This magazine showcases how art and artists can help make a difference in their surrounding community. Art is visually appealing and allows viewers to enjoy something, learn something, and possibly support a cause. Art is an unexplainable experience whether creating it or observing it. I wanted this magazine to look like it came from an artist, so the reoccurring concept was different mediums in art. I wanted to show how different mediums and people come together to reach out to the community and make a strong network, whether visually or literally. Enjoy reading!
2 ÂŤ From the Editor
THE IMPORTANCE OF TAKING TIME FOR SILENCE The pace of our lives increasingly moves towards a state of frenetic disarray that threatens to undermine the tactile quality that holds us together. We are taught to value speed and efficiency over methodical and deliberate action. We get so caught up in the rush that we forget to take a moment and just absorb what is around. Of course, speed and efficiency are not inherently poor principles; they have propelled the infrastructure of this country and are responsible for numerous gains. Perhaps this heightened forward progress has brought to our attention that the time we have available is a limited resource, further exacerbating and multiplying the velocity of our direction. I believe that in order to see who we really are as a society and as an individual, we need to slow our pace. The desire to pace myself and move in steady incremental directions has been a part of who I am from the time I can remember. I never wanted to jump into anything too quickly, and I commonly analyzed a situation extensively before making a decision. People label others as lazy when they are not productive with every minute of their day, and we do not want to be the ones to go against the current, so we pack our lives so full that twenty-four hours is not enough for a day. My commutes on the local interstate have provided me with plentiful opportunities to witness the degeneration of behavior when it comes to testing patience. The drivers of the cars that scream by in the adjacent lanes, weaving and bobbing through traffic just to make it two car lengths ahead and save themselves twelve seconds of commute time are missing out. We have become so enthralled with technology and the digital advancements that exponentially multiply in size and pace that we forget to disconnect periodically and unwind. It was a typical summer evening in Minnesota when I pulled back the covers
by riley erickson
on my bed and crawled in wearily. It had been another hot and humid workday, and even the air conditioning failed to take the dampness out of the air. The buzz of the unit could be heard outside my wall and my air purifier echoed its harmony with a thrum that verged on the hypnotic. I sunk into my pillow and flicked the power button on the remote, letting the constant din of the television put me into an unblinking trance. My sagging eyelids were brought back to attention with a bright flash outside of my window. Another flash ensued, followed by a roll of thunder after a moment. Seconds later the room was bright as day, quaking under the shock of a strike so close that all the windows in the house rattled. The room went black and
WE CONTINUALLY WEAR ON OUR MENTAL AND PHYSICAL STATES WITH THE NOISE OF OUR LIVES the image last seen on the TV did a dance on my retinas every time I blinked. My ears, after growing accustomed to the constant whir of fans and electronics, strained to hear any sound at all. My initial anger was quickly replaced by the realization that I had not experienced a quiet such as this in far too long. Time stood still as I looked around and saw nothing but blackness; I could hear my heart pound to the rhythm of the rain falling outside my window. The pace of my life mattered not at that moment, and I absorbed the eerie feeling of nothingness that quietly replaced the noise. Nothingness is a rare commodity for our world today that glorifies progress and views breaks and sleep as hindrances to that goal. We continually wear on our mental and physical states with the noise of our lives and the blare of the world around us. Perhaps in this state of uncommon silence we can take the time to ease out of acceleration. Perhaps nothing is exactly what we need to hear.
2010 Âť 3
Art for Oil
by Brittany Patz
A group of local artists come together and create work for the benefit of animals effected by the Gulf oil spill
4 ÂŤ Art for Oil
On April 20, 2010 there was a great oil disaster in the Gulf of Mexico. The offshore oil rig Deepwater Horizon caught fire and exploded. Swiss-based Transocean Ltd owns the Deepwater Horizon and leased the rig to UK-based BP. The 56 million gallon oil spill created environmental and political dilemmas and has led to the largest natural disaster in United States History. When reading many articles about the disaster, writers put the main focus on how it is affecting tourism and people who live and work near the coast when they are forgetting how it is affecting the natural habitat. According to federal authorities at Associated Press, nearly 800 dead birds, sea turtles, dolphins, and other animals have been found in the Gulf and on its shores. At MIAD, we have many enthusiastic artists who are eager to help out in their community. Alex Perez, a painting major at MIAD, set up an art show labeled Art for Oil to
2010 Âť 5
help raise money for the clean up in the Gulf of Mexico. Art for Oil featured eleven artists whose work ranges from print making, painting, photography, drawing, and digital artwork. Alex was inspired to start Art For Oil after she was given the opportunity to put on an art show. Her intentions were not only to help out the oil spill victims but also to support injured and disabled seabirds due to oil pollution. Alex explains, “By purchasing an art piece through the show, you are supporting a young and upcoming local artist and also helping save the lives of wildlife struggling in some very important
habitats in the U.S. and across America. Alex originally picked SOS, and says, “SOS really hasn’t seen any oil like NAS, who will really reach out to oil soaked birds.” Audubon was the first non-profit group to have volunteers on the ground when U.S. Fish & Wildlife Service needed them because of their quick response. Both of these organizations need all the donations they can get. Even though the Gulf oil spill has already had tragic consequences for birds, other wildlife, coastal communities. We know that its continuing impacts will be revealed over time resulting in a long-term clean up process.
By purchasing an art piece through the show, you are supporting a young and upcoming local artist and also helping save the lives of wildlife struggling in some very important ecosystems ecosystems.” All donations go towards the National Audubon Society and Save Our Seabird, Inc. The National Audubon Society works directly with oil damaged seabirds. Their mission is, “To conserve and restore natural ecosystems, focusing on birds, other wildlife, and their habitats for the benefit of humanity and the earth’s biological diversity.” Even though the oil has stopped leaking, the Gulf of Mexico and its wildlife continue to be threatened by millions of gallons of oil that is both on the surface as well as below the surface of the water. NAS is looking for support so that they will have the funds to assist birds and other wildlife. They have been pretty successful since they have a strong fusion of science and education to protect and restore local
Alex Perez brought together not only students from MIAD but also Chicago, Madison, Indiana, and Massachusetts. The artists from MIAD that donated their creative pieces are Alex Perez, Autumn Clark, Janson Rapisarda, Lilly Duermeier, and Nate Pyper. Other creative pieces donated were produced by Erick Fruehling, Jeff Herwig, Erik Johnson, NERS, Cassandra Warren, and Lindsay Woods. They wanted this show to provide proof that art can make a impact. Alex really believes that this will make a difference since the community will be exposed to different styles of art not only from MIAD but other artists from around the United States. She has set up a tumblr site for people to view and purchase artwork still available from the art show at artforoil. tumblr.com.
IBA (Important Bird Area) Priority Spill Area IBA Boundaries Oil, June 12th, 2010 Information courtesy of http://www.audubon.org./bird/iba/
Bird Impact Area of the Gulf Oil Spill
Bow Mast Mur
An enthusiastic and passionate science teacher at MIAD shares his love of nature and woodworking with fellow students and teachers
w ter rru by Kelsey Barnowsky
2010 Âť 9
He said he loves interact outside where it’s not a A
t an art school like MIAD, there is a good chance you will run into people who have a lot in common with you. But being the creative, unique people we are, there are bound to be some unusual or unexpected things we do in our free time. We aren’t a big enough school to have it’s own major sports team or anything like that, but we are lucky to have faculty that give us the opportunity to take part in some very exclusive, smaller activities. As for me, I happen to be an avid archer and hunter. After one of my professors knew this about me, she told me I should get in contact with Maurizio Murru. If you haven’t gotten the pleasure to meet him, Maurizio Murru is one of MIAD’s most dedicated science professors. Not only does he teach courses like biology and ecology, he takes time out of his busy schedule to organize out-of-school classes and adventures associated with science and the outdoor world. One of the very unique activities Maurizio has started at MIAD happens to be a bow making class. The reason you probably haven’t heard about Maurizio’s bow making class is because it’s something that takes a lot of passion, dedication, and commitment. I found out about it because I was one of the only girl hunters Maurizio had met at MIAD. When we met, we had a long conversation about
10 « Bow Master Murru
our hunting experiences and after I mentioned that I had been shooting archery since I was 4 years old, Maurizio’s eyes lit up. He then took a wooden longbow off of his wall and said he made it by hand and actually hunts with it. This is just one of many reasons why Maurizio decided to pursue a bow making class at MIAD. It all started when he was talking to another faculty member who was really interested in making a bow like the ones Maurizio has showcased in his office. He offered to help him make them in the 3-D lab on their own time. Lots of people started noticing what they were doing in the lab and became really interested in the beautiful longbows. As Maurizio says, once people start becoming interested is when you have to get permission. Because so many students were interested in making the bows, he went to the board and inquired about the class. They were really concerned at first with the fact that the bows were weapons. But Maurizio proved them wrong by saying that they weren’t weapons until they had arrows, which wouldn’t be at school. So with that settled, the bow making class began. Out of the interest of students and teachers, Maurizio gave up one of the few free slots of time he has in his schedule so he can share his knowledge and talent. Not many schools have teachers that are
seeing everyone of the classroom forced situation that willing to sacrifice three hours of their day for He even makes special exceptions when it comes to a class that is solely for fun and enjoyment. Since the bow class; he is currently doing one independent the bows take a long time to make, the classes have study with a student and also helping another make to be very small. There is only one a semester with bows as a part of her MIAD Senior Thesis. about 9-10 people in it. When I asked Maurizio how Maurizio is a big asset to the MIAD community. he picks who can be a part of the class, he said, He gets together students and instructors who share “Well, I like to know who they are, they are making an interest in nature and outdoor activities, which a weapon!” Anyone with interest signs up and is put is a big thing here in Wisconsin. All of the things on a waiting list. Maurizio said if they make more he does are on his own time and with the intent of effort to contact him about it, they are bumped up sharing the enjoyment and knowledge with others. on the list because he He said he loves Murru then took a wooden longbow needs to know they are seeing everyone committed. Maurizio pays interact outside off of his wall and said he made it for all of the wood for the of the classroom by hand and actually hunts with it bows and the students where it’s not a reimburse him and buy their own tools. The class forced situation. Not only does he instruct the bow is very worthwhile because almost everyone in the making class, but he also gets together kayaking class uses their bow when they are done making it, trips and rides down the Wolf River. If you ever whether it is for actual hunting, target shooting, or have a suggestion for any outdoor adventure, simply because they are interested in the longbow’s Maurizio is the one to contact. Having people like history or look. Each bow is very different and him as a part of our faculty is what makes MIAD’s Maurizio likes everyone to research what kind of bow community so unique and diverse. Hopefully his they would like to make, whether it is a certain tribe dedication and passion will be inspiring to other of Native Americans or an English bow. No matter students and faculty at MIAD and that our exceptional what type though, they all turn out to be gorgeous, student organizations will continue to grow. strong longbows. Maurizio also offers to help everyone make their own arrows outside of school.
2010 » 11
by Lydia Jarvis Illustration by Robert Walsh
A MIAD student grows and learns while exercising her artistic skills at the Hope House
S
ara Ca for h ron sit s in er. A a bl boy c ue p who ross th e the lies i lam lastic c boy ope s lazily i ’s n dipp nate-to hair tha Milw i p ta ing t is auk nterest on the h b muc ee’s tabl tow h to e in is hand le from ards Hop Hop o sm fron her e Ho into e Ho it. I just t of sits all t is a use use Sou g l t a S a h c i s a s t yo e o s h of ra’s hom ma mm a first nd S of milk ung unit eles Milw n “eme y ce . snes day a r a tow n ar s an ukee’s gency as a ra tries A book and ter. d cr dow t v in p ds this o l unte o dire tra eat ntow ov m ct er tu n. T nsition inclu erty an ission b e healt tor a h hy ll d y e d at and e emer to conn running comm center’s iving fa uni ge cility fr e a nu m ” loc both ee clini ncy sh ct those mbe ties. Ho ission elte ated c as i r s to adu f p a of p eH mil rs w lts a end nd c ell as e for men ies with rogram ouse w orks duc hild atio , wome their c s to he ren. nal l outr n and f ommun p famil i ami each lies ity. Pro es and tuto , a food grams ring serv pantry ices for
2010 » 13
Hope House’s youth educational service is called Shining Stars and it includes a tutoring program during this school year and a day camp program during the summer. Both programs involve volunteers who tutor academic subjects and teach enrichment activities in art and science. The Shining Stars program allows kids living at Hope House to acclimate to their new home more easily. Another benefit of the program is that it allows kids to feel more comfortable with themselves–because they are with children in similar situations, they are able to view themselves and one another without the negative stigma that often comes with homelessness. Sara is a twenty-one year old art student at the Milwaukee Institute of Art and Design (MIAD), currently entering her senior year, studying integrated studio arts with an emphasis in video and print making and a minor in art history. She volunteered at Hope House as part of a required service learning course that entails an in-depth study of the artist/designer’s role in the community. The course also requires a minimum of 35 hours of community service. Sara chose to do her service at Hope House for several reasons. “I knew I wanted to work with kids,” Sara tells me, “and I chose Hope House because it’s close to the neighborhood MIAD is in, but at the same time it’s a very different area. It’s something we don’t see very often.” What
Sara means is that even though Hope House is only a little over a mile from MIAD, the neighborhood is completely different. MIAD is located in Milwaukee’s Historic Third Ward, an area filled with renovated historic warehouses that now house affluent residents and quaint boutiques. The neighborhood’s single park is carefully manicured and all of the street lamps are painted a uniform, signature teal. In contrast with the expensive condos of the Third Ward, Hope House sits in a mixture of industrial buildings and residential homes. The area lacks a unified visual character and the streets are maintained much less scrupulously. Sara says she chose Hope House because “it’s unlike the places I normally spend time.” And she is very correct. Although Sara’s first day as a tutor ended less successfully than she expected, her overall experience with Hope House left her with some important insights. She now has a better idea of what her responsibility as an artist is to the community. Sara describes that responsibility as a leadership role. She says that the presence of artists is uplifting to the community–they bring a little extra hope and encouragement to the people around them. She expressed a similar sentiment about what she learned as a tutor. “It doesn’t matter if you’re a skilled tutor. Your presence as a positive, responsible adult role model is what’s important. You may not make an immediately visible difference in the lives of these kids, but
t u d o r b a a w s r fo e kid g n i s k e o h e t o v l g a I’m achin d to h tion e to t ’m gla onnec I c art, e this d ma
14 « Sara and the Shining Stars
’t n d l ou ity w I n g u t n i r th oppo e m y ng e so i m h n s t r i r o n This gotte eren’t f vice lea e hav o if it w in ser to d erience exp over time you can tell that they’re influenced by you.” She says that at first, she was primarily concerned with helping the kids improve at reading but that eventually she became more interested in just talking to them and hearing what they had to say. “That interaction was more satisfying. For all of us.” Connections like Sara’s with Hope House are the sort of thing that MIAD’s service learning program intends to facilitate. It teaches responsibility and community stewardship while establishing important connections; all through experiential learning. A few weeks after Sara finished her service hours with
Hope House, they sent her an email. The Shining Stars organizers wanted Sara to lead a two week art program, exploring artistic expression in different mediums. Sara says she was excited to hear from Hope House again. “This is something I wouldn’t have gotten the opportunity to do if it weren’t for my experience in service learning. I never would have learned about Hope House and they definitely wouldn’t have contacted me. And I’m looking forward to teaching these kids about art, I’m glad to have made this connection.”
2010 » 15
RedLine Adva
Work by Lori Baumen
g
din ine buil f RedL Front o
Studio Space
antage
Stud
io sp ace
of a ceram
ic art ist
2010 Âť 17
Imagine if there was a place to create, view and learn about art all in one building with little or no payment. Such a place exists in Milwaukee. RedLine Milwaukee is a non-profit organization that encourages and helps keep alive contemporary art and creative freedom in Milwaukee. Located on 1422 North 4th Street, RedLine can house up to 12 artist residents, has an exhibition hall, a well-equipped print shop, and space for education programs. Steve Vande Zande and Lori Baumen helped found RedLine to give Milwaukee a place to create, talk, explore, learn, and help others enjoy and experience art. Artist residencies occur at the RedLine building where apartments and studio space are included in the building. The artists bring a wide range of talents and techniques that can be shared with students and other artists. This enriches the art culture and experience in Milwaukee to bring in diverse, fresh viewpoints from outside the area. The resident artists help mentor teens and also perform two hours of community service each week. They are required to do 10 hours of work in their studio a week and also mentor and learn from other artists while in their residency, which usually lasts for two to three years. More established professional resident artists are mentor artists, who help teach and guide others to get the fullest learning and growing experience. International as well as national artists are welcome and there is no limit to what medium they can work in. Artists usually apply for the residency and are picked from their application and come in for interviews to decide if they will become residents. The artists’ studios have no doors, so while walking through the building the community can see more of the process and how and where the artwork happens. Having no doors also encourages a community within RedLine and forms relationships with other artists.
18 ÂŤ RedLine Advantage
Print Ma
All techn Inta
king Tec
iques ar e availab le at Red
Lin
hniques
glio: a tech e nique wh material. ere the im Normally a g e is cut in copper o ink is app to the pla r zinc pla lied to th tes are u ce Etching: e surface remove m sed. To p a n this proc d ost of the then rub rint, ess involv copper o bed with excess in in the cu r zinc, an es sheets a cloth to k. The id ts made. d ea is to o of a When pri m cid used e sion in th ta l. To beg nly leave nted, the to etch th metal, usually e paper, in a in p la k la e image g y a te makes er of wa iving the st texture. e e l e onto tc x is appli print a se a hing nee ed to the nse of dim n impresdle is use plate. Th plate and d to draw ension an e plate is d an image then sub about tw Monoprin merged on the o hours. into an a T t: h h b e y a a s in c b cid bath id k een expo ing up a more ink w il l e a for t flat surfa sed by th away at or taking process ce or pla the meta e needle away ink be printe can be re te and ad l it creates to th d once a at le a peated m v ding layers on an image nd is con cannot b ultiple tim e grooves. This one plate sidered o that can e reprodu e s . to n o in T e n he printi taglio, bu create m ly of a kind ced like m ng proce .A any t etching ost other ss is sim and mark can crea print mak monoprint ilar to te a wide Relief: Re s using v ing meth arious te variety o ods. lief printi chniques. f texture ng is cutt wood or s ing away linoleum, at a mate to create C away beco o ll a g rial, usua marks an r a mes the p h : A collage lly d images. negative form of in raised su print ma What you space or rface prin taglio. A king tech cut white of ts and cr collagrap m a always a n nique n th e eates the r as etch e paper. h plate is ppear rev The in image. T g printed in that is a s, ersed on re b li u ef printin t include he image the same ce printe s the basi will d. materials g. Plates are crea c princip Lithogra te le of li k d e b p y a sticking per or fa phy: A Pla ing the p and gluin bric onto printing a neograp late with g th nd non-p h e te p v a la chnique rnish or te and th rinting are same lev meaning acrylic m an coatas of the el, i.e. fla th e d e iu m p t. S la . creen Pr This proce te are all that wate at the ss is base r and oil inting: U do support d on the or stone ses a wo an ink-blo property with a gre not mix. After dra ven mesh cking ste w a a reas of m ing on th or screen sy materi tusche) th ncil. The e plate al (crayo e to sh e image th stencil fo a t transfe n or grea squeege is than “e consists rms open rs sy ink ca e in tched.� T is k of applyin o p nto pape ulled acro lle d h e g th e gum arab e open m tching pro r, the areas ss the sc ic and nit esh area reen to fo cloth, etc. A covered ric acid w cess s. by the im rce ink th while the h a ic g rough h e ca to unmarke u attract th d areas re e printing ses pel it. ink
Above and to the right, prints by Dara Larson
There are also a small group of teen residents who come to RedLine after school a couple times a week. The students apply for this program, and there is no fee. Volunteers teach these programs as well as mentor artists. RedLine has it’s own gallery space in their building and wants their exhibits to reach beyond the audience of artists and critics. They have four exhibits a year including an international artist, national artist, as well as the artist residents. It’s great to walk through the building and see the artwork from start to finish. This type of experience separates the RedLine gallery from other galleries. Steve and Lori are at the head of the education programs and collaborate on some of them with the Milwaukee Art Museum. These unique programs create a positive and encouraging outlet for kids who may be interested or intrigued by art. Over 1,000 hours of outreach and education have been organized and funded for this year, which is a great accomplishment when art is one of the first departments to feel the affects of budget cuts in schools; this unique program is needed so that kids can be exposed to where art can take them. RedLine recently added a Mac lab with donated, refurbished computers, and would also like to incorporate video and animation programs as well. RedLine understands that new media and technology is important to learn as well as the traditional art mediums. The print shop offers intaglio, collagraph, relief, monoprint, silkscreen and direct to plate lithography. To have a studio with this variety of print making techniques helps encourage and continue the print making community that is often found in college art programs. The print shop is managed by MIAD alum, Kari Couture and Kim Weiss. Both artists have been planning and hoping for an opportunity to start a communal print shop because most print making techniques are expensive and need a lot of space, so most print making artists have a hard time obtaining equipment. “We both really wanted to open our own print
The print shop has open studio times as well as classes in case students or adults have never printed before
shop once we graduated,” explained Couture. Couture knew Steve Vande Zande, and through this connection Couture and Weiss were brought on board to the RedLine project. This open concept print shop is really the only of its kind in Milwaukee. Some colleges have programs, but nothing this affordable and open. The print shop has open studio times as well as classes in case students or adults have never printed before. Both Couture and Weiss volunteer at the print shop and oversee the open studio times as well as teaching the classes. Both artists work full-time and volunteer at RedLine in their spare time. RedLine Milwaukee has made emerging artists and mid-career artists the core of their focus. These artists often need a support system and encouragement to help them grow and evolve. RedLine also offers them exposure by displaying their works in the gallery space or even having members of the community walk by and see their process. Breaking into the professional art world can be intimidating and frightening, but by having a supportive group of fellow artists it can help create connections and relationships that make things easier. RedLine has shown how art can impact and add to a community. This community of artists and students will hopefully grow in the future and maybe MIAD alum or students can help expose RedLine and it’s great opportunities. RedLine Milwaukee has only been open for about a year, but the future of this artistic arrangement will grow and expand Milwaukee’s art community.
y
er f gall nce o
entra lobby from View
Kari Couture an d Kim Weiss, MI AD alum
dLine the Re Press in
op print sh
Photography and article by Kezra Cornell
2010 » 21
by andrew palios
HOW A MIAD STUDENT WAS INSPIRED TO GO BACK TO SCHOOL AND FIND HIS OWN SUCCESS I used to work in an oil change shop attached to a full service car wash. I was saving up every last dollar I could to put
towards my tuition for my second attempt at college. During my summer at the oil change shop I witnessed lines of vehicles, sometimes 20 car lengths long, sizzling in the 100 degree sun of that barren highway in the western suburbs of Chicago. The air-conditioned waiting room was always full of customers, deep in what seemed to me like generations of wealth. Their Sundays were spent watching the hardest working among us dry their new, freshly waxed cars by hand with paper towels under the sun, while indulging free coffee and popcorn in a frigidly air-conditioned waiting room. I would even see one customer get his car washed everyday, whether it was dirty or not. He was always standing right behind the workers, pointing out any spots missed on his car. “That’s what it’s like to be successful,” I thought to myself, “that’s what it’s like when you know you made it.” The thought of being one of them made me work tirelessly at school and work for the next 2 years. I wanted people to look at me and think to themselves, “This SUCCESS IS NOT DEFINED BY guy is valuable; this guy is successful.” THE MATERIAL OBJECTS WE I finished my first 2 years of school and TEND TO SURROUND OURSELVES found an internship at a small advertising WITH IN AN ATTEMPT TO FIND agency outside of Chicago. I worked as hard as COMFORT IN OUR LIVES I could, never taking breaks and always taking the initiative on every task put before me. After a few weeks the owner gave me the chance I had been waiting for since the beginning of my return to college. “We would like to hire you Andrew,” he said. Elated, I reported the news to my parents and bought myself a new car. Finally, my success had become a reality I was becoming somebody successful, somebody with status, somebody with a new car. Weeks at the advertising agency came and went. I was getting to know important clients, surrounding myself with educated people and being treated like a professional. Suddenly, the economy began to suffer a meltdown that had not been seen for decades. After a few weeks the owner said the words I had been dreading since the beginning of my career, “The economy has never been this bad Andrew, I’m going to have to let you go.” I was running out of patience, but not running out of determination to achieve success. I made the decision to go back to school, thinking, maybe more doors will open up or I will find a new opportunity. It was hard to accept but maybe losing this job was a good thing. Then I realized, success is not defined by a shiny new car, but if you can say I did all I could, you are already successful. Success is not defined by the material objects we tend to surround ourselves with in an attempt to find comfort in our lives. Success is having the perseverance to grow into a stronger person with each passing day, and through each unexpected challenge. This I believe.
22 « TRUE SUCCESS
by emily marshall
I believe that if my mom hadn’t taken away my game boy in 6th grade I would have been the ultimate Pokemon master. I believe in babies. I believe in camp songs and singing them around a fire with friends. I believe in corny song lyrics. I believe in a thing called love. Love lifts us up where we belong. all you need is love. Love, love, love. I believe in corny love. I believe that there are hundreds of kinds of love. But they aren’t really all that different. The love I have for my mother and the love that she has for me comes from the same place in my heart as the love that I have for apples. And the love I have for semi-trucks. And the love I have for myself. There are a million ways to love but it’s all grown from the same seed. I believe in cliché’s.
BEING POSITIVE IS THE EASIEST THING ONE CAN DO TO ALTER THEIR SITUATION I believe that sunrises are still the most beautiful things I will ever see. I believe that the only reason I turned out alright is because there was never a doubt in my mind that my mother loved me with all of her heart. I believe in the loch ness monster. I believe in dinosaurs. I believe in the possible existence of extra terrestrial beings and that we should stay away from them. I believe in puppies. I really, really believe in puppies. I believe that time moves both fast and slow. I believe that hard work is always much better when you do it with a friend and a boom box. I believe that you should help people with out expecting to hear please and thank you. I believe in going outside and that rain and sunshine makes the flowers grow. I believe in life after love. I believe that it is important to accept people the way they are and give second chances. I believe that there are stereotypes and it is impossible not to generalize, but I also believe in being yourself even when everyone thinks they have you pegged. I believe that it is OK to cry even if you are trying to be the
ARTIST EMILY MARSHALL DESCRIBES HER MANY BELIEFS HUMOUROUSLY tough kid. I believe that love stinks, but it stinks in a bunch of different ways. The smell of roses could turn into raw sewage, but even babies don’t smell good all the time. And like I said...I already believe in babies. Even when someone smells that doesn’t mean you stop loving them. I believe that people can change, but cannot be saved from themselves unless they do it on their own. I believe that being a good example is far far better than being a nag. I believe that these two lanes will take me anywhere. We got one last chance to make it real. To trade in these wings for some wheels. Always go forward and don’t dwell on the past. Keep truckin’. I believe in waking up early. It doesn’t always happen with me, but when I do I feel a sense of pride and exhilaration at being awake on a Saturday while the rest of the city is sleeping off their hangovers. I believe I get by with a little help from my friends. And that the good ones are worth holding onto. I believe that when life gives you lemons, you make lemonade. Being positive is the easiest thing one can do to alter their situation. Sweet songs never last too long on broken radios. I believe that America is a great country. And although it is pretty popular to hate the U.S.A. I am really glad that I was born here. It is okay to be critical of the country you live in. We all know the United States isn’t a shining example of perfection and truth. But it is harder to love your country and try to change it than give up. I believe that people make mistakes. To err is human, to forgive is devine. I believe in the beach and the sun and a place called Cocomo. Sunlight is the best medicine. I believe that the best way to make friends is to be yourself. I believe that honesty is the best policy and a good smile can get you through numerous situations. I believe that little kids know what’s up and they could all become the president or a superstar, or a famous artist or a banker if someone just believed in them. I believe that rock and roll dreams can come true.
2010 » 23
Andrew Palios Lydia Jarvis Brittany Patz Kelsey Barnowsky Riley Erickson Robert Walsh Kim Weiss Kari Couture http://service.miad.edu Cover Art and Photography by Kezra Cornell kezradesign.com