Southwest School of Art BFA Catalog 2014-15 by Southwest School of Art

On behalf of the board of trustees, administrators, faculty, and support staff, I welcome you to the Southwest School of Art and to the legacy class of the new Bachelor of Fine Arts degree program. Many of us are also artists. We believe in you and are here to facilitate your success! An Aztec proverb says that “the earth will be what its people are” (La tierra sera lo que son sus hombres y sus mujeres), and the underlying philosophy for our program rests on this philosophy. Through intense involvement in your studio work and general education courses, you will hone your skills and forms of expression while you also explore and share ideas. By the time you graduate you will have built an amazing community of friends that are supportive of each other, and you will be prepared to be working artists and engaged citizens – ready to contribute to your future communities. The Southwest School of Art has a long history and has been a school and place where people from many backgrounds have gathered since 1851. Now you will be part of that history. We welcome you! Paula Owen President

This catalog and student handbook marks the first of many for the Bachelor of Fine Arts program at Southwest School of Art. Students who will study art under the policies of this document are trailblazers, but they also are emblematic of the evolution of the Southwest School of Art—from its very small beginnings in La Villita to its remarkable growth in the last two decades. The BFA can be said to represent innovation amidst the strong tradition that the school has blended from the start. Upon the publication of Walt Whitman’s Leaves of Grass in 1855, Ralph Waldo Emerson wrote Whitman: “I greet you at the beginning of a great career, which yet must have had a long foreground somewhere, for such a start.” Surely you, the inaugural class of Southwest School of Art’s BFA program, the class of 2018, are the lucky inheritors of the school’s “long foreground.” The policies contained herein represent your agreement to join us in your educational pilgrimage. For education is not a passive endeavor; it takes a strong faculty such as ours, good facilities, and a lively, engaged student who is willing to abide by standards upheld by educational institutions everywhere. Please familiarize yourself with this booklet. I welcome you, congratulate you, and pledge my support of your lively engagement in this process we call education. Edward J. Dupuy, Ph.D. Dean

The Texas Higher Education Coordinating Board has granted a Certificate of Authority to Southwest School of Art to award the degrees listed below:

This certificate does not constitute accreditation; the issuance of this certificate attests only that the institution has met the Boardâ&#x20AC;&#x2122;s standards established for nonexempt institutions. Questions or complaints about this institution should be addressed to: Texas Higher Education Coordinating Board P.O. Box 12788 Austin, Texas 78711 512.427.6200

_ Welcome and Introduction from the President ..........................................................................................................2 A Message from the Dean ..........................................................................................................................................3 Certificate of Authority ...............................................................................................................................................4 Table of Contents ........................................................................................................................................................5 Mission Statement of The Southwest School of Art....................................................................................................9 Mission of The BFA Degree Program ..........................................................................................................................9 Purpose of This Publication.....................................................................................................................................9 Nondiscriminatory Policy ..................................................................................................................................... 10 The BFA Degree Program ..................................................................................................................................... 10 Admission Policies .................................................................................................................................................... 11 Application Requirements ................................................................................................................................... 11 Digital Portfolio ................................................................................................................................................ 12 Scholarship Consideration ............................................................................................................................... 12 English Proficiency Requirements .................................................................................................................... 12 International Application Requirements .............................................................................................................. 12 Placement Procedures ......................................................................................................................................... 13 Scholarships ......................................................................................................................................................... 15 Transfer of Credit ................................................................................................................................................. 15 Transfer Credit from Summer Studies or from Credits Taken Elsewhere While on Leave ............................... 15 Transfer Credit Limitations .................................................................................................................................. 16 Transfer of Credits from The Southwest School of Art to Other Institutions ................................................... 16 Credit through Advanced Placement, CLEP, DANTES/DSST, and International Baccalaureate ............................ 16 Advanced Placement ....................................................................................................................................... 16 The College-level Examination Program (CLEP) ............................................................................................... 17 Defense Activity for Nontraditional Support (DANTES)/Dantes Subject Standardized Test (DSST) ................. 17 International Baccalaureate (IB) ...................................................................................................................... 18 Application Denial ................................................................................................................................................ 18 Financial Information ........................................................................................................................................... 19 Tuition .............................................................................................................................................................. 19 Fees .................................................................................................................................................................. 19 Studio Materials ............................................................................................................................................... 19 Housing and Dining .......................................................................................................................................... 19 Financial Support ................................................................................................................................................. 19 Scholarships ..................................................................................................................................................... 19 Refunds ............................................................................................................................................................ 20 Academic Policies..................................................................................................................................................... 21 Course Catalog of Entry ....................................................................................................................................... 21 Semester System ................................................................................................................................................. 21 Grading System .................................................................................................................................................... 22 Enrollment Status ................................................................................................................................................ 22 Full-time Status ................................................................................................................................................ 22 Part-time Status ............................................................................................................................................... 22 Non-degree-seeking Status .............................................................................................................................. 23

Auditors ........................................................................................................................................................... 23 Transient Students ........................................................................................................................................... 23 Attendance and Personal Conduct .................................................................................................................. 23 Dropping and Adding Courses.......................................................................................................................... 24 Withdrawal from Classes ................................................................................................................................. 24 Withdrawal from the School ............................................................................................................................ 24 Internships ....................................................................................................................................................... 24 Inactive Status and Readmission ...................................................................................................................... 25 Leave of Absence ............................................................................................................................................. 25 Temporary Grade of Incomplete ..................................................................................................................... 25 Academic Standing............................................................................................................................................... 25 Good Standing ................................................................................................................................................. 25 Academic Warning ........................................................................................................................................... 25 Probation ......................................................................................................................................................... 26 Suspension ....................................................................................................................................................... 26 Dismissal .......................................................................................................................................................... 26 Dean’s List ........................................................................................................................................................ 26 President’s List ................................................................................................................................................. 26 Retaking a Course ............................................................................................................................................ 26 Academic, Studio, and Professional Integrity....................................................................................................... 27 Complaints and Appeals................................................................................................................................... 28 Academic Policy Appeals .................................................................................................................................. 28 Grade Appeals.................................................................................................................................................. 28 Non-Academic Appeals .................................................................................................................................... 28 The Family Educational Rights and Privacy Act (FERPA)................................................................................... 28 Bachelor’s Degree Graduation Requirements ..................................................................................................... 30 Transcripts and Student Records ......................................................................................................................... 30 Student Liability ................................................................................................................................................... 31 Rights to Use of Student Work............................................................................................................................. 31 Student Life Policies ................................................................................................................................................. 32 Health and Wellness ............................................................................................................................................ 32 Alcohol and Drug Use........................................................................................................................................... 33 Drugs and Narcotics ............................................................................................................................................. 33 Weapons and Explosives ...................................................................................................................................... 34 Smoking and Tobacco .......................................................................................................................................... 34 Equitable Treatment (Acts of Intolerance)........................................................................................................... 34 Non-Discrimination Against Those with AIDS and HIV ..................................................................................... 35 Interference with Teaching, Learning, and Other Activities ............................................................................. 35 Discrimination and Harassment ........................................................................................................................... 35 Bullying ............................................................................................................................................................ 36 Sexual Harassment Policy ................................................................................................................................ 36 Making a Complaint ............................................................................................................................................. 37 Faculty/Staff ..................................................................................................................................................... 37 Students ........................................................................................................................................................... 37 Investigative Procedures .................................................................................................................................. 38 Informal Investigation and Resolution ............................................................................................................. 38 Formal Investigation and Resolution................................................................................................................ 38 Definitions ............................................................................................................................................................ 39

Confidentiality.................................................................................................................................................. 39 Discipline .......................................................................................................................................................... 39 Harasser ........................................................................................................................................................... 39 Review Board ................................................................................................................................................... 39 Hostile Environment ........................................................................................................................................ 39 Retaliation ........................................................................................................................................................ 40 Sexual Harassment........................................................................................................................................... 40 Sexual Misconduct and Assault ........................................................................................................................ 40 Students Who Learn Differently .......................................................................................................................... 40 Good Neighbors ................................................................................................................................................... 41 Good Samaritans.................................................................................................................................................. 41 Guests .................................................................................................................................................................. 41 Artwork Guidelines .............................................................................................................................................. 41 Use of Animals in Artwork................................................................................................................................ 41 Exhibition Policy ............................................................................................................................................... 42 Performance, Installation, and Sound Art in Public Spaces .............................................................................. 42 Cellular Phone Policy............................................................................................................................................ 42 Technology and Social Media .............................................................................................................................. 43 Scope ............................................................................................................................................................... 43 Policy Statement .............................................................................................................................................. 43 Policy ................................................................................................................................................................ 43 Internet Use ..................................................................................................................................................... 44 Hardware ......................................................................................................................................................... 44 System and Applications .................................................................................................................................. 44 Violations ......................................................................................................................................................... 44 Online Social Networking/Media Policy ............................................................................................................... 45 Definitions ........................................................................................................................................................ 45 Prohibited Conduct .......................................................................................................................................... 45 Copyright Infringement and Illegal File Sharing ................................................................................................... 46 Grounds, Facilities, and Equipment ..................................................................................................................... 47 General Safety.................................................................................................................................................. 47 Campus and Building Access ............................................................................................................................ 47 Ursuline Campus .............................................................................................................................................. 47 Navarro Campus .............................................................................................................................................. 47 After Hours Studio Access ................................................................................................................................ 47 Cars on Campus ............................................................................................................................................... 47 Bicycles on Campus .......................................................................................................................................... 47 Damage to Property and Vandalism ................................................................................................................ 48 BFA Curriculum Map ................................................................................................................................................ 49 BFA Curriculum: Year One.................................................................................................................................... 50 BFA Curriculum: Year Two ................................................................................................................................... 51 BFA Curriculum: Year Three ................................................................................................................................. 52 BFA Curriculum: Year Four ................................................................................................................................... 53 Certificate Programs at the Southwest School of Art............................................................................................... 54 Tuition and Fees................................................................................................................................................... 54 Studio Certificate Program Curriculum Map ........................................................................................................ 55 Fine Arts Certificate Program Curriculum Map .................................................................................................... 56 Course Descriptions ................................................................................................................................................. 57

Art History Courses .............................................................................................................................................. 57 Foundation Courses ............................................................................................................................................. 58 Supportive Professionalism Courses .................................................................................................................... 59 General Education Courses .................................................................................................................................. 59 Studio Courses ......................................................................................................................................................... 62 Ceramics .............................................................................................................................................................. 62 Metals .................................................................................................................................................................. 63 Papermaking And Book Arts ................................................................................................................................ 64 Photography ........................................................................................................................................................ 65 Painting And Drawing........................................................................................................................................... 65 Printmaking .......................................................................................................................................................... 66 Sculpture And Integrated Media .......................................................................................................................... 67 Senior Project....................................................................................................................................................... 68 Directories ............................................................................................................................................................... 69 Quick Reference ................................................................................................................................................... 69 The Southwest School of Art Board of Trustees .................................................................................................. 70 President and Senior Staff ................................................................................................................................... 71 BFA Faculty .......................................................................................................................................................... 73 Administrative and Support Staff ......................................................................................................................... 75 Maps ........................................................................................................................................................................ 76 BFA Calendar............................................................................................................................................................ 78

The mission of The Southwest School of Art (SSA) is to teach, preserve, and advance the visual arts. We expand the creative potential of our community and connect cultures of the world through participatory learning experience. An additional part of our mission is to preserve the former Ursuline Convent and Academy as a place of historic significance.

The Bachelor of Fine Arts (BFA) degree program at the Southwest School of Art requires that students become deeply involved in the process of making as a form of inquiry and discovery. With equal emphasis on content and craft, the program challenges students to value both tradition and innovation, moving freely between the creation of one-of-a-kind works and applied design. Studio opportunities include ceramics, metals, painting and drawing, papermaking and book arts, photography, printmaking, and sculpture and integrated media. In studio courses, students learn to take risks and explore, while also evaluating, reflecting upon, and communicating their ideas critically. The program provides opportunities for students to work across disciplines while concentrating in one area. Students receive a holistic education in which general education and humanities courses complement studio work. Math, science, writing, literature, economics, and philosophy—taught with relevance to art and design— deepen students’ ability to write, speak, and think critically and confidently. Opportunities for study abroad, internships, and community service through collaborative projects round out the program. The small size of the student body working with faculty actively engaged in making their own art fosters a unique and valuable mentor/student relationship which endures long after students finish the program. Graduates stand ready to enter a modern economy driven by a convergence of culture, commerce, and creativity. In short, graduates from the Southwest School of Art’s BFA degree program acquire the critical thinking, professional, business, and studio skills necessary to be working artists and engaged citizens. They demonstrate the ability to:  Take risks and explore,  Collaborate,  Engage the world,  Evaluate, reflect upon, and communicate clearly their work and the ideas that inform it, and  Sustain and persist in an active studio practice.

This booklet is your source for information regarding the Southwest School of Art’s policy, people, curriculum, traditions, and organizations. Fall of 2014 marks our first (legacy) class, and we are excited to offer this first edition of our catalog and handbook to our first group of students, and to our faculty and staff. Every effort has been made to provide accurate information here, but the Southwest School of Art reserves the right to alter, amend, or abolish anything set forth in this document.

The Southwest School of Art is guided by the following principles: honesty, trust, fairness, respect, and responsibility. Without these, the academic and artistic endeavor will not flourish. The policies outlined in this catalog and handbook are based on and flow from these principles. Students, faculty, administration, and staff strive to adhere to them in their dealings with one another and with those outside the SSA community.

The Southwest School of Art admits students of any race, color, national origin, ethnic origin, sex, age, religion, disability (if otherwise qualified for admission), military/veteran status, sexual orientation, or any other status protected under federal, state, or local laws, to all the rights, privileges, programs, and activities generally accorded or made to students at the school. The SSA does not discriminate on the basis of race, color, national origin, ethnic origin, sex, age, religion, disability (if otherwise qualified for admission), military/veteran status, sexual orientation, or any other status protected under federal, state, or local laws in administration of its educational policies, admission policies, scholarship and loan programs, and athletic and other schooladministered programs.

Students following the BFA program at the Southwest School of Art will earn a BFA in Art. A well-rounded curriculum provides students with core courses in foundation studies, art history, and general education with opportunities for emphasis in Ceramics, Metals, Painting and Drawing, Photography, Printmaking, and Sculpture and Integrated Media. The curriculum emphasizes the development of academic knowledge, technical and analytical skills, aesthetic sensibility, and the ability to express ideas visually and verbally. Students should see the work they make as forms of discovery and inquiry. The BFA will provide students with an opportunity to develop their voice and vision as artists. The curriculum affords not only strong foundation, studio, and general education components, but also an emphasis on career development and professionalism. All students will be required to complete an internship. Critiques conducted during studios and all school critiques will afford students the chance to hone their ideas and skills. From the beginning of the program, students should assemble a portfolio and maintain a collection of their finest work through graduation for use when they apply for jobs, exhibitions, or graduate school. Student portfolios will also be used for assessing the BFA program.

The BFA in Art program at the Southwest School of Art is highly selective. Admission is based on the prospective student’s application materials outlined below, so applicants should take special care in preparing them. Because each cohort of students enrolled to the SSA’s BFA program will be limited to about 25 students, some applicants who meet our desired traits cannot be guaranteed admission. It is always a good practice to apply by the priority deadline of March 1. The review of applications for the SSA’s first (legacy) class of students in Fall 2014 will begin after the priority deadline of March 1, 2014 and will continue through June 2014. Acceptance letters and scholarship notices will be sent in mid-March 2014. Applications for Fall 2014 will close on June 30, 2014. Limited scholarships will be available after the March 1, 2014 priority deadline. The Southwest School of Art Admission Committee is charged with making admission decisions. The committee consists of faculty and staff—specifically, two faculty (who serve on a rotating basis), the Dean, the Director of Admission and Recruitment, and the President.

Because of the small size of the Southwest School of Art’s student body and the lock-step nature of the BFA curriculum, most students accepted as degree-seeking students to the program will be considered first-time freshman. While we will be able to accept credit earned at other institutions on a case-by-case basis, new transfer students will not be able to enter the program as a third-year student, for example, until the program is in its third year of operation. Some advanced placement credit may be awarded based on the criteria outlined below. Beginning in late October 2013, an online application form and a list of materials required for application can be found at www.swschool.org. A nonrefundable $40 application fee must accompany your application. Paper application forms are also available. In addition to the completed application, applicants should submit the following:  Results from ACT or SAT examinations. If a student has been out of high school for more than two years, these test scores will not be required. It is required that SAT or ACT scores include the Writing component;  Official high school and college transcripts (if applicable). If home schooled, verification that the home school has been recognized by the state of residence of the applicant, detailed outline of the homeschool curriculum, including subject areas studied, time spent on each discipline, and, if applicable, grades awarded. A home-school academic portfolio may fulfill this requirement. A certificate of General Educational Development (GED) from the American Council of Education is considered equivalent to a diploma from a U.S. high school;  For applicants from countries other than the United States, SSA generally uses the standards established by the American Association of Collegiate Registrars and Admissions Officers to determine the equivalent academic achievement;  An original essay response to one of the questions found on the application form (follow directions on the online form);  One to three letters of recommendation;  A résumé (optional); and  A digital portfolio.

    

Applicants must submit a digital portfolio on a CD. The portfolio should consist of 10 to 15 images of the applicant’s original work. Please provide no more than three detail shots. The portfolio should include at least three examples of observational drawings, including at least one still life; Still image files should be formatted as JPEGs, with pixel dimension of 800 x 600 or smaller, with a DPI of 300. The applicant’s name, address, and email address must be clearly labeled on the CD. Please check the CD to assure that files are readable and accessible before submitting it for consideration; Digital portfolios must be accompanied by a written inventory detailing the following: the names of the files on the CD, the title of the works, the medium or media of the works depicted, the actual size of the works, the dates of the works, and computer platform (Mac or PC); The portfolio inventory sheet may also include a very brief commentary by the applicant on concept, process, or other relevant information; and Digital portfolios will become part of the student’s file and will not be returned. Applicants should retain a separate copy of their materials.

Students seeking scholarships should submit a short essay outlining reasons that SSA should consider them for a scholarship. They should also include a copy of their (or their family’s) most recent tax returns or a Free Application for Federal Financial Assistance (FAFSA). Federal financial aid will not be available for at least two years after the program starts. Recommendations for scholarships will be made by the Admission Committee and will be based on need and merit. Students should prepare their all application materials with care, paying special attention to possible typographical errors and the formatting and labeling of digital images.

The language of instruction in the SSA’s BFA program is English. Evidence of English proficiency may be requested at any point during the application process if an applicant’s English proficiency is in question. Evidence can be submitted in any of the following ways:  Test of English as a Foreign Language (TOEFL) minimum scores: o 550 on the paper-based test o 85 on the Internet-based test with minimum score of 20 on each section  International English Language Testing System (IELTS) composite score of at least 6.5 with a score of at least 6.5 in both speaking and writing.  Scholastic Aptitude Test (SAT) score of at least 500 on the critical reading portion, or 22 on both the reading and writing sections of the ACT.

For applicants from countries other than the United States, the Southwest School of Art uses the standards established by the American Association of Collegiate Registrars and Admissions Officers to determine the equivalent academic achievement. Transcripts or mark sheets must be in English or accompanied by a certified English translation. International students should adhere to the same admission requirements and portfolio guidelines as outlined above. In addition, international students must provide proof of English proficiency to be considered for admission.

SAT/ACT scores are required for international students who have graduated from high school within the past two years if one of the following situations applies:  Student graduated from a U.S. high school;  Student is a citizen of an English-speaking country; or  Student graduated from a high school in a country in which English is the national language.  If applicable, any documents or materials required to obtain a student visa.  Interview (optional; may be required by the Admission Committee).

The Southwest School of Art’s BFA program is committed to student success. Because of the specialized nature of our curriculum, it is possible that we will admit students who show strong artistic potential yet who have not demonstrated achievement in more traditional academic disciplines. Any student who has been accepted to the Bachelor of Fine Arts who has not already done so must submit test results from either the SAT, ACT, TAKS, THEA, ASSET, or ACCUPLACER, or college transcripts indicating at least a “C” or better in a minimum of three (3) college-level semester-long classes in English, reading, and math. Students who have previously taken college classes but who do not have evidence of satisfactory completion of three (3) college-level semester-long classes in English, reading, and math will be required to submit test results from either the SAT, ACT, TAKS, THEA, ASSET, or ACCUPLACER. Scores can be submitted at any time but are required by April 1 of students who plan to enroll for Fall. Students will not be offered admission or denied admission based on these scores. The scores will be used to determine students’ readiness to enroll and perform in freshman-level academic coursework. Students who are accepted but who do not meet SSA’s minimum scores in English and/or Math will be assigned classes to be completed the summer before Fall classes begin. Accepted BFA students with an ACT composite score below 23 (or below 19 on either section as indicated below) or an SAT Critical Reading and Math composite score below 1070 (or below 500 on either section as indicated below) must submit test results from the TAKS, THEA, ASSET, or ACCUPLACER. A list of testing centers will be provided to students. The student may choose which test to take. Students should be aware that the tests are valid only within a certain time period, listed below. The scores required for enrolling in ENGL 1301, MATH 1324, and ARTS 1303 are noted below:

(cannot be more than 5 years old) (cannot be more than 5 years old)

Composite = 23+

English = 19+

Mathematics = 19+

Critical Reading & Math = 1070+

Critical Reading = 500+

Mathematics = 500+

(cannot be more than 3 years old)

ELA = 2200+ Reading Comprehension (RC) = 78+

Reading Skills (RS) = 41+

Reading = 230+

WSAM = 3+ Sentence Skills (SS) = 80+ AND WSAM = 5+ or WASM = 6+ Writing Skills (WS) = 40+ AND WSAM = 5+ or WASM = 6+ Writing = 220+ AND WSAM =5+ or WSAM = 6+

Mathematics = 2200+

Elementary Algebra (EAR) = 63

Elementary Algebra Skills (EAS) = 38

Math = 230+

Additionally, the following students are exempt from taking one of the exams above: ď&#x201A;ˇ A student who is serving on active duty as a member of the armed forces of the United States, the Texas National Guard, or as a member of a reserve component of the armed forces of the United States and has been serving for at least three years preceding enrollment; and/or ď&#x201A;ˇ A student who on or after August 1, 1990, was honorably discharged, retired, or released from active duty as a member of the armed forces of the United States or the Texas National Guard or service as a member of a reserve component of the armed forces of the United States. Students who do not meet any one (1) of the above English or reading scores will be assigned English and/or reading classes outside of the typical SSA curriculum. Students who do not meet any one (1) of the above Mathematics scores will be assigned a Mathematics class outside of the typical SSA curriculum. Students who have been assigned remedial classes will have the option to complete the assigned classes at the Southwest School of Art the summer before their fall start date. However, students can choose where to take the assigned class. The SSA will offer English 301 for students falling below the minimum English/Reading score and Math 303 for students who fall below the minimum Mathematics score. Students will also have the option to complete the assigned remedial classes at an alternative location of their choosing. Enrollment in any class/institution outside of the SSA is at the discretion of that institution and acceptance to the SSA does not guarantee acceptance at any other institution. Proof of successful completion of the assigned class(es) must be received before classes begin in the fall term. Students who have not successfully completed the assigned class(es) will not be able to enroll in English 1301 or Art History 1303 (in the case of required remedial English or reading classes) or Math 1324 (in the case of required remedial math classes) until successful completion.

Due to the small size of the Southwest School of Art and the lock-step nature of the program, most classes will be available only once per year. Students are strongly advised to complete their assigned remedial classes before the start of fall semester. A tutorial program under the direction of the Coordinator of Student Services and using either peers or volunteers from the community program will provide supplemental assistance to students who may still need or request it even after having completed the steps above.

While the Southwest School of Art plans to pursue accreditation, we are not allowed by the accrediting agencies to suggest a timeline of when we might receive it. Since accreditation is the avenue to federal student financial aid, such aid will not be available initially. The Southwest School of Art has set aside in its budget, however, a significant amount of scholarship money for those students whose artistic and academic achievement merit scholarships and whose family or personal financial situation shows need. Scholarship recommendations will be made by the Admission Committee and will be based on academic merit, artistic merit, and on the basis of need. The SSA reserves the right to withhold scholarship money for violations of student integrity or conduct policies. Students receiving scholarships must maintain at least a 3.0 cumulative GPA. More information regarding scholarships is available in the Financial Information section below.

Prior college transcripts for transfer students are automatically reviewed for transferable credit in Foundation Studies and General Education courses. Transfer students desiring transfer credit for area studios must request consideration from their department chair during the first semester of their entering year. Please note that because of the small size and the lock-step nature of the SSA’s BFA program, transfer credit, while it can be awarded, will not allow a student to start the BFA program with Sophomore, Junior, or Senior standing until the program reaches those respective years of operation. After year three, transfer students should more easily be integrated into the program. Transfer of credit is considered on a case-by-case basis, and students are advised to submit official transcripts for formal evaluation as early as possible when requesting credit by transfer. Transfer credit is awarded only provided a grade of “C” or better was earned. For studio credit, the course must also be considered equivalent in subject matter to the SSA’s BFA studio offerings. A portfolio of work created in studio classes may be required for transfer credit. Formal written approval for transfer credit must be submitted to the Office of the Registrar with supporting transcripts or credit evaluations. Only credits and not grades are transferred. The grade recorded as a “TR” which does not count in the overall GPA calculation. Credits earned at institutions outside the United States are evaluated on a case-by-case basis, taking into account all factors deemed necessary, including appropriate national recognition of institutional quality.

Students can pick up course credits during the summer or while on leave. Studio electives and general education courses intended for transfer back to the SSA’s BFA degree program must be approved by the student’s

department chair (studios) or the Dean, respectively, before the course is taken. The criteria noted above apply before such credit will apply to the SSA BFA degree.

After initial enrollment in the SSA’s BFA program, student may transfer up to 12 semester credits from another accredited institution. Students who take a leave of absence from the SSA and attend another college should keep this credit limitation in mind as they formulate their educational plans. Students should also remember that the final 30 credits for the BFA degree at the Southwest School of Art must be taken at the SSA (see Bachelor’s Degree Graduation Requirements).

Students wishing to transfer credit from the SSA to other institutions should be aware that receiving institutions maintain the right to accept or deny any credit from the SSA or any other institutions of higher education.

Advanced Placement examinations are administered through the College Board to provide documentation of a level of achievement that qualifies a student for advanced standing. Credit is awarded for AP courses taken at the high school-level if certain requirements are met. Official AP scores must be submitted to the Office of Admission and Recruitment. The SSA awards up to 15 hours of AP Credit according to the following table:

Art History Biology, Chemistry, Physics Calculus AB or BC English Language and Composition or English Literature and Composition Macroeconomics Psychology Studio Art—Drawing Studio Art—2D Studio Art—3D

4 3 3

ARTS 1303 or 1304 GNSC 1301 MATH 1324

ENGL 1301

3 3 4 4 4

ECON 2301 PSYC 1301 ARTS 1316 ARTS 1311 ARTS 1312

The College-level Examination Program is administered through the College Board to provide documentation of college-level achievement that may qualify a student for advanced standing. CLEP credit is awarded if certain requirements are met. Official CLEP scores from the College Board must be submitted to the Office of Admission and Recruitment. The SSA awards up to 15 hours of CLEP credit according to the following table:

Analyzing and Interpreting Literature Biology, Chemistry, Natural Sciences Calculus, Precalculus, Algebra, or Trigonometry College Composition Principles of Macroeconomics Psychology (Introductory)

50 50 50 50 50 50

ENGL 2331 GNSC 1301 MATH 1324 ENGL 1301 ECON 2301 PSYC 1301

Within the Department of Defense, voluntary education programs are offered through DANTES and DSST scores. Credit is awarded for DSST if certain requirements are met. Official DSST score results must be submitted to the office of admission. The SSA awards up to 15 hours of DSST credit according to the following table:

Environment and Humanity: The Race to Save the Planet Physical Geology Fundamentals of College Algebra Business Mathematics Lifespan Developmental Psychology Principles of Public Speaking

46 47 47 48 46 47

GNSC 1301 GNSC 1301 MATH 1324 MATH 1324 PSYC 1301 SPCH 1311

The IB program is a pre-university course of study for secondary school students. The IB program leads to examinations that provide documentation of achievement that may qualify a student for advanced standing. Credit is awarded for IB coursework taken at the higher level if certain requirements are met. The SSA awards up to 15 hours of IB credit according to the following table:

Biology, Chemistry, Physics Economics Language (English, A1, A2, B) Mathematics: Higher Level Philosophy Psychology Visual Arts

5 5 5 5 5 5 6

GNSC 1301 ECON 2301 ENGL 1301 MATH 1324 PHIL 1301 PSYC 1301 ARTS 1311

Credit awarded through a combination of any of the above means may not exceed 15 credit hours.

Students whose applications have been denied may reapply to the BFA at the Southwest School of Art after waiting one year.

Tuition is charged on a per credit basis at the rate of $605 per credit hour. (33 hours) (33 hours) (30 hours) (24 hours)

$19,965 $19,965 $18,150 $14,520

These charges are subject to change.

Student Activity Fee Technology Registration Part-time Student Activity

$150 $50 $60 $75

Orientation Internship at the SSA Graduation

$100 $75 $100

Some studio courses require materials students will need to supply (paint brushes, pencils, drawing paper, etc.) This information will be included in the course syllabus. The SSA does not charge studio fees as such.

Housing will be the responsibility of the student, although the SSA has a list of available living spaces in the area. The SSA provides a meal plan through its own Copper Kitchen Café. The plan covers 75 lunches for the 15-week fall semester and 75 for the spring term, and 20 for the May Term. The cost for the fall and spring terms is $500, while for the May Intensive it is $150. The Copper Kitchen Café may not be able to cater to all dietary restrictions, although healthy choices are offered.

The school has put together a pool of scholarship funds, with awards being determined by (1) merit and (2) need. The Admission Committee will recommend scholarship and institutional aid amounts. During the first year of the BFA, the Southwest School of Art is happy to offer the following full and partial scholarships:  Full Scholarships o The Margaret D. Harris Scholarship—Bachelor of Fine Arts Degree (full tuition, fees, books, and supplies). This scholarship is made possible by the S.T. and Margaret D. Harris Foundation.

ď&#x201A;ˇ

o Presidentâ&#x20AC;&#x2122;s Scholarship (full tuition) Partial Scholarships (partial tuition) o Alturas Foundation Scholarship o Carolyn H. Harte Scholarship o Roxana Gage Catto Scholarship o Argo Group Scholarship

Aside from these named, endowed scholarships, additional scholarship funding has been made available through the generosity of individual donors and the SSA operating budget. Students applying for scholarships who submit the required documents outlined in the application requirements will be evaluated for all available scholarships. There is no need to apply for individual scholarships.

Refunds will be made for students who withdraw from a course or the school according to schedule printed in the academic calendar found at the end of this catalog.

Students are expected to follow the degree requirements of the course catalog in effect at the time of their initial enrollment in the BFA program at the SSA. Specific course requirements, including prerequisites, may be updated in the catalog annually. Students are expected to adhere to changes to individual courses as they occur. If the curriculum and degree requirements change during the five-year period after the student initially enrolls, the student may elect to follow the new degree requirements, but may not move to a catalog earlier than his or her catalog of entry. If a student does not fulfill the degree requirements of the course catalog of entry within the five-year period, he or she must follow the requirements of the catalog in effect at the end of that five-year period. Students may be required to follow new degree requirements if courses required by previous programs have been eliminated from the course catalog; however, under no circumstances are students required to take any additional credit hours to earn the degree within five years of entry.

BFA courses are taught on the semester system, with courses carrying three hours of college credit. A typical nonstudio three-hour class meets twice weekly for 75 minutes each class during the 15-week term. Studio classes meet for six hours each week, usually in two, three-hour sessions. The school attempts to schedule classes so Fridays remain available for open studio work. The federal government defines a credit hour as follows: A credit hour is an amount of work represented in intended learning outcomes and verified by evidence of student achievement that is an institutionally established equivalency that reasonably approximates: ď&#x201A;ˇ Not less than one hour of classroom or direct faculty instruction and a minimum of two hours out-of-class student work each week for approximately fifteen weeks for one semester or trimester hour of credit, or ten to twelve weeks for one quarter hour of credit, or the equivalent amount of work over a different amount of time, or ď&#x201A;ˇ At least an equivalent amount of work as required outlined in item 1 above for other academic activities as established by the institution including laboratory work, internships, practica, studio work, and other academic work leading to the award of credit hours. The May Term (or Maymester) is an intensive, four-week term, during which a limited number of studio classes are offered. Studios meet for four hours Monday through Thursday. Some independent studio work is expected. The fall, spring, and May terms comprise the academic year for the BFA program at the SSA.

Grades are assigned according to the following system of letter and quality points evaluation:

A AB+ B BC+ C CD F

4 3.67 3.33 3 2.67 2.33 2 1.67 1 0

The following codes may appear on transcripts and do not affect a studentâ&#x20AC;&#x2122;s grade point average. Withdrawal Transfer Credit Credit Awarded (CLEP, AP, etc.) Incomplete Satisfactory Unsatisfactory Audit

The Office of the Registrar is the officially designated authority for determining full-time status for all students requesting enrollment verifications for insurance or any type of financial aid or loans. A full-time undergraduate student is defined as one who is registered for at least 12 semester hours of credit per semester. Students may register for a maximum of 18 semester hours per semester, with permission of the Dean and provided they have maintained a grade point average of at least 3.0 during the previous term. Less than full-time enrollment status may affect financial aid such as loans and grants, scholarships, health insurance, and visas (if applicable). Please see the Dean before deciding to drop to less than full-time enrollment status.

Students may attend the SSAâ&#x20AC;&#x2122;s BFA program on a part-time basis. Tuition will be charged on a per course basis, and some fees will apply. Part-time students should realize that because of the small size of the Southwest School

of Art and the lock-step nature of the program, most classes will be available only once per year and priority enrollment will be given to full-time students.

Persons from the community or students from other colleges or universities may enroll for classes as non-degreeseeking or transient students. Non-degree-seeking students fall into two categories: auditors and transient students. These students should realize that the SSA’s degree-seeking students will have enrollment priority in any particular class. If slots are available, they will be given on a first come, first-served basis.

Persons over the age of 18 may audit courses offered in the BFA program at SSA provided they meet the following criteria:  They possess the requisite skills for the class;  They gain permission of the SSA Professor in writing;  They register and pay the normal tuition for the BFA class;  They attend and participate in the class;  They understand that an audited class may not apply toward BFA credit.  They abide by all the student life and academic policies set forth in this catalog.

Students at other colleges and universities may enroll in a for-credit course at the SSA provided they meet the following criteria:  They are currently enrolled and in good standing at their “home” institution;  They have permission in writing from their home institution to take a course at the SSA;  They gain permission of the SSA professor in writing;  They register and pay the normal tuition for the BFA class (Federal Financial aid is unavailable through the SSA at this time);  They abide by all the student life and academic policies set forth in this catalog. Refunds for auditors or transient students follow the refund policy outlined under financial information in this catalog. The Southwest School of Art reserves the right to dismiss auditors or transient students if they are found disruptive in any way to the normal operations of the BFA program. Refunds may or may not be applicable.

Only students who are properly registered for a class may attend and participate in that class. Students are not permitted to participate in classes in which they are not registered. Enrollment is determined by the official class roster. Students are responsible for ensuring that they are enrolled for each class in which they are participating. Students are expected to attend and participate in all scheduled classes and examination periods. Absences in excess of three class periods per course per semester result in the student receiving a letter grade lower for the class, and may result in a failing grade for the class. Tardiness, early departure, or other time away from class in excess of 15 minutes per class session is considered absence for that class session. Excused absences—for personal reasons, illness, or other unforeseen events—must be formally approved in writing by the faculty member teaching the class and forwarded to the Dean.

The Southwest School of Art reserves the right at its sole discretion to withdraw the privilege of enrollment from any student whose conduct is detrimental to the academic environment or to the well-being of other students, faculty and staff members, or to the schoolâ&#x20AC;&#x2122;s facilities.

Because of the size of the student body and the lock-step nature of the BFA program at the SSA, students are discouraged from dropping or adding classes. However, in the event that classes must be added or dropped, the first five days during which classes are held each semester are designated the drop/add period. Because of the compressed nature of the May Term, students may drop and add a class only on the first day of classes.

Because of the size of the student body and the lock-step nature of the BFA program at the SSA, students are discouraged from withdrawing from classes. However, if withdrawal becomes necessary, students have until the designated mid-term of each semester to do so. Withdrawal does incur a financial obligation for the portion of the class that has passed, but may entitle the student or lender to a refund of tuition paid for the remaining portion of the course. Refund policies are listed above. Students who stop attending a class without officially withdrawing through the Office of the Registrar are considered in violation of the attendance policy and receive a grade of F for the class.

While it is an event the school does not like to see, sometimes it becomes necessary for a student to withdraw from the BFA program at the SSA altogether. In such cases, the student should meet with the Dean to initiate the process.

Internships offer students valuable opportunities to work in a professional environment and gain firsthand experience to help them prepare for careers as artists. In an approved internship setting, a student typically spends at least 100 hours working with a professional supervisor and a faculty internship supervisor to achieve specific goals and objectives. Internships are a non-credit graduation requirement, meaning that students must complete an internship to graduate from the BFA program, although they will not receive academic credit for it. A student seeking an internship must have completed at least 60 credit hours with a cumulative grade point average of at least 2.5. The student must complete the SSA internship application including internship start date, duration of internship, number of hours/days per week of employment, liability waiver, and any terms of employment. The internship application must show that the student will have adequate faculty and supervisor contact hours during the time that the internship is to take place. Students should work a minimum of 100 hours with supervision by the employer internship supervisor. Internship applications must be submitted prior to the semester in which the internship is to be conducted and must be approved by the supervising professor and the Dean. A modest administrative fee will apply to internships at the SSA.

Students who have attended the BFA program at the Southwest School of Art but have not been enrolled for at least three consecutive terms are considered inactive and must apply for readmission and meet current admission requirements in order to return to the program. All readmission applications are evaluated on an individual basis by the Admission Committee. Any prior awards of scholarships may or may not apply. Upon readmission, students must follow the requirements of the current catalog. Prior admission does not guarantee readmission to the program.

It may become necessary in extraordinary circumstances for a student to request a leave of absence from enrollment at the SSA. If students think a leave of absence may be in their best interests, they should schedule a meeting with their faculty adviser and the Dean to initiate the process. A leave of absence will not be granted for longer than three consecutive semesters and in most cases will be granted for one term only. If the leave extends beyond one term, the student may be required to apply for readmission.

A student who has suffered serious personal illness or other emergency circumstances during the academic term should notify the Dean as soon as possible. If the student is unable to complete all assignments by the end of the term, he or she may request a grade of incomplete through the Dean before the end of the quarter, explaining the reason and attaching documentary evidence of the illness or emergency circumstance. The Deanâ&#x20AC;&#x2122;s decision to grant or not grant a temporary grade of incomplete is final. A student who is assigned a temporary grade of incomplete is required to complete the remainder of the unfinished work in a satisfactory manner by the mid-term of the following semester. A temporary grade of incomplete automatically changes to an F if the required work is not completed satisfactorily by that time. A student may not withdraw from a class after receiving a grade of incomplete. A student who has missed more than three class sessions in a term is not eligible for a grade of incomplete.

Students are expected to make satisfactory progress toward their degree and are responsible at all times for knowing their academic standing and for fulfilling all requirements of the program by referring to these published academic policies and by consulting with the Dean, department chair, professor, or registrar. At the sole discretion of the SSA, a student may be placed on academic warning or probation, or may be suspended or dismissed for any reason deemed to be in the best interest of the student or of the school as a whole.

Good academic standing is defined by a 2.0 overall grade point average.

A student whose term grade point average falls below 2.0 for any term will receive a warning that his or her academic status is unsatisfactory.

A student whose term grade point average falls below 2.0 for two consecutive terms is placed on academic probation and is notified by the school. Students who are placed on probation must meet with the Dean before the start of the next term to establish a success plan. Students on probation may not withdraw from any class and must abide by the terms outlined in their probation letter. Students are removed from probation when they achieve a term grade point average of 2.0 or higher.

A student whose grade point average falls below 2.0 for three consecutive terms is suspended from the BFA program for one calendar year. After that time, the student may submit a written petition to the Dean to return to the program. The petition should include all potential justification for continued enrollment, including, but not limited to, counseling, tutoring, medical treatment, or academic success programming. Reinstatement to the BFA is not guaranteed. If the student is reinstated, he or she returns on academic probation and must complete an academic success program as outlined by the reinstatement letter.

A student who has been suspended and reinstated, and does not meet satisfactory academic progress during the first semester of his or her return, is dismissed from the BFA program.

Students who earn a term GPA of between 3.5 and 3.74 will earn recognition as members of the “Dean’s List.” They will receive a letter from the Dean, and a notation of this honor will appear on their transcript for the appropriate term or terms.

Students who earn a term GPA of 3.75 or higher will earn recognition as members of the “President’s List.” They will receive a letter from the President, and a notation of this honor will appear on their transcript for the appropriate term or terms.

Students may retake a course by registering for the course and paying tuition for that course again. While all grades remain on the transcript, the student receives credit only once for the course. Only the highest grade is calculated into the cumulative and major grade point average. Students should consult the Dean or a faculty adviser before retaking a course, as financial aid and/or scholarship awards could be affected.

Under all circumstances, students are expected to be honest in their dealings with faculty, administrative and support staff, and other students. For purposes of this policy, the term faculty or faculty member includes any person engaged by the school to act in a teaching capacity, regardless of the person’s actual title. In speaking with members of the SSA community, students must give an accurate representation of the facts at hand. Failure to do so is considered a breach of the Student Code of Conduct and may result in sanctions against the student, including suspension or dismissal. In class assignments, students must submit work that fairly and accurately reflects their level of accomplishment. Any work that is not a product of the student’s own efforts is considered dishonest. Students must not engage in academic dishonesty; doing so can have serious consequences. Academic dishonesty includes, but is not limited to, the following:  Cheating, which includes, but is not limited to: o The giving or receiving of any unauthorized assistance in producing assignments or taking quizzes, tests, or examinations; o Dependence on the aid of sources including technology beyond those authorized by the instructor in writing papers, preparing reports, solving problems, or carrying out other assignments; o The acquisition, without permission, of tests or other academic material belonging to a member of the faculty or staff; and o The use of unauthorized assistance in the preparation of works of art;  Plagiarism, which includes, but is not limited to: o The use, by paraphrase or direct quotation, of the published or unpublished work of another person without full and clear acknowledgment; o The unacknowledged use of materials prepared by another person or agency engaged in the selling of term papers or other academic materials; and o The unauthorized use or copying of any proprietary artistic work beyond the level of mere “influence”;  Submission of the same work in two or more classes without prior written approval of the professors of the classes involved; and/or  Submission of any work not actually produced by the student submitting the work without full and clear written acknowledgement of the actual author or creator of the work. If a faculty member suspects a student of academic dishonesty, the faculty member first discusses the concern with the student. If academic dishonesty is still suspected, the faculty member must notify the Dean and submit all evidence. The Dean then appoints an uninvolved faculty member to investigate the allegation and to recommend sanction, which may include an F for the assignment, an F for the class, probation, suspension, or dismissal. If the uninvolved faculty member finds that academic dishonesty has occurred, the student is informed in writing of the sanctions to be imposed. The student has five business days from the date of the written notice within which to appeal the decision. A student wishing to appeal should do so in writing to the Dean. In the appeal, the student should include all pertinent evidence to support the appeal. An appeals committee then convenes to review the case. Findings are presented to the Dean who sends the student a decision in writing within 10 days of the written appeal. If no appeal is made, the student is assigned the sanctions determined by the uninvolved faculty member. A second charge of academic dishonesty results in dismissal from the BFA program.

Students are encouraged to resolve any concerns they may have by directly contacting the office or persons responsible for the area relevant to the concern or complaint. If unable to satisfactorily resolve issues directly with the relevant office or persons, the student may submit a formal written appeal to the Dean, unless the complaint refers to the Dean’s office, in which case the written appeal should go to the Office of the President. Written student appeals must be submitted within 30 calendar days of whatever incident the student might be concerned about and must include the student’s full name, student ID number, email address, and phone number. The appeal must be specific in describing the issue of concern: the date, time, and place of any occurrence; the names of any persons involved, including any witnesses; details of any occurrence; other relevant information or documentation; and the desired outcome. All appeals must be signed or sent from the student’s email account. The BFA program at the SSA protects a student’s right to lodge a complaint or written appeal under these procedures and seeks to resolve all student concerns fairly and in a timely manner.

Academic Policy Appeals are written student requests to make exceptions to the program’s Academic Policies or to review academic decisions. Students should address all academic policy appeals to the Dean. Once submitted, the student’s appeal is reviewed by the Dean and other faculty or administration. A decision from the Dean regarding the appeal is made in writing to the student within 15 calendar days following receipt of the appeal or receipt of additional information. The decision is final.

Concerns regarding final grade assignments must be addressed directly with the faculty member issuing the grade or, if necessary, with the professor’s department chair. A review of the student’s grade is conducted to validate the grade assignment. The department chair and Dean must authorize any grade change due to numerical miscalculation by the faculty member issuing the grade. If, after the review, the student is not satisfied, he or she may file a written appeal with the Dean. This appeal must include evidence of previous correspondence and should be submitted within 30 calendar days following the last day of the semester. A decision from the Dean is made in writing to the student within 15 calendar days following receipt of the appeal. The decision is final.

Appeals and/or complaints associated with matters that are not specifically academic in nature are outlined in the student life policy section of this catalog.

The Family Educational Rights and Privacy Act affords students certain rights with respect to their education records. They are:  The right to inspect and review the student’s education records within 45 days of the date the SSA receives a request for access. Students should submit to the Office of the Registrar written requests that identify the record(s) they wish to inspect. The registrar makes arrangements for access and notifies the student of the time and place where the records may be inspected. If the records are not maintained by the registrar, the registrar shall advise the student of the correct official to whom the request should be addressed. That official makes arrangements for access and notifies the student of when and where the records may be inspected;  The rights to request the amendment of the student’s education records that the student believes are inaccurate or misleading. A student who believes records are inaccurate or misleading should write to the Office of the Registrar, clearly identify the part of the record he or she wants changed, and document



why it is inaccurate or misleading. If the SSA decides not to amend the record as requested by the student, the SSA notifies the student of the decision and advises the student of his or her right to a hearing regarding the request for amendment. Additional information regarding hearing procedures is provided to the student at that time; The right to consent to disclosures of personally identifiable information contained in the student’s education records, except to the extent that the Family Educational Rights and Privacy Act authorizes disclosure without consent. One exception, which permits disclosure without consent, is disclosure to school officials with legitimate educational interests. A school official is a person employed by the school in a supervisory, administrative, academic, research, or support staff position (including law enforcement personnel and health staff); a person or company with whom the school has contracted (such as an attorney, auditor, or collection agent); a person serving on the board of trustees; or a student serving on an official committee, such as disciplinary or grievance committees, or assisting another school official in performing his or her tasks. A school official has a legitimate educational interest if the official needs to review an education record in order to fulfill his or her professional responsibility. Upon request, the school discloses a student’s education records to officials of another school in which a student seeks or intends to enroll without the student’s prior consent. The school also discloses directory information in a student’s education record unless written notice is received from the student that the student does not wish to be included in the disclosure of directory information. Written notice should be sent to the Office of the Registrar. Directory information includes the student’s name, address (including email), telephone listing, date and place of birth, major field of study, participation in officially recognized activities and sports, weight and height of members of athletic teams, dates of attendance, degrees and awards received, most recent previous educational agency or institution attended, and photograph; and The right to file a complaint with the U.S. Department of Education concerning alleged failures of the college to comply with the requirements of the Family Educational Rights and Privacy Act.

The name and address of the office that administers the Family Educational Rights and Privacy Act is as follows: Family Policy and Compliance Office U.S. Department of Education 600 Independence Avenue S.W. Washington, D.C. 20202-4605

Bachelor’s degrees are awarded to students who have earned a minimum 120 semester credit hours of appropriate credit in an approved program of study with an overall cumulative grade point average of 2.0 or higher, and at least a 2.5 in courses related to their area of emphasis. The final 30 hours of the BFA degree program must be completed at the SSA. Degree students must complete the application for graduation through the Office of the Registrar at least two months before they complete their degree requirements. Students are required to participate in the graduation ceremony. At graduation, students may be awarded academic honors based on their cumulative grade point average: 3.5 to 3.69 GPA 3.7 to 3.89 GPA 3.9 to 4.0 GPA

Students may request from the Office of the Registrar official transcripts of all coursework completed in the BFA program at the SSA. Transcripts and portfolios submitted to the SSA as part of the application process become part of the permanent record of the student and cannot be returned to the student. Student records, including academic transcripts, are protected by the Family Educational Rights and Privacy Act (20 U. S. C. 1232[g]). Only the student may request a copy of his or her academic record. Family or friends are not permitted access to student records without the written consent of the student. The Southwest School of Art charges BFA students a Lifetime Transcript Fee. This fee, part of the student life fee, allows students to order transcripts at no additional cost. Requests for transcripts must be in writing and must include the name of the student, all former names (if any), social security number, years of attendance, home address, the address to which the transcript should be mailed, and the student’s signature. A transcript request form may be printed from the web or picked up at the Office of the Registrar. Transcripts are processed and mailed within 3-5 business days after the written request has been received. The Office of the Registrar accepts faxed requests for transcripts (210.224.9337), but it does not fax transcripts. Faxed transcript requests must include the student’s signature. The Office of the Registrar does not accept scanned and emailed transcript request forms, and will not scan or email transcripts. The Office of the Registrar will not prepare transcripts for any student who has an outstanding financial obligation to the college. The office will notify the student of a financial “hold” and keep the request until the hold is released by the originating office or for 60 days, whichever comes first. If a hold is released within this time, the transcript will be sent. If the hold is not cleared within 60 days, the request will be voided. A new request will be honored only after all holds are released.

Physical injury and/or other medical problems, as well as loss of or damage to personal property resulting from fire, theft, or other causes, are not the responsibility of the SSA.

The Southwest School of Art is proud of the work our students produce, and we wish to use select pieces for promotional purposes. The SSA, therefore, reserves the right to use samples of student work and photographs or videos of students and their work in publications, on websites, and in other materials about the school. The SSA may request to purchase student work to be included in the permanent collection, but students are under no obligation to sell the work to the school. Students may be invited to sell their work through the SSA galleries or through other events held during the academic year.

Health and wellness are key elements of students’ potential success at the SSA, and the school encourages a lifestyle commensurate with promoting overall wellness—a balanced diet, regular exercise, and supportive social relationships. The school will make every effort to provide opportunities for students to engage in events that promote health and wellness, but the responsibility for maintaining such a lifestyle ultimately rests with the individual. The transition to college life can be stressful for young adults. Students who need help with this transition for personal or academic reasons have access to a licensed counselor who will be on campus once a week. The Southwest School of Art will cover the costs of the first five visits to this counselor while the student is responsible for visits beyond those. The SSA has also established access for its students at a nearby workout facility. Such access can provide some well-deserved decompression time and the opportunity to meet new people. Before enrolling in the Southwest School of Art, all students must:  Provide evidence of having passed a physical examination;  Provide proof of health insurance;  Provide a copy of immunization records; and  Provide proof of bacterial meningitis vaccination (see below). Texas state law (SB 1107) requires that students who meet the criteria below must provide proper documentation that they have received the bacterial meningitis vaccination within the last five years and at least 10 calendar days before the beginning of their first academic semester:  New or transfer students under the age of 30, or  Returning students under the age of 30 who have not been enrolled in the SSA for at least one fall or spring term. Evidence of vaccination must indicate that the vaccination was received at least 10 days before the first day of the semester, and it must be submitted in one of the following four formats. All documents must include the month, day, and year the vaccination was administered:  A complete meningitis immunization record form. (Use this form if you plan to obtain your vaccination from somewhere other than your personal physician’s office.);  A document bearing the signature or stamp of a physician, his or her designee, or public health personnel;  An official immunization record generated from a state or local health authority; or  An official record received from school officials, including a record from another state. Any student who, for bona fide reasons, declines this vaccination requirement must do so in one of the following ways:  An affidavit or certificate signed by a physician who is duly registered and licensed to practice medicine in the United States, in which it is stated that, in the physician’s opinion, the vaccination required would be injurious to the health and well-being of the student;  A completed meningitis exemption form; or



An affidavit signed by the student stating that the student declines the vaccination for bacterial meningitis for reasons of conscience, including a religious belief. A conscientious exemption form from the Texas Department of State Health Services must be used. Please allow several weeks for delivery.

As adults, students bear ultimate personal responsibility for knowing and adhering to state and federal law. The Southwest School of Art prohibits the unlawful use, possession, distribution, dispensation, and manufacture of controlled substances, other illicit drugs, and alcohol in the workplace, classroom, and studio, at any other location owned, leased, or being used by the SSA, and in connection with any school-sponsored activities. The SSA further prohibits even the lawful service and use of alcohol on the SSA campus and at any other location owned, leased, or being used by the SSA unless such service and use has been preauthorized. With appropriate authorization, alcohol may be served at some SSA-sponsored or -sanctioned activities, but only to persons who provide verifiable proof of age. The serving of alcoholic beverages in all such instances must receive the specific written approval of the President and will involve strict supervision of the event by student hosts and designated staff or faculty and adherence to the alcohol policy. More specifically:  No student shall unlawfully manufacture, use, possess, distribute, or dispense any illegal drug, controlled substance, or alcohol;  No student under 21 years of age shall possess, sell, purchase, or consume alcoholic liquor, beer, or wine;  No student of legal age shall purchase for, or sell or provide to, a person under 21 years of age any alcoholic liquor, beer, or wine; and  No student of legal age shall possess or consume alcoholic liquor, beer, or wine except in areas designated by SSA and at approved events. Confidential assessments, counseling, and referrals to community resources are available from SSA's onsite counselor, who holds office hours one day per week. Students who violate this policy will be subject to any of the following sanctions, among others, depending upon School officials’ assessment of the severity of the violations:  Alcohol education;  Assessment for alcohol abuse problem (cost to be borne by student);  Required alcohol abuse treatment program (cost to be borne by student);  Probation;  Loss of scholarship;  Suspension from the School;  Dismissal from the School; and/or  Referral to law enforcement agencies.

The use, possession, or sale (or possession with intent to sell) of illegal or illicit drugs or narcotics is expressly prohibited by federal, state, and local laws and regulations, as well as SSA policy.

Possession or use of illicit drugs by students are grounds for severe sanctions, including dismissal, and may result in referral to authorities for prosecution. The possession of drug paraphernalia (including hookahs, bongs, needles not for prescribed use, and other such items) is also a violation of both state law and SSA policy. Students who violate this policy will be subject to any of the following sanctions, among others, depending upon School officials’ assessment of the severity of the violations:  Assessment for substance abuse problem (cost to be borne by student);  Required substance abuse treatment program (cost to be borne by student);  Mandatory drug testing program (cost to be borne by student);  Probation;  Loss of scholarship;  Suspension from the School;  Dismissal from the School; and/or  Referral to law enforcement agencies.

The possession, maintenance, or use of firearms, weapons, or explosives of any nature or description (fireworks, any other device of explosive nature, bows and arrows, crossbows, sling shots, guns, ammunition, and knives other than those typically used in artwork, or any other weapon) is prohibited on campus. Violators will be subject to disciplinary action which may include:  Probation;  Loss of financial aid;  Suspension from the School;  Dismissal from the School; and/or  Referral to law enforcement agencies

Smoking is prohibited in all indoor campus spaces. Smoking is also prohibited within 25 feet of any School building. The goal is to eliminate situations where students, employees, and visitors must walk through smokefilled areas in order to enter a School building, and also to prevent smoke from migrating into the building. “No Smoking” signs are posted as a reminder of this policy. Those who smoke must use appropriate receptacles for cigarette, cigar, or tobacco disposal. Students, faculty, and staff should be aware of the health risks associated with smoking and/or tobacco use.

The SSA community is composed of a wide variety of people with different cultures, racial backgrounds, sexual orientations, and many other differences. The SSA values these differences and believes that encouraging interaction and respect among people who may differ from one another creates a positive learning experience. Intolerant acts that show disrespect for others harm both the victims and the community at large. Any behavior that victimizes an individual on the basis of that person’s race, ethnicity, religion, sex, sexual orientation, creed, national origin, ancestry, age, or level of ability or disability is inappropriate at best, seriously detrimental to the community, and will be addressed. Such behavior includes, but is not limited to, graffiti,

defacing School or personal property, harassment, threats, fighting, and disrupting others in the exercise of their rights. Students who have witnessed or are victims of such behavior should report it to the Office of the Dean.

Students, staff, or faculty living with the Human Immunodeficiency Virus (HIV) or diagnosed with Acquired Immune Deficiency Syndrome (AIDS) will not be unlawfully discriminated against at the SSA. The school supports equality of education and employment opportunity. No person will be denied admission to any educational program or activity, or be denied employment based on HIV infection. Overall, it is important that the entire school community be protected from unnecessary risks; therefore, proper protective measures will be adopted as recommended by the latest medical and scientific research, and as required by OSHA regulations.

Disrupting, obstructing, or interfering with the proper conduct of teaching and learning, other SSA-related activities, or other legitimate activities of other members of the SSA community, or breaching the peace of other members of the SSA community will not be tolerated and may be subject to disciplinary action. Legitimate criticism or other statement of opinion, expressed in a respectful manner, is not a violation of this provision.

The Southwest School of Art is committed to providing its staff, faculty, and students the opportunity to pursue excellence in their academic and professional endeavors. This can only exist when each member of our community is assured an atmosphere of mutual respect, one in which they are judged solely on criteria related to academic or job performance. The School is committed to providing such an environment, free from all forms of harassment and discrimination. Each member of the community is responsible for fostering mutual respect, being familiar with this policy, and refraining from conduct that violates this policy. The SSA will not tolerate any type of harassment or discrimination toward or by any member of the School community. All complaints of such behavior will be taken seriously and will be investigated promptly and thoroughly. The SSA prohibits acts of reprisal against anyone involved in lodging a complaint of harassment or discrimination. Conversely, the School considers filing intentionally false reports of harassment or discrimination a violation of this policy. It is illegal to harass others on the basis of their sex, age, race, color, national origin, religion, marital status citizenship, disability, or any other status protected by law. Individuals found guilty of harassment or discrimination toward another employee, student, or faculty member will be subject to disciplinary actions up to, and including, immediate termination or expulsion from the SSA when appropriate. Harassment or discrimination (as defined by Title VII, Title IX, or other applicable laws) can take many forms, including but not limited to slurs, jokes, statements, gestures, electronic communications (including email), pictures, or cartoons regarding a student, faculty member, or employeeâ&#x20AC;&#x2122;s race, color, religion, gender, national origin, age, marital status, sexual orientation, citizenship, disability, or any other status protected by law. Fundamental to the SSAâ&#x20AC;&#x2122;s mission is the free and open exchange of ideas. It is not, therefore, the Schoolâ&#x20AC;&#x2122;s purpose in promulgating this policy to inhibit free speech or the free communication of ideas by members of the academic community.

The SSA is committed to providing a safe and healthy learning environment for all students. As such, the School prohibits bullying of any kind and will deal with complaints accordingly. This policy applies to behavior in the classroom, online, on SSA trips, at SSA functions, and in the city of San Antonio. Bullying is defined as unwelcome or unreasonable behavior that demeans, intimidates, or humiliates an individual or a group of individuals. Bullying can be:  An isolated incident or persistent incidents;  Carried out by a group or an individual;  Either direct or indirect; and/or  Verbal or physical. Some examples of bullying include:  Abusive or offensive language;  Unwelcome behavior;  Unreasonable insults or criticism (especially in public);  Teasing and/or spreading rumors;  Trivializing of work or achievements; and/or  Exclusion or isolation.

Sexual harassment is a violation of the law and a violation of the SSA’s policy. This policy on sexual harassment applies to the entire campus community and to the conduct of students, faculty, staff, and vendors both on campus and at SSA-sponsored events and activities. Sexual harassment toward a student is a violation of Title IX of the Education Amendments Act of 1972. Students who believe they have been subject to sexual harassment at the Southwest School of Art are instructed to contact the Dean. Sexual harassment toward an employee is a violation of Title VII of the Civil Rights Act. Title VII is the primary legal basis for sex discrimination claims of employees. It protects both men and women and includes, but is not limited to, discrimination on the basis of pregnancy, childbirth, or related medical conditions. If you feel that you are being sexually harassed, or are aware of the occurrence of sexual harassment, you should immediately contact the Dean or the Chief Financial Officer. The SSA will investigate the matter promptly and take appropriate steps to equitably resolve the matter. Sexual harassment is unwelcome behavior of a sexual nature that is offensive to students, staff, or faculty. Sexual harassment includes but is not limited to:  Sexual advances, requests for sexual favors, or verbal or physical contact where submission to the conduct is made a term or condition of instruction, employment, or any School activity or is used as the basis for academic decisions or employment; and  Unwelcomed verbal, visual, or physical conduct of a sexual nature, which unreasonably interferes with a student, staff, or faculty member’s work or creates a hostile or demeaning employment or educational environment.

Some examples of prohibited harassment include:  Unwelcomed sexual advances. This includes patting, pinching, brushing up against, hugging, cornering, kissing, or any other physical contact considered unacceptable by another individual;  Requests or demands for a sexual relationship. This includes subtle or blatant unwanted flirtations, advances, propositions, expectations, or requests for any type of sexual relationship; and  Verbal abuse or teasing that is sexually oriented or based on gender or sexual preference. This includes comments about an individual’s body or appearance, off-color jokes, or any other offensive comments, innuendoes, or actions with which someone may be uncomfortable (where such comments go beyond an isolated innocuous compliment). Consenting romantic and sexual relationships between faculty/staff and student or between supervisor and employee, while not expressly forbidden, are generally deemed inappropriate, particularly relationships between individuals of unequal status. In the view of the School, the relationship between a student and instructor or staff member is that of client and professional. The respect and trust accorded an instructor by a student, as well as the power exercised by the instructor in giving praise or criticism, grades, recommendations for further study, or future employment greatly diminish the student’s actual freedom of choice should sexual favors be included among the instructor’s demands. Therefore, instructors are warned against the possible costs of even an apparently consenting relationship in regard to the academic efforts of both faculty member and student. A faculty member or staff member who enters into a romantic relationship with a student, or a supervisor with an employee where a professional power differential exists, must realize that if a charge of sexual harassment is subsequently lodged, it will be exceedingly difficult to establish that there has been no violation of the policy on grounds of mutual consent. The administration and the Review Board investigating a charge of sexual harassment shall be expected, in general, to be unsympathetic to a defense based upon consent when the facts establish that a professional faculty/staffstudent or supervisor-employee power differential existed within the relationship.

A faculty or staff member of the SSA who believes that he or she is being harassed in violation of this policy, or who becomes aware of harassment of a coworker and wishes the School to take action on his or her behalf or on the behalf of others, is required to immediately bring the matter to the attention of either their department chair/supervisor, the Dean, or the Chief Financial Officer. An employee is not required to bring a harassment complaint first to their department chair or supervisor. If preferred, the complaint may be made directly to the Dean or Chief Financial Officer. All complaints will be investigated in accordance with the procedure described in this policy. Any supervisor who receives a complaint or who observes harassing conduct must inform the Dean and Chief Financial Officer immediately. An official record of the complaint will be made.

If a student believes that he or she is being harassed in violation of this policy or becomes aware of possible harassment and wishes the School to take action, he or she should bring the matter immediately to the attention of either the Dean or the Chief Financial Officer. Any student who wishes a confidential discussion regarding harassment can contact the counselor who is on campus one day a week.

All complaints of harassment will be promptly investigated. The SSA will not tolerate retaliation against any member of the School community for bringing a complaint or for cooperating with an investigation. When the investigation finds that harassment occurred, the School will take prompt corrective and disciplinary action (up to and including discharge from employment or expulsion from the School, when appropriate).

Any complaint of harassment should be expressed to the Dean or the Chief Financial Officer. If a student or faculty member has a complaint, it should be discussed with the Dean. A staff memberâ&#x20AC;&#x2122;s complaint should be discussed with the Chief Financial Officer. If a department chair or other SSA community member receives a complaint, this complaint must be forwarded to the Dean or Chief Financial Officer within two working days of receiving the complaint.

Once a complaint has been made, counseling, informal discussion, and mediation are often the first phase of the complaint process. In some cases the complaint may be resolved by simply arranging for a meeting between the involved parties. If the complainant is not satisfied that the issues related to the alleged harassment have been resolved through the informal process, the Dean or Chief Financial Officer will initiate a formal investigation.

The SSA has established a standing Review Board for the purpose of conducting formal investigations into allegations of harassment and making recommendations on the basis of its investigation. In the formal investigation process, the Dean or Chief Financial Officer (depending on those involved in the complaint) will convene the full board or a sub-group to review the complaint and determine whether the allegations constitute harassment. If the board or sub group finds that the elements of the complaint fall under the definition of harassment, the Dean or Chief Financial Officer will consult further with this group to determine a schedule and organization of a formal investigation by the full Review Board. The Dean or Chief Financial Officer has ten working days to complete the process. If the Dean or Chief Financial Officer cannot complete the process within this time frame, the person making the complaint will be notified in writing of the expected time frame for completion of the initial investigation and reason for delay. The Review Board will conduct a formal investigation, which includes interviews with witnesses and a review of all information deemed relevant to the matter. Both the accuser and the accused will be given an opportunity to appear before the Review Board. The Dean or Chief Financial Officer will maintain a confidential record of the proceedings and prepare a report of the findings for the Administration. In the absence of the Chief Financial Officer, a selected member of the Review Board will assume these responsibilities. Complaints should be presented as promptly as possible after the incident occurs. The individual who presents the complaint may postpone an investigation for a reasonable time. In the case of a complaint brought by a student, postponement is limited to sixty days from the end of the academic semester in which it occurred. The reason for postponement should be stated in writing and submitted to the Chief Financial Officer. If the Dean or Chief Financial Officer refers a complaint to the Review Board, the Review Board will have a goal of completing its investigation within twenty working days of the date on which it receives the complaint. If the Review Board determines that it cannot complete its investigation within this time frame, the person making the complaint and the accused will be notified in writing of the expected time frame for the completion of the Review Boardâ&#x20AC;&#x2122;s investigation and reasons for delay.

After a full fact-finding investigation by the Review Board, a written report will be presented to the President of the School and a summary of findings presented to both parties. If the Review Board finds that harassment has not occurred, the report and evidence will be held for three years and then destroyed from institutional files. In the event that the Review Board determines that harassment occurred, the School will take prompt corrective and disciplinary action (up to and including discharge from employment or dismissal from the School, when appropriate).

The School is sensitive to the need for privacy for the complainant and the accused; therefore, in investigating complaints of harassment, the School will be as discreet as possible. It is most important that all parties (accuser, accused, witnesses, and Review Board members) involved in the investigation maintain confidentiality. If the confidentiality is breached, the individual responsible for the breach may be subject to disciplinary action up to and including termination or expulsion from the School, when appropriate.

The School will take disciplinary action as it deems necessary and appropriate. This may include but is not limited to warning, suspension, and immediate dismissal from the School. Immediate dismissal may be taken as a first or last disciplinary step.

Hostile environment claims do not require that the harasser be a supervisor or faculty member. The harasser can be a student classmate, a staff member, a vendor, a customer, or other non-employees.

The Review Board will be selected by the President or her designees in consultation with the Dean or Chief Financial Officer. The Review Board will consist of three staff members, three faculty members, the Chief Financial Officer, and a designated note-taker. The Review Board shall be composed of persons who reflect the School’s diverse population. The Dean or Chief Financial Officer serves as coordinator in order to centralize the responsibility of the Review Board and to facilitate administrative matters. Selection is aimed at forming a group that will offer continuity, experience, and sensitivity to concerns of those who believe they have become a victim of harassment on the basis of their sex, age, race, color, national origin, religion, marital status, citizenship, disability, or other legally protected status. The Review Board members shall be appointed for a three-year term and may be reappointed. Any member who has a connection to a complainant or the alleged harasser should be excused from this process. The Review Board members’ function is to work as a diverse group to investigate complaints to determine whether alleged conduct constitutes harassment of any type. A Review Board member may also participate in mediation between parties. After a full fact-finding investigation by the Review Board, a written report will be presented to the President.

Unwelcome verbal, visual, or physical conduct—which occurs because of a person’s legally protected status and unreasonably interferes with a student, staff, or faculty member’s work or creates a hostile or demeaning employment or educational environment—constitutes a hostile environment.

Submission of a good-faith complaint will not affect educational endeavors, work assignments, academic career, or an employee’s future employment with the School. No retaliatory action will be taken against any person because they make a complaint of harassment. If the complainant believes he or she is being retaliated against for making a complaint or participating in an investigation, he or she should immediately report such retaliation to the Chief Financial Officer. Unwelcome sexual advances, requests for sexual favors, and other verbal or physical conduct of a sexual nature constitute sexual harassment when:  Submission to such conduct is made either explicitly or implicitly a term or condition of an individual’s instruction, employment, or participation in any School activity;  Submission to or rejection of such conduct by an individual is used as the basis for academic or employment decisions affecting such individual; and/or  Such conduct has the purpose or effect of unreasonably interfering with an individual’s work performance or creating an intimidating, hostile, or offensive School environment.

It is the policy of the Southwest School of Art that no person (including students, employees, faculty members, or visitors) may physically or verbally threaten the physical or mental well-being of any other person while on SSAowned, -leased, or -controlled property through the commission of forcible or nonforcible sexual offenses. Sexual assault is a criminal act of violence. When a sexual assault or other crime occurs, it creates an environment of concern and tension throughout the campus and surrounding community. The School’s policy is designed to provide an environment that responds promptly and with sensitivity to the needs of victims, that respects the rights of the accused, and addresses the concerns and safety of the community. Anyone who witnesses an act of sexual assault must report it immediately to their immediate supervisor, who must, in turn, report it to their supervisor. Students should report all incidents of assault to the Dean. Reports of such assault will be passed on to local law enforcement officials for investigation. Faculty, staff, and students guilty of sexual assault are subject to immediate termination or dismissal. Victims of sexual assault may wish to seek counseling services provided by the SSA. The counselor will also have a list of community resources available as other avenues of healing.

In compliance with the Americans with Disabilities Act of 1990 and Section 504 of the Rehabilitation Act of 1973, the SSA offers educational services that provide equal opportunity for people with disabilities or who might learn differently. Students must provide documentation of their disability or other health impairments with recommended accommodations from a certified educational specialist or physician. The SSA has partnered with The Winston School San Antonio which has a long history of serving students with learning differences. The Winston School San Antonio can provide confidential college counseling services, testing, and suggested accommodations for prospective, accepted, or current SSA students. For more information on accessing the services of the Winston School San Antonio, please contact the Dean. The SSA has adopted the ADA definition of disability: “Disability defined is a physical or mental impairment that substantially limits one or more major life activities of such individual” (ADA, 1990). All reasonable accommodations are determined for students on an individual basis. In order to receive academic adjustments

and/or reasonable accommodations, students must make appointments with the Dean each term to make their specific accommodation requests known.

The SSA occupies an urban campus whose buildings and facilities intermingle with residential neighborhoods. As a student working and living in this community, your conduct reflects directly not only on yourself, but also on the college. The Southwest School of Art expects students, whether on- or off-campus, to behave in a manner consistent with the standards of this catalog and handbook. Students living off-campus should understand and appreciate that most of their neighbors have made a long-term commitment to their neighborhoods, while students are members of the community for a relatively brief duration. Families living in the neighborhoods around our campus have the right to enjoy a reasonable level of peace and quiet. As students, your academic and personal schedules often conflict with the more routine schedules of families. Students should exercise good judgment and be sensitive to the needs of their neighbors. Large parties and other such gatherings in residential neighborhoods often lead to conflict when music and other noise impacts neighbors. San Antonio has established noise ordinances, and the San Antonio Police Department will respond to complaints and issue citations. In addition, the SSA will review complaints made by neighbors and may implement formal conduct procedures when violations are evident.

This policy exists to increase the likelihood that a student will seek help in an alcohol- or drug-related emergency. The SSA encourages safe and responsible behavior throughout the community and promotes education and treatment for individuals who experience an alcohol or other drug related problem. The School provides support and assistance to students struggling with issues related to substance use. Students actively seeking help when they are concerned about their own use, or that of others, will normally not face conduct consequences related to substance use. The waiver of a conduct process is not automatic and may be earned only once the student meets with appropriate SSA personnel and successfully completes any educational, wellness, or other follow-up steps that the SSA deems necessary following the meeting. Failure to complete the follow-up steps or repeated instances of alcohol or other drug abuse may result in a formal hearing. This policy does not exempt students from a conduct process resulting from other policy violations that occur during the same incident.

Guests of members of the SSA community should be accompanied by their SSA host. The host is responsible for the behavior of his or her guest(s). Guests of members of the SSA community are not allowed to use the school’s equipment without the expressed written permission of the appropriate departmental chair or director.

All SSA students, staff, and faculty must treat animals in a humane manner when used in/as art work, and must conduct their actions in a fashion consistent with all local, state, and federal laws and codes. Most state laws state that one may not “intentionally mutilate, torture, cruelly beat, or cruelly kill an animal.” Cruelty is defined in the code as “the unnecessary or unjustifiable physical pain or suffering caused by or allowed by an act, omission, or

neglect” which includes “torture and torment.” The SSA prides itself on being an exceedingly pet- and animalfriendly environment; animals of all kinds must be treated in a respectful, compassionate, and humane manner.

Students are not permitted to hang or place artwork in hallways or stairwells without permission from the Director of Exhibitions.

The SSA fully supports students’ right to artistic expression and recognizes the merits of performance and installation art; however, students must comply with SSA policies in order to provide a safe and healthy learning environment for everyone. Students and other participants in performance, installation, and sound art must comply with all SSA policies regarding drugs, alcohol, weapons, explosives, and other hazardous materials. Specifically prohibited in School buildings and on School property are:  Setting off fireworks, explosives, or any similar device;  Displaying or using a knife, gun, or other weapon;  Possession or use of illegal drugs (including alcohol, if under age 21);  Exposing others to blood, urine, feces, chemicals, or other hazardous materials (as an unsafe practice, this is not acceptable); and  Any activity that has the potential to cause injury to the artist, any other participants or performers, audience members, or others. Artists who would like to display or install performance, installation, or sound art on public spaces on the SSA campus must obtain prior written authorization from the Director of Operations. This is necessary to ensure that desired space is available and property damage and safety hazards will not result. Installations or performances in classrooms during class time do not need authorization; however, they must comply with the policies above. Installation or performances in galleries must obtain prior authorization from the Director of Exhibitions.

Usage of cellular phones or image-recording devices is prohibited in the presence of nude models on campus. Additionally, cellular phones may not be used in other classrooms unless permission is granted by the instructor. Students who are on-call or who anticipate an emergency phone call should inform the instructor at the start of class. Failure to abide by this policy could result in the student being asked to relinquish the cellular phone during class or asked to leave the class. If asked to leave the class, students may be counted as absent for the day or receive other disciplinary action as appropriate.

The Southwest School of Art extends to students, faculty, and staff the privilege to use its computer systems and network. Each person is assigned a unique user name that provides them with access to SSA computer resources. When you are provided access to the SSA campus network, you are enabled to send and receive electronic mail messages around the world, share in the exchange of ideas through electronic news groups, and use web browsers and other Internet tools to search and find needed information for educational or administrative purposes.

The SSA makes no warranties of any kind, whether expressed or implied, for the service it provides. The SSA is not responsible for any monetary or emotional damage suffered by a student or employee as a result of system failure. This includes loss of data, system delays, non-deliveries or mis-deliveries, service interruptions caused by the School, and errors or omissions by employees or others not affiliated with the School. Use of any information obtained via the system or the Internet is at the user’s own risk. Use of the network is public and designed to monitor activity of all users. The SSA reserves the right to monitor and review all email and other system use to protect the integrity of the system and the safety of its users.

Appropriate computer use supports the mission of the Southwest School of Art to teach and advance the visual arts. All users must:  Comply with all local, state, federal, and international laws and SSA rules and policies, including but not limited to, copyright, privacy, obscenity, the Computer Abuse and Fraud Act which prohibits “hacking” and similar activities, the Electronic Communications Privacy Act, the school’s code of conduct policies, and applicable software licenses. Users are responsible for understanding and complying with rules and laws applicable to their computer use.  Comply with IT standards regarding usage of network and technological resources;  Assume personal responsibility for the use of their accounts. Users may not disclose their passwords or make the SSA systems and networks available to unauthorized individuals. Users are responsible for maintaining the security of their account. Passwords are designed to prevent unauthorized persons from logging on with another person’s account and reading or changing data accessible to that user. For this security measure to be effective, users should avoid writing down their password, not share their password, and change their password if they believe it to have been compromised;  Protect files and system access from use by others, e.g. never leave your workstation unattended;  Use only the resources they are authorized to use and in the manner and extent authorized; and  Notify the Director of Information Systems if they identify a security problem. Do not demonstrate the problem to others. Prohibited actions under this policy include but are not limited to:  Providing computer access to an unauthorized person;  Performing an action that will disrupt the normal operation of the computers, terminals, peripherals, or network;  Accessing or changing files without permission;

   

Using a computer system to harass or intimidate another person; Using excessive resources, and/or utilizing resources notably beyond the norm for the person’s role on campus; Using a SSA computer resource for commercial purpose; and/or Circumventing security measures.

Internet service is provided to students to enhance their educational experience and to open avenues of research. Students should consider internet service a privilege. Abuse of internet service, including the illegal downloading of copyrighted material, running a business, online harassment, the downloading of pornography, or other inappropriate behavior will be grounds for the possible suspension of a student’s SSA network account, and the academic consequences such suspension might entail. Confidential assessments, counseling, and referrals to community resources for any sort of internet addiction are available from the SSA’s on-site counselor, who holds office hours one day per week.

Since technology purchased for faculty and staff represents a large investment of funds, it is important that all users treat all equipment with respect. Any malfunctions or suspected malfunctions in equipment should be reported to the Director of Information Systems. Please do not attempt to repair or modify any SSA-owned equipment. Thefts of any equipment should be reported to your supervisor (or professor), to the Director of Information Systems, and to local law enforcement in order to generate theft reports.

To insure that faculty and staff computers remain in working order, all software that makes use of the SSA network will be installed by a designated system administrator. Please do not attempt to introduce systemcorrupting software, such as viruses, into any computer system or otherwise intentionally interfere with the operation of any system.

Violations of the user agreement may result in the loss of user privilege and/or disciplinary action.

SSA is committed to maintaining a good relationship with all its constituencies and the general public. The way the public views SSA is vital to maintaining a strong reputation in the academic art world. While the SSA has no intention of controlling student actions when they act as private individuals, students should practice caution and use discretion when posting content on the Internet. This policy serves as a notice on the practice of social networking for students to read and understand. This policy is subject to change. The purpose of this policy is to:  To foster a constructive relationship between the School and its constituencies;  To manage risk and preserve the SSA’s positive reputation;  To encourage appropriate use of social media; and  To promote awareness among students of the accessibility of information presented on social networking sites.

Social networking and social media refer to any activity that involves interaction in online communities. This interaction includes, but is not limited to: browsing, posting profiles and photos, reading and creating messages sent through social networking forums, and participating in instant messaging services. A social networking site is any website that links individuals electronically and provides a forum where users can connect and share information. Examples of popular social networking sites include Facebook, Twitter, Flickr, and LinkedIn. The list of social networking sites is constantly growing and changing because of the nature of the Internet. Micro-blogging is the practice of publishing your recent whereabouts, thoughts, or activities on a social networking site for other users to see. While not all social networking sites use micro-blogging, this is a primary focus of sites such as Twitter and Facebook.

Having your own individual social networking account and using it on your own time is certainly permissible. However, keep in mind that some actions on your personal site are visible for the entire social networking community and may no longer be considered private matters. The following guidelines are designed to protect the SSA’s brand and reputation:  The SSA urges you to resolve any grievances internally. If you choose to address a grievance using social media, do not post comments and materials that could be viewed as malicious, obscene, threatening, and/or intimidating;  Refrain from posting any opprobrious, reckless, or maliciously untrue comments. These communications may not be protected by law; and  Do not impersonate the SSA or your student peers, faculty, or staff. Do not make statements on behalf of SSA without authorization, or make statements that can be construed as establishing SSA’s official position or policy on any particular issue. As stated above, the purpose of this policy is to protect SSA’s reputation and prevent the disclosure of confidential information. It is not SSA’s intent to interfere with students’ legal rights.

In August of 2008, Congress amended the Higher Education Act (HEA). The amended HEA requires all colleges and universities that receive student financial aid funding from the federal government to provide notice to students of School policies and other information about copyright infringement and illegal file sharing. Although the SSA does not at this time receive federal financial aid or other federal funding, we abide by the best practices in this arena. Students are required to comply with all local, state, federal, and international copyright laws, and with School policies regarding the use of copyright-protected materials at the SSA. Whenever copyright-protected works are used and fair use does not clearly apply, the SSA requires students to obtain written permission from the copyright owner. Downloading, uploading, or transmitting files containing copyright-protected works without the permission of the copyright owner is prohibited by SSA policy—a violation of which may subject an infringer to SSA disciplinary action, is illegal, infringes the copyright owner’s rights, and may result in legal liability for the infringer and the School. Most forms of expression, whether images, sculptures, designs, interactive works, books, movies, blogs, videos, music, or software, are protected by copyright law upon fixation in a tangible form. Expressive works are protected whether or not the work bears a copyright notice, and without regard to where the work is published or displayed. Copyright-protected works cannot be copied, distributed, adapted, performed, or displayed without the permission of the copyright owner. Any unauthorized use of a copyright-protected work infringes the copyright owner’s exclusive rights under copyright law.

Crime prevention, risk identification, and problem solving are the responsibilities of every member of our campus community. Students, faculty, and staff must assume responsibility for their own personal safety and the security of personal and school property by taking simple, common sense precautions, removing the potential for crimes of opportunity, and reporting any suspicious activity, theft, or vandalism to school officials as soon as possible.

BFA students should keep their SSA ID cards with them at all times, and they should report any suspicious activity to a school official.

The historic Ursuline Campus attracts visitors year round because of its provenance, beauty, and location on San Antonio's famous River Walk. The Southwest School of Art does not want to discourage visitors from seeing our beautiful grounds, but we ask faculty, staff, and students to be vigilant. Do not leave cell phones, laptop computers, book bags, or other personal items unattended. Furthermore, only students officially enrolled in the BFA program, Certificate Programs, or community programs should have access to classrooms and studios.

The Navarro Campus has a reception desk at its main entrance. Students should present their SSA ID to the receptionist upon request. Visitors should check in with the receptionist before wandering further into the building. Again, students, faculty, and staff should be vigilant at all times and not leave personal belongings unattended.

The normal business hours for both the Ursuline and Navarro Campuses are Monday through Friday, 8:30 a.m. to 5:00 p.m. Many classes and events run beyond business hours. Although BFA and community students will have access to studio space late into the evening, all studios will close at midnight. It is the responsibility of designated studio managers, in consultation with department chairs and the Dean, to provide for the safe and equitable use of studio spaces. BFA students will be required to go through studio orientation and gain approval before they can use studios independently. (More information about studio use can be found under the policies regarding â&#x20AC;&#x153;Facilities and Equipmentâ&#x20AC;? below.)

Students who drive to campus for classes must provide vehicle registration information and proof of liability insurance to the Office of the Registrar. Students should park in the main parking lot on the Ursuline Campus, avoiding reserved areas. Students who abuse parking privileges may have their parking rights revoked.

Registration of bicycles, to include stenciling of numbers on the bicycle, for identification purposes is recommended by the San Antonio Police Department. Bicycles are not required to be registered with the SSA in order to be operated or parked on the campus. Bicycles may be parked in areas designated by signs or bicycle racks. Bicycles may not be parked, stored, or left unattended in offices, stairwells, hallways, lobbies or other common areas, in front of or to the side of any

entrance or exit of any building, sidewalk, motor vehicle parking spaces, or in other areas as designated by appropriate departments.

The SSA expects all members of our community to display good judgment and considerate behavior, as well as high standards of personal conduct. Students who violate SSA policies, procedures, and regulations are subject to disciplinary action. The Southwest School of Art disciplinary action is not a substitute for civil or criminal proceedings; all students, whether on-campus or off-campus, are subject to local, state, and federal laws. Students who commit acts of vandalism on- or off-campus are subject to legal action. When their actions adversely affect the SSA as an educational community, these activities are also subject to Southwest School of Art disciplinary action. Students who commit vandalism on- or off-campus are subject to disciplinary action by the School, which can include any or all of the following:  Restitution (monetary or other appropriate compensation for damages);  Disciplinary probation;  Community service;  Suspension from the SSA; and/or  Dismissal from the SSA. In addition to discipline by the Southwest School of Art, students are subject to civil legal action by property owners and criminal prosecution for their actions. The Southwest School of Art is a community of artists and designers. As a community of artists, we advocate for a broad range of opportunities for expression of our students’ creative vision through exhibitions, performances, and programs that provide opportunities for community-based art such as murals and public performances. We also encourage our students to seek out opportunities to make their work available to the public beyond our campus. Although some forms of graffiti art or guerrilla art have gained recognition as a viable form of artistic expression, the school considers defacement of public or private property to be vandalism, not artwork. The SSA provides students with the resources and support to seek appropriate permission to create works of art in the public realm. As a community of artists and an institution dedicated to the preservation of the aesthetic environment, the school is strongly opposed to graffiti and other forms of vandalism.

33 Credits 33 Credits 30 Credits

Choose One: SIMD/PHOT/PRMK 1000 (3)

ARTS 1311 (3)

ARTS 1312 (3)

ARTS 1316 (3)

ARTS 1317 (3)

ARTS 1289 (3)

ARTS 1304 (3)

ARTS 1303 (3)

PHIL 1301 (3)

ENGL 1301 (3)

MATH 1324 (3)

ARTS 1313 (3)

PAPE 1000 (3)

Choose One: CRMC/MTLS/PNTG 1000 (3)

Choose One 1000-level studio (3)

ARTS 2304 (3)

GNSC 1301 (3)

ENGL 2331 (3)

ECON 2301 (3)

PSYC 1301 (3)

SPCH 1311 (3)

Choose Two 2000- or 3000- level Studios (6)

Choose One Internship 2000- or 3000-level Studio (3) 3102: Interdisciplinary Community Project (3)

PHIL 3289 (3) HIST 3380 (3)

BUSI 3001 (3)

ARTS 3289 (3)

ENGL 3001 (3)

Choose One 2000-level Studio (3)

24 Credits

ARTS 3304 (3) Choose Two 3000- or 4000-level Studios (6)

Chose One 3000- or 4000 level Studio (3)

BUSI 4002 (3)

4800: Senior Project (6)

HIST 4289 (3)

PSYC 4319 (3)

General Education Supportive Art History Foundations/Profes sionalism Area of Emphasis (Including Senior Project) Other Studio

39 credit hours

32.5% 32.5%

15 credit hours 24 credit hours 21

17.5%

15 15 15 12

3 3 0 0

33 33 30 24

ARTS 1311 ARTS 1316 ARTS 1303 ARTS 1289 ENGL 1301

Foundations I Drawing I Survey of Art History I Visual Literacy Writing Skills for Artists

3 3 3 3 3

ARTS 1312 ARTS 1317 ARTS 1304 PHIL 1301 MATH 1324

Foundations II Drawing II Survey of Art History II Intro to Philosophy Mathematics for Artists

3 3 3 3 3

Choose One 1000-level Studio PHOT 1000 Photography PRMK 1000 Printmaking SIMD 1000 Sculpture and Integrated Media

ARTS 1313

Foundations and Digital Media Art History: Modernism to Post ARTS 2304 Modernism ENGL 2331 Understanding Literature PSYC 1301 Intro to Psychology Choose One 1000-level Studio: CRMC 1000 Ceramics MTLS 1000 Metals PNTG 1000 Painting and Drawing

PAPE 1000 Papermaking I GNSC 1301 Applied Science for Artists ECON 2301 Intro to Economics SPCH 1311 Public Speaking Choose One 1000-level Studio: CRMC 1000 Ceramics MTLS 1000 Metals PHOT 1000 Photography PNTG 1000 Painting and Drawing PRMK 1000 Printmaking SIMD 1000 Sculpture and Integrated Media PRMK 1000 Printmaking

3 3 3 3 3

Choose One 2000-level Studio: CRMC 2000 Ceramics MTLS 2000 Metals PNTG 2000 Painting and Drawing PAPE 2000 Papermaking and Book Arts PHOT 2000 Photography PRMK 2000 Printmaking SIMD 2000 Sculpture and Integrated Media

3 3 3 3

PHIL 3289 Philosophy: Critical Inquiry HIST 3380 Latin American History ARTS 3289 Material Culture Choose Two 2000- or 3000-level Studios CRMC 2000 or 3000 Ceramics MTLS 2000 or 3000 Metals PNTG 2000 or 3000 Painting and Drawing PAPE 2000 or 3000 Papermaking and Book Arts PHOT 2000 or 3000 Photography PRMK 2000 or 3000 Printmaking SIMD 2000 or 3000 Sculpture and Integrated Media

3 3 3 6

BUSI 3001 Professionalism I ENGL 3001 Artist in Literature and Film ARTS 3304 Art History: Contemporary Special Topics CRMC MTLS PHOT PNTG PRMK SIMD Community Project 3102 Choose One 2000- or 3000-level Studio: CRMC 2000 or 3000 Ceramics MTLS 2000 or 3000 Metals PNTG 2000 or 3000 Painting and Drawing PAPE 2000 or 3000 Papermaking and Book Arts PHOT 2000 or 3000 Photography PRMK 2000 or 3000 Printmaking SIMD 2000 or 3000 Sculpture and Integrated Media

3 3 3

Internship

3 3

BUSI 4002 Professionalism II HIST 4289 Intellectual History Choose Two 3000- or 4000-level Studios CRMC 3000 or 4000 Ceramics MTLS 3000 or 4000 Metals PNTG 3000 or 4000 Painting and Drawing PAPE 3000 Papermaking and Book Arts PHOT 3000 or 4000 Photography PRMK 3000 or 4000 Printmaking SIMD 3000 or 4000 Sculpture and Integrated Media

3 3 6

PSYC 4319 Psychology: The Individual and Society CRMC MTLS PHOT PNTG PRMK SIMD Senior Project 4800 Choose One 3000- or 4000-level Studio CRMC 3000 or 4000 Ceramics MTLS 3000 or 4000 Metals PNTG 3000 or 4000 Painting and Drawing PAPE 3000 Papermaking and Book Arts PHOT 3000 or 4000 Photography PRMK 3000 or 4000 Printmaking SIMD 3000 or 4000 Sculpture and Integrated Media

3 6

Certificate programs at the SSA are available in all areas of emphasis offered in the BFA program as well as in Fine Arts generally. Certificate Programs require 40 hours of course work, with both core and other studio work. Students admitted to the Certificate Program must complete all requirements for the certificate by the end of the seventh year after their first semester of enrollment. Certificate programs will begin in fall of 2015.

   

High School Transcripts, 1 Letter of reference from an artist or art teacher, Short Personal Essay (500 words or less) outlining reasons for wanting to pursue a certificate at the SSA, and Portfolio

Students can opt for a credit or noncredit certificate. The cost would be the same, however. Those who opt for the credit track would be eligible to transfer those credits (to the SSA BFA or elsewhere, should the receiving institution agree to do so).

$605 per credit hour $40 (one time) $20 (each term) $50 (each term) $20 (each term) $50 (one time) For more information, please contact the Director of Admission and Recruitment or the office of the Dean.

It is assumed that students applying for a certificate program in a specific area will have the requisite fundamental skills in that area to begin studio work at the 2000-level.

ARTS 1311 ARTS 1312 ARTS 1316 BUSI 3001 Choose one: ARTS 1317 ARTS 1313 Choose two: ARTS 1304 ARTS 2304 ARTS 3304

CRMC MTLS PAPE PHOT PNTG PRMK SIMD CRMC MTLS PAPE PHOT PNTG PRMK SIMD CRMC MTLS PAPE PHOT PNTG PRMK SIMD CRMC MTLS PHOT PNTG PRMK SIMD

Foundations I Foundations II Drawing I Professionalism I

3 3 3 3 3

Drawing II Foundations and Digital Media 6 Survey of Art History II Art History: Modernism to Post Modernism Art History: Contemporary Special Topics

1000-level elective studio outside of area of emphasis

2000-level course in area of emphasis

Two 3000-level courses in area of emphasis

4000-level course in area of emphasis

Certificate Final Project

ARTS 1311 ARTS 1312 ARTS 1316 BUSI 3001 Choose two: ARTS 1304 ARTS 2304 ARTS 3304

CRMC MTLS PAPE PHOT PNTG PRMK SIMD or CRMC MTLS PAPE PHOT PNTG PRMK SIMD and ARTS 1317 or ARTS 1313 CRMC MTLS PAPE PHOT PNTG PRMK SIMD CRMC MTLS PAPE PHOT PNTG PRMK SIMD

Foundations I Foundations II Drawing I Professionalism I

3 3 3 3 6

Art History II Modernism to Postmodernism Special topics in Contemporary Art History

Three 1000-level studios in different areas

Two 1000-level studios in different areas

Drawing II Foundations and Digital Media Two 2000-level studios in different areas

One 3000-level studio

Certificate Final Project

Survey I presents a chronological examination of major cultural and stylistic developments in Western painting, sculpture, architecture, and related visual arts from prehistoric times to the end of the Gothic period. Study areas include: Paleolithic and Neolithic Europe; the Ancient Near East; Ancient Egypt; Early Aegean Cultures; Classical Greece; the Etruscans; Republican and Imperial Rome; Jewish, Early Christian, and Byzantine Art; Islamic Art and Architecture; and Christian Europe from the Early Medieval and Romanesque periods to the Late Gothic (about 1350 CE).

Survey II presents a chronological examination of major cultural and stylistic developments in painting, sculpture, architecture, and related visual arts from the Renaissance to early Modernism. Beginning with the 13th- and 14thcentury developments that informed the Renaissance, the course follows the major stylistic and cultural developments of art, including forays into non-Western traditions, through the early manifestations of Modernism in the late 19th and early 20th centuries. Study areas include: 13th -14th c. Italy; Renaissance in 15th c. Italy and Northern Europe; Late Renaissance and Mannerism in 16th c. Italy; Renaissance and Reformation in 16th c. Northern Europe; Baroque and Rococo; the Enlightenment and Neo-Classicism; Romanticism; 19th -c. Photography; Realism; Impressionism; Post-Impressionism; and the origins of Modern Architecture and Design (Arts and Crafts Movement and Art Nouveau).

This class concentrates on the content/context as well as stylistic, historical, and theoretical developments of painting, sculpture, mixed media works, conceptual and performance art, installation, and non-traditional photography and video/film extending from the so-called “modernists” to about 1985. Exploring the contentious definitions of Modernism and Postmodernism, the course introduces the underlying technological and sociohistorical forces that informed the artistic innovations at the turn of the 20th century, and the series of formal, conceptual, and socio-political contexts that contributed to the idea of Postmodernism in the years leading up to the turn of the 21st century. Western (American, European) art will be considered alongside that of other regions of the world. Special emphasis is placed on the relationship between contemporary art and the social contexts and changes that mark this period.

This course changes from year to year in order to offer classes of special interest. The course focuses on areas outside usual course offerings or on a specific area touched on more generally in other classes. For example: The Contemporary Art of Latin America or Asia, Gender and Representation in Contemporary Art, Artists as Activists, or Street Art.

The course provides an introduction to Material Culture Studies, an interdisciplinary field informed by Archaeology, Anthropology, History, Art History, Sociology, Philosophy, and Museology, among others. The term “material culture” refers to the array of physical objects made and used by humans past and present (particularly objects used in daily life), and what these artifacts reveal about the people who utilize them. It also refers to the systems by which people produce, collect, consume, classify, display, discard, and interpret those objects. This

course examines key theories and methodologies, illustrated by case studies, hands-on activities, field trips, and class research projects. Ranging from physical material analysis to cultural interpretation, the class addresses ethnography, history, popular culture, museum display, and the ecology of human production and consumption. Ultimately, the course provides a framework for thoughtful observation of the myriad objects we encounter on a daily basis.

This course provides a foundation for a broad experience and understanding of the visual arts and related visual media. Through a series of readings and lectures students explore the language of and the language about contemporary and historic visual culture. Students focus visual media as “signs”—the visual and cultural processes that help shape cultural awareness and inform how meaning arises.

A joint class of two- and three-dimensional design, this course provides students with working knowledge of 2D and 3D design simultaneously. Through exercises and projects, students explore the building blocks of design focusing on line, form, and value using a black and white or monochromatic compositional pallet. Emphasis is on the development of the learner’s visual sensitivity, aesthetic judgment, artistic perception, craftsmanship, and fundamental visual design skills needed for effective communication and artistic expression. Learning to organize these elements and communicate simple concepts is combined with the practicality of materials and processes. Through both productive and responsive art activities in studio, students develop studio skills, artistic intelligence, and perception in order to address critical design issues in the context of historic, contemporary, global, and multicultural strategies and practices of visual expressions in art, visual industry, and visual culture. Class topics are complemented by assigned readings, class discussion, critiques, and written assignments.

A continuation of Foundations I, this continues the exploration of two- and three-dimensional design by providing students with working knowledge of 2D and 3D design simultaneously. Through additional exercises and projects, students further explore the building blocks of design—line, value, and shape focusing on perspective/space, texture/pattern, time/motion, and words/sound—using color theory within each project. Emphasis is on the development of the learners’ visual sensitivity, aesthetic judgment, artistic perception, craftsmanship, and fundamental visual design skills needed for effective communication and artistic expression. Learning to organize these elements and communicate simple concepts is combined with the practicality of materials and processes. Through both productive and responsive art activities in studio, students develop studio skills, artistic intelligence, and perception in order to address critical design issues in the context of historic, contemporary, global, and multi-cultural strategies and practices of visual expressions in art, visual industry, and visual culture. Class topics are complemented by assigned readings, class discussion, critiques, and written assignments.

Students learn the basics of working with vector files (Adobe Illustrator) and bitmapped files (Adobe Photoshop). Once a foundational knowledge of the programs has been established, students explore how other digital devices such as scanners, printers, and vinyl cutters can integrate the digital domain with traditional studio practice techniques. The history of traditional media, examples of artists and works using new media, and the ideas and software learned in this class provide a strong base upon which students can build future interdisciplinary practices.

This course introduces students to the use of drawing as a tool for communicating ideas and as a first step for both two-dimensional and three-dimensional projects. With emphasis on observational drawing, students develop technical understanding of the effective use of line, mass, value, composition, and perspective.

This course further develops the studentâ&#x20AC;&#x2122;s abilities within a broader conceptual range and emphasizes finding a personal approach to drawing as a communicative and expressive medium. Students investigate various drawing methods and styles through assigned projects focusing on the figure, abstraction, and narration. Various tools and materials will be used.

The first in a two-part sequence, this class is designed to give students the critical skills that are needed to navigate the ever-changing landscape of marketing and business skills for the working artist. This initial class focuses on marketing: rĂŠsumĂŠ development, cover letter development, digital documentation of personal artwork, website analyses and choices, gallery conduct and professional protocols, and public speaking.

This course covers business skills for artists including the various forms of business organization and business law, writing a business plan, taxes, studio safety and insurance, bookkeeping and other recordkeeping, the use of contractual agreements, zoning and other studio considerations, and computer resources and software.

This course introduces artists to the basic economic theories and their applications to address various economic issues in microeconomics and macroeconomics. Topics in microeconomics revolve around the market as the primary mechanism that allocates resources and studies topics such as pricing strategies, trade, market efficiency and failure, and government intervention. Analysis of the macroeconomy deals with the determination of national income, economic growth, unemployment, inflation, the financial system, international finance, and the role of monetary and fiscal policies over different time horizons.

Examining the vocabularies of art and design, this course provides opportunities to engage in various modes and forms of professional writing, such as blogs, essays, criticism, and journalism. Each student develops an individual voice, style, and stance, learning and practicing a nuanced use of language. An introduction to the library and information about accessing and assessing source material is included.

Students read and analyze a survey of representative selections of fiction, poetry, and drama. Literary terminology and theory concerning the forms are introduced and applied. Students practice intelligent critical reading and clear, effective writing about the selections. They also write at least one piece of creative work.

Through readings in fiction, poetry, and biography, and viewing of documentary and fiction films, students explore how artists have been and are being depicted. Sources as varied as classic and contemporary novels and short stories, profiles of artists by master essayists, poetry connected to art and artists, and poets’ understandings of the artist’s process, and the breadth of world cinema are considered. For contrast and comparison to these depictions, the class also examines the image of the artist in popular culture and children’s literature, as well as choice examples of the depiction of artists in other art forms (writers, musicians, dancers) in literature and film.

This course serves as an introduction to the principles of scientific investigation and the relationships between science, art, technology, and culture. Special emphasis is placed on developing a basic understanding of the role and impact of chemistry on the nature of artists’ materials, the evolution of art, and conservation issues. The scientific method, chemical principles, and issues of science in the studio will be explored. Readings, lectures, discussion, special projects, and modest lab activities are included.

This course is an introduction to a region as diverse (and large) geographically, linguistically, and behaviorally as any in the world. In analyzing the cultural, political, and economic foundations of Latin America, the class range widely from Olmec ruins and colonial labor systems to ruthless 19th-century caudillos and the Cold War. In covering such a large area over such a long span, there are inevitably items of great intellectual interest that will be omitted or treated only superficially. Students will spend much of the time during the colonial phase in Mexico and Brazil, since that is where most of the people were, both slave and free. In the modern period, the class explores the larger themes of caudillismo, positivism, populism, and socialism in exemplary countries.

This course embraces the premise that primary texts in literature, philosophy, and science are essential to the study of visual objects and artifacts because of the social history they represent. The course is a diachronic survey of some of the most important intellectual trends in history, designed to give students introductory knowledge of the basic concepts and their implications, as well as a general image of the development of western thought. Special attention is given to trends that had a profound and lasting impact on the arts and aesthetic theory.

With its inclusion in the quadrivium, Mathematics stands as one of the oldest fields of study in the liberal arts and sciences. Endowing students with quantitative skills, this course also teaches students about the rich history of Mathematics, while at the same time illustrating the creative and aesthetic aspects of the subject. Students learn computational and critical thinking skills that will serve them in world that is ever more complicated and data driven. Topics include, but are not limited to: methods of enumeration, probability, data consumption and validation, number systems, sizes of infinities, geometry, space, dimension, and fractals.

An introduction to philosophy and three of its main areas—epistemology, metaphysics, and axiology—the class focuses on intriguing and engaging topics, such as the problem of skepticism, the problem of free will, the existence of God, the puzzling issue of personal identity, and perplexing and challenging ethical questions such as, “Does it matter whether we exist?” “What makes life good?” “Is it wrong to kill oneself or to kill a fetus?” and “Do we have duties to animals?” The class will end with a brief look at the theory of art and aesthetic appreciation.

This class facilitates the acquisition of academic skills through critical thinking, reading, and writing; independent and group learning; research methods; and information management. The course will include a variety of discussions on issues in the visual arts using diverse analytic methods such as psychoanalysis, Marxism, feminism, structuralism, deconstructivism, and post-colonialism, among others. An analysis of the role of art in culture and society will also be examined toward the end of the class in anticipation of studentsâ&#x20AC;&#x2122; engagement in an integrated learning project.

This course provides an introduction to the major domains of psychological knowledge by relating experimental studies to everyday experience and to artistic experience. It includes topics such as sensation and perception, learning, memory and cognition, emotion, stress, development, intelligence, personality, psychopathology, therapy, and social psychology.

Offered in the senior year, this course is designed as preparation for understanding and engaging in civic life. It includes discussion of the ways artists are currently involved in city life including urban design, housing, transportation, environmental, and political issues, but also covers significant historical movements and how societal changes occur. Community leaders will be involved in the class.

The theory and practice of speaking in formal settings forms the focus of this course. Students also practice critical analysis of other speakers in various situations and contexts, with an emphasis on preparation, adaptation, and delivery of oral and visual presentations.

Students are introduced to the high-fire and low-fire ceramic processes utilizing hand-building and wheelthrowing techniques. Students learn technical processes involved in the making and assemblage of clay and work with equipment such as the slab roller, clay mixer, clay extruder, and the use of hand tools while developing an understanding for the material as it pertains to the principles of three-dimensional design. The potterâ&#x20AC;&#x2122;s wheel introduces students to the art of wheel-thrown pottery, culminating in the firing of work in natural gas downdraft kilns. Safety precautions in the use of natural gas kilns and clay mixing equipment are addressed. Projects are explored in the context of historical and contemporary ceramic concerns by studying museum collections, historical media, and texts. Individual projects and a group project guide students through the initial processes of thinking, verbalizing, and expressing ideas using learned visual language.

At this level students continue to develop technically in forming methods as they solve three-dimensional design problems with an emphasis in low-fire ceramic applications. This class focuses on forming and constructing the vessel using intermediate wheel-throwing and hand-building techniques, allowing students to express utilitarian and functional forms in an expressive and unique way. Earthenware, low-fire glazes, and electric kiln firing processes are covered to address the development of the functional, utilitarian form. Color theory, as it applies to ceramic form and surface, is a conceptual starting point as students continue to develop their personal aesthetic. Safety precautions in the use of electric kilns and ceramic equipment are addressed. Projects are explored in the context of historical and contemporary ceramic concerns by studying museum collections, historical media, and texts.

This course emphasizes independent creative thought and idea development. Students learn assemblage techniques associated with larger scale sculptural ceramic construction; lectures, reading assignments, and handouts are meant to expand technical knowledge of what is entailed in working in larger scale. Emphasis is put onto the use of slips, washes, drawing in clay, and carving as a finished surface treatment to sculptural work; glaze/glass application is secondary to the finished result. Students continue their knowledge and skill-building with the use of a potter's wheel to throw advanced stacked forms and plates.

In this course, students continue to develop personal styles and voices. Individual and peer critiques accompanied by discussions prepare students to develop and defend value judgments and artistic practice. Because of the small size of the student body, especially after students have broken into areas of emphasis and interest, this course will be highly individualized. Students may work on a specific ceramic technique or in a particular style to broaden and deepen abilities as artists and begin making a coherent body of work. Through collective learning, students are exposed to a range of firing, glaze application, clay and glaze formulation, and construction techniques. Together, students also plan and engage in a socially conscious project.

In this course, students continue to develop their personal style and voice. Individual and peer critiques accompanied by discussions prepare students to develop and defend value judgments and artistic practice.

Because of the small size of the student body, especially after students have broken into their areas of emphasis and interest, this course is highly individualized. Students may work on a specific ceramic technique or in a particular style to broaden and deepen their abilities as artists and begin making a coherent body of work. Students focus on industrial applicationsâ&#x20AC;&#x201D;slip-casting techniques, mold-making processes, extruding, and 3D technology.

In this class, emphasis is placed upon development of technical competency in craftsmanship and fundamental skills (measuring, layout, silver-soldering, riveting, sawing, piercing, surface embellishment, basic forming, basic forging, simple chains, surface finishing, and basic patinas) in addition to an applied understanding of basic twoand three-dimensional design principles. Students develop solutions to design problems with specific technical requirements. Each project begins with a demonstration of technical exercises and samples. Through presentations of images and discussions of readings, students begin to gain an appreciation for historical and contemporary metalwork and jewelry-making. Assessment includes group critiques and one-on-one discussions during class.

Through the exploration of technical processes (hollow construction and box-making, hinges, clasps, lost wax casting, etching, advanced cold-joining, and soldering) emphasis is placed on individual expression in both bodily adornment and small-scale sculptural/utilitarian forms. Students refine attention to craftsmanship and application of design principles as they develop solutions to assignments. Each project begins with an image presentation of works by relevant historical and contemporary makers. At the end of the semester, each student gives a short presentation based upon a written paper discussing the work of a contemporary maker. This research project will contribute to overall assessment in addition to coursework and participation in group critiques and one-on-one discussions during class.

The art of enameling is ancient and yet remains a contemporary method for color and artistic expression on metal surfaces. Students explore enameling (surface preparation, dry and wet application techniques, methods for firing, and kiln safety) as it relates to individualâ&#x20AC;&#x2122;s metalsmithing and jewelry-making skills, with an emphasis on individual expression. The formats of bodily adornment and small-scale sculptural and utilitarian forms will both be taken on as projects during this course. Students refine their attention to craftsmanship and application of design principles as they develop solutions to assignments. Each project starts with an image presentation of works by relevant historical and contemporary makers. At the end of the semester, each student gives a short presentation based upon a written paper discussing the work of a contemporary enamelist. This research paper will contribute to overall assessment in addition to coursework and participation in group critiques and one-onone discussions during class.

The projects presented by the instructor during this course is in response to a contemporary or historical theme discussed at the beginning of the term, allowing students the opportunity for a more in-depth exploration of a given topic and/or alternative processes. While there may be new processes introduced, emphasis is continually placed on the development of a personal style, of creative responses, and the application of the technical and

design skills students have already acquired during foundation and lower-level classes. Readings and class discussions take place alongside an image presentation at the introduction of each new project. Additionally, one project during the term is community-based, providing the opportunity for students to engage more directly with the world surrounding them and beyond the walls of the studio.

This course provides motivated, upper-level Metals students the opportunity to explore, and execute a focus of creative study of his/her choosing for the entire term. At the beginning of the term, students submit a proposal outlining the details for the body of work they will commit to create during this semester of independent study. The proposal should be well-designed at its initial submission, although amendments may be made during the first week after discussion with the instructor. Elements of this body of work may be technical, but students are expected to emphasize a well-developed conceptual theme and possible prelude to their senior project. The instructor and students discuss and coordinate individual meetings and demonstrations. Adherence to the due dates, meeting times, discussion of readings, and artist statement are contributors to the overall grade for the class in addition to projects.

At this level students learn fundamental skills in both papermaking and book arts. Exercises include both two- and three-dimensional projects that focus on becoming familiar with materials while applying design principals. Students gain an understanding of the history of paper and the book along with vocabulary of both crafts. Work in both studios focuses on learning fundamental skills needed for safe use of tools found in each studio. Book projects offer the opportunity to use the handmade paper made earlier in the course. Through lecture and discussion, students learn about contemporary artists who work in these media, the various qualities of paper, and how to look at and talk about paper and books.

Using the skills and knowledge learned at the 1000-level, students at this level advance their skills in papermaking using a variety of fibers including cooking and preparing raw fibers. Emphasis is on the individual expression of ideas with paper while investigating ways to push the material in both two- and three-dimensional ways. Group critiques, readings, and discussion will be included along with examples of paper and paper art. Students increase their understanding of technical processes such as how to prepare pulp for specific purposes. Following this course, students should have the necessary skills to work independently in the studio on projects that meld the handmade with other media.

Using the skills and knowledge learned at the 1000- and 2000-level, students at this level advance their skills in papermaking by selecting an independent project or projects. The class emphasizes the individual expression of ideas with paper while investigating ways to push the material in either two- or three-dimensional ways, including binding paper into an artistâ&#x20AC;&#x2122;s book. Students will participate in the 2000-level group critiques, readings, and discussion as well as readings assigned based on their direction of study.

Designed to familiarize students with the art of traditional 35mm film photography, the emphasis at this level is on the fundamentals of camera operation, black-and-white film development and printing processes, vocabulary, and the practice of critical evaluation. Students develop an understanding of visual formats and their aesthetic functions as they relate to basic design principles. In addition to assignments designed to help students understand the visual language of photography, they spend time looking at examples from the historical and contemporary worlds of fine art, and they learn safety techniques of the dark room and wet processing. Students also create a portfolio of class assignments.

A sequential continuation of the introductory course, this level emphasizes the exploration of concepts, critical evaluation and dialogue, and standard museum/archival presentation. The focus at this level centers on technical skills, the development of creativity and conceptual understanding, and problem-solving. Students demonstrate and practice advanced skills with the goal of increasing the quality of the work. Further explorations into historical and contemporary art issues via presentations, visiting artists, and readings increase studentsâ&#x20AC;&#x2122; artistic awareness. Students also create a portfolio of class assignments.

This class is an introduction to the field of digital photographic media, including history, social impact, and industry trends. Students explore the use of digital photographic tools in the design and production of digital photographic media. Students work hands-on with Adobe Photoshop to create, scan, and manipulate images for graphic and fine arts.

This course starts where Photography 3000 ends. Students should already be familiar with the concepts of making as opposed to taking photographsâ&#x20AC;&#x201D;of producing as opposed to consuming images. This class merges traditional and digital photography and explores this new and uncharted paradigm. Experimentation and the group critique are critical components to the course. This class is also concerned with social practice: a 4-week collaborative project with a contemporary foundation in social practice including street, underground, guerrilla, and public art.

The course emphasizes the process involved in generating a portfolio of images, a coherent body of work based upon a theme, concept, or selected subject matter. The class discusses topics such as locating an individual voice, refining a working process, considering methods for presentation/distribution of photographs, and reflecting on current issues in contemporary art. In addition to participating in lectures and demonstrations, students assemble a portfolio of photographs, submit work for review, and prepare photographs for an exhibition.

This class is an introduction to fundamentals of various paint media including watercolor, acrylic, and oils. Students explore the elements and principles of pictorial composition. Demonstrations, discussion, and specific assignments emphasize how materials may be used separately or in combination. Starting with supports, students

learn techniques and tools of how to build a painting structurally including traditional methods such as underpainting, glazing, impasto, and new and/or experimental techniques. Students receive the basics of critical aesthetic judgment through examples and critique, while they develop their technical competencies.

At this level students develop a greater understanding and sensitivity to painting as a language of expression, including representation, illusion, and meaning. Assignments emphasize varied approaches to painting, and students initiate individual exploration into ideas and subject matter, including historical and contemporary painting issues. Students learn to identify and express specific aesthetic intent through assignments that stress observation, invention, problem-solving, technical skill, and experimentation. Class assignments include reports and discussion of individual artists as well as group critiques and discussions.

Intensive class and studio assignments focus on the technical and conceptual approach to painting. Painting (acrylic/oil) from observation, both objects and figure, interior/exterior spaces, light and shadow, representation and abstraction, movement and gestural brushwork, and image structure form the foundation of this course. Students should develop artistic independence and responsibilities such as direction, style, critical thinking, understanding and development of artistic vocabulary and analysis, independent studio hours, and conceptual thought, all of which is accomplished with the support, guidance, and involvement from faculty. This course begins with group assignments and moves toward more independent work. Students also research and present reports on influential contemporary artists. Group and individual critiques continue as an integral part of the course and painting curriculum as a whole.

This course focuses on the concept, production and presentation of a socially conscious/interactive project. Students work individually and collaboratively with peers as well as members and organizations in their community. The project will be entirely documented and presented to the class as well as to the public. The goal of the project is to identify and consider the planning, placement, and presentation of public art.

Students develop an in-depth approach to considering the issues of contemporary painting. Topics such as concept, art theory, extreme scale, installation, style and influence, alternative techniques, and materials provide the student with nontraditional approaches to painting.

Students explore the elements and principles of pictorial composition with technical development in the basic printmaking techniques of relief, monoprints/monotype, and intaglio. Through specific assignments, discussion, and critique, students gain a foundation for personal expression and critical aesthetic judgment. Demonstrations and assignments advance technical and creative skills. Students learn to produce small like editions and variable editions. This course also provides a historical, technical, visual, and conceptual foundation for printmaking.

Students learn basic printmaking techniques of silkscreen and stone lithography. Through specific assignments, discussion and critique, students develop expressive abilities. They also learn digital integration methods and how to produce small editions and unique expressive prints. This course includes opportunities for discussion, lectures, and demonstrations related to the historical, technical, and conceptual components of silkscreen and stone lithography.

At this level students focus on one or more of the major techniques to develop their printmaking skills. Emphasis is placed on further development of visual, conceptual, and technical abilities including digital and photographic methods. Individualized assignments stress experimental research leading to innovative visual results. Students begin to develop personalized concepts and imagery, and combine various techniques. Students will research and present reports on contemporary printmaking and examine contemporary works other than printmaking to inform their work.

At this level students focus on one or more of the major techniques and develop their printmaking skills. Emphasis is placed on further development of visual, conceptual, and technical abilities including digital and photographic methods. Individualized assignments stress experimental research leading to innovative visual results. Students explore different kinds of artistic practice and collaborate with each other and/or the community to produce art that engages the public. Students will research and present reports on contemporary printmaking and examine contemporary works to inform their work.

At this level students continue to focus on one or more of the major techniques and develop their printmaking skills. Emphasis is placed on further development of visual, conceptual, and technical abilities. Individualized assignments also stress experimental research leading to innovative visual results. Students explore their own artistic practice and voice.

In this course students explore how to work in and with three-dimensional form. They begin in the woodshop learning solid craftsmanship and how to build form using equipment such as hand tools, joinery, and table saws. They then augment their formal and material knowledge by shifting to metals and begin welding. Woodworking and metal skills will allow students to join almost any material to another, but students spend an equal amount of time looking at a wide range of materials and processes to help them find exactly which material best embodies the idea they are pursuing.

This course offers a hands-on look at how compositional lessons learned in 2-D and construction techniques pulled from 3D can be employed into installational and site-specific work. In addition to installational work, this course focuses on learning video and sound construction and how to begin to implement the 4th dimensionâ&#x20AC;&#x201D; timeâ&#x20AC;&#x201D;into creative toolbox.

In this course, students use their current skill setsâ&#x20AC;&#x201D;basic wood/metal construction (1000 level) and video and audio editing (2000 level)â&#x20AC;&#x201D;and apply it to projects that engage the public space. Students begin the class by looking at site specific/installational work, then move to performance art, and finish off with a look at social practice and work that engages the community directly. Somewhat non-traditional, these projects require collaboration, improvisation, and creativity. Students leave this class with several new sculptural techniques and a widescreen view of contemporary sculptural practice.

Students build upon the introduction received in the SIMD 3000 to community-based work. They deepen that knowledge by looking at the history of socially engaged art and working on projects based upon research in the topic. Collaborative, cross-disciplinary work with fellow students explores best practices for engaging the community through art.

In this advanced course, students use their extensive digital knowledge to explore interactivity and interfaces. Using Max/MSP for Abelton Live, students can create a customizable interface from which to build interactive audio and video modules, accessible through the Arduino. The Arduino platform offers a wide vista of interactive possibilities that help to add an interactive element to sculptural work. Between Max for Live and the Arduino, students leave this class with a solid grasp of how emerging software and hardware platforms facilitate the ability to make thoughtful works that address all the senses within a three-dimensional space.

This course guides students through the capstone project of the BFA program including formalizing the studio work in a public presentation, visual documentation, and a related written component. The written component includes an extended artist statement that relates to the studio work. The course will include individual meetings with the faculty advisor as well as group and individual meetings with the Senior Project Coordinator. At the end of the semester the student will make a presentation to a faculty committee made up of their faculty advisor and a selection of other faculty members.

The Southwest School of Art 300 Augusta San Antonio, Texas 78205 Phone: 210.224.1848 Fax: 210.224.9337

General email: information@swschool.org

Ursuline Campus, Dormitory Building, 2nd Floor

admission@swschool.org

classregistration@swschool.org

maintenance@swschool.org

its@swschool.org

In case of an emergency, please immediately call 911. San Antonio Police Department Non-Emergency: 210.207.7273

James G. Lifshutz, Chair Elise Boyan, Vice Chair Gini Garcia, Secretary Dan H. Hanke, CPA/ABV, Treasurer

Bernice Appelin-Williams Pamela Bain Barry Beller, M.D. Clay Carrington Josephine Negley Gill Davidson Karen Diaz, M.D. Bruce Flohr David Goldberg Stefan Gräter Julius Gribou Richard Harris Randall Hawkins Andrew Herdeg Stacey L. Hill Anne Parker Krause Cheryl Longoria Dan Markson Anita Uribe Martin Jesse J. Mata Ruth M. Medellin Darryl Mix Cynthia Muñoz Boone Powell Angela Rabke Lawrence Reyes Andrea “Andi” Rodriguez David Shelton Kathy Sosa Gary Walton

Helen Marie Hendrie Edith McAllister Nancy B. Negley Maggie Saunders Block†

Courtney Walker

Andres Andujar Adelle Brewer Frank Burney Marilyn Eldridge Otis Parchman

Chris Carson Robert C. Maxham

President MFA, Painting and Printmaking, School of the Arts, Virginia Commonwealth University, 1985 MS, Art Education, Minnesota State University, Moorhead, Minnesota, 1978 BA, Cum Laude, Art and Political Science, Luther College, Decorah, Iowa, 1970

Director of Exhibitions MFA, Photography, University of Arizona, 1995 BA, Studio Arts, Film Studies minor, Smith College, 1989 karmstrong@swschool.org

Director of Communications MA, Summa Cum Laude, English, University of Kentucky, Lexington, KY, 1998 BA, Magna Cum Laude, English, Texas A & M University, Honors College, College Station, TX, 1996 lbaldwin@swschool.org

Director of Development econroy@swschool.org

Dean PhD, English, Louisiana State University, Baton Rouge, LA; Minor: Philosophy, 1993 MA, English, Louisiana State University, Baton Rouge, LA, 1989 BA, Magna cum Laude, Psychology, Saint Joseph Seminary College, Saint Benedict, LA, 1980 edupuy@swschool.org

Director of Community Programs MFA, Ceramics, Virginia Commonwealth University, 1986 BFA, High Honors, Ceramics major, Asian Studies minor, University of Florida, 1983 bhill@swschool.org

Director of Young Artist Programs MS, Arts Management, University of Oregon, 2012 BA, Art History, University of North Texas, 2004 pmorales@swschool.org

Chief Financial Officer BBA, Finance, University of Texas at Austin, 2000 heatherr@swschool.org

Director of Information Systems BA, Sociology, In-progress AA, Sociology, San Antonio College trodriguez@swschool.org

Director of Operations BS, Occupational Education, specialization in Mechanical and Electrical Technology and Corporate Training and Technology, Wayland Baptist University, 1992 AAS, Educational and Training Methodology, Wayland Baptist University, 1992 AAS, Instructor of Technology/Military Science, Community College of the Air Force, 1992 AAS, Mechanical and Electrical Technology, Community College of the Air Force, 1992 sstrapple@swschool.org

Professor; Chair, Sculpture and Integrated Media MFA, California Institute of the Arts, Art/Integrated Media BFA, University of Texas at San Antonio, Sculpture and Ceramics jboyd@swschool.org

Professor; Chair, Printmaking MFA, University of Texas at San Antonio, Printmaking MA, University of Wisconsin, Madison, Painting BS, University of Wisconsin, Madison, Art BS, University of Wisconsin, Madison, Biology Secondary Education mcraig@swschool.org

Professor; Studio Manager, Painting and Printmaking MFA, Texas Tech University, Printmaking and Drawing BFA, Texas A&M University-Corpus Christi, Printmaking BBA, Southwest Texas State University, Management gjohnson@swschool.org

Professor; Chair, Photography MFA, University of South Carolina, Columbia, Photography and Sculpture MA, University of Wisconsin, Superior, Art History BFA, University of Wisconsin, Superior, Photography vpagona@swschool.org

Professor; Studio Manager, Metals MFA, Southern Illinois University, Edwardsville, IL, Metalsmithing BFA, Pittsburg State University, Pittsburg, KS, Jewelry AA, Coffeyville Community College, Coffeyville, KS, Art jpalone@swschool.org

Professor; Chair, Metals MFA, University of Illinois, Urbana-Champaign, Metal/Jewelry Design BFA, University of Wisconsin, Stout, Metal/Jewelry gschott@swschool.org

Professor; Chair, Ceramics MFA, University Montana, Ceramics BFA, Kansas City Art Institute, Ceramics dsmith@swchool.org

Professor; Studio Manager, Ceramics MFA, Kent State University, Ceramics BFA, University of Hawaiâ&#x20AC;&#x2DC;i, Ceramics rtakaba@swschool.org

Professor; Chair, Painting and Drawing MFA, In-progress BFA, Rhode Island School of Design, Drawing and Painting vvaldez@swschool.org

Professor; Chair, Paper and Book Arts MFA, University of Texas at San Antonio, Sculpture BA, Trinity University, San Antonio, Fine Art bhwhitehead@swschool.org

Exhibitions Coordinator thaguilar@swschool.org

Executive Assistant eleahy@swschool.org

Interim Registrar kbennett@swschool.org

Digital Media Manager kmartinez@swschool.org

Development Associate speche@swschool.org

Maintenance maintenance@swschool.org

Visitor Specialist ocastano@swschool.org

Accountant nsaavedra@swchool.org

Groundskeeper maintenance@swschool.org

Assistant Director, Young Artist Programs rysanders@swschool.org

Director of Admission and Recruitment MA, Interior Design, Savannah College of Art and Design, Savannah, GA, 2007 BA, History, University of Georgia, Athens, GA, 2005 mgarrigan@swschool.org

Maintenance maintenance@swschool.org

Rentals Manager sglatman@swschool.org

Security and Maintenance Supervisor ehepner@swschool.org

Maintenance maintenance@swschool.org

Development Assistant lwoods@swschool.org

21-23 25 25-29 29

Student orientation Classes begin Drop/Add period Last day for 100% refund

5 5-9 9 19 23

Classes begin Drop/Add Period Last day for 100% refund Martin Luther King Holiday Last day for 75% refund

1 12 26

Labor Day Holiday Last day for 75% refund Last day for 50% refund

6 16-20 25

Last day for 50% refund Midterm Midterm grades due

6-10 15 20-24

Midterm Midterm grades due Pre-registration for Spring and May terms

2-6 9 9-13

Spring Break Classes resume Pre-registration for Fall 2015

21 26-28

Last day to withdraw from a class Thanksgiving holidays

3 10

1 8-12 15

Classes resume Final exam/projects Final grades due Winter Break begins

16-26 20-24 28

Good Friday holiday All school critique Last day to withdraw from a class Fiesta Final exams/projects Final grades due

4 4-8 8 14 29

Maymester Classes begin Drop/Add period Last day for 100% refund Last day to withdraw from a class Last day for 50% refund Last day of term

Final grades due