University of Florida College of Fine Arts
I found the combination of faculty, facilities, and students to provide a rigorous and stimulating creative environment.
Art Smart , Life Smart.
Kim A.
Making Connections , Engaging Possibilities.
No.17
UF Ranked in U.S. News & World Report “Top Public Universities.” (August 2010)
No.1
In 2010 Gainesville was ranked in “Top College Towns” by Livability.com and No. 5 in “Top 10 Small Cities” by USA Today.
The professors in the School of Art + Art History created an intensive environment in which their scholarship and passion was neatly integrated into their teaching.
Michael P.
No.2
UF Ranked in Kiplinger’s “Best Values in Public Colleges.”(2010)
Recent Visiting Artists and Scholars have included: Vito Acconci, Beth Cavener Stichter, Diana Al-Hadid, Jim Drain, Alec Soth, Janine Antoni, Dan Cameron, Brody Condon, Gregory Green, Fritz Haeg, Christine Hill, Steve Kurtz (The Critical Art Ensemble), Kerry James Marshall, James Victore, Mike Perry, Michael Rakowitz, and James Turrell.
The University of Florida’s tuition is among the very lowest in the United States and
49th among the 50 state flagship universities in the country.
Through Action Theory is Embodied
University of Florida College of Fine Arts School of Art + Art History
D E A N ’ S ME S S A G E
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D ir e c t o r’ s Message
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SA+A H Res o u r c es
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Ar eas o f S t u d y
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The G a l l e r y Art Education, Art History, Museum Studies Faculty Studio Art Faculty
a b o u t o u r fa c u lt y
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DEAN’S MESSAGE
Lucinda Lavelli began her tenure as Dean of the College of Fine Arts in 2006. She currently serves on the boards of The Cade Museum Foundation, New World School of the Arts in Miami, among others. Lavelli serves as the President of the Florida Higher Education Arts Network (FHEAN) and Secretary of the International Council of Fine Arts Deans (ICFAD).
The School of Art + Art History shares a national reputation for teaching excellence and creative research with the 35 year-old College of Fine Arts’ School of Theatre and Dance and School of Music.
lucinda lavelli COLLEGE OF FINE ARTS
This publication celebrates the work of our faculty—the central facilitators of our mission to educate students, contribute to new and existing bodies of research, and foster ways of knowing and understanding ourselves, our neighbors, and our world. I invite you to view the pages of this catalog to learn more about the significant efforts and accolades of our faculty and to view images of works representing the dynamic relationship between students and their faculty mentors. These highlighted works are made possible by the unique resources and opportunities established by our community of artists, teachers, students, alumni, and staff here at the University of Florida. These include international learning programs organized and led by our faculty, opportunities to engage with the national arts community through participation in major domestic events and activities (e.g. Art Basel Miami Beach, studio visits in New York City), facility and technology resources, and internships and entrepreneurial development opportunities nurtured through on- and off-campus programs and activities. Our faculty continues to promote the conditions for creative collaboration, diversity, interdisciplinary exchanges, inspiration, appreciation, and a culture of courageous risk. As a major presenter and facilitator of creativity for our surrounding community and region, the School of Art + Art History hosts dozens of exhibitions, interdisciplinary events, and discussions led by renowned guest artists, scholars, and historians, while our own faculty, alumni, and students are sought to share their works and research on campuses and in communities throughout the world.
SCHOOL OF ART + ART HISTORY
Our alumni are among the ranks of educators in K-12 and higher education institutions, artists, art dealers, museum curators, gallery owners, designers, creative entrepreneurs, and other fields in which they apply their creativity, complex problem-solving skills, and ability to construct ideas from diverse, often disparate, points of view.
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We celebrate this opportunity to share our achievements as the University of Florida remains proudly dedicated to providing an environment that nurtures those artists, historians, educators, and leaders who are committed to the challenges and promises of a life in art.
director’s MESSAGE
Praxis has been defined as “the process by which a theory, lesson, or skill is enacted, practiced, embodied, or realized.” It represents a reflexive relationship between theory and action. Praxis emphasizes the need for a constant cycle of conceptualizing the meanings of what can be learned from experience in order to reframe strategic and operational models, embracing a cyclical process of experiential learning.
School of art+ Art History
The School of Art + Art History (SA+AH) offers this synthesis of theory and practice in an innovative and collaborative learning experience that explores the art world through academic inquiry, research, technology, and creative studio practice. The SA+AH is composed of over 400 undergraduate art majors, more than 160 graduate students, and 40 full-time faculty. It is a curriculum that embraces history and theory, explores and challenges contemporary visual culture, and plays an active role in creating the future of the art world. Our innovative curriculum combines both freedom and structure in a challenging, yet supportive learning community for the individual student artist and scholar. We offer BA, MA, and PhD programs in Art History, an MA in Museum Studies, a BA and MA in Art Education, a BA in Visual Art Studies, as well as BFA and MFA programs in Studio Art.
The BFA studio program begins with the Workshop for Art Research and Practice (WARP), our nationally recognized, alternative foundations program that introduces the study of art through theory and practice. Our Art History students study with top academics in the field gaining interdisciplinary research and critical-thinking skills. The Museum Studies graduate program offers sound academic grounding, museum theory, and practical experience. The Art Education program provides students with extensive opportunities to hone their knowledge and skills as pre-professional art teachers through on-campus, as well as on-line learning environments. All combine to create a stimulating and dynamic environment that allows our students to discover and follow their passions as artists, designers, and scholars. We are proud to say that art and creativity are recognized as a critical component of the University of Florida’s overall mission. Our internationally acclaimed faculty and outstanding student body combine with the overall intellectual community of our creative campus to make the School of Art + Art History an exceptional place to become immersed in the studio arts, design, art history, museum studies, and art education.
SCHOOL OF ART + ART HISTORY
Richard Heipp
Richard Heipp is an award winning artist and educator who has taught painting at UF for 30 years and currently serves as the Director of the School of Art + Art History. Heipp also remains active as an exhibiting artist having had more than twenty-five solo exhibitions. He has also been included in over one hundred group shows, and has been commissioned to complete 20 site-specific public art projects.
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SA+AH RESOURCES
Graduate Assistantships and Fellowships Graduate students in the SA+AH are eligible to receive a Graduate Assistantship (GA) or a Graduate School Fellowship. 95% of MFA, 90% of PhD, and 75% of MA resident graduate students receive funding awards. Fellowship awards can be as much as $16,000 per year. In addition to stipends, graduate assistants and fellows receive health insurance and a full tuition waiver valued at over $20,000 per year for out-ofstate students and over $8,000 for Florida residents.
SCHOOL OF ART + ART HISTORY
Annual New York Trip 2011 will mark the 30th consecutive year the School of Art + Art History has conducted the New York Museum, Gallery, and Studio Excursion. This trip has provided an opportunity The Harn Eminent Scholar Chair in Art History Program for almost 600 art students, both graduate and undergraduate, to is a lecture and symposium series dedicated to fosbe immersed in an intense guided educational experience. Students tering an ongoing discussion of current scholarship visit the major art museums and gallery districts, attend meetings in art history. Each year the faculty of the School of with gallery professionals and experience intimate studio visits Art + Art History and curators at the Harn Museum with well-known and emerging artists. This successful trip has of Art choose a group of distinguished scholars to fostered a thriving community of former SA+AH students who present their current work on campus. The scholars are active in the New York artistic community. represent a range of fields in the history of art and are outstanding art historians, critics, and curators. The Art & Architecture Fabrication Laboratory (A² FabLab) Each scholar gives a public lecture and interacts with is a rapid prototyping facility developed and operated collaboratively students, whether in the classroom or at more informal by the College of Fine Arts and the College of Design Construction gatherings. The hescah Program is made possible by an and Planning with initial funding provided by the UF Office of endowment generously gifted by Dr. and Mrs. Cofrin. Research. The FabLab provides digital fabrication technologies such as Laser cutting, 3D printing, 3D scanning, and CNC milling. Reid Hall’s Fine Arts Living and Learning Community houses These tools provide different ways of bridging the physical 166 students and is open to any UF student with an interest and digital realms, and offer exciting opportunities for students in the arts. This art-inspired on-campus community consists and faculty to explore new ways of thinking and making. of diverse students who share a common passion to pursue Visit http://www.arts.ufl.edu/aafablab creativity and expression. Reid Hall offers resources to its residents, such as studio space, a gallery, a musical practice THE Architecture and Fine Arts (AFA) Library primarily sup- facility and an Artist-in-Residence apartment within Reid ports academic programs associated with the School of Art Hall, which allows the artist to share the residence hall living + Art History, as well as the School of Architecture. Today, experience with students. with over 125,000 print volumes and an array of electronic formats, AFA is the largest visual arts and architecture THE SA+AH visiting Artist and Scholars Program annually library in Florida and one of the top collections in the invites a diverse range of notable speakers that offer significant Southeast. AFA’s specialized video collection consists of contributions to the contemporary discourse in the fields of over 1,500 cataloged art and design titles. The periodical art, art practice, theory, history, and criticism. Visiting speakcollection includes 2,700 titles with approximately 250 ers regularly offer lecture presentations, workshops, and current subscriptions, many with an online equivalent. critiques, as well as interacting with students through disFifteen networked computers (some with attached scan- cussions, seminars, and studio visits. The program is made ners) allow users to access proprietary databases and use possible through the endowed Marston Lectureship in the production and imaging software. Fine Arts. In addition, this program regularly partners with the Harn Museum of Art, the SA+AH Infinite Energy Sculpture and Hot Clay Ceramics Lecture Series, as well as other units on the UF Campus.
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Scholarships Each year the School of Art + Art History awards a number of competitive scholarships based on artistic and academic merit. Awards range from $250 to $2500. The SA+AH is thankful for the generous donations that allow us to help support our most outstanding graduate and undergraduate students through scholarships such as: the Ahrens Scholarship Fund, the Amy Nicole DeGrove Memorial Scholarship Fund, the Carolyn A. Novogrodsky Memorial Award, the Dennis and Colette Campay Studio Art Scholarship Fund, the E. Robert Langley Scholarship Fund, the James J. Rizzi Scholarship Fund, the Stephen Kippert Memorial Scholarship Fund, and the Jerry Cutler Graduate Travel Scholarship.
The Samuel P. Harn Museum of Art The Harn promotes the power of the arts to inspire and educate people and enrich their lives. Founded in 1990, the museum is an integral part of the University of Florida. Its holdings include more than 8,000 works in five main collecting areas: Asian art, African art, photography, modern art of the Americas
and Europe, and international contemporary art. In addition to rotating installations drawn from its permanent collection, the Harn organizes traveling exhibitions, public lectures, panel discussions, academic symposia, and educational programs for adults, students and children. The museum includes
the Cofrin Pavilion, a 6,500 square foot exhibition space that features exhibitions of international contemporary art. In 2012, the Harn will open the 26,000-square-foot David A. Cofrin Asian Art Wing, which will feature three levels, including new galleries, storage and conservation spaces, as well as outdoor gardens.
Undergraduate Advising Office The University of Florida’s School of Art + Art History is committed to quality academic advising for all SA+AH students. SA+AH provides specialized advising for the school’s eleven majors. Our full-time advisor, Focus Gallery is an 850 square foot space that presents Dana Myers, and her staff are dedicated to serving the unique monthly exhibitions of student-curated exhibitions featuring needs of our undergraduate majors. Myers ensures our students student-created artworks. Focus Gallery is located adjacent understand the complexities and special requirements of their to the lobby of the School of Art + Art History’s Fine Arts degree plans, while also serving as a primary support, enabling Building “C”. students to achieve their specialized educational goals. Grinter Gallery is located in the lobby area of Grinter Hall. Its mission is to present international and multicultural artUniversity of Florida, Art in State Buildings Program, work. Input from many campus organizations is included in operated by the SA+AH’s University Galleries, consists planning the Grinter Gallery exhibition schedule. of more than 150 artworks located at various UF facilities throughout the state. The majority of the pieces are The Visual Resources Center provides access to the ARTstor site-specific artworks commissioned through a program Digital Library, which promotes and shares collections from mandating that up to 0.5% of the total construction costs hundreds of museums, artists, artists’ estates, photographers, for new state-funded buildings is to be used for the scholars, special collections, and photo archives with access acquisition of artworks. Visit http://arts.ufl.edu/asb to over one million digital images. In addition, the VRC maintains a comprehensive collection of over 325,000 fine art and The University Galleries The University Gallery is an architecture slides and reproductions. It also houses computer integral part of the programs and curricula of the workstations, flatbed scanners, image editing software, and a School of Art + Art History. High quality, thought-pro- copy-based lighting and digital photography station. voking exhibitions are presented every four to eight weeks that engage the university and wider community in stimulating dialogue facilitated by contemporary visual language and culture. Exhibitions feature internationally recognized artists as well as the annual faculty exhibition, a juried student art show, and a series of MFA graduating thesis project exhibitions. The 3,000 square foot space is a lively, exciting venue that is utilized for many events throughout the academic year.
SCHOOL OF ART + ART HISTORY
Study Abroad Opportunities UF values the study abroad experience as an enriching component of the college career and offers a wide range of opportunities from which to choose. The SA+AH encourages students to experience other cultures and earn credit toward their degrees. Students in approved college programs can receive financial aid and can utilize courses taken abroad toward their required summer study. Study abroad programs have included such offerings as: Installation Art in Ireland and Scotland; Art History, Painting, Drawing, Photography and Digital Media in France; Graphic Design in Japan; Art History and Photography in Italy; Printmaking in Greece; and Woodcarving with an ecological perspective on Andros Island in the Bahamas.
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AREAS OF STUDY
SCHOOL OF ART + ART HISTORY
Art Education (BA, MA) The mission of the Art Education program is to provide students with a thorough understanding of the ways in which art education evolves in response to changing cultural, economic, political, and technological conditions. While our undergraduate program is intended to prepare future art teachers for positions in Florida’s public schools (preK-12), our graduate program aims to develop leaders within the field who demonstrate reflective, critical thought and scholarship, as well as a commitment to ongoing professional development. Graduate students in the Art Education program can complete either the campus-based or online Master of Arts in Art Education. In both graduate tracks, students have the option to complete the Educator Preparation Institute that allows students to earn a Master’s degree and K-12 Florida Art Teacher Certification.
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Creative Photography (BFA, MFA) The Creative Photography program offers an innovative blend of provocative and experimental approaches. As one of the most established programs of graduate and undergraduate study in photography in the United States, it draws on substantial faculty strengths in photography, as well as expertise in the broad field of contemporary visual inquiry. Students are encouraged to develop their personal artwork through a constructive dialogue that builds on a student’s individual strengths. Work that engages the future trajectories of photography and related practices (such as electronic media, installation, and performance) and evolves from an informed inquiry into the histories, theories, and practices of photography and culture is encouraged.
Art History (BA, MA, Phd) The Art History program introduces students to the wide range of artistic styles and periods in Western and non-Western cultures, art historical theory and criticism, and research methodology. Five general areas of art history are offered: Ancient, Medieval, Renaissance/ Baroque, Modern, and Non-Western. The student is exposed to research of increasing depth through the material presented, as well as through course assignments, projects, and special programming such as visiting lecturers. Critical thinking skills are encouraged and cultivated in this program, which emphasizes visual identification, knowledge of history and Art + Technology (BFA, MFA) Technology and mediated inthe social forces and ideologies that contribute to different formation are transforming the world, resulting in shifts in periods and styles, and sound research practices. social interaction and the way we perceive ourselves and our environment. As a culture we need artists to interpret and Ceramics (BFA, MFA) Ranked by US News and World Reports address these developments. The Art + Technology program as one of the top 15 programs in the country, UF Ceramics approaches forms or technologies located at the cutting edge is designed to promote growth in aesthetics, technical of science or commerce as sites of potential creative discourse knowledge, theory, criticism, and conceptual approaches. simultaneously realizing alternative possibilities and connections The strength of the program resides in its diversity; no with traditional media. Learning is viewed as a participatory one style, aesthetic, or technical focus is stressed over experience whereby students learn aesthetic, technical and proothers, and experimentation is encouraged. The curricu- duction skills in a hands-on environment. Students are encouraged lum addresses the broad range of perspectives found to approach ideas, materials, and experiences from a multidisin contemporary ceramic art, from sculpture to vessel- ciplinary perspective, using technology to critically explore and reference works to pottery, and includes historical understand the world as well as technology itself. and contemporary references. Professional practices information helps undergraduate and graduate students Drawing and Painting (BFA, MFA) Students in the Drawing and Painting make the transition from school into the professional programs work from a considerable variety of perceptual, conceptual, arena. Ceramics also offers a highly selective, full year, procedural, imaginary, and theoretical models. Through practice Post-Baccalaureate experience, as well a Certificate in and the development of research and studio skills, students are enStudio Art with a specialization in Ceramics. couraged to work to create an environment where the making of drawings and paintings and the ideas behind them are simultaneous and engaging. Emphasis is on the development of the concepts and skills related to art-making and the development of a personal artistic idiom. Students learn to effectively use in-depth research practices, technical investigation, and experimentation to develop a coherent discourse surrounding their work and ideation.
The Workshop for Art Research and Practice (WARP) This unique team-taught course was conceived and developed by visionary faculty members in 1993 to build a strong conceptual foundation and to prepare students for the rigorous expectations in subsequent SA + AH coursework. WARP pairs a 3 credit hour lecture with a 6 credit hour studio course providing students with a comprehensive introduction to the study and practice of art in the twenty-first century. Immersed in a broad range of creative activities and media, WARP students concurrently debate diverse theories related to design, popular culture, art history and contemporary art practice.
WARPhaus is a completely renovated 7,000 square foot, off-campus facility that provides a progressive studio/classroom environment which includes two student/artist run galleries: the WAPRhaus Gallery, and the “4-Most Gallery,” a SA+AH student, retail gallery. It also houses the “4-Most Post-Graduate Residency Studio”. This unique learning environment provides SA+AH students a valuable opportunity to think broadly, deeply, creatively, and critically about art in a local and global context and encourages hands-on participation with art and culture.
Graphic Design (BFA, MFA) The Graphic Design program prepares students for professional work in this dynamic and changing field. The curriculum emphasizes research, concept development and application, work with clients and users, and professional development, including the establishment of a working portfolio. Students work together in a studio environment that builds a vibrant community of learners and fosters exceptional creativity and innovation. Each spring the student organization voxGraphis, produces Ligature, a weekend-long celebration of graphic design featuring internationally renowned speakers and a juried student design exhibition. UF graphic design graduates are extremely competitive in the job market and find work in a number of design-related fields. Some students choose to earn a master’s degree in the field or pursue other professional degrees. technique, conceptualization, experimentation, and encourages Museum Studies (MA) The Museum Studies program was collaboration. Students may pursue work in lithography, intaglio, established in 1999. This two and one-half year graduate relief printing, screen printing, photo-based processes, letterpress, degree program offers sound academic grounding, museum book arts, mixed media, installations, and other experimental theory, and practical experience. Students select and pur- processes. No style or aesthetic approach is stressed over another. sue a disciplinary emphasis of their choice (for example Anthropology, Art Education, Art History, Education, Sculpture (BFA, MFA) The goals of the Sculpture program are to English, History, Historic Preservation, Tourism, Recreation, encourage and guide the development of each student through and Sports Management) while participating in comprehen- a process of creative inquiry in the belief that learning is deepened sive museum studies seminars, practicum, and internships. through the cycle of conceptualization, realization, and critique. Upon completion of the program, graduates will have Students are provided instruction in a wide array of technical attained the skills and knowledge necessary to pursue skills and conceptual approaches that are transferable to many careers in a variety of institutions, including art museums, other fields and disciplines. Promoting serious investigation of all natural history museums, history museums, anthropology facets of contemporary sculpture, including history, theory, technical museums, children’s museums, historic sites, and various processes, conceptual strategies, and formal issues specific to the other interpretive sites and institutions. study of sculpture, the program encompasses a wide range of media and methods ranging from the traditional to the highly experimental. Printmaking (BFA, MFA) The goals of the Printmaking program are to introduce students to the expressive Visual Art Studies (BA) The Bachelor of Arts in Visual Art Studies nature of printmaking, both historically and conceptu- (VAS) enables students to achieve proficiency in general art, including ally, and to examine the purpose, function and aesthetics concept development, experimental approaches, technique, and formal of this art form within the larger context of the composition. Through the study of art theory, art history, and concontemporary art world. Students from other areas of temporary art, students gain knowledge of art genres and systems of art will discover ways to incorporate and extend thought. Emphasis is on the development of new approaches to art-maktheir interests to further develop aesthetic think- ing. Students learn to effectively use sound research practices, to discuss ing, skills, and career goals. Instruction embraces the development of their work both in speech, in writing, and, to begin to develop a portfolio and résumé.
SCHOOL OF ART + ART HISTORY
WARP is housed in a dedicated facility known as WARPhaus. It is the cornerstone of the SA+AH Foundations program. This innovative program provides students with lifetime tools for interpreting, understanding, and creating art in the ever-changing fields of art and design. Upon completion of this semester-long course, students have an accurate sense of their own potential, a notion of the possible career paths available in the arts, and an understanding of the skills and level of commitment required for success.
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STUDIO ART
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STUDIO ART
Ionic Capital from Eretria.
BARBAR A A . Barletta Professor CL A S SIC A L A RT & A RCH A EOLOGY
Dr. Barletta’s research has focused on the interaction of the ancient Greeks in various parts of their world, ranging from Southern Italy and Sicily, to Mainland Greece and the Aegean Islands, to Asia Minor. She has traced this interaction particularly in sculpture and architecture. Most recently, she is studying the Temple of Athena at Sounion (near Athens), which is an early example of the adoption of Ionic architecture (developed in the Aegean
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Islands and Asia Minor) in Mainland Greece.
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Ionic influences reach their most famous expression later on the Athenian Acropolis.
melissa hyde printed in canada
ISBN 0-89236-743-1
Making Up the Rococo
To admire the seductively brilliant works of François Boucher (1703–70), Denis Diderot decreed, was to be a stranger “to the truth, to just ideas, and to the seriousness of art.” Making Up the Rococo challenges the longstanding critical disregard for Boucher’s oeuvre and for rococo aesthetics in general, offering an engaging analysis of the cultural and artistic implications of makeup and of making up social, gender, and painterly identities.
Making Up the Rococo François Boucher and His Critics
melissa hyde
Texts & Documents
Cover of Melissa Hyde’s book published by the Getty Research Institute, 2006.
Associate Professor E A RLY MODERN EUROPE A N A RT
Dr. Hyde has made a career out of understanding the gendering of aesthetic culture in the eighteenth century. Her book, Making up the Rococo: Francois Boucher and his Critics, traces the links between the identification of Rococo painting with women and femininity in eighteenth-century French art criticism and the “feminization” of elite culture in social and philosophical discourses of the Enlightenment. Hyde has also published numerous articles on women as artists and patrons in the eighteenth century. Her research has been funded by fellowships from the Getty Research Institute, the Association of American University Women, National Museum of Women in the Arts, the Clark Institute, and INHA (National Institute of Art History, Paris).
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Melissa Lee Hyde
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Warring States bamboo manuscript.
guolong L AI Assistant Professor CHINESE ART & ARCHAEOLOGY
Dr. Lai’s research interests include all aspects of the visual, verbal, and material cultures in early China, and he has conducted research and published on early Chinese mortuary arts, manuscript culture, and architectural and heritage conservation in China. In 2008 he received the Jack Wessel Excellence Award for Assistant Professors and was named the UF International Educator of the Year (junior faculty category) in 2009.
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His next research project entitled Manuscript
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Culture in Western Han Local Courts: An Archaeological Study is supported by the Henry Luce Foundation/American Council of Learned Societies Grant (2010–2011).
The 2008 edition of A History of Art in Africa, considered to be the primary text for the discipline, is among the publications Robin Poynor has written on the arts of Africa and the African diaspora.
Professor A FRIC A N A RT
Dr. Poynor’s past research has addressed art in the context of Yoruba culture in Nigeria, exploring topics such as Edo influence on the arts of Owo, the social significance of Owo textile arts, masquerades of the Owo Yoruba, naturalism and stylization in Owo art, the ritual costumes of Owo kings and chiefs, and representations of the deceased in burial ritual. Recent work addresses relationships between the Yoruba of Nigeria and Yoruba Americans who have adopted aspects of Yoruba religion and attempt to live a Yoruba lifestyle in the United States, specifically those in Florida.
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Robin poynor
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Article heading in January 2010 issue of Art Education journal. National Art Education Association. © 2010. Used with permission.
Craig Roland Associate Professor A RT EDUC ATION
Dr. Roland has been exploring ways of using technology to enhance and transform teaching and learning in the art classroom for over two decades. His current research revolves around the use of a social network called Art Education 2.0 that he started to connect art classrooms around the world and provide ways for art teachers and students in different geographical locations to work together on shared artistic and educational
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goals. A recent outcome of this research is an
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article he wrote titled “Preparing Art Teachers to Teach in a New Digital Landscape,” which was published in the January 2010 issue of Art Education journal.
Three Religions in Jerusalem: Domes of the Church of the Holy Sepulcher between the Minarets of the Mosque of Umar ben al-Khattab and Salahiyya Khanqah, as seen from the Jerusalem city walls. © Elizabeth Ross.
Assistant Professor REN A IS S A NCE / E A RLY MODERN EUROPE A N A RT HIS TORY
Dr. Ross’s forthcoming monograph examines a landmark work published in 1486, the Peregrinatio in terram sanctam (Journey to the Holy Land), which set out to use the new medium of its day—print—to reconceptualize the form and making of a book. Innovation with print opened an era when the nature of a work of art, a book, an artist, and an author stood in flux. The Peregrinatio prominently features its creators’ experiences of Venice and the Levant, so Dr. Ross’s research also engages the cross-cultural exchange between Europe and Islam and artistic interaction between Renaissance Venice and Northern Europe.
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Elizabeth Ross
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Designs by Maimouna Diallo (Mali), fashion show in Niamey, Niger, 2009.
VICTORIA L. RoVINE Associate Professor A FRIC A N A RT HIS TORY Joint Appointment Center for African Studies
Dr. Rovine is fascinated by the roles of authenticity and tradition in art markets, and in the discourses about cultural identity that are closely linked to those markets. Perceptions of authenticity and tradition are particularly complex in trans-cultural contexts, and perhaps nowhere more complex than at the intersection of African and Western cultures. An object’s status as “authentic” or “traditional” can have critical
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implications for the artist who created the
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object and for the culture out of which it emerges. To explore these issues, she has focused her research on the movements of objects, styles, and identities as they cross cultural boundaries, often transformed in style or in meaning as artists and consumers adapt them to new contexts.
Christ of the Earthquakes Emerges from the Cathedral of Cusco on Holy Monday, 2003. Sculpture ca. 1570, Cathedral faรงade completed in 1658.
Assistant Professor PRE-COLUMBI A N / L ATIN A MERIC A N A RT
Dr. Stanfield-Mazzi specializes in art of the Pre-Columbian and Spanish colonial Andes. Much of her work deals with painting and sculpture from colonial Cusco, Peru. She is currently finishing a book entitled Object and Apparition: Envisioning the Christian Divine in the Colonial Andes, and is conducting research on tapestry textiles from sixteenthcentury Peru. She is also planning an exhibition of Pre-Columbian art at the Harn Museum of Art. Her scholarly interests include the role of art in spiritual conversion and the ways in which artistic traditions are transmitted and preserved.
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MAYA STANFIELD-MAZZI
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“Digital Visual Culture: The Paradox of the [In]visible” INTER/ACTIONS/INTER/SECTIONS: Art Education in a Digital Visual Culture, 2011.
MICHELLE TILLANDER Assistant Professor A RT EDUC ATION
Dr. Tillander’s research engages education, technology, and culture as integrated processes to rethink art educational practice. Learning and teaching are interactions mediated by tools in the culture. By looking at the digital interface, she examines the cultural aspect of education and instructional practice and the social and visual expressions of digital visual culture that impact teaching and learning. One
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research trajectory focuses on selected
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digital artists and educational practitioners by examining digital media artworks (art/ technology), culture (values, beliefs, and assumptions), and everyday technology experiences (students/teachers).
“Excavating Surface: On the Repair and Revision of László Moholy-Nagy’s Z VII (1926).” Bauhaus Palimpsest Bauhaus Construct: Fashioning Identity, Discourse, and Modernism. edited by Robin Schuldenfrei and Jeffrey Saletnik. London: Routledge, 2009.
Assistant Professor MODERN CONTEMPOR A RY EUROPE A N A RT HIS TORY
Dr. Tsai’s research and teaching address theories and histories of media and technology, history of photography, aesthetic philosophy, and modernist art. Mobilizing close visual analysis, conservation science, and intellectual history, her current book project, Painting after Photography, focuses on the work of László Moholy-Nagy and his reconceptualization of painting. In addition to her articles on Moholy, she has also published essays on photography, film, and contemporary art. Her next project explores how abstraction emerged as a powerful strategy for fulfilling various self-described realist imperatives since the mid-nineteenth century.
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JOYCE CHIA CHI TSAI
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1972 Restoration of Michelangelo Pieta simulation.
ROBERT H. WESTIN Professor RENN A IS S A NCE / BA ROQUE EUROPE A N A RT HIS TORY
Dr. Westin has worked on Italian Baroque sculpture with a focus on the School of Bernini. He was co-author of Carlo Maratti and His Contemporaries: Figurative Drawings from the Roman Baroque University Park: Museum of Art, Pennsylvania State University and Transformations of the Roman Baroque, University of Florida Press. He has worked on the theme of death: Ars Moriendi Tradition and the Visualization of Death in
A R T E D U C AT I O N , A R T H I S T O R Y , M U S E U M S T U D I E S
Roman Baroque Sculpture published in the
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International Journal of Death Education. He has also researched Art Restoration techniques and processes.
W. Eugene Smith and the Photographic Essay Cambridge University Press,1992.
Professor A RT HIS TORY and MUSEUM S TUDIES
Dr. Willumson’s research is bifurcated by his duties as the director of a graduate program in Museum Studies and his training as a historian of American visual culture. As a teacher of museum studies and museology, he is engaged in the current debates about the social role of museums in American society and culture. As a historian of American visual culture, his research examines photography in an effort to tease out the institutional structures that convey meaning to photographic production. In brief, he looks outside the museum walls and to the ways in which photography enters everyday life.
A R T E D U C AT I O N , A R T H I S T O R Y , M U S E U M S T U D I E S
GLENN WILLUMSON
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STUDIO ART
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STUDIO ART
Linda Arbuckle
STUDIO ART
Professor Cer amic s
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Professor Arbuckle’s pottery embraces indulgence in color and surface on functional forms. This is a reminder to bring richness and satisfactions as seen in nature into life on a daily basis. The plants and seasons are glorious, but ephemeral.
Red with Winter Leaves Majolica glaze and decoration on terracotta 10.75" × 5" × 2.5" 2011 Collection of Emily Galusha, Director, Northern Clay Center, Minneapolis, MN
Professor Cer amic s
In this new series, Professor Calluori-Holcombe uses the box to hold something precious while also serving as a frame. She is particularly interested in the juxtapositions she can create that include the permanence of clay versus the ephemera of paper, the 2D collage versus the 3D clay object, and nature versus the current technologies she is using to create the clay work.
Natura Nel Scatola III Herend porcelain, slip cast from 3D rapid prototype model, fired to cone 11, gold luster, museum board, paper, glue, metal grommet 23" Ă— 17" Ă— 3" 2011
STUDIO ART
Anna Calluori-Holcombe
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Amy Freeman
STUDIO ART
Visiting Assistant Professor Pa in t ing
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Professor Freeman’s work explores concepts of domesticity and grandeur. Utilizing visual metaphors both cliché and obscure, she combines a sense of social expectation with desire and absurdity. Working and overworking the image, she exposes a narrative that originates as common but evolves to something more remarkable and intimately immense.
Tension Oil on panel 48" × 48" 2009
Assistant Professor A rt + Technolog y
For Professor Gladdys, exploration informs her art practice. Her work maps landscapes and familiar interactions into alternative geographies that transform how we experience a known place, space, and dynamic. As she transmits her own sense of wonder in the familiar, she seeks to encourage others to examine what constitutes their everyday existence.
Thy Neighbor’s Fruit Neighbor’s fruit preserved as jam and marmalade, wooden shelves, video 16' × 12', dimension variable Installation room approximately 20' × 20' 2010
STUDIO ART
Katerie Gladdys
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Richard Heipp
STUDIO ART
Director Professor pa in t ing
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Professor Heipp is interested in the way in which contemporary culture and media voraciously consume the plethora of images we are confronted with on a daily basis. He believes the twentyfirst century has brought about an important difference between looking (the superficial way we digest most images) and seeing (a profound looking which includes an aspect of ocular, lens-based and digital contextualization and understanding).
Still Life: Visible Anatomy Series - Plastic Media Acrylic paint on PVC, Enamel paint on Plexiglas framed 61" Ă— 99" Ă— 3" 2011
Associate Professor Pa in t ing
From the beginning of his art practice, Professor Janowich has searched for a way to reflect his inner reality through the language of abstraction. He strives to create a perceptual field that is complex, nuanced, and utterly sensitive to the emotional and spiritual makeup of the artist regardless of medium.
Untitled Painting Oil on Linen 20" Ă— 10" 2010
STUDIO ART
RON JANOWICH
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WES KLINE
STUDIO ART
Assistant Professor Creat i v e Pho t ogr aph y
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Professor Kline’s photo and video work addresses philosophical problems related to affective ideals of modernism, marginal ecologies, and the aesthetics of ethics. Or, failing that, it acts as spiritual illustration.
Untitled (Centre le Corbusier) from We Begin Where Our Eye Begins Digital Chromogenic Print 40" Ă— 50" 2011
Associate In Book A rt s
The aim of Professor Knudson’s imprint, Crooked Letter Press, is the synthesis of words and images in the form of letterpressprinted handmade books and ephemera. Through the physical craft of making books by hand, issues of visual design and structure are addressed in the effort to evoke the genuine content of each book produced by the press.
Wild Girls Redux: An Operator’s Manual Letterpress printed handmade book. Text adapted from the Missouri Department of Revenue Motorcycle Operator Manual. 9" × 5" × 1" (closed size of one book) 2009. Edition of 100 books.
STUDIO ART
Ellen Knudson
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Lauren Garber Lake
STUDIO ART
Assistant Director Graduate Coordinator Associate Professor Dr aw ing
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Professor Lake’s artwork explores both the celebratory and mournful nature of domestic events. These works create artifacts that provide order and memorialize domestic life while serving as a focus for the contemplation of the universal issues of the human condition.
Cover Graphite on magazine page 2009
2009 UF Honorary Doctorate Degree Adjunct Professor Gr adu at e Dr aw ing and Pa in t ing
Professor Mesches’s latest series PAINT pays homage to the importance of art and art making in bringing levity, beauty, and expression to our lives. Robert Storr, Dean of the Yale School of Art, and curator says of his work: “Mesches speaks in the visual equivalent of an oratorical voice—boldness and fervency are hallmarks of his imagery…”
Light Source Acrylic on canvas 80" × 54" 2009
STUDIO ART
Arnold Mesches
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Sean Miller
STUDIO ART
Assistant Professor S cul p t ure and WA RP
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Professor Miller’s work explores situations, practices, and information that sustain and define existing power structures in contemporary art and politics. Miller employs obsessive activities, absurd scenarios, humor, and extreme aesthetics to question and destabilize existing categorical and organizational methods within these hierarchal structures. Miller’s processes utilize collaboration, collective action, multi-media art, relational aesthetics, and alternative art venues.
John Erickson Museum of Art: Gallery for Art Museum Dust Wood, paper, and dust balls composed of dust from over 60 art museums. 4" × 12" ×14" 2010
Associate Professor Dr aw ing and Pa in t ing
Professor Morrisroe’s research is based in the tradition of painting and drawing and engages with the essence of their definition—the relationship of substance and support. Her work is a focused examination of the environment around her. She looks critically at the “stuff” that fills our space, that is marketed to us every moment of every day and imagines the metaphysical impact of this on our society.
Polly Eyes: Surveillance and all that detailed, helpful, information Gypsum board, acrylic, drywall patch 10' × 10' × 5/8" 2009
STUDIO ART
Julia Morrisroe
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Robert Mueller
STUDIO ART
Associate Professor Prin t ma k ing
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Professor Mueller’s images describe the poetry, history, mythology and natural qualities of the eight winds. It was in his solo wilderness experiences in Iceland, that he first took note of the effect of wind on his well-being. These male and female emblematic images describe his respect for their awful powers.
Excerpts from “8 Winds” Limited Edition Artist Book Pigment, coffee, lithography, silkscreen 22.75" × 30" × .5" 2008 Published by The Robert Blackburn Printmaking Workshop. Master Printer and Director: Phillip Sanders.
Professor S cul p t ure
Proessor Roberge focuses her research on materiality and sculptural concepts related to the intersection of geological time and human time. Concepts such as stratification, sedimentation, and fossilization relate to her stacks of antique furniture embedded in walls of stone. Algae are the current focus of sculptures and drawings relating to the ocean floor.
Chairs for Mining Waterjet-cut copper plate, stainless steel plate, laser-cut carbon steel plate, welded and fabricated Each 42" Ă— 17.5" Ă— 21.5" 2009
STUDIO ART
Celeste Roberge
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Maria Rogal
STUDIO ART
Associate Professor Gr aphic Design
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Professor Rogal’s work explores the potential of design and visual communication to positively shape the human experience. Through Design for Development she collaborates with her students and partners in rural communities to develop products and business strategies relevant to constituents and the context. Through shared interactions, design thinking and processes with partners informs her work by learning in context.
Design for Development: Research on tourism Inkjet on paper 8.25" × 6" × .25" (12" × 8.25" flat) 2011
Associate Professor Gr aphic Design
Professor Slawson’s research interest combines the notions of typography, technology, and culture. These technologies can be digital or rooted in the mechanisms of the Industrial Revolution. For example, his recent research investigates the creative, technical, and social aspects of the printing by the Cherokee in the 1820’s.
Cherokee Phoenix Newspaper (Detail) 1828 Courtesy United States Library of Congress, LC-USZ62-115660.
STUDIO ART
Brian Slawson
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Craig Smith
STUDIO ART
Associate Professor Creat i v e Pho t ogr aph y
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Dr. Smith is engaged with multiple forms of lens-based media, performance art, and the space and time of interactive or “relational” artworks. He considers the audience or “user” of an artwork as integral to the medium of the work itself. He celebrates collaboration with artists and non-art professionals such as athletes.
Monsters of Nature and Design III (w/ Colin Beatty) Mixed Media (Live Original Music, Naval Signaling Smoke, Cricket Jumper, Tyvek Coveralls, Hydraulic Lift, Golf Balls, White Chalk, Megaphone) Time 00:30:00, Space Variable 2009
Professor Cer amic s
Professor Smith uses beauty to create and sustain visual memory. Her installations combine sculpture, ceramics, and photography. Ceramic figures and still life elements placed in composed settings present social narratives. The work explores the relationship of environment and health, specifically impacts to the land and waterways that bio-magnify up the food chain.
Garden Glazed earthenware with china paint decals, steel, wood, and backlit photographs 132" Ă— 96" Ă— 168" 2010
STUDIO ART
Nan Smith
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Jack Stenner
STUDIO ART
Assistant Professor A rt + Technolog y
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Dr. Stenner’s work addresses issues related to our socio-culturally constructed “reality.” He is interested in the forms and means with which ideology is embedded, particularly how meaning is manipulated and transcoded in “place.” To this end, his work explores the construction of a “hybrid subject”— a subject neither entirely human nor machinic.
OPEN HOUSE Concept rendering of networked installation 2010
Assistant Professor dr aw ing and wa rp
Professor Taylor’s current work deals with psychological and socio-political relationships between the self and a culture in flux. She is interested in notions of “the uncanny” and in turning materials and objects against themselves to uncover, repressed social, environmental, and cultural conflicts.
21st Century Albatross Drawing installation; engraving on recycled plastic 144" × 144" × 2" Installation variable in size 2009
STUDIO ART
Bethany Taylor
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Sergio Vega
STUDIO ART
Associate Professor CRE ATIV E Pho t ogr aph y and S cul p t ure
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For the past fifteen years Professor Vega has developed a project titled El Paraíso en el Nuevo Mundo based on a book by Antonio de Leon Pinelo written in 1650. This multimedia project demonstrates how Edenic fantasies about the New World shaped South America’s identity throughout its history. Vega’s sensualist approach mischievously blends theory, empirical experiences, and an incisive critique of society in order to endlessly explore the idea of paradise in art.
Still from Paradise Real Time (man up, man down) Inkjet print on paper 6.1" × 10.8" 2010
Director Uni v ersi t y G a l l eries Florida A rt in S tat e Buil dings Progr am
Dr. Vigilante’s research is guided by interdisciplinary collaboration and dedication to alternative educational methodologies. Experiencing art is a way to utilize differing modes of inquiry. Her gallery exhibition program strives to educate through visual aesthetic presentations that provide sources for fully integrated perceptual experiences as well as an arena for campus-wide cross-disciplinary dialogue.
Ruby Fabric, found objects, thread 84" × 59" 2011
STUDIO ART
Amy Vigilante
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Mengfu (Murphy) Zhang
STUDIO ART
Visiting Assistant Professor Gr aphic Design
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Professor Zhang’s intention in her creative project —Design By Accident —is to create things that are beyond her control, to seek outcomes that are beyond her expectation, and which are also beyond who she is. She is interested in challenging linear and stereotypical approaches to solving problems. Considering accidents in a visual way, she creates a space to allow them to happen in a variety of ways. She employs accident in design as a method that creates unintentional results, and provides a way to encourage unpredictable elements to take center-stage in the creative process.
Deconstructive “D” (poster series) Print 24" × 36" 2009
Teaching Lab Specialists
Alisson Bittiker
Creat i v e Pho togr aph y, Dr aw ing and Pa in t ing
Alisson Bittiker received her BFA in Creative Photography from the University of Florida. She is currently the Managing Director of the Florida Experimental Film/ Video Art Festival. In addition to festival duties, she assists in the yearlong programming of experimental film and video art events in Gainesville and around the world.
Michael Christopher
a rt + t echnolog y, Gr aphic Design
Michael Christopher holds a BFA in Creative Photography from the University of Florida. Industry standard computer certifications include DCSE, ACSP, A+ Certification and Network + Certification. Previous work experience includes Photographer for Office of Instructional Resources at UF as well as a Field Technician for IBM.
raymond w. gonzalez
cer amic s
Raymond Gonzalez received his Bachelors of Arts degree from California State University, Northridge and Masters of Fine Arts Degree from New Mexico State University. Recent exhibitions include: You Know You Want To… at AIA Tampa Bay, Florida Souvenirs at Mindy Solomon Gallery, and Toys Art Us at the Wiregrass Museum of Art.
Slam Earthenware, Glaze, Flocking, Rubber Grommets 19" × 12" × 17" 2011
Bradley rex smith
scul p t ure
Energy Study Bronze, marble and steatite 26" × 9" × 8" 2007
STUDIO ART
Bradley Smith’s sculptures have been exhibited throughout Florida and have been included in nationally-juried and invitational exhibitions. Recent commissions include Rejoined, a public sculpture commissioned by the City of Gainesville and the J. Crayton Pruitt Recognition Sculpture commissioned by the College of Engineering. Smith is the recipient of two University of Florida Superior Accomplishment Awards.
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STUDIO ART
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STUDIO ART
about ouR faculty Linda Arbuckle lindaarbuckle.com MFA, Rhode Island School of Design BFA, Cleveland Institute of Art
Katerie Gladdys layofthland.net MFA, University of Illinois BA, University of Chicago Katerie Gladdys has shown in the United States, Canada, and Europe. Her artistic practice includes video, installation, and interactive digital media. Recent achievements include participation in NEH Summer Institute in Mapping in the Art of the Americas, CFA Graduate Mentor Advisor of the Year 2010, and UF Sustainability Fellow 2010.
Linda Arbuckle has recently received an Honors Award from the National Council on Education for the Ceramics Arts for service to the field, and NCECA has included a DVD on her art life in their Spirit of Ceramics series documenting significant Richard Heipp artists in the field. richardheipp.com
SCHOOL OF ART + ART HISTORY
Anna Calluori Holcombe annaholcombe.blogspot.com annaholcombe.com
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MFA, University of Washington BFA, Cleveland Institute of Art
Richard Heipp has had more than 25 solo exhibitions and been in over 100 group shows. He is included in numerous public and private collections nationally, and has been MFA, Louisiana State University commissioned to complete twenty public art projects. BA, Montclair State University Heipp has received four Florida Individual Artist FellowAnna Calluori-Holcombe is an elected member of the Inter- ships, an SAF NEA painting fellowship, the 2006 Southeastnational Academy of Ceramics, 2002; Fellow of the National ern CAA Outstanding Artistic Achievement Award, and the Council on Education in the Ceramic Arts, 1997; exhibits 2007/08 CFA Teacher of the Year award. on a national and international level with work included in collections in Italy, France, Germany, Hungary, Switzerland, South Korea, China, and Australia. Melissa Lee Hyde PhD, UC Berkeley MA, UC Berkeley Barbara A. Barletta BA, Colorado College PhD, Bryn Mawr College Melissa Hyde’s field is eighteenth-century French art with an MA, Bryn Mawr College emphasis on cultural history, gender studies, feminist theory BA, University of California, Santa Barbara and the history of art criticism. She teaches courses on European Barbara Barletta teaches ancient art, with an emphasis art of the eighteenth and nineteenth centuries; gender and the on Greek sculpture and architecture. She has published visual arts. She has been the recipient of teaching awards at UF two books, most recently on the origins of the Doric and and was recently a UF Research Foundation Professor. Ionic orders, and has contributed chapters and articles on various topics including the Parthenon. Her current work is funded by an NEH fellowship. Ron Janowich rjanowich.com ronjanowich.com Amy Freeman MFA, Maryland Institute College of Art amyfreemanart.com BFA, Maryland Institute College of Art MFA, University of Massachusetts Dartmouth Ron Janowich’s artwork is in the collection of the Metropolitan BA, University of Wyoming Museum of Art, New York, Tate Gallery, London and the Harn Amy Freeman is a figurative painter, new to the Museum, FL. His work is published in: The History of Modern Art Gainesville area. She has received a number of awards by Arnason, The Aesthete in the City by David Carrier. His recent in national juried exhibitions, taught painting in exhibition “Meditations” was at the Howard Scott Gallery, NYC . Provence, and traveled extensively. Her artwork is in a number of collections around the world and has been exhibited in the United States and France.
Arnold Mesches Attended the Art Center School, Los Angeles Honorary Doctorate of Fine Arts, University of Florida
Wes Kline weskline.com
Mesches has had over 130 solo exhibitions. His works can be seen in the permanent collections of MFA, University of Illinois, Chicago such major museums as the Metropolitan, the Whitney, BFA, University of Maryland, Baltimore County the National, the Hirshhorn, the High, the Harn, the Wes Kline received his MFA from the University of Illinois, Chicago, Albright-Knox, and the Weatherspoon Museums, to and he has shown work at the Appleton Museum of Art, Harn Museum name but a few, as well as countless private collections of Art, Heaven Gallery in Chicago, SPACE gallery in Pittsburgh, throughout the U.S. and Maryland Art Place and School 33 in Baltimore. Sean Miller jema.us
Ellen Knudson crookedletterpress.com
MFA, University of Colorado BFA, Iowa State University
MFA, University of Alabama BFA, North Carolina State University
Sean Miller’s selected exhibitions include: ACC Galerie Ellen Knudson produces letterpress printed artists’ books under (Weimar, Germany), Deitch Projects Art Parade (New the imprint Crooked Letter Press. Her work has been exhibited York), National Museum of Ireland (Dublin), Schalter Galin over 35 national and international juried exhibitions. Her lery (Berlin), Indianapolis Museum of Art, Contemporary work is in the collections of San Francisco MOMA (CA), Yale Museum (Baltimore), Golden Thread Gallery (Belfast, N. University (CT), Duke University (NC), and many other col- Ireland), Post Gallery (Los Angeles), Limerick City Gallery lections. Her book Wild Girls Redux was the recipient of the (Ireland), Museo Raccolte Frugone (Italy), UnimediaMod2009 Florida Artists’ Book Prize. ern Contemporary Art (Italy), and Villa Croce Museo d’Arte Contemporanea (Italy). Guolong Lai PhD, University of California, Los Angeles MA, Beijing University BA, Jilin University
Julia Morrisroe julia.morrisroe.com
Guolong Lai is an assistant professor of Chinese Art and Archaeology at the University of Florida. Before coming to UF, he has worked at the National Museum of Chinese History and the Getty Conservation Institute, and received Pre- and Postdoctoral Fellowships from the Smithsonian Institution, Columbia University, and Stanford University.
MFA, University of Wisconsin-Madison BA, University of Florida Lauren Garber Lake’s artwork has been exhibited throughout the United States and abroad. In 2007 she was the recipient of the Southeastern College Art Conference Excellence in Teaching Award. In 2008 she received the University of Florida College of Fine Arts Teacher of the Year Award and the College of Fine Arts International Educator of the Year Award.
Julia Morrisroe has had solo and group exhibitions at museums and galleries internationally. Her site-specific projects have been commissioned at Purdue University, Bakehouse Gallery, Carnegie Mellon University and SPACES. Morrisroe serves on the Artist Services Committee of the College Art Association, writes exhibition reviews published by Sculpture Magazine and curates exhibitions. She has received grants from the State of Florida, Michigan, and City of Chicago and was commissioned to complete a public art project for the Jacksonville Airport.
Robert Mueller MFA, Arizona State University BFA, University of Utah Robert Mueller’s artwork has been exhibited nationally and internationally and is included in many collections. Mueller was a Fulbright Scholar in Iceland in 1997 and returned there to continue his research in 1999 and in 2001.
SCHOOL OF ART + ART HISTORY
Lauren Garber Lake laurengarberlake.com
MFA, University of Washington BFA, Northern Illinois University
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Celeste Roberge has been awarded two PollockKrasner Foundation Grants, a MacDowell Colony Fellowship, and Bunting Fellowship at the Radcliffe Institute in addition to receiving the William Randolph Hearst Fellowship at the American Antiquarian Society. Her sculptures are included in the collections of the Nevada Museum of Art, Portland Museum of Art, Farnsworth Art Museum, Harn Museum of Art, Crystal Bridges Museum of American Art, Runnymede Sculpture Farm, Agnes Scott College, University of New England, and Emory University. Dana Myers SA+AH Undergraduate Advisor MEd, EdS, University of Florida BA, University of Florida
Maria Rogal mariarogal.com
MFA, Virginia Commonwealth University Prior to becoming the SA+AH Undergraduate Advisor, Dana MyBA, Villanova University ers worked in the mental health field, specializing in crisis intervention, suicide prevention, and directing the training program Maria Rogal is the founder of Design for Development for a crisis counseling agency working closely with UF student (D4D), an initiative in which graphic design faculty and volunteers. As Undergraduate Advisor, Myers advises approxi- students work with indigenous artisans, farmers, and ormately 400 art and art history majors and serves as the lead ganizers in rural Mexico. Since 2003, she and her students contact for admissions and recruitment. In addition, she is have collaborated with community partners to foster social, a faculty member of the University’s Student Conduct Com- cultural, and economic development. She is the recipient of mittee, and serves as an Emergency Dean with the Dean of the inaugural AIGA Design Research Grant, three Fulbright Students’ Office. grants, and the CFA Senior International Educator of the Year Award.
SCHOOL OF ART + ART HISTORY
Robin Poynor PhD, Indiana University MA, Indiana University BFA, San Francisco Art institute BA, Southeastern Louisiana University
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Craig Roland artjunction.org/blog arted20.ning.com
EdD, Illinois State University Robin Poynor has received College of Fine Arts Teacher MA, Miami University of the Year and Florida Blue Key Distinguished Faculty BS, Northern Michigan University Awards. Publications include A History of African Art, Craig Roland is an Associate Professor of Art Education and director (with Monica Blackmun Visona and Herbert M. Cole). of the online MA program in art education at the University of The 2000 Abrams edition was named to Library JourFlorida. He is author of The Art Teacher’s Guide to the Internet nal’s Best Books of 2000 List and received Honorable (2005) and writes a companion blog under the same title. Roland reMention in the Arnold Rubin Awards. A 2008 edition ceived the 2007 Scholarship of Engagement Award from the UF was published by Pearson Education. Poynor’s current College of Education, the 2004 UF College of Fine Arts Teacher project is an edited volume of 23 chapters covering 500 of the Year Award, and a Distinguished Service Award in 1997 from years of African Presence in Florida, to be published the Florida Art Education Association. by University Press of Florida.
Celeste Roberge celesteroberge.com MFA, Nova Scotia College of Art and Design BFA, Maine College of Art Skowhegan School of Painting and Sculpture Honorary Doctorate of Human Letters, University of Maine
Elizabeth Ross PhD, Harvard University MA Fine Arts, Harvard University DAAD Annual Grant to Ludwig-Maximilians University Munich BA, Yale University
Elizabeth Ross has been awarded a Deutscher Academischer Austauschdienst (DAAD) fellowship and has also held fellowships from the Mellon Foundation and Harvard University. She has taught courses at the Rhode Island School of Design as well as the Cooper-Hewitt, National Design Museum. Her research focuses on 15th and 16th-century art in Europe, including the art of prints and history of the book.
Victoria Rovine studies African textiles, clothing, and contemNan Smith porary arts. Her book Bogolan: Shaping Culture through Cloth in nansmith.com Contemporary Mali (2001) was republished by Indiana University Press in 2008. Her current research focuses on African fashion MFA, The Ohio State University designers and Africa’s influence on Western fashion design. She BFA, Tyler School of Art /Temple University has conducted fieldwork in Mali, South Africa, Senegal, Ghana, Nan Smith’s figure sculptures and installations are recogNiger, and France and has published numerous articles and nized internationally. They are the subject of book chapchapters on African fashion. ters in “The Figure in Clay” and “World Famous Ceramic Artists Studios” and the focus of numerous feature articles in Ceramics journals. Her work is in collections of Brian Slawson the American Express Corporation, plus The World Ceramics brianslawson.com Exposition Korea International Collection. MFA, University of Michigan BFA, University of Michigan Maya Stanfield-Mazzi Brian Slawson has taught upper-division courses in graphic PhD, University of California, Los Angeles design as well as graduate-level seminars at the UF School MA, University of California, Los Angeles of Art + Art History since 1990. Originally from Michigan, BA, Smith College he studied graphic design at the University of Michigan and worked at the studio, Lettering Inc. Maya Stanfield-Mazzi taught as a visiting professor at Tulane University before coming to the University of Florida. Her fellowships include a National Resource Fellowship to study Quechua Craig Smith and a Fulbright-Hays Dissertation Research Abroad Fellowship fatalfieldgoal.blogspot.com for study in Peru. She has published articles in the journals Current Anthropology, Hispanic Research Journal, and Colonial Latin PhD, Goldsmiths College, University of London American Review. Fellow, Whitney Independent Study Program MFA, State University of New York at Buffalo Fellow, American Photography Institute National Jack Stenner Graduate Seminar jackstenner.com BFA, University of Oklahoma PhD, Texas A&M University Craig Smith has exhibited, lectured, and performed MS, Texas A&M University internationally including projects for galleries, muBED, Texas A&M University seums, and related cultural institutions in New York City, Hong Kong, Berlin, Sydney, Bangalore, London, Jack Stenner is an artist and teacher with degrees in computer viDublin, Belfast, Los Angeles, and others. Smith’s sualization and architecture. He founded and ran an alternative art exhibitions and publications have been supported space in Houston, Texas for almost 10 years. He has exhibited interthrough grants, commissions, and research awards. nationally at venues including Siggraph, ACM Multimedia, ISEA, ZeroOne Biennial, Alternative Museum, Museum of Modern Art, Toluca, Mexico, and others.
SCHOOL OF ART + ART HISTORY
Victoria L. Rovine PhD, Indiana University MA, Indiana University BA, Grinnell College
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Amy Vigilante PhD, Florida State University EdS, Florida State University MFA, Florida State University BA, Hampshire College
Bethany Taylor MFA, University of Colorado, Boulder BFA, University of Southern California Bethany Taylor’s work has been exhibited at venues including Post, Los Angeles, Seattle Arts Commission Gallery, Seattle, Museum for Arts and Sciences, Macon, Georgia, the Los Angeles Center for Digital Art, Los Angeles, California, the Musei di Genova Raccolte Frugone, Genova Nervi, Italy, and the Limerick City Gallery, Limerick, Ireland.
Amy Vigilante has been a gallery director/curator and public art administrator for the past twenty years, and has taught widely in arts disciplines for 16 years. Arts administration experiences include many city, statewide and private leadership endeavors. Vigilante is both an exhibiting artist and published author with research in aesthetics/creativity.
Michelle Tillander newmediapedagogy.org Robert H. Westin PhD, The Pennsylvania State University MA, The Pennsylvania State University Birbeck College, University of London BA, The University of Minnesota-Morris
PhD, The Pennsylvania State University, University Park MFA, Old Dominion University/ Norfolk State University BA, Moravian College Michelle Tillander is assistant professor and director of graduate study for art education. She presents her research at national in international conferences and recently her chapter entitled “Digital Visual Culture: The Paradox of the [In]visible” was published in Intersection/Interaction: Digital Visual Culture (NAEA). She is currently co-developing an online MA in Art Education for the University of Florida.
Glenn Willumson PhD, University of California, Santa Barbara MA, University of California, Davis BA, St. Mary’s College
Joyce Chia Chi Tsai PhD, Johns Hopkins University MA, Johns Hopkins University MA, Johns Hopkins University AB, Princeton University
SCHOOL OF ART + ART HISTORY
Joyce Chia Chi Tsai specializes in inter-war European and post-war American art. Her research has been supported by the Fulbright-Hayes program; Center for Advanced Study in the Visual Arts at the National Gallery of Art, Washington, D.C.; and the Dedalus Foundation, among others.
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Sergio Vega MFA, Yale University Whitney Museum Independent Study Program
Robert Westin came to UF as the Department Chair in 1978. He teaches Italian Renaissance and Baroque art history and his special area of research is Italian Baroque sculpture. Dr. Westin’s writings have been published in The Art Bulletin, The Burlington Magazine, and other professional journals.
Glenn Willumson is a professor of art history and the director of the graduate program in museology at the University of Florida. He served as curator at the Getty Research Center and as curator at the Palmer Museum of Art. He is the recipient of fellowships from the National Endowment for the Humanities, Smithsonian American Art Museum, Yale University, and Stanford University. He is the author of W. Eugene Smith and the Photographic Essay (Cambridge), and Iron Muse (University of California, forthcoming).
Mengfu (Murphy) Zhang murphyzhang.com
MFA, Virginia Commonwealth University Sergio Vega was born in Buenos Aires in 1959 and BFA, Central Academy of Fine Arts lived in New York for fifteen years before moving to Florida in 1999. Vega’s recent solo exhibitions Mengfu (Murphy) Zhang has taught graphic design and digital arts include: Ikon Gallery, Birmingham, UK, The Art at Virginia Commonwealth University, American University, and Museum of the Americas, Washington DC, Karsten the Corcoran College of Art + Design. As a graphic designer, she has Greve galerie, Paris, the Landesmuseum in Mün- participated in the visual design project of the 2008 Beijing Olympic ster, Germany, the Institute of Contemporary Art, Games, working on Pictograms Design and Medal Design of the Beijing Boston, and Palais de Tokyo in Paris. 2008 Olympic Games. Zhang is also a principle member of the Beijingbased design studio M-Studio.
The SA+AH is accredited by the National Association of Schools of Art and Design (NASAD) Dean of the College of Fine Arts Lucinda Lavelli Director of the SA+AH Richard Heipp Assistant Director of SA+AH Lauren Garber Lake
Contact 101 Fine Arts Building C P.O. Box 115801 Gainesville, FL 326111-5801 Phone: 352.392.0201 Fax: 352.392.8453 www.arts.ufl.edu/art
facebook.com/ufsaah twitter.com/uf_saah
Š 2011 School of Art + Art History, College of Fine Arts, University of Florida, Gainesville Florida, USA.
catalog Design Robert Finkel Shantanu Suman Printer ALTA Systems, Inc.
UF has ranked among the nation’s best athletic programs in each of the last 20 years.
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Recent Harn Eminent Scholars have included: Norman Bryson, Andrew Wallace-Hadrill, Eleanor Heartney, Thomas Cummins, Michael Fried, Amelia Jones, Lucy Lippard, Ruth Phillips, and William Truettner.
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The freshman retention rate of percent is among the highest in the country.
UF has the largest natural history museum in the Southeast.
It was the preparation I received in graduate school at UF that allowed me to make the most of the opportunities presented to me.
Tina M.
1,315 In fall 2010, UF admitted
My professors worked with me individually to help me with my own conceptual concerns in relation to the form of my work.
Erica M.
Creativity, conversation, community.
STUDIO ART
International Baccalaureate students — more than any other university in the U.S.
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STUDIO ART
arts.ufl.edu/art
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