday and recently won the title of Ms. Philadelphia Leather 2015.

Van Nguyen

Van is a genderqueer Vietnamese-American educator, activist, and performing artist raised and rooted in Philadelphia. She is a board member of the Leeway Foundation, a performer and web coordinator of the Liberty City Kings Drag and Burlesque troupe, steering committee member of Hotpot!, Philadelphia’s queer Asian/Pacific Islander women and trans folk gathering, and a former Philadelphia Trans Health Conference Kids Camp program director.

Arleen Olshan

The Mt. Airy Art Garage was Arleen’s brain child. Initially her goal was create a space where artists could collaborate—have studios, a gallery, classroom and performance space to build community. With the tremendous partnership of her wife Linda Slodki and the support of the Northwest Community, this dream, launched in 2009, has come to fruition.

Arleen is a graduate of the Pennsylvania Academy of the Fine Arts, with a BFA in Painting from the University of Arts (then the Philadelphia College of Art). She is also a master in handcrafted leather accessories, which she has worked in for over 50 years.

Kathryn Pannepacker

Kathryn Pannepacker is a textile/visual artist living in Philadelphia, PA. She graduated from Penn State University with a major in English and a minor in art. Afterwards, she apprenticed with 3rd generation French tapestry weaver, Jean Pierre Larochette and his partner, Yael Lurie, a painter and designer for tapestry. Kathryn then went to Aubusson, France to continue weaving as an artist-in-resident. She also had the opportunity to be an artist-in-resident in Hachioji, Japan, through the Japan Foundation.

Though still weaving pictorial tapestry, she also weaves with unusual materials. Through the Mural Arts Program in Philadelphia, Kathryn painted a 7′ x 500 ft. wide mural called Wall of Rugs: the global language of textiles at Girard and Belmont Avenues featuring the textiles of 42 countries. Part 2 was completed at Broad and Lehigh Streets. Her most recent painted-to-look-like-knitting & crochet-mural, Nana Blankets, can be seen in North Philly.

Kathryn exhibits locally, nationally and internationally, and has work in private and public collections. In the summers of 2010 & 2013, she was in Canada doing an outdoor textile installation for the international textile arts event at Moon Rain Center. She is committed to the transformative power of art in people’s lives and the sustainability of such transformation by involving the community.

See her featured on the cover/Spring 2009 issue of AMERICAN CRAFT.

E. Simon Ruchti, Ph.D.

Simon is an assistant professor of Women’s and Gender Studies and Philosophy at West Chester University. After completing a Bachelors in Theatre and Dramatic Literature at Mount Holyoke College, Simon went on to earn her Masters in Performance Studies at New York University and her doctorate in Interdisciplinary Arts at Ohio University. Both her master’s thesis and dissertation examined the relationship between gender and performance. Simon has also worked as a director and dramaturge for theatrical productions, spent five years in the film industry, and even had the opportunity to direct a baroque opera. Her areas of expertise include queer theory, feminist theory, performance theory, and masculinity studies. Currently, however, Simon’s scholarship focuses on her work with fraternity men to fight rape culture.

Jennifer Turnbull

Jennifer Turnbull uses art, the most powerful tool of communication, to transcend man-made boundaries. Inspired by the everyday, Jennifer Turnbull illuminates stories with the strongest themes and sometimes most difficult experiences relevant to all audiences. Over 30 years ago Jennifer began formal training in Ballet and expanded to Jazz, Contemporary, Hip-Hop & West African dance.  Almost 20 years ago, choreography became an integral part of her expression, earning her awards for Excellence in Choreography from Deerfield Academy and Tufts University.

Turnbull seeks to redefine the terms of art-education, believing in the power it harnesses, to revolutionize our formal education systems. Jennifer teaches Dance and Visual Arts in Philadelphia with Spiral Q Puppet Theater and the Barnes Foundation. Collaboratively she works with visionaries making music, dance and site-specific performance with SWARM and BARETEETH.

Chea Villanueva

Chea Villanueva’s fiction and poetry has been published in numerous anthologies throughout the U.S., Asia, and Europe and is the author of two books of short fiction—Bulletproof Butches and Jessie’s Song. Villanueva identifies as a male or male identified Stone Butch and was featured in the late Christopher Lee’s film, Trappings of Transhood, a documentary about gender identity.