SCHOOL
OF
ART + ART HISTORY
UNIVERSITY
OF
FLORIDA
2|
A SELECTION OF ALUMNI WITH CAREERS IN THE ARTS | Jessica Aiken-Uelsmann - MA - Registrar Harn Museum of Art - Gainesville FL | Kim Anderson - MFA Associate Professor of Art - New College of Florida - Sarasota FL | Leslie Anderson-Perkins - MA - Curatorial Assistant - Indianapolis Museum of Art - Indianapolis IN
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Laura Aultman - MFA - Instructor - Caldwell Community College
- Vilas NC
| Wendy Babcox - MFA - Associate Professor - Photography - MFA Program
Coordinator - University of South Florida - Tampa FL | Ann Baird - PhD - Faculty, Santa Fe College - Gainesville, FL | Jaime Baird - MA - Assistant Director of Administration and Development - Center for Curatorial Studies - Bard College - Annandale-on-Hudson NY | Juan Barcelo-Gonzalez - BA - Curatorial Assistant Gadsden Art Center - Quincy FL | Doug Barrett - MFA - Associate Professor of Graphic Design - University of Alabama-Birmingham - Birmingham AL | Heather Barrett - MA - Program Development at University of Florida’s Transnational and Global Studies Center - Gainesville FL | Jennifer Barton - MA - Museum Specialist - NPS - Media Assets - Conservation - Harpers Ferry Center - WV - Harpers Ferry WV | Michael Bass - BA - Christie’s - Department - Co-head of Chinese Ceramics and Works of Art - New York NY | Elliott Bedinghaus - BFA - Vice President of Creative - Spark Advertising Agency - Tampa FL | Jeff Beekman - BFA - Directorships for the BA and Foundations - Tallahassee FL | Todd Behrens - MA - Curator - Sioux City Art Center - Sioux City IA | Jessica Belcoure - MA - Volunteer Manager for the Panama Canal Museum Collectionat University of Florida - Gainesville FL | Austin Bell - MA - Curator of Collections for the Marco Island Historical Society Naples FL | Wesley Berg - MFA - Adjunct Faculty - College of Art and Design - University of Dayton - Dayton OH | Cynthia Blamire - BFA - Faculty - Blackhawk College - Moline - IL - Moline IL | Jason Bourque - MA - Preparator for the Florida Museum of Natural History - Gainesville FL | Duane Bray - MFA/BS - Partner - IDEO - New York NY | Stacey Breheny - MFA - Faculty, Santa Fe College - Gainesville, FL | Jason Bronner - MFA - Associate Professor - Visual and Performing Arts Department - Lock Haven University - Lock Haven PA | Jeff Brown - BFA - Ceramics Faculty - Nichols State University - Thibodaux LA | Liz Bryant - MFA - Faculty - Florida State College at Jacksonville - Jacksonville FL | Michael Buhler-Rose - MFA - Critic - Department of Photography - Rhode Island School of Design - Providence RI | Bonnie Burnham - BA - President and CEO - World Monuments Fund - New York NY | Jeffery Byrd - MFA - Professor and Head of the Department of Art - University of North Iowa - Cedar Falls IA | Leslie Campbell Ladendorf - MA - Assistant Director of Development and Membership at the Cade museum - Gainesville FL | Janice Chang - MA - Orange County Regional History Center - education dept. - Orlando FL | Shi Chen - MA - Research Assistant - Collection Development - The Getty Research Institute - Los Angeles CA | David Claytor - BFA - Owner - Hatchet Design - Orlando FL | Morgan Claytor - BFA - Owner - Hatchet Design - Orlando FL | Julie Cobb - MA - Professor of Criminal Justice at Florida Technical College - Orlando FL | Elizabeth Coker - MA - Team Teacher at Baby Gator Child Development and Research Center - Gainesville FL | Brody Condon - BFA - Brody Condon Studio - Berlin Germany | Molly Conley - MA - Historian 1 - Alaska Office of History and Archaeology - Anchorage AK | Susan Cooksey - MFA - Curator - Harn Musuem of Art - Gainesville FL | Ciara Cordasco - BFA - Design Team - Jet Blue - Long Island City NY | Pat Coughlin - MFA - Ceramics Technician - University of the Arts - - Philadelphia PA | Charlie Cummings - MFA - Director and Owner Charlie Cummings Gallery Gainesville FL | Joy Drury - Cox - MFA - Lecturer/Digital Lab + Equipment Manager - University of North Carolina - Chapel Hill NC | Alex Coyle - BFA - Spark Advertising Agency - Tampa FL | Nicole Cromartie - MA - Manager of Interpretation and School Education - Center for Civil and Human Rights - Atlanta GA | Jeremy Culler - MA Assistant Professor - SUNY - Fredonia NY | Natalia DaSilva - MA - Director of Community Outreach at Epple Seed Arts 2012 - Miami FL | Sally Davenport - MA - United States Dressage Federation - Lexington KY | Don Davis BFA - Faculty - East Tennessee State University - studio potter - Asheville NC | Dianne Dawood - MA - Coordinator of Student Affairs - University of North Florida - Jacksonville FL | Jennifer Day Perez - MA - Indian Arts Research Center - Senta Fe NM | Sarah Detweiler - MFA - Associate Professor - University of Wisconsin-Green Bay - Green Bay WI | Angel Dicosola - MFA - Professor - Department of Art - Florida Atlantic University - Boca Raton Fl | Rebecca Dillmeier - MA - Digital Collections Technician - Holocaust Museum - Washington DC | Drew Dodson BFA - Tenured faculty Radford University - Radford VA | Becky Dunham - MA - Curator - Plains Art Museum Fargo ND | Lynn - Duryea - MFA - Tenured Professor Appalachian State University - Boone NC | Ron Edelen BFA/ MFA - MyJive - Founder and Creative Director - Charlotte NC | Kelley Eggert - MFA - Instructor - Houston Community College - Houston TX
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James Ehlers - MFA - Glaser Distinguished Professor of Engraving Arts -
Emporia State University - Emporia KS | Bethany England- Brown - MA - Conversion Specialist - PastPerfect Software - Inc. - Exton PA | Thaddeus Erdahl - MFA - Head of Lower School Arts Program at Princeton Day School - Princeton NJ | Diana Faris - MFA - Assistant Marketing and Education - AMACO - Indianapolis IN | Jordan Fenton - PhD - Assistant Professor - Kendall College - Ferris State University - Grand Rapids MI | Laura Ferries - MA - Family Learning Resource Developer. Children’s Museum - Indianapolis - Indianpoils IN | Marty Fielding - MFA - Adjunct Faculty - Florida Atlantic University - Boca Raton FL | Robert Fichter - MFA - Co-Director - Lillian E. Smith Center - Tallahassee FL
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Clarissa Fostel - MA - Registrar - Smithsonian Museum of African Art -
Washington DC | McArthur Freeman, II - BA - Assistant Professor - Video Animation - and Digital Arts - University of South Florida - Tampa FL | Adam Frezza - MFA - Adam Frezza and Terry Chow Studio - Brooklyn NY | Maria Garcia Vera - MFA - Professor - Ceramics - Inter-American University - Río Piedras Puerto Rico | Jessica Orlowski - Gardner - Post-bacc - Faculty Northern Virginia Community College
- Manassas VA | Ovideo Giberga - MFA - Tenured Associate Professor - University of
Texas - San Antonio TX | Rachelle Girard - MA - Development - Salzburg Global Seminar - Washington DC | Magda Gluszek - MFA - Faculty - Northland Pioneer College - Show Low AZ | Doug Grimmett - BFA - President - Founder of Primal Screen - Atlanta GA | Nicole - Gugliotti - MFA - Instruction and Classroom Support - South Puget Community College - Olympia WA | Jessica Guy - BFA - Spark Advertising Agency - Tampa FL | Elizabeth Hamilton - MA - Director of Development Newman Library - Virginia Tech - Blacksburg VA | Holly Hanessian - BA - Faculty - Florida State University - Tallahassee FL | Kelly Harvey - MA - Development Coordinator for Individual and Foundation Gifts - Harn Museum - Gainesville FL | Scott Hazard - MFA - Scott Hazard Studio - Raleigh NC | Julie Henry-Matus - MA - Curator of Education - Tampa Bay History Center - Tampa Bay FL | Dave Herman - BFA - City Reliquary - New York NY | Gabriela Hernandez - MFA - Assistant Professor of Graphic Design - University of Houston-Downtown - Houston TX | Leila Hernandez - MFA - Associate Professor - Graphic Design - University of TexasPan American - Edinburg TX | Barbara Hill - BFA - Arts Administration - Southwest Crafts Center - San Antonio TX | Bill Hill - MFA - Dean - College of Fine Arts Jacksonville University - Jacksonville FL
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Margaret Schnebly Hodge - BA - Artist and Volusia County Coastal Division Activity Manager - Volusia County FL
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Christopher Hubbard - MA - President - Florida Association of Public Art Professionals - Clearwater FL | Zehavi Husser - MA - Instructor - DePaul University - Chicago IL | Stephanie Hutin - BFA - Big Skills - Los Angeles CA | Deborah Jamieson - PhD - Associate Professor - Armstrong State University - Savannah GA | Dushanthi Jayawardena - MA - Project Coordinator at Bank of Ceylon - Sri Lanka | Brantley Johnson - PhD - Freshman Advisor and Lecturer - Appalachian State University Boone NC | Chris - Jones - PhD - Assistant Curator - Ringling Museum - Sarasota FK | Stacey Jones - MA - Western Sales Director - Newsweek and Daily Beast - Los Angeles CA | Jennifer Kahn - MA - Associate Director of the Museum at the Federal Reserve Bank - New York NY | Andrea Sutphin Kalis - MA - Instructor - Full Sail University - Winter Park FL | Donald Keefe - MFA - Assistant Professor - Southern Adventist University - Collegedale TN | Nan Keeton - BFA - Deputy Museum Director - External Relations - San Francisco Museum of Modern Art - San Francisco CA | Renee Keifer - MA - Registrar - Academy Museum of Motion Pictures - Los Angeles CA | Anna Kell - MFA - Assistant Professor of Art and Art History - Bucknell University - Lewisburg PA | Jessica Kennedy - BA - Assistant Director for Education and Public Programs at The Wolfsonian - Miami FL | Kristina Keogh - MA - Head - Fine Arts Library - Indiana University - Bloomington IN | Hye Young Kim - MFA - Assistant Professor of Art - Winston-Salem State University - Winston-Salem NC | Nicole Kim - BFA - Associate Graphic Designer at Walt Disney Imagineering - Orlando FL
U NI VER SI T Y G AL L ERY AT T H E
UNIVERSITY OF FLORIDA
S E P T E M B E R 8 TH THROUGH
O CTOBER 8TH 2015
TA B L E O F C O N T E N T S
S T AT E M E N T S D E A N ’ S S TAT E M E N T - L U C I N D A L AV E L L I
4
C U R AT O R ’ S S TAT E M E N T - R I C H A R D H E I P P
5
G A L L E R Y D I R E C T O R ’ S S TAT E M E N T - A M Y V I G I L A N T E
6
D I R E C T O R ’ S S TAT E M E N T - M A R I A R O G A L
7
ARTISTS
8
WESLEY BERG
10
D U A N E B R AY
12
M O R G A N & D A V I D C L AY T O R
14
JAMES EHLERS
16
THADDEUS ERDAHL
18
ROBERT FICHTER
20 MCARTHUR FREEMAN, II 22
SCOT T HAZARD
2 4 DAV E H E R M A N 26
HYE YOUNG KIM
28
K AT H Y K I N G
30 MERNET LARSEN 32
JAWSHING ARTHUR LIOU
34 MIGUEL LUCIANO 36
ERIKA MAHR
38
D A N I E L M C FA R L A N E
4 0 M A R I LY N M I N T E R 42 JASON MITCHAM 4 4 K Y M I A N AWA B I 46 RICHARD ROSS 4 8 M AT T H E W S C H R E I B E R 5 0 M I C H A E L TA B I E 52
M A G G I E T AY L O R
5 4 K E N W E AV E R 56
YA N G Q I A N
58
F LO R E N C I O Z AVA L A
ACKNOWLEDGEMENTS 60
D E A N ’ S S T AT E M E N T
Through the curation of Richard Heipp, longtime faculty member and former school director, a range of alumni work has been selected to celebrate the artistry and passion of the program’s alumni across the years with this inaugural alumni show. Alumni have always acknowledged the important contributions that faculty members have played in their lives as they sought to develop their professional voices as young artists. This show can be seen as a testament to that special mentor/mentee relationship the school has cultivated and to the significant contributions alumni now make to visual arts expression. Additionally, we appreciate our alumni giving back to the program through the presentations and discussions that surround this event. The college is most proud of the artistry of its alumni represented by this show.
Lucinda Lavelli DEAN | COLLEGE OF THE ARTS
UNIVERSITY GALLERY 1965
6 | STATEMENTS
C U R A T O R ’ S S T AT E M E N T
When I came to the University of Florida (UF) in 1981 to teach
late 20’s to their mid-70’s, graduating from UF as early as 1961
painting in the Department of Art, it was a very different place.
to as recently as 2013. Some artists were obvious choices, while I hope
The art faculty included “legendary” figures such as Kenneth
other selections will be pleasant surprises. Each artist was asked to
Kerslake, Evon Streetman, Jerry Uelsmann and Hiram Williams.
submit a short biography, an artist statement addressing
The university had fewer than 25,000 students, the Harn Museum
the work in the show and a brief remembrance from their time as
of Art did not exist, there was no WARP program, WARPhaus
a student at UF. Their individual statements and sentiments have
or GRADhaus, no annual New York trip, and the University Gallery
been reproduced as we received them.
was the only institution in Gainesville to view and study museum quality artworks.
Artistic careers and accomplishments of the alumni included in “Image, Object, Idea” range from highly successful careers
In my 34-year tenure, I have taught thousands of students.
as independent professional artists to tenure track teaching
The university has grown to become a highly ranked research
appointments in animation, ceramics, digital media, drawing,
institution with over 55,000 students and we have evolved to
painting, printmaking, photography and 3D fabrication. Other
become the School of Art + Art History (SA+AH). This past year
alumni are developing innovations in design thinking with
we celebrated the 50th anniversary of both the University Gallery
IDEO, creating New York’s City Reliquary Museum, creating and
and our Annual Faculty Exhibition. I discovered that during this
publishing videos and musical releases, developing an interactive
half century, there had never been an alumni exhibition that
art project with children in Africa, assisting in creating the largest
attempted to showcase each of our studio areas of study. I became
sculpture in the world, founding successful innovative design
the Director of the school in 2010 and I thought that perhaps a
firms, exhibiting in major international biannual and museum
fitting conclusion to my five-year term would be to curate such an
exhibitions, or even winning the final season of the Bravo TV
exhibition. I reached out to our current faculty as well as several
reality series “Work of Art, the Next Great Artist.”
retired faculty to nominate alumni that have achieved a national or international reputation in their field, and could also represent
This venture represents the inaugural alumni exhibition that
their media area. My goal was to select a very broad range of
will now take place every five years in University Gallery. I want
artists from these nominations that would represent the myriad
to thank Lucinda Lavelli, Dean of the College of the Arts, Amy
of successful approaches, styles, and practices of our alumni.
Vigilante, Director of University Galleries, Bryan Yeager, Manager
This was an incredibly difficult task simply because there were
of University Galleries, Maria Rogal Interim Director, and the entire
so many outstanding alumni artists who have moved through
SA+AH office staff. I would also like to extend a very a special
our program. I set out to include artists that spanned a range of
thank you to the various patrons who generously supported this
generations, professional careers, and geographic locations.
exhibition and catalog. They are all listed at the conclusion of the
I ultimately selected 26 artists and I have had the distinct pleasure
catalog. Without all these individuals’ assistance and support this
of working directly with all but 8 of the artists when they were
exhibition would not have been possible.
students at UF. The show includes artists ranging in age from their
Richard Heipp U F R E S E A R C H F O U N D AT I O N P R O F E S S O R D I R E C T O R , S C H O O L O F A R T + A R T H I S T O R Y, 2 0 1 0 – 2 0 1 5
7
G A L L E R Y D I R E C T O R ’ S S T AT E M E N T
The University Gallery’s 50th anniversary year and a half long celebration kicked off in fall of 2014, the eve of 2015 with “Come Home,” artwork from Hector Puig’s holdings including many SA+AH alumni, current students, and faculty members. In January of 2015 we turned back to the founding of the gallery in 1965, honoring the legacy of its first director, Roy Craven, and the original collections he amassed. Our multifaceted venue has evolved from a traditional museum format to a vanguard contemporary gallery featuring progressive work that mirrors the international art community’s impact. Our esteemed UG@50 advisory committee, including several members of the original Gallery Guild, was integrally involved in framing the important first 25 years that laid the groundwork for the building of the Samuel P. Harn Museum of Art as well as its current art collecting foci. With a series of 12 exhibitions honoring the University Gallery’s history, UG@50 culminates with two alumni shows curated for the fall of 2015. UG’s student and faculty shows have long been a pillar of the art curriculum, both in terms of art-making and professional presentation practices. An impressive number of art students have graduated from UF, and we have mounted a series of truly remarkable student juried and MFA thesis candidate exhibitions in UG. Following “Image, Object, Idea,” with 26 SA+AH alumni, UG@50 will showcase a span of work by Robert Fichter and Mernet Larsen in “Class of (circa) ’65.” In our newly dedicated Gary R. Libby Gallery we present the Henri Theil Memorial Collection of purchase awards from the annual student juried show, and finally, Part II of the 50 year timeline compiled by UG@50 advisory committee member, Marcia Isaacson. Many thanks to the UG@50 committee, UG staff, and the wide range of art students and alumni that have been so closely linked to University Galleries over the past 50 years. Our future will include the continual tribute to our alumni!
Amy Vigilante, PhD DIRECTOR | UNIVERSITY GALLERIES
Throughout the catalog two timelines span its pages. The top shows each artists personal history and time at UF’s School of Art + Art History while each’s page’s footer shows selected significant events and exhibitions of the SA+AH and the University Gallery.
A RT I S T T I MEL I NE ›
S C HOOL T I MEL I NE › UNI VER S I T Y GA L L ERY S HOWS ›
8 | STATEMENTS continued
D I R E C T O R ’ S S T AT E M E N T
This exhibition presents the works of 26 outstanding UF alumni. They represent multiple generations at different stages in their creative careers. By gathering them in one place, Richard Heipp has allowed us to see the diverse trajectories that are possible through the study of art and design. In addition to the works themselves, the artists’ remembrances of their time in the School of Art + Art History offer a glimpse into the UF of years past and how that environment helped them develop. I am delighted that they and their memories are with us today, showing us what is possible tomorrow. They make us proud.
Maria Rogal INTERIM DIRECTOR | SCHOOL OF ART + ART HISTORY
1 9 24 - UNI VER S I T Y AUDI TOR I UM OPENED
9
GL ACIER FACE - VIDEO STILL
GL ACIER FACE - VIDEO STILL
B O RN 1980 - DAYTON, OH
1928 - PA INT ING A ND D R AW ING PR O GR A M ES TA B L I S HED WI T HI N T HE S C HOOL O F A R C HI T EC T UR E A ND A L L I E D A RTS
10 | WESLEY BERG
G L ACIER FACE - AUDIO R ECOR DING
Wesley Berg W E S L E Y B E R G .WO R D P R E S S .CO M BIOGRAPHY
Glacier Face is a music project I first developed while an Artist
Wesley Berg is a visual and sound artist from Dayton, Ohio. Berg
in Residence at the Baer Art Center in Hofsós, Iceland (2011). Sun
received his BFA (painting/drawing) from Miami University of
explores new directions of songwriting for me, combined with
Ohio (2003) and his MFA (painting/drawing) from the University
video footage taken from that first trip to Iceland. The music is a
of Florida (2007). Berg moved to Brooklyn in 2007 continuing his
direct response to explorations I have had as an artist traveling
studio work as well as working at Robert Miller Gallery, NYC as
abroad. Some of the footage for Sun was taken on the summer
an art preparator. In late 2009 Berg left New York to pursue artist
solstice (2011) during an all-night hike in Iceland. The sun never
residencies at the Vermont Studio Center, the Santa Fe Art Institute,
fully set that evening. Through Glacier Face I am exploring
the Baer Art Center (Hofsós, Iceland), and the Nelimarkka Museo
simultaneous notions of solitude and connectedness made
(Alajärvi, Finland). In 2011 while an Artist in Residence at the
palpable through transcendent experiences in nature. Glacier
Baer Art Center in Iceland, Berg created the music project Glacier
Face Nelimarkka, 2012 (sound and video)
Face. Releasing multiple albums as Glacier Face. Berg’s music has been featured on National Public Radio and other international
Nelimarkka was created
radio/music platforms. In 2014 Berg was a Visiting Artist at the
while I was an Artist in
University of Wyoming in conjunction with a large exhibition of
Residence at the Nelimarkka
his drawing work. Berg currently teaches drawing at the University
Museo in Alajärvi, Finland
of Dayton as an adjunct faculty member. In the summer of 2015,
(2012) . Yllätysvierailu/
Berg will return to the Nelimarkka Museo for a third residency
Surprise, a dance troupe
stay in Finland.
with The Arts Council of Ostrobothnia, performed an
UF REFLECTIONS
improvised dance inside the
I can’t say enough about my time at UF. The friendships I formed
Nelimarkka Museo exhibition space. I recorded my experience as
with professors and fellow grad students stick with me to this day.
an observer and collaborator combining the video images with
Whether it was a fascinating painting critique session or a late
music from my Glacier Face project.
night “Tall Boy” at the Top, at UF I always felt like my pursuit of art making had value and purpose. With the support of talented, dedicated professors, I felt like anything was possible with a career in art. I still feel that way. Visiting NYC for the first time on the SA+AH New York trip profoundly changed my life as well. It was that trip which led me to move to New York in 2007. Every great experience I’ve had in my career as an artist I can trace back to the decision to attend the University of Florida.
2 0 0 3 - B FA, M I AM I UNIVERSIT Y
2007 - MFA , PA I NT I NG/DR AWI NG, UNI VER S I T Y OF F LO RIDA
193 4 - TH E FI RST BFA D EG REES IN F INE A RTS AWA R DED
11
BIOGRAPHY
Duane Bray is global partner at IDEO and the firm’s Global Head of Talent, based in New York. Prior to becoming a partner, he led and developed the discipline of interaction design, now one of the firm’s most sought-after capabilities. For many years, he led the firm’s digital business, working in San Francisco and London, developing relationships across consumer software, mobile and tablet and web services. With a background in communication design and interaction design, Duane has led or contributed to scores of projects at IDEO, from digital products and services to organizational strategies. His clients include American Express, BMW, Lincoln Center and United Airlines among many others.
Duane Bray
His current focus areas are workplace innovation, values and
IDEO.COM
purpose and how to align business needs with individual passions. Today, his work in talent covers the spectrum from attracting
Over the past 20 years, I’ve worked as a graphic designer and
talent to building cultures of learning to establishing best
an interaction designer. But over the past three years, I’ve shifted
practices around benefits and policies. His work is both inwardly
my focus to a different form of design, one that is about setting
and outwardly focused, balancing IDEO’s talent strategy with
the context for creativity and innovation: the design of culture
advisement and consulting for clients.
and of organizations. Over my career of working with hundreds of designers and clients, I’ve developed a passion for helping
Duane is an active speaker, panelist and moderator, speaking
people and organizations find their purpose and be their most
about purpose and innovation, education and learning, workplace
creative selves.
innovation and digital experiences.
The work in this exhibit was what started it all: setting the
Prior to IDEO, Duane worked at Pentagram Design, where he
cultural context for IDEO, the global design company I’ve worked
established an interaction design practice in their San Francisco
for since 1995. Defining our values and bringing them to life was
studio. He holds an MFA from the University of Florida and was
an exercise in reciprocity: top down meeting bottom up. The prints
recently awarded an Outstanding Achievement Award as a
are pages from The Little Book of IDEO, a hardcover book that,
prestigious alumnus.
in a top down way, communicates the values (as I defined them) that form the social contract for how we work. The videos are the
UF REFLECTIONS
emergent response to them, coming from people across all of our
My experience at the University of Florida is a long one: my father
global offices to interpret what those values mean to them on
is a faculty member here, my first job in high school was at UF, and
a daily basis.
I received both my undergraduate and graduate degrees here. And I come back each year to do events as an alumnus. All told, my relationship with UF goes back more than 30 years. The biggest takeaways from my educational experience are what enabled me to be successful at IDEO: being able to leverage the incredible diversity of experts and disciplines across the campus, fostering an ability to collaborate with people of incredibly diverse skills, and being able to synthesize multiple inputs to create a coherent point of view. UF opened my eyes to a broad and optimistic view of design and its impact in the world; that has stayed with me to this day, affecting how I see the world around me and how I practice my craft.
2013 - I-POD VIDEO STILLS
BORN 1968 - CO RT L A ND, NY
12 | DUANE BRAY
2013 - I-POD VIDEO STILLS
2015 - 11” X 14” FRAMED - OFFSET LITHOGRAPH, I-PADS
1990 - BS, COM M U NICAT IONS, U NIVERSIT Y OF F LOR IDA
1 9 9 4 - MFA , EL EC T R O NI C I NT ER MEDI A , UNI VER S I T Y OF F LOR I DA
1948 - T HE PA I NT I NG A ND DR AWI NG PR O GR A M B ECA ME T HE DEPA RT MENT O F ART
13
RANDALL MADE KNIVES WEBSITE - 2013
Morgan & David Claytor H AT C H E T D E S I G N . C O M
Our process for designing the faculty and alumni catalogues
Coming out of school in the midst of a national recession
revolves around effectively showcasing the incredible collection
combined with a drive to be our own bosses led us to form Hatchet
of work and the connection these artists have with each other.
Design in September of 2009. Over the last six years, we have
With so many talented artists using a multitude of media covering
added another UF graduate (Jason Farmand, BS Journalism with
such a vast range of content, we focused on highlighting the one
Print Concentration 2003, MA Mass Communications 2007) to
thing they all have in common— the School of Art + Art History at
our studio and together have built a body of work that includes
UF. Highlighting features from the physical space on and around
branding, print design, and websites for clients in the Central
campus allowed us to explore what may have been directly or
Florida area and around the United States. Hatchet has had the
indirectly inspiring to many of these artists.
pleasure of working with three incredible higher level institutions including the University of Florida, Wake Forest University and
BIOGRAPHY
Johns Hopkins University, branded restaurants and designed
Morgan and David met in the wonderfully awkward stages of
cookbooks for several James Beard nominated chefs, worked
adolescence and attended high school together in Winter Park,
with world-renowned knifemakers Randall Made Knives and
Florida. Morgan’s art/painting background and David’s “visual
interviewed and showcased work in the September 2013 HOW
notetaking” and love for drawing led them to choose the graphic
Magazine. Our biggest accomplishment came to fruition in
design track at the University of Florida. David graduated with a
December of 2014 when our tiny intern, Emmeline June, was born.
BFA in Design in 2008 and Morgan followed (with a minor in Art UF REFLECTIONS
History) in 2009.
The UF graphic design studio truly is like no other. Looking back, we now realize that we were a part of something way bigger than we could have imagined at the time. Working with real clients in Gainesville and putting on design workshops in Mexico through the MINT program with Kyle White and Maria Rogal as well as having Connie Hwang and Brian Slawson as our teachers/ mentors stretched the limits of our thinking and molded us into the designers we are today. The studio environment was one that fostered a family of designers that remain lifelong connections not only professionally, but personally as well.
BORN 1986 & 198 7 - W INT ER PA RK F L
1965 - U NIVERSIT Y G A LLERY OPENS
14 | MORGAN & DAVID CLAYTOR
VARIOUS LOGOS - 2013 / 2014
DETAIL SHOTS OF FACULTY EXHIBITION CATALOG - 2014 - FOLDER AND INSERTS
CASK & L ARDER MENU AND BRANDING - 2012
2 0 0 8 - BFA, GRAPH I C D ESIG N, UNIVERSIT Y OF F LOR IDA (DAVI D)
2009 - B FA , GR A PHI C DES I GN, UNI VER S I T Y OF F LO R I DA (MOR G A N)
15
MAD ONNA OF THE SOUTH - 2014 - 1 2” X 9” - ME TAL EN GRAVING
BOR N 1976 - L A KE CHA R LES, L A
2000 - BA , PR I NT MA KI NG, MC NEES E S TAT E UNI VER S I TY
1965 - A R CHIT ECT UR E A ND F INE A RTS CO MPL EX , I NC LUDI NG UNI VER S I T Y GA L L ERY, CO MPL ET ED
16 | JAMES EHLERS
ASMODEUS - 2013 (LEFT), BSL-2 THRU 4 NONPARTISAN VECTORS - 2014 (RIGHT) - 12” X 9” - METAL ENGRAVING
James Ehlers J A M E S E H L E R S .WO R D P R E S S .CO M
My work is a combination of
Since 2007, he has given a total of 31 engraving workshops at
symbolically driven visions addressing
various events including the Frogman’s Printmaking Workshop
issues of social commentary,
(South Dakota), IMPACT Printmaking Conferences (Dundee,
politics and religion. To avoid being
Scotland and Bristol, England), MAPC (Minnesota), and numerous
strictly literal, I take a surrealistic
universities around the country. He has participated in group
approach, enticing viewers to dig for
exhibitions in Bulgaria, Canada, Denmark, Poland, Portugal,
interpretations. Humor and irony float
Norway, Romania, the Republic of Macedonia, Turkey, and across
on the surface of my prints, but letting
the United States. His work is in the collections of the University
the dense imagery marinate further
of Wisconsin-Parkside, Bradley University, the Engraving Museum
reveals more. The intent of the work
of Douro, Alijo,-Portugal, the Kansas City Art Institute, Lisa Helfrich
varies in accordance with my own
– Jackson (Executive Producer of “Everybody Loves Raymond), the
attitude, opinions, and observations
Art Museum of South Texas in Corpus Christi, and the Spencer
while making, but a primary
Museum in Lawrence, Kansas.
motivation is to examine the repetitive quality of history. I make historical references to illustrate elements of the human condition
UF REFLECTIONS
that we seem doomed to perpetuate.
My time at the University of Florida was a period of growth in maturity as a person and as an artist. Areas outside of my own
BIOGRAPHY
concentration such as ceramics, photography and painting
James Ehlers was born and raised in Lake Charles, LA. He received
influenced me in my research practice and my work ethic. I recall
a BA from McNeese State University, where he studied under
making regular visits to the ceramics studio and always feeling
printmaker Gerry Wubben and became enamored with metal
motivated to improve my own work. Art students would put
engraving. He also studied printmaking at Bradley University with
together their own shows and events outside campus. I loved that
Oscar Gillespie and received his MFA from the University of Florida,
there was a “can-do” proactive culture among the art community.
where he worked with Robert Mueller. Currently, he is the Don and
I was privileged to receive a teaching assistantship and gained
Mary Glaser Distinguished Professor of Engraving Arts at Emporia
practical experience putting together my own printmaking class.
State University in Kansas -- the only school in the nation to offer
Lastly, it was an honor to exhibit as a group with the class of 2005
a BFA in Engraving Arts.
for our thesis show. The journey that led to it was challenging and unpredictable at times, but I am thankful for it all.
2 0 0 2 - M A, PR INT MA KING , BRA D LEY U NIVERSIT Y
2005 - MFA , PR I NT MA KI NG, UNI VER S I T Y OF F LOR I DA
1965 - FI RST A NNUA L FACULT Y EXHIBIT ION
17
KIN G FOR A DAY - 2014 - 30” X 30” X 25 ” - CL AY, UNDERGL AZE, SLIP, ENCAUSTIC
THE DEAL - 2014 - 41” X 19” X 12” - CL AY, UNDERGL AZE, SLIP, ENCAUSTIC
B O RN 1977 - L A PORT E CIT Y, IOWA
2004 - BA , A RT EDUCAT I O N, UNI VER S I T Y O F NO RT HER N IOWA
197 1 - JER RY N. UEL S MA NN - PR ES ENT ED BY T HE A L F R ED S T I EGL I T Z C ENT ER O F T H E
18 | THADDEUS ERDAHL
PHIL ADEL PHI A MUS EUM O F A RT
Thaddeus Erdahl T J E R D A H L . B L O G S P O T. C O M BIOGRAPHY
When considering the murky
Thaddeus Erdahl was born and raised in La Porte City, Iowa. He
reservoir of human history, it
has exhibited his sculpture and presented workshops regionally
is difficult to separate legend
and nationally throughout the United States. He received his
from reality. Through my work,
BA in Art Education and a BFA in Ceramics at the University of
I examine human myth in the
Northern Iowa in 2004. Upon graduation, he substitute taught in
modern age, specifically on
the public school system and instructed ceramics courses at a
characters that emerge from our
local art center. Thaddeus actively practiced and taught a variety
society’s underbelly. Using their
of art media including ceramics, drawing, assemblage, sculpture,
“legends”, I feel compelled to tell
painting, and graphic design. He received his MFA in Ceramics
stories that illustrate analogies in
from the University of Florida where he was a University of Florida
life; blending together archetypes,
Alumni Fellowship recipient during his three years of graduate
shared experiences, and my own
study, from 2006-2009. In the summer of 2008, he attended Think
personal mythology. Who we are
Tank III, a national arts in higher education symposium, as a
in the world is a kaleidoscope of
Graduate Fellowship Recipient. In 2009 he was selected as one of
interpretations, biased memories,
four Artists-in-Residents at Arrowmont School of Arts and Crafts in
and personal connections.
Gatlinburg, TN for an 11-month residency program. Most recently, Thaddeus was recognized as one of four short-listed artists for
Ceramic sculpture and portraiture, in particular, are forms of
the inaugural American Craft Council Emerging Voice in Craft
a visual narration that I use to satisfy my urge for documenting
Award. He moved to the northeast in 2010 and is currently living
what I see in human nature. Evocative of well-loved toys and
near Princeton, NJ pursuing his studio art career and acting as the
obsolete artifacts, I use the implied history of these objects to
head of the Lower School Arts program at Princeton Day School.
encourage the viewer to conjure their own individual narratives from my sculptures.
UF REFLECTIONS
My educational experience was intense. I learned what it meant Working with concepts that are personal and sometimes
to fail, to be unsure, and to persevere. I also had an ideal support
narcissistic perceptions of the gloomy side of life, dark humor is
structure of friends and professors. A familial camaraderie
my buffer. Dry or irreverent, it is humor that mystifies the tragic.
emerges when you essentially live in your studio. From an educational standpoint, more specifically that of an artist’s education, these relationships helped to inform and shape my work. Creating down time was necessary to maintain balance, so was laughter. One of my favorite and most embarrassing moments was during a graduate seminar on glaze calculation with Linda [Arbuckle] (a subject at which I struggled). She was pressing me to give her the abbreviation of fluorine and I finally blurted out, “I don’t know, FU Linda?” This was not my attempt at humor but rather a genuine wrong guess at that abbreviation. Laughter ensued, Linda replied, “Not now TJ” and the lecture continued.
NORMAN - 2014 - 31” X 30” X 25” - CL AY, UNDERGL AZE, SLIP, ENCAUSTIC
2 009 - BFA , CER A MICS, UNIVERSIT Y OF NO RT HER N I OWA
2009 - MFA , C ER A MI C S , UNI VER S I T Y O F F LO R I DA
19
HURRICANE SIGNAL - 1984 - 19˝ X 23.3˝ - CIBACHROME PRINT - (IMAGE PUBLISHED BY GRAPHICSTUDIO, UNIVERSITY OF SOUTH FLORIDA, TAMPA, FL)
Robert Fichter The image is from a larger series of still life work entitled Apocalyptic Visions. These were images based on a visit to the taxidermy shop in Thomasville, Fla. The operators of this shop are art education majors who had taken up taxidermy to survive. Their signature bit of work was a Cockabunny. A combination bunny and chicken. They sold me all their failures and I began to make pictures using that material. I was much taken with the idea that humans were going to ruin the ecosystem. A·poc·a·lyp·tice·päke·liptik/adjective: apocalyptic describing or prophesying the complete destruction of the world. “the apocalyptic visions of ecologists” resembling the end of the world; momentous or catastrophic. “The struggle between the two countries is assuming apocalyptic proportions” of or resembling the biblical Apocalypse. Apocalyptic Imagery”.
BORN 1939 - FORT MYER S, F L
1 97 5 - T HE GA L L ERY GUI L D FOUNDED
20 | ROBERT FICHTER
UF REFLECTIONS
When I showed up to study art, Jerry Uelsmann and Jack Nichelson had just arrived to teach fresh out of Indiana University. Hiram Williams was the lead painter and ruled the roost. There were a number of interesting undergraduate and graduate students, most of them painters. Ken Kerslake taught printmaking. I ended up BIOGRAPHY
with a degree in painting and printmaking as there was no degree
A Florida native, I have loved nature from my first years. I attended
in photography.
the University of Florida and attempted several different degree programs before finding Jerry Uelsmann and the Art Department.
When I went in search of Van Deren Coke to study photography I
He sent me to Indiana University to study with Henry Homes
was fortunate to find Jerry Uelsmann instead. Jerry taught a very
Smith. After completing my MFA at Indiana University I worked
simple image making technique: a Yashika Camera (2¼ roll film,
with Nathan Lyons at the George Eastman House Museum of
black & white), natural light. A brilliant comedian he captured our
Photography. Robert Heinecken lured me to Los Angeles to teach
attention. For his students photography was the thing.
at UCLA. When Evon Streetman, asked me to start a graduate
program in photography in the Florida State University art
The art department at that time was located in WW II Camp
program I went to FSU in 1972 where I stayed until 2006 when
Blanding buildings. They were simple wooden buildings that had
I retired to become a FTA (Full Time Artist). I have curated
been knocked together to house troops at Camp Blanding and were
a number of exhibitions over the years including as Colors, an
easily transported to the campus. The buildings were surrounded
exhibition of ten photographic image-makers. A limited edition
by orange groves. In the spring the scent of orange blossoms’ was
portfolio was produced with work from each artist that was funded
really wonderful. My painting studio was the same space in which
by the National Endowment of the Arts. It opened at the Florida
my father had raised pigs when he was getting his Master’s degree
State University Art Gallery in 1975. My art has been shown in
in Agricultural Economics.
one person shows and group shows nationally. A one-person exhibition titled, Robert Fichter: Photography and Other Questions,
At that time Jerry would throw terrific parties. He had found a
that originated by the International Museum of Photography,
blues guitar player who would play until we all fell down as
Rochester, New York was curated by Robert Sobieszek. It opened
well as a chap from the new medical school who also played
on December 15, 1982 and traveled nationally. I have also lectured
blues with great style. Since I had completed all my credits for
nationally and juried art exhibitions and created artists books
a degree in Anthropology but could not pass Spanish Language
and editions of etchings and lithographs on the side. Harold Jones
One, I was able to put all my time in the studio art program. (Not
represented my work at Light Gallery in New York City. Later
having linguistic skills meant I would either get an art degree or a
Robert Freidus represented my work at his gallery in NYC. I am
building construction degree). I was shortly put in charge of mixing
currently Co-Director of the Lillian E. Smith Center, an artist’s
the chemicals in both the Photo lab and the Printmaking lab. Ken
retreat in North Georgia.
Kerslake was teaching printmaking and was a great role model as he made his prints in the same lab the students used. Steve Lotz and another graduate student had rented a house that was in the middle of the local scrap metal yard. This was great for the sculpture students as they could weld things together and then pay for the work by the pound. Steve once threw a party at the scrap yard which featured lots of cars parked along the highway outside the yard and a huge bonfire inside the fence of the scrap yard. About 11 pm the local police rolled in and checked us out. They had gotten reports of the event being a Klan Rally.
1 96 3 - B FA, PAI N TI N G/PRI N TMA KING , UNIVERSIT Y OF F LORIDA
1 9 6 6 - MFA , PHOTOGR A PHY, I NDI A NA UNI VER S I T Y
1975 - COLLEG E OF A RCHIT ECT U R E A ND F I NE A RTS DI VI DED I NTO T WO CO L L EGES
21
THREE HEADS - 2014 - 5˝ X 1 2 .5˝ X 6 ˝ - BL ACK R ES IN CAS T FR OM 3D PR INT BAL LOON BUMP - 201 4 - 5.3˝ X 13˝ X 5.5˝ - B L ACK RESIN CAST FROM 3D PRINT PINE APP - 2014 - 4˝ X 13˝ X 4˝ - BRONZE CAST FROM 3D PRINT
B O RN 1974 - FORT L AUDER DA LE, F L
1 9 97 - B FA , PA I NT I NG, UNI VER S I T Y OF F LO RIDA
1976 - S T UA RT R . PUR S ER : R ET R OS PEC T I VE EX HI B I T I ON
22 | McARTHUR FREEMAN, II
McArthur Freeman, II MACFREEMAN.COM
Plump gestural shapes that are layered with skins, flaps, orifices, sacs, and appendages are features of my recent works. They allude to abstract patterns, human anatomy, and shapes found in nature. I use the body as a site for exploring the oddities of how identity is formed. Spliced together from bits and pieces of multiple sources, their surreal shapes are familiar but no longer recognizable. As hybrid forms, they are as much about the loss of identity as they are about the concoction of new ones. I develop these works from a daily process of experimental drawing. From those drawings,
UF REFLECTIONS
the works are then digitally sculpted, 3D printed, and sometimes
So much of one’s life is the result of a sequence of interactions that
cast in other materials such as resin or bronze. While exploring
challenge and transform us. My time at UF included many of these
the edges between abstraction and figuration, they manifest
experiences that were pivotal in my development as an artist and
as curious mutations, which are at once beautiful, grotesque,
an individual.
humorous, and sensual. I was among the first group of students to participate in UF’s BIOGRAPHY
conceptually driven WARP program, which challenged my
McArthur Freeman, II creates works that explore race, double-
traditional notions of what art could be. I was mentored for a short
consciousness, and the construction of identity. Through open-
time by Jan Schall who broadened my perspective about cultural
ended narratives, he examines the displacement involved in the
identity and navigating obstacles. Jerry Cutler challenged me to
expectations of the utopian American dream and the reality
analyze and find the language for my actions. Kremgold expanded
of racism, mind colonization, confused notions of beauty, and
my concept of drawing into mark-making and eventually
hybridity. His works have ranged from surreal narrative paintings
abstraction. Professor Murray cultivated my love of the figure.
and drawings to digitally constructed sculptural objects and 3D
Bob Mueller taught me to embrace process. Lastly, Richard Heipp
scenes. His most recent works combine three interrelated emerging
encouraged me to pursue graduate school.
technologies: digital sculpting, 3D scanning, and 3D printing. These are just a few of many UF individuals and interactions for which I remain grateful.
Freeman’s work has been published in Nka Journal of Contemporary African Art and has been exhibited in several group and solo shows within the United States. Freeman is currently an Assistant Professor of Video, Animation, and Digital Arts at the University of South Florida. Prior to his appointment at USF, Freeman taught at Clarion University in Clarion, PA, Davidson College in Davidson, NC, and North Carolina State University in Raleigh, NC. He has also taught Drawing at the Penland School of Crafts. Freeman earned his BFA degree in Drawing and Painting from the University of Florida in 1997. He received his MFA from Cornell University, with a concentration in Painting in 2001. He also holds a Master of Art and Design from North Carolina State University in Animation, New Media, and Digital Imaging, which he received in 2008. Born and raised in Fort Lauderdale, Florida, Freeman currently lives in Tampa, Florida with his wife, USF Assistant Professor of Sociology Elizabeth Hordge-Freeman, and their son, Nathaniel.
2 0 0 1 - M FA, PAI N TI N G, CORNELL U NIVERSIT Y
2008 - MA D, A NI MAT I ON A ND NEW MEDI A , NORT H CA R OL I NA S TAT E UNI VE RS ITY
1978 - HOLLIS HOLBROOK: RET ROSPECT IVE EX HI B I T I ON
23
BORN 1973 - SA N D IEG O, CA
24 | SCOTT HAZARD QUIE T - 2012 - 56˝ X 31˝ X 40˝ - SCULPTURE (ASH WOOD, PAPER, TEXT)
Scott Hazard SCOTTHAZARD.NET UF REFLECTIONS
My time in the MFA program at UF from 2002 to 2005 was a fantastic experience that allowed me the time to focus on and refine the development of my work as well as explore and expand the ideas that inform it. I was fortunate have been part of a small and focused Sculpture Area, but also have many opportunities for cross-pollination with students and faculty in different departments, whether Painting and Drawing, Photography and Video, Art History, English, Film and Media Studies or Architecture and Landscape Architecture. The connections I was able to forge with people from all of these areas and more has had a lasting influence. I have very fond memories of time spent in the wood (even before it had AC) and metal shops, sculpture and photography seminars, darkrooms, media labs and classrooms whether as a student or instructor. The text based constructs I create consist of layers of paper that are carefully torn or cut, spaced apart and aligned to define sculptural voids. Cathartic micro-gardens punctuated with masses of text beckon the viewer to delve in for a brief journey. As the viewer’s gaze enters and traverses the layers of paper in each work, vision becomes tactile, lending an articulated viewing experience and a place for the eyes to linger. The movement and placement of words in and around the composed landscapes and intimately scaled spaces provides for a kinesthetic reading experience that draws the viewer in for momentary reflection and a temporary departure. In a world with a seemingly endless amount of stimulus, my work creates space for a sensory pause to remove or alter the viewer’s existing frame of reference and provide an opportunity for a
RISE - 201 4 - 34” X 54” X 55” - SCULPT URE (ASH WOOD, PAPER, TEXT)
different presence of mind, a distilled frame of reference. BIOGRAPHY
Scott Hazard is a visual artist based in Raleigh, North Carolina. He has exhibited his work at venues including CAM (Contemporary Art Museum) Raleigh; Mixed Greens, New York, NY; Second Street Gallery, Charlottesville, VA; Flanders Gallery, Raleigh, NC; Davidson College, Davidson, NC; Roanoke College, Salem, VA; Goucher College, Towson, MD; the Atlantic Center for the Arts, Atlantic Beach, FL; Green Hill Center for NC Art, Greensboro, NC; and Artspace in Raleigh, NC. In addition, his work has been featured in a number of magazines and online publications, including Glamcult, WILD Magazine, BOOOOOOOM, Juxtapoz, Hi-Fructose, and Colossal. He is the recipient of an Artist Fellowship in Visual Arts from the North Carolina Arts Council. Hazard was born in San Diego, California and received his landscape architecture education at California Polytechnic State University at San Luis Obispo. He earned a Master of Fine Arts with an emphasis on sculpture, photography and video at the University of Florida. 1 996 - BS, L AN DSCAPE A RCHIT ECT U R E, CA LIFOR NIA POLYTEC HNI C S TAT E
2005 - MFA , S C UL PT UR E, UNI VER S I T Y OF F LO R I DA
1983 - HI RAM WILLIA MS: RET ROSPECT IV E EXHIBIT ION
25
Dave Herman C I T Y R E L I Q U A R Y. O R G
This collection of “Wooden Door Stops” was gathered by Peter Eudenbach from an assortment of businesses located throughout NYC. It was later donated to the permanent collection of the City Reliquary Museum. The presentation of these objects was inspired by the common museum practice of displaying archeological finds, often in a symmetrical and aesthetically pleasing design. By highlighting a commonly overlooked object within the framework of the museum, we begin to see the layers of use and imagine the histories each object has survived.
BIOGRAPHY
UF REFLECTIONS
After a year-long teaching opportunity at UF that began in
The University of Florida became more than an environment to
September 2001, I returned to New York City with a new outlook
develop my art practice in, it provided the process as well.
on what my role as an artist meant in a community undergoing
I found that the university system offered both an audience and
such historic change. I decided to make a departure from gallery
a mechanism through which to make public art works. In time,
and museum shows in favor of finding a more direct connection
the end result of my work became almost inconsequential. It was
to the diverse neighborhood of Williamsburg where I lived. I was
the process of meeting administrators, students, and experts in
inspired by the multitude of cultures and history that preceded me
many fields that became the most rewarding aspect of producing
in what felt like a small-town amidst the big city. Near my corner
a public art piece. While working at the School of Art and Art
apartment, I noticed newcomers and lifelong residents passing by,
History, I learned that administrative work could become a part
often in awe of the rapid changes or looking to claim a newfound
of my creative process. The relationships and exchanges made
territory. I established a humble display of artifacts in the windows
while conveying what would begin as an abstract vision, can be
of my apartment to create a new dialogue among residents of
as rewarding as seeing the finished artwork in a gallery setting,
diverse backgrounds. A hand painted sign overhead labeled it the
or even more so. Every interaction became a performance with a
“City Reliquary.” The artifacts served as homage to the histories
selective audience, and resulting paperwork became the residual
of longtime residents and as a catalyst for newcomers willing to
artifacts of that performance.
learn what came before them. By displaying artifacts often found in everyday life, I found that viewers were able to identify with the displays and began to have a sense of ownership over the publicly accessible space. In time, friends and neighbors became more involved and the displays grew to include collections of all kinds. Now, the City Reliquary Museum and Civic Organization is a storefront where visitors and residents alike can go to celebrate a sense of true civic pride unique to NYC. Collecting is an essential part of preserving history. By collecting, we group and categorize the items that interest us, making them easier to reference and more likely to be preserved for future use. One of the first expansions of the City Reliquary was to include a section named “Community Collections.” This gave us a way to showcase the unique interests of local residents.
THE CITY RELIQUARY MUSEUM - 370 METROPOLITAN AVE BROOKLYN, NY 11211
BORN 1976 - OR L A ND O, F L
1984 - T HE F IR S T A NNUA L JUR I ED S T UDENT EX HI B I T I O N
26 | DAVE HERMAN
CIT Y REL IQUARY IN STAL L ATI ON - 20 12 - 4’ X 8 ’ X 3’ - FOUND OBJECTS, MIXED MEDIA
19 98 - BFA, SCULPTUR E, U NIVERSIT Y OF F LOR IDA
2000 - MFA , S C HO O L OF VI S UA L A RTS , NY, NY
27
Hye Young Kim HYEKIMSTUDIO.COM
Violent Desires is composed of two videos titled Pink Desire and Green Desire. Pink Desire presents when a girl’s desire to be beautiful like a Barbie doll, she ignores that the beautiful object can be observed, possessed, abused or abandoned. Green Desire represents a woman’s desire to be a virgin again by washing her body like Aphrodite, who is Greek goddess of beauty, to renew her virginity annually by bathing in the spring on the shores of Cyprus. By juxtaposing these two videos presenting female desires by using Barbie dolls, this project emphasizes that desires can be violent, aggressive and even deconstructive. In Pink Desire, the excessive desire for beauty is projected to Barbie’s radical body modification in the process of beating and abusing. In Green Desire, the ridiculous desire for virginity is projected to torture Barbie by repetitive and radical movements of a washing machine to clean her body. BIOGRAPHY
Hye Young Kim was born in the city of Gongju in South Korea in 1982. She received her BFA in painting from Korea University, South Korea in 2007, and her MFA in painting at Washington University in St. Louis in 2009 and a second MFA in Art and Technology at the University of Florida in 2013. Since 2013, she has been teaching as Assistant Professor of Art at Winston-Salem State University in North Carolina. As a video performance artist, she has investigated human existence with physical and psychological traces by integrating traditional art-making techniques with experimental video and installation. In the United States, Kim’s work has been exhibited in New York City, St. Louis, Seattle, Washington, Toledo, Ohio, Gainesville, Florida and Davis, California. Recently, her works were exhibited in “Berlin Liste: Fair for Contemporary Art” in
UF REFLECTIONS
My education of Art + Technology in the MFA program at UF was very tough and intense, but it was the best program to nurture me as a professional artist and an art educator. During the MFA program, I learned how to develop artworks conceptually, visually and technically, approach contemporary philosophy and theories, collaborate with other artists, teach art students critically, and manage studio time between teaching and researching. At the Art + Technology program, I found my mentors and role models, Jack Stenner and Katerie Gladdys. Professor Stenner encouraged me to develop my concept by introducing new theories and apply new advanced technology to artwork. Professor Gladdys expanded my understanding of contemporary art by introducing various topics with readings and experimentations. With all experiences at UF, now I have a great confidence that I can be successful anywhere as a professional artist and an art educator.
Berlin, Germany, “2014 FILE: Electronic Language International Festival” in São Paulo, Brazil, “Contemporary Art Ruhr” Media Art Fair in Essen, Germany, “Currents 2014: Santa Fe New Media Festival” in Santa Fe, New Mexico and “Vector 2014: Video Game + Art Convergence Festival” in Toronto, Canada. She has held art residencies at the Kulturprojekte in Berlin, Germany; Elsewhere-Living Museum in Greensboro, North Carolina; SKICC in Dunaújváros; and GebArt in Zalaegerszeg, Hungary.
B O RN 1982 - GON GJ U, SOU T H KOREA
1 9 8 4 - JER RY UEL S MA NN: PR O C ES S & PER C EPT I ON
28 | HYE YOUNG KIM
VIOLEN T D ESIRES - 201 4 - 10 MIN 33SEC, HD VI DEO WITH SOUND - HT TPS://VIMEO.COM/11186 4980
2 0 07 - M FA , PA INT ING , WASHINGTON U NIVERSIT Y
201 3 - MFA , A RT A ND T EC HNO LO GY, UNI VER S I T Y OF F LO R I DA
1 988 - RE LI E FS AN D MENHIRS: T HE SCU LPT UR E OF J.G . NAY LO R
29
Kathy King K AT H Y K I N G A R T. C O M
My work centers on the presentation of narrative through ceramic vessels, tile work and printmaking, either separately or combined
The National Council on Education for the Ceramic Arts has
in installation, with a feminist point of view. I am interested in
featured King as an Emerging Artist in 1999, a Demonstrating
mapping the ways popular culture not only reflects women’s lives,
Artist in 2002, a co-juror with Mark Burns for the 2012 National
but also shapes them. It is this influence that demands critical
Student Juried Show and juror for the K-12 Awards and panelist
examination.
for the 2015 conference. Her work has been featured in Confrontational Ceramics by Judith Schwartz, Sex Pots by Paul
The use of satirical humor, irony, and sarcasm often provides
Mathieu, The Art of Contemporary American Pottery by Kevin
a seductive vehicle to approach issues of gender and sexuality
A. Hulch, 500 Plates and Chargers and 500 Prints on Clay by
within my work. The combination of narrative presented on the
Lark Books, Teapots Transformed by Leslie Ferrin, and Handbuilt
surface, united with the intended utility of each vessel, allows
Tableware by Kathy Triplett. Her work can also be found in
a dialogue between the essence of the object and its narrative.
numerous periodicals including Ceramics: Art and Perception,
Individually, each pot’s narrative may convey a singular thought,
Studio Potter, Clay Times, Art Papers, and Ceramics Monthly.
but when the work is considered together in a serial format, the story unfolds.
UF REFLECTIONS
My experience at UF went above and beyond my expectations of BIOGRAPHY
a MFA program. In 1995, I chose to study at UF because I wanted
King is currently an active studio artist in the Boston area and
to study with two strong women artists – Linda Arbuckle and Nan
is an Instructor and the Director of Education at the Ceramics
Smith. I actually had no intention of introducing imagery into my
Program – Office for the Arts at Harvard in Allston, MA and is
work but actually had my sights set towards wood firing! I was
part time faculty at the Massachusetts College of Art in Boston.
extremely fortunate to work with George Bowes my first semester
She has also held positions at Rhode Island School of Design in
of graduate school as he was covering Linda Arbuckle’s sabbatical
Providence, RI and University of Massachusetts in Dartmouth,
and he quickly pointed out that I didn’t really seem like “the
MA. She held the position of Associate Professor at Georgia State
humble brown potter”. He challenged me to re-examine my way
University in Atlanta, Georgia until 2007. Her undergraduate work
of interpreting my work and to consider incorporating two other
included the School of the Museum of Fine Arts in Boston, MA and
great loves at that time – graphic novels and relief printmaking
she received her BA in Studio Art with a major in Ceramics from
including wood cuts and linoleum cuts. The technique of “drawing”
Connecticut College, New London, CT in 1990. She received her
reductively on the slip covered clay through carving and revealing
MFA from the University of Florida in Gainesville, FL in 1998. She
the porcelain beneath gave me the graphic quality that I admired
has given workshops and lectures at over fifty colleges, schools
so much. In addition, it welcomed me to a world of narrative that
and art centers throughout the USA.
I would not have been able to investigate through form alone. After that change of perspective, Linda and Nan introduced me to a world of new techniques and challenged me to set the bar high for how I planned to add to the field of ceramics in terms of artistic professionalism and “giving back” in the classroom as an educator.
1968 - B OR N A LEXA NDR IA , VA
1 9 9 0 - SA MUEL P. HA R N MUS EUM OF A RT OPENED
30 | KATHY KING
APERTIF BOT TLES (SET OF 4) MID-RA NG E P OR CEL A IN, CA RV ED, GL A ZED TIL’ DEATH DO US PART - 17˝ X 13˝ X 1˝ EACH - MID-RANGE PORCEL AIN, CARVED, GL AZE, CHINA PAINT, COPPER
1 990 - BA, CON N ECTICUT COLLEG E
1 9 9 8 - MFA , C ER A MI C S , UNI VER S I T Y O F F LO R I DA
31
MISSTEP - 2015 - 5 0.5” X 59.75” - ACRYLIC AND MIXED MEDIA ON CANVAS
1940 - B ORN HOUG HTON, MI
1992 - RET R O ACT IV E: RECENT WORK BY D EPA RT MENT OF A RT PHOTOGR A PHY GR A DUAT E A LUMNI 1 9 6 3-1 9 9 2
32 | MERNET LARSEN
Mernet Larsen MERNETLARSEN.COM
I try to evoke a sense of permanence, solidity, weight: time stopped, essences of ordinary events made tangible. However, I understand these paintings as makeshift contraptions, statements of recognition that essences-and memory-must be constructed, invented, not uncovered. This painted world must be obviously artificial. It reaches toward, not from, life. The characters and objects are geometric solids, their structures and proportions reinvented in tension with the event depicted. Components are disassembled, reassembled so that the actions are non-organic collaborations of parts. These paintings are at once a tribute to and critique of Renaissance narrative painting. They reflect a longing for something lost and a desire for a sense of space and narrative structure more in accord with contemporary concepts of reality.
UF REFLECTIONS
1958-1962 - Since Robert Fichter and I were at UF at the same time, I would first say ditto to much of what he said in his eloquent memoir in this catalog. In about 1960, the new chair, Clinton Adams, brought in a new group of artist/ teachers: George Lockwood and Ron Markman came straight from studying with Albers at Yale, and gave me an exciting introduction to lateral thinking in art. Hiram Williams and Jerry Uelsmann were on the brink of becoming famous, but weren’t yet: there was a sense of everything being on the verge of something important, a kind of electricity. There was close
BIOGRAPHY
After her family moved to Gainesville in 1951, Mernet attended JJ Finley and PK Yonge High School, then completed her BFA at UF in 1962. In 1965, she received her MFA from Indiana University, and in 1967 joined the faculty of the University of South Florida, where she taught for over 35 years. She has also taught for brief periods at Yale School of Art, Yale/Norfolk, University of Oklahoma, Montana State, Catholic Univ. of Milan Rome Summer Session, USF Paris Program, and initiated and taught in a USF New York program. She was a visiting artist at Nanjing Normal University, and also traveled in Japan and India, which greatly influenced her work. She has had over 30 solo exhibitions, including a three decade retrospective at Deland (Florida) Museum of Art in 1992 and, more recently, at Johanne Vogt gallery in New York (2012) and Various Small Fires in Los Angeles (2015). She has been included in over 70 group exhibitions including: the National Museum of Women in the Arts in Washington DC, the American Academy of Arts and Letters in NYC and Made In Florida, which traveled internationally. Her paintings are included in St. Petersburg Museum of Fine Arts, Ringling Museum of Art, Grinnell College Collection of Art, Tampa Museum of Art, and numerous private collections in the US and Europe. A book on 50 years of her work, with an essay by John Yau, was published by Damiani Press in 2013. Mernet divides her time between Tampa and Jackson Heights, NY. She has been married for 40 years to artist Roger Clay Palmer.
1 962 - BFA, PAI N TI N G , U NIVERSIT Y OF F LOR IDA
comradely between the new faculty and the students; Jerry had us over to his home for folk singing, and we went on photography expeditions to the Millhopper (when you could still climb all over it). Hiram invited us, individually, to his studio to get lessons, and shared his journals with us. Without Hiram’s mentorship, I probably never would have become an artist. Along with Ken Kerslake, Jeff Naylor, Jimmy Byrnes, Van Deren Coke, Peter Bodner (in art ed then), and students like Steve Lotz, Norman Jenson, Hank Heuler, Guy Benson, Johann and Christina Eiffels, and many others, a remarkable synergy was created. Every spring, there was a symposium for a week at the Ringling Museum in Sarasota. We would troop down there, take over a strip motel, and listen to and rub elbows with, some of the most famous living artists and art historians. One time Hiram lined up a bunch of his students’ paintings against a fence, and invited Phillip Guston to take a look (which he did, looking pained). Once Jimmy Byrnes, perhaps the most colorful figure on the faculty one year, decided to have a big show of famous art in Florida collections. He sent Steve Lotz and me off on a marathon drive around Florida (with a little trailer in tow, and no sleep) to pick up probably millions of dollars’ worth of art: Picassos, Giacomettis, et al. Nothing wrapped, no insurance. (Those were the days.) In retrospect that, in the early sixties, the UF art department may have been the best place in the country to be studying art. Everything seemed to come together synergistically.
1 9 6 5 - MFA , PA I NT I NG, I NDI A NA UNI VE RS ITY
1992 - 30 TH A NNIVERSA RY OF FACULT Y A RT EX HI B I T I ONS A ND F I R S T FAC ULT Y EX HI B I T I O N AT T HE HA R N MUS EUM O F A RT
33
Jawshing Arthur Liou ARTHURLIOU.COM
Video artist Jawshing Arthur Liou embarked on a 2,300 kilometer filming expedition that started from Lhasa, traveled through the Tibetan Plateau, and ultimately made sojourns to Mount Everest and Mount Kailash. The trip included a four-day kora—a walking circumambulation around Mount Kailash at an elevation between five and six thousand meters. The work traces the steps of pilgrims while presenting unique mountain landscapes, reverence for nature and a space of spiritual sanctuary.
Kora is deliberately shot and edited from a first person perspective,
Liou’s videos and prints have been featured in exhibitions and
placing the viewer on the path of a pilgrim. The thin air of the
collections in the Tokyo Metropolitan Museum of Photography,
dizzying altitude is made palpable through the hand-held camera
Crystal Bridges Museum of American Art, Museum of Fine Arts
technique. Only that which is closest in view has defined edges;
in Houston, Indianapolis Museum of Art, Seoul Museum of
the mountain remains a mirage receding into the heavens. The
Art, National Taiwan Museum of Fine Arts, National Gallery of
slowly unfolding composition of expansive electronic sounds and
Victoria in Melbourne, and Sharjah Biennial. Liou is the recipient
string instruments gradually brings one’s attention to the present
of the Asian Cultural Council Grant, New York; the Efroymson
moment of the solitary hike.
Contemporary Arts Fellowship, Indianapolis; and the Garry B. Fritz Award from the Society for Photographic Education National
BIOGRAPHY
Conference, Chicago. Liou is currently the Professor of Digital Art
Jawshing Arthur Liou is an artist, educator, and administrator with
and the Director of the Henry Radford Hope School of Fine Arts at
a background in photography, digital media, film, and journalism.
Indiana University, Bloomington.
His recent projects include a pilgrimage in the sacred mountains in Tibet, a journey through the tsunami-ravaged coastline of Japan,
UF REFLECTIONS
and a cinematic collaboration with a brain scientist regarding
My MFA study at the University of Florida was a transformative
the connection between endocannabinoids and memory. Liou
experience for me. Coming from a non-art background, I was able
works with lens-based materials and electronic imaging to create
to build the foundation of my artistic practice at the School of Art +
installations depicting mental and surreal spaces. His videos do
Art History. I benefited tremendously from the vision, patience, and
not contain clear narratives but are meditative in nature, allowing
kindness of all of my mentors. The connection and openness of the
time to slow to a ruminative pace while spatial scales oscillate
program also allowed me to seek guidance from faculty outside of
between the microcosmic and infinitely expansive. Using sources
the school. I felt that I was part of a great campus network.
ranging from landscapes and oil paint to the human body, much of Liou’s work is related to concepts of impermanence, meditations on
I was fortunate to be one of the last students of Evon Streetman
nature and spirituality, and coping with the illness of his daughter.
and Jerry Uelsmann. My root in surrealism is part of the lineage of their work. They treated me with respect and generosity. The discussion over bourbon at Evon’s house was one of the best parts of my education. She made me feel that I had something valuable to say. It was such a great confidence builder.
1968 - B ORN ZH ON GLI, TA IWA N
34 | JAWSHING ARTHUR LIOU
KORA - 2011-2012 - 3K RESOLUTION VIDEO 14 MINUTES, SOUNDTRACK COMPOSED BY AARON TRAVERS AND MELODY EÖTVÖS - HT TPS://VIMEO.COM/37866 4 46
1 9 90 - BA, J OURN ALI SM NAT IONA L CHENG CHI UNIVERSIT Y, TA I WA N
1 9 9 8 - MFA , PHOTOGR A PHY, UNI VER S I T Y OF F LOR IDA
1994 - UF BECAM E PA RT NER OF T HE AWA R D-W INNING NEW WOR L D S C HOOL O F T HE A RTS I N MI A MI
35
AMANI KITES - 2014 - 48” X 48” X 4” EACH - PA PER, PRINT ED V INY L, K A NGA CLOTH , BR OOK LY N M US EUM KARANJA L AUNCHING JACKSON, AMANI KITES, NAIROBI, KENYA - 2012
1972 - BORN SA N JUA N, PUERTO R ICO
1996 - THE A RT O F JA MES R I Z Z I
36 | MIGUEL LUCIANO
Miguel Luciano MIGUELLUCIANO.COM
Amani Kites (2012-2014) is an ongoing community-based public art project in Nairobi, Kenya that combines kites, kite flying and portraiture to explore conversations about freedom, migration and identity. Working with artists and communities in the
BIOGRAPHY
industrial area of Nairobi, we hosted community workshops
Miguel Luciano’s work has been exhibited nationally and
where participants created large-scale, handmade kites featuring
internationally, including exhibitions at the Mercosul Bennial,
life-sized photographic self-portraits. In the culminating event,
Brazil; La Grande Halle de la Villette, Paris; El Museo del Palacio
we collectively fly those kites, lifting our own images into the sky
de Bellas Artes, Mexico City; The Ljubljana Biennial, Slovenia; The
above. Lifting one’s image to the sky is a symbolic action -
San Juan Poly- Graphic Triennial, Puerto Rico; El Museo Nacional
a visually poetic gesture that can be especially empowering for
de Bellas Artes de la Habana, Cuba; and the Smithsonian American
young people. It is at once a form of play and an act of resistance.
Art Museum in Washington, DC. He is the recipient of numerous grants and awards, including the Louis Comfort Tiffany Award
Amani Kites was originally funded by the smARTpower program
Grant, the Joan Mitchell Foundation Painters and Sculptors Award,
– an initiative of the Bronx Museum of the Arts and the Bureau of
NYFA Artist Fellowship, and was a fellow of the smARTpower
Educational and Cultural Affairs of the U.S. Department of State.
program – a community-based art initiative of the Bronx Museum
It is an open-source project that continues on its own in Nairobi
of the Arts and the Bureau of Educational and Cultural Affairs of
today, led by a local grassroots arts collective called Wajukuu.
the U.S. Department of State. His work is featured in the permanent collections of the Smithsonian American Art Museum, DC; the Brooklyn Museum, NY; the Bronx Museum of the Arts, NY; El Museo del Barrio, NY; the Newark Museum, NJ; and the Museo de Arte de Puerto Rico, PR. Luciano lives and works in New York UF REFLECTIONS
My MFA experience at the University of Florida was one of the most fruitful and prolific periods in the entire development of my artistic practice. It was a time for deep reflection, experimentation and focused production. If I was not in the studio, I was traveling between Puerto Rico and Gainesville, making work in both places and doing constant research. I had wonderful professors who both trusted me and challenged me, inspiring me to think critically about the capacity of socially engaged art, and the role of aesthetics. It was an incredibly inspiring time in my life that opened paths of inquiry and exploration that continue on to this day.
PL ÁTANO PRIDE, - 2006 - 40” X 30” - INKJET PRINT FROM THE PURE PL ANTAINUM SERIES
1997 - B FA, N E W WOR LD SCHOOL OF T HE A RTS / UNIVE R S I T Y OF F LO R I DA
2000 - MFA , PA I NT I NG, UNI VER S I T Y O F F LO RIDA
2000 - TA KEN F R OM PO I NT G: T HE PHOTOGR A PHY OF GOR DO N B L EAC H
37
Erika Mahr ERIKAMAHR.COM
I am interested in the act of mediating my subject matter, reducing and repeating it in order to locate where the analytical and experiential intersect. Rather than existing as oppositions, I place emphasis on where these lines become blurred. Each piece unveils a unified space that is both logistical and organic; they are ephemeral, yet concrete. The mark-making processes lend an organic and imperfect quality to my work, while the act of repetition and the use of geometric shape, work to systemize these marks and the image as a whole. My series Screens and Shrouds investigates blackness as the unknown. Textiles are used to both conceal and reveal what lies beneath their permeable surface. They are screens to be peered through, alluding to the unseen that is contained beyond them. Close up, the image breaks down into abstracted pattern. It becomes camouflaged, similar to the way each screen disguises what lies beneath. The drawings begin as photographs that are digitally manipulated, projected, and then drawn with charcoal. The digital mediation
SHROUD - 2012 - 50.5” X 61” - CHARCOAL ON BL ACK PAPER
lends a pixelated character to the mark, contrasting with the organic nature of the image, material, and mark-making process. I
UF REFLECTIONS
am interested in the juxtaposition of the digital mediation with the
My years within the painting program at UF had such a profound
organic nature of the image, material, and mark-making process.
impact on my path to becoming a working artist and educator. Long nights painting and swapping music with my comrades
BIOGRAPHY
in the Advanced Painting studios, far too many breaks in the
Erika Mahr, born in Long Island, New York, received a BFA from
“ashtray”, unspoken competitions for who would come in with
the University of Florida (2004) and an MFA from Hunter College
the largest canvas, curiously listening to the faculty hash it out
(2007). Mahr’s current studio practice explores drawing, sculpture,
at grad critiques, countless visiting artists that made everything
and most recently sound. She has had solo exhibitions at Launch
seem possible, and of course, the New York Trip which instantly
F18 Gallery, NY and The Susan B. Hilles Gallery, CT. Her work has
recalibrated my ideas of success - I left the program with not only
been included in recent group exhibitions at Theirry Goldberg
an education, but an EXPERIENCE. One that instilled a sense of
Gallery, A.I.R. Gallery, AW Asia, Art Current, Florida School of the
urgency within my practice and laid the groundwork for what
Arts, the Clara Hatton Gallery at Colorado State University, and the
has developed into an invigorating, collaborative, and encouraging
University Gallery at Eastern Michigan University, among others.
community within the arts.
Mahr received a fellowship from the New York Foundation for the Arts in 2009 and was nominated for the 2011, 2012 and 2013 Rema Hort Mann Foundation Visual Art Grant. Her work is currently represented by Launch F18 Gallery.
1982 - BORN PATCHOG UE, NY
2001 - OB S ES S I O N: T HE A RT O F L ENNI E KES L
38 | ERIKA MAHR
OVERL AY - 2012 - 51” X 50” - CHARCOAL ON BL ACK PAPER
2 0 0 4 - BFA , PA INT ING , UNIVERSIT Y OF F LO R I DA
2007 - MFA , PA I NT I NG, HUNT ER COL L EGE
2 0 0 4 - J OHN WA R D: FORT Y YEA R S OF REA LIST PA INT I NG
39
IMPOSSI BLE BOARD - 2015 - 48” X 56” - EPOXY AND ACRYLIC ON PANEL
1987 - BOR N HOU STON, T X
40 | DANIEL McFARLANE
Daniel McFarlane M C FA R L A N E A R T. C O M
I believe in abstraction, form, and proximity. What it means to be both object and image. The idea of meeting a strange form and the attempt to recreate the moment of encounter. Each painting expresses this attempt in the depiction of the form through color, shape, texture, and superimposition. Another layer of thought and exploration continues to include the relationship between improvisation and control. I’m looking to create a dynamic tension and balance in the work – from the technique, to the process, to the space/form. My paint forms seemingly grow wild and move freely – but many are cultivated and transplanted in a controlled manner. I develop the 2D picture field of the painting into a physical, 3D plane of illusion and interaction.
BIOGRAPHY
Daniel McFarlane was born in Houston, Texas, where he currently lives and works. He was an Alumni Fellow at the University of Florida and completed an MFA in painting/drawing in 2010. From 2010-11, he was an artist-in-residence at Lawndale Art Center and he is now a Visiting Lecturer at Sam Houston State University. McFarlane’s paintings have been exhibited nationally and featured in New American Paintings artist book and blog. He is represented by Barbara Davis Gallery. UF REFLECTIONS
Gainesville/UF was a magical place. I had wonderful mentors and made lifelong friendships. Jerry Cutler enlightened me with the Munsell color system, I bonded over blues music with Richard Heipp, and I spent countless early morning hours in the woodshop with Brad Smith. My three years of graduate study at UF were the best of my life. It was a growing experience both personally—at 23 I moved over 1,000 miles from home—and artistically—I quickly learned I didn’t know everything. The education and experience I received there set me on course to become the artist I am today. NOVA - 2014 - 30” X 30” - EPOXY AND ACRYLIC ON PANEL
2 0 07 - B FA, SAM HOU STON STAT E U NIVERSIT Y
201 0 - MFA , PA I NT I NG, UNI VER S I T Y O F F LO R I DA
2 0 0 4 - TH E FOR CE: LIG HT INSTA LL AT IONS BY MAT T HEW S C HR EI B ER
41
WA NG ECH I G OLD #6 - 2 0 0 9 - CH R OMOGENIC PR INT - 16 ˝ X 2 0 ˝
Marilyn Minter M A R I LY N M I N T E R . N E T
BIOGRAPHY
Since the 1970’s Marilyn Minter
Marilyn Minter has been the subject of numerous solo exhibitions
has created seductive paintings,
including the San Francisco Museum of Modern Art in 2005,
photographs, and videos that
the Center for Contemporary Art, Cincinnati, OH in 2009, La
address issues surrounding the
Conservera, Centro de Arte Contemporáneo, Ceutí/Murcia, Spain
complex relationship of feminine
in 2009, the Museum of Contemporary Art, Cleveland, OH in 2010
beauty and the body. This work
and the Deichtorhallen in Hamburg, Germany in 2011. Her video
was recently featured in a major
Green Pink Caviar was exhibited in the lobby of the MoMA for
retrospective at the Contemporary
over a year, and was also shown on digital billboards on Sunset
Arts Museum Houston in an
Boulevard in LA, and the Creative Time MTV billboard in Times
exhibition titled “Pretty/Dirty” that
Square, New York. Minter’s work has been included in numerous
includes a monograph publication
group exhibitions in museums all over the world. In 2006, Marilyn
accompanying the show. The
Minter was included in the Whitney Biennial, and in a collaboration
exhibition traces the origins of her
with Creative Time she installed billboards all over Chelsea in New
ideation beginning with “Coral Ridge
York City. Most recently, Minter was featured in “Riotous Baroque,”
Towers” a 1969 series of black and
an exhibition that originated at the Kunsthaus Zürich and traveled
white photographs that Minter took
to the Guggenheim Bilbao. A retrospective of Minter’s work will open
while still a student at the University
at Contemporary Art Museum Houston, TX and will travel around the
of Florida. The series depicts her
country, ending at the Brooklyn Museum, NY. Minter is represented
drug-addicted mother disheveled and impervious as she lounges
by Salon 94, New York and Regen Projects, Los Angeles
and applies make up. However, Minter is perhaps best known for her luscious paintings and photographs of fragments of model’s
UF REFLECTIONS
body parts that evoke the power of the commercial medium of
During the beginning of the hippie era I could go to class with bare
fashion and it’s rituals. Minter and her assistants create strikingly
feet. There was an alligator in a pond right outside the art building
beautiful large-scale photorealist paintings by applying enamel
that we used to be able to feed and nobody really bothered it.
paint with their fingertips serving as surrogate brushstrokes.
I met my husband. I had a wonderful time in art school. It wasn’t
Minter always creates visual statements that demand our attention
encouraging for female artists though; the boys were the heroes
while never shirking her crucial role as provocateur, and critic. She
of the art department.
has said “I’m not trying to define or criticize culture… I’m trying to make you feel all these things when you look — the pleasure of looking but also the shame, because you want to look even though the images make you hate yourself.” 1948 - B ORN SHR EVEPORT, L A
2 0 0 5 - J OH N A. O’ CONNOR: CONCEPT UA L R EA LISM
42 | MARILYN MINTER
PRI SM - 2009 - CHROMO GENIC PR IN T - 20 ” X 16˝ BOTH WORKS COURTESY OF SAMUEL P. HARN MUSEUM OF ART, UNIVERSITY OF FLORIDA, GAINESVILLE
1970 - BFA , PR INT MA KING , U NIVERSIT Y OF F LOR I DA
1 97 2 - MFA , PA I NT I NG, SY R AC US E UNI VER S I T Y
2 0 0 5 - THE FBI F ILES; COLL AG ES A ND PA INT ING S BY A R NO L D MES C HES
43
HEAD FULL OF DOUBT/ROAD FULL OF PROMISE - 2010 - OIL ON CANVAS, SINGLE CHANNEL VIDEO 4:20 - SONG BY AVET T BROTHERS
THREE - 2011 - HD VIDEO, OIL ON CANVAS, SINGLE CHANNEL VIDEO 1:10 - MUSIC BY MEREDITH VARN, SENTENCE BY MARC BASCHH
1979 - B ORN G R EENSBORO, NC
44 | JASON MITCHAM
Jason Mitcham JASONMITCHAM.COM
Through an interdisciplinary approach rooted in painting and stop-motion animation, my work explores modern ruins, entropy, and temporality within the landscape. My animations are created by digitally recording thousands of slight alterations on paintings. Approximately ten stages of alterations are made for every second of footage. In the process of creating the videos, which explore sites of ruin and entropy, the paintings become ruins as well. This relates to the concepts within the work, and the video excavates the painting, allowing its history and narrative to be revealed. As the animations develop, the paintings become topographic “terrains” of built up layers, correlating to the actual sites they depict. BIOGRAPHY
UF REFLECTIONS
Born in North Carolina in 1979, Jason Mitcham received a BFA from
I feel extremely lucky that many of the people I met and the ideas
East Carolina University (2002), and an MFA from the University of
I explored while at UF all continue to play a crucial role in my
Florida (2005). Although primarily a painter, his work has expanded
life today. Graduate school at UF was a place where I could push
into the realm of video, creating stop-motion animations from
myself to begin to bring a more contemporary approach to my
paintings. His videos explore the development of our society’s
work in a supportive environment.
landscapes, specifically notions of temporality, suburbia, and modern ruins. One of his recent animations was premiered on NPR’s website,
I felt a strong sense of “place” in Gainesville. Years after, living
and was included in the 2011 Los Angeles Film Festival. In 2015,
in New York City, I recalled a memory of Paynes Prairie for the
Mitcham held solo exhibitions at the North Carolina Museum of Art,
opening scene of one of my animations.
Elon University, and the 407 Gallery at the University of Wisconsin at Green Bay. Recent group exhibitions include the Queens Museum
My time at UF grounded me in the best possible way, allowing
of Art, the Greenville Museum of Art in North Carolina, the Parrish
me to explore who I really was, all the while introducing me to
Museum of Art, the Lumen Festival, the New York Foundation for the
new ideas, ways of thinking and making, and how to ethically and
Arts Hall of Fame Benefit, PS122, NurtureArt, Artspace NC, Davidson
professionally function as an artist.
College, and the Wassaic Project, among others. He is a recipient of the Elizabeth Greenshields Foundation Grant (2005), has been an artist in residence at Yaddo (2012), was a 2012 NYFA Fellow in Interdisciplinary Work, and was nominated for the Rema Hart Mann Foundation Grant in 2014. UF REFLECTIONS
RUIN RISING - 2013 - ACRYLIC ON CANVAS, SINGLE CHANNEL VIDEO 1:35
2 0 0 2 - BFA , PA INT ING , EAST CA ROLINA U NI VER S I T Y
2005 - MFA , PA I NT I NG, UNI VER S I T Y O F F LO R I DA
2 0 07 - J UST SUPPOSE: PHOTOG R A PHS BY JERRY UELSMA N N A ND MAGGI E TAY LO R
45
NOT FOR LONG, MY FORLORN - 2011 - 48” X 48” - ACRYLIC, GLIT TER, INK, STICKER AND WATERCOLOR ON PAPER
1980 - B OR N SA N DI EGO, CA
2009 - F R ESH F R OM C HEL S EA
46 | KYMIA NAWABI
Kymia Nawabi K Y M I A N AWA B I .CO M
From being raised without religion and a taught faith, I have developed an ever-growing, uneasy consciousness of mortality. This memento mori has triggered my curiosity for spirituality, which fascinates and puzzles me prompting me to begin investigations on such matters. My work stems from this research, which currently includes: religions from around the world, Alchemy, Masonic Lodges as well as Greek and Egyptian mythology. Through
HAVE FAITH IN THE OUROBOROS - 2011 - 72” X 78” - INK AND WATERCOLOR ON PAPER
my findings I have adopted gods, mythological creatures, legends
Kymia has been a visiting artist at Davidson College (2015), East
and burial ceremonies from different cultures as a way of creating
Carolina University (2014, 2012, and 2009), University of Florida
my own belief system.
(2012) and Westchester Community College (2010). Nawabi was invited and has been a speaker at the Brooklyn Art Library (2014),
With these insights, I confront and decipher death by inventing
the commencement speaker for the ECU College of Fine Arts (2012),
a mythology of characters, landscapes and metaphors that
and a panelist for the NYFA fellowships (2012, 2011).
symbolize death, the afterlife, rebirth, spirits and souls. In my allegorical drawings, I present the viewer with moments of
Nawabi’s works have been showcased in prestigious spaces,
enlightened, transcendental states of our existence to bring on
including her solo exhibition, Not For Long, My Forlorn, at the
existential knowledge of what happens when the spirit leaves
Brooklyn Museum (2011-2012), the Greenville Museum of Art (2014)
the body and, perhaps, what happens to us as we pass on.
and the Queens Museum, International Biennale (2009).
BIOGRAPHY
UF REFLECTIONS
Kymia Nawabi (b. 1980), a first generation Iranian-American,
My time at UF caused many significant shifts for me in my life.
is a multidisciplinary artist working in drawing, painting and
Firstly, I came out of my shell through making close friends,
sculpture. Nawabi graduated with a BFA in drawing and painting
which was a huge deal for me at the time because I was a 23
from East Carolina University in 2003 and went on to attend the
year old with social anxiety disorder. I found myself in the most
University of Florida for her Master degree. After receiving her MFA
supportive and happy community that brought me out of my
in drawing and painting in 2006, Kymia left the south and moved
illness. Attending UF, my work hit new levels formally and
to New York City to continue her work. Since then, she has earned
conceptually also. My incredible professors directed my attention
several prestigious residencies and awards for her art including:
to my strengths, which tied in my drawing skills. With this
The Keyholder Residency with the Lower East Side Printshop
realization, my work took on a new process, scale, mythology and
(2012), winner of the reality TV series Work of Art (2011), grant and
sophistication altogether. While making my art, I also worked at the
fellowship in drawing with The New York Foundation for the Arts
University Gallery and as a drawing instructor via my assistantship,
(2009), two-time Swing Space recipient with The Lower Manhattan
while writing my thesis and finally delivering my oral defense.
Cultural Council (2009, 2007), Nominee and Fellowship with the
Overall, I received an exciting, nurturing and well-rounded program
Aljira Emerge 10 Program (2008) and Fellowship and Residency
of training on how to be a thriving, professional artist.
with The Women’s Studio Workshop (2007).
2 0 0 3 - BFA, DRAW ING / PA INT ING , EAST CA ROLINA U NI VER S I T Y
2006 - MFA , DR AWI NG, UNI VER S I T Y O F F LOR I DA
2 0 10 - LE AF AN D BA RK A ND LIMB A ND BOU G H: 20 YEA R S OF WOODL A ND PA I NT I NGS BY JER RY C UT L ER
47
KING COUNTY YOUTH SERVICE CENTER, SEAT TLE, WASHINGTON, 2 - 2010 - 24” X 38” - PHOTO PRINT
ORIENTATION TRAINING PHASE, YOUTH OFFENDER SYSTEM, PUEBLO, COLORADO, 1 - 2010 - 24” X 38” - PHOTO PRINT
1947 - BOR N NEW YORK, NY
2010 - ONLINE MA PROG R A M IN A RT EDUCAT I O N ES TA B L I S HED
48 | RICHARD ROSS
Richard Ross RICHARDROSS.NET | JUVENILE-IN-JUSTICE.COM
Nine years, three Hundred sites, thirty-five states and interviews with over 1,000 kids. Looking at the nadir of the American Justice system and how it manifests its worst onto children and specifically children of color. The work gives audience to these children who have no voice, families that have no resources and communities with little power. It is punishing but the most rewarding work I have done. Although the work has been exhibited in galleries and museums, it is also given to advocates to strengthen arguments, supplement data and confirm that there are lives in the balance. The images have been shown in the US Senate rotunda, the US House and Senate and Supreme Court briefs. While the aesthetics are built on the tools learned in Florida, the politics were formed as a grad student in political science at Syracuse. The work is a synthesis resulting in a tool for social
Ross’s work has been exhibited at the Tate Modern, London;
activism. It is ongoing.
National Building Museum, Washington D.C; British Museum, London; Palais de Tokyo, Paris; Aperture Gallery, New York; ACME.
BIOGRAPHY
Gallery, Los Angeles; and the San Francisco Museum of Modern
Ross has been the recipient of grants from the National
Art, San Francisco. He was the principal photographer for the
Endowment for the Arts, the Annie E. Casey and MacArthur
Getty Conservation Institute and the Getty Museum on many of
Foundations. Ross was awarded both Fulbright and Guggenheim
their architectural projects. He has photographed extensively for
Fellowships. His most recent work, the -- In Justice series, turns
the New York Times, Los Angeles Times, SF Examiner, Vogue,
a lens on the placement and treatment of American juveniles
COLORS, Time, Newsweek, Le Monde and many more. A dozen
housed by law in facilities that treat, confine, punish, assist and,
books of his work have been published including Girls in Justice
occasionally, harm them. Currently, two books and traveling
2015, Juvenile in Justice 2012, Architecture of Authority (Aperture
exhibitions of the work are used to collaborate with juvenile
2007), Waiting for the End of the World (Princeton Architectural
justice stakeholders, using the images as a catalyst for change.
Press 2005), Gathering Light (University of New Mexico 2001)
A third book of this series Juvie Talk: Unlocking the Language
and Museology (Aperture 1988). Ross is a Distinguished Professor
of Lockdown is in production and will be accompanied by stage
of Art at the University of California, Santa Barbara, where he has
direction from Peter Sellars.
taught since 1977. Ross is represented by Ronald Feldman Fine Arts in New York. UF REFLECTIONS
Micanopy, Alligators, the Original Pizza Palace, Neddy, Jim, Cissy, O’Conner, Mason, Marcia, Betsy, Kerslake, Kraver, Kremgold, Gainesville Sun, Sex, Hippodrome, Weed, Mushrooms, High Springs, Blue Springs, Jenny Springs, 5th Avenue, Mama Los, ROMO, Randy, Pres N Eds, Primrose, Charlotte, Ursula, Kaminsky, Todd, Ulesmann, Photo, Print, Grits, Ocala, Disneyworld, Jack, Patience, Mal, Suki, Jim, Charlie Wax, Alachua County Fair, Gibbtown, St. Augustine, Steak and Brew, Danko, Ocala Canoe, Cross Creek, Suwannee, Tubing, Humidity, Love Bugs.
MENDOTA JUVENILE TREATMENT CENTER, MENDOTA, WISCONSIN, 1 - 2009 24” X 38” - PHOTO PRINT
1 967 - BA, POLI TI CAL SCIENCE, UNIVERSIT Y OF V ER MONT
1 97 3 - MFA , PHOTO GR A PHY, UNI VER S I T Y OF F LOR I DA
2 0 11 - SCULPT UR E A ND PA INT ING : RECENT WOR KS BY WI L L I A M KI NG A ND CONNI E FOX
49
Matthew Schreiber M AT T H E W S C H R E I B E R . C O M
Schreiber’s use of contemporary technology engages a conversation with ideas of the esoteric, superstition, and the occult. His practice pits the active image of the past against today’s screenbased image culture of slick and banal immediacy. Gandalf, a large fluorescent light sculpture, recreates the composition known as Squaring the Circle, a part of Robert Lawlor’s exercises in Sacred Geometry. It is a drawing in which the act of its completion coincides with a metaphysical change within the drawer. This element is in turn subverted by the mass of power and control cables spilling off the piece’s surface. In Dark Tumbler, a light-lock darkroom door installation (once owned and used by the photographer Art Shay), Schreiber presents a sculptural object that visualizes his constant exploration of light and the lack thereof. By denying the viewers entrance into the Dark Tumber, they are forced to imagine the sensation of darkness within.
BIOGRAPHY
UF REFLECTIONS
Matthew Schreiber was born in 1967 and lives and works in New
I remember working in the studios very late at night. I had so
York City. He holds a BFA from the University of Florida and an
much energy then, sprinting up and down the concrete stairwells
MFA from the School of the Art Institute of Chicago. Schreiber’s
(mad to work)! I would be dazed from painting or whatever and
work has been the subject of numerous solo exhibitions including
then wander through campus at night. The moss with the
Side Show at Johannes Vogt Gallery, NYC; Guilloche at Fireplace
sodium-vapor light pools would pull me along. Sink holes,
Project in East Hampton, NY; Swiss Hall the permanent installation
strange trees, and Krystal Burgers.
at Herzog & de Meuron Residence in Basel, Switzerland; Platonic Solids at the Fort Lauderdale Museum of Art, Fort Lauderdale,
Richard Heipp getting me psyched, confident… pushing. I should
FL; and Ontario, a site-specific installation curated by Ambra
have listened more to what he told me, I still think about it.
Medda in the Miami Design District, FL. His large-scale light
Hundreds of hours of drawing, painting, and experimenting with
installations have been presented at Hyde Park Art Center
Richard, Marcia, Jerry, going out with Margaret Tolbert, meeting
in Chicago. Group exhibitions include The Jeweled Net: Views on
Hiram, working in the stacks at the Art Library, worshipping the
Contemporary Holography at the MIT Museum in Cambridge, MA;
slides projected during Art History, physics, light and holography
Crystalline Lattice, curated by Yongwoo Lee in Gwangju, South
with Ballard. It is all blurry and wonderful in my memory now, the
Korea; Miami Noir at Invisible Exports in New York, NY; Shadows,
whole experience. I was possessed; UF Art was definitely where
Disappearances, and Illusions at the Miami Art Museum; and
I was born.
Group Show at Galerie Almine Rech in Paris, France. Since the mid 1990’s Schreiber has run the Cproject, producing fine art holograms with many of the worlds leading artists. Schreiber’s expertise in the manipulation of light led to over a decade as the producer and protégé of James Turrell, personally overseeing some of the most celebrated works in contemporary art. Schreiber is currently working with Ed Ruscha, Sir Norman Foster, and the Getty on light and holography based projects.
DARK TUMBLER - 2014 - 6’ X 6’ X 8.5’ - PL ASTER AND STEEL BASE, WITH REVOLVING DARKROOM DOOR
1967 - B ORN CLEV EL A ND, OH
50 | MATTHEW SCHREIBER
GANDOLF - 2014 - 6’ X 6’ X 2.5’ - CHALK, OIL PASTEL, UV LIGHT, LUMBER AND ELECTRONICS
1989 - BFA, PAI NT ING , UNIVERSIT Y OF F LOR IDA
1 9 93 - MFA , A RT A ND T EC HNOLOGY, S C HOOL O F T HE A RT I NS T I T UT E O F C H ICAG O
2 0 11 - WARPHAUS A ND 4MOST G A LLERY OPENS
51
12 SILK SCREEN POSTERS - 24” X 18” EACH - SILKSCREEN PRINT ON PAPER
1982 - BORN H OLLYWOOD, F L
2012 - EMER GENC E & S T R UC T UR E
52 | MICHAEL TABIE
Michael Tabie TWOARMSINC.COM
“PIXEL PUSHING, INK-SLINGING, PROFESSIONAL” My work and life are centered in the present, I create for today. My work is not intended to shape the future of human expression, nor does it hold any lofty sense of purpose. However, it is grounded in a few important principles: craftsmanship, an attention to detail, and that sweet spot between concept and execution. I am proud of my work ethic because it is an integral part of my identity. My day ends with my hands and clothes ink stained, my studio a mess, and physically holding a finished piece in my hands. This is who I am, but more importantly, this is what makes me happy. BIOGRAPHY
Growing up as a teenager in suburban Florida, Michael Tabie explored letterforms through vandalism and graffiti. He later went on to attend the University of Florida being accepted into the highly competitive, Computer Integrated Studio program. During his time at the University of Florida, he majored in Graphic Design, studied printmaking and art history. He was accepted into the 2004 and 2005 Ligature juried design exhibitions, and was awarded the first ever “Rebel Award”, and “Best in Show”. A few
His work made during his three years at Lure, received recognition
of Michael’s prints were also added to the Amity Art Foundation’s
in the field of design and was published in the 2008-’09 Graphis
permanent collection.
Poster Annual, Communications Arts annual 2008, and 2009 Gigposters Book Volume One. He also won a Silver ADDY in 2007
After graduating from the University of Florida in 2005, Michael
for his work with Think Creative Agency. Michael moved to New
worked with the award winning design firm, Lure Design, in
York City in 2009. He began working as a freelancer and worked
Orlando Florida. It’s here that he was introduced to silkscreened
with several large branding and packaging firms.
rock posters. These posters gave him the opportunity to combine his love of design, art and typography through printmaking.
In 2010 Michael opened Two Arms Incorporated with longtime friend, partner, and future wife Karen Goheen. Two Arms is a boutique design and illustration studio known for their gritty style of illustration and custom typography. Two Arms was a featured designer in the MOMA Design store in 2013, and a Featured Studio in the Herb Lubalin “Portrait of the Studio” showcase. Two Arms was included in the 2014 Communications Arts Illustration Annual. Two Arms continues to work with large corporate clients, as well as small startup brands, still finding time to create posters, and art prints for their own line of handmade screen-printed goods. UF REFLECTIONS
“Good-good art, or Good-bad art, or Bad-good art?” During my time as a student I lived alone and hated my apartment so the studio was my home. We had the same desk in the same room for two years. I was one of a few students who didn’t have a laptop so I spent most of my time in the studio surrounded by posters, knickknacks, paper, books, ink and supplies. The late night antics, artistic mischief, and gang of student ghetto art kids; these are some of the fondest memories I have.
2005 - B FA , GR A PHI C DES I GN, UNI VER S I T Y OF F LO R I DA
53
Maggie Taylor
PHOTO COU RT ESY OF R A NDY BATIS TA
M A G G I E T AY L O R . C O M
This pair of images titled “The
Taylor’s work is featured in No Ordinary Days (distributed by
burden of dreams” reflects my
University Press of Florida, Gainesville, FL 2013); Adobe Photoshop
joy and frustration with the
Master Class: Maggie Taylor’s Landscape of Dreams, Peachpit
creative process. Whether the
Press, Berkeley, 2005; Solutions Beginning with A, Modernbook
man and woman are having
Editions, Palo Alto, 2007; Alice’s Adventures in Wonderland by
ideas, dreams or memories,
Lewis Carroll, Modernbook Editions, Palo Alto, 2008; and Album,
they are each involved in their
Edizioni Siz, Verona, Italy, 2009.
own world. Each has a unique inventory, and only one object
UF REFLECTIONS
appears in both versions.
The photography program at UF changed my outlook on life
The image is completed by
and art in profound and surprising ways. My teachers, Jerry
the viewer—there is no
Uelsmann, Evon Streetman, Wally Wilson and Martha Strawn
single interpretation that is
were exceptionally supportive and pushed me to create a type
correct. The way that I work
of work that was more personally meaningful.
involves scanning 19th century photographic portraits and adding or subtracting as needed to create a finished piece. Most of these images take weeks or even months to complete, and these two were exceptionally labor intensive due to the number of layers. Each small object was scanned or photographed in my studio or my immediate environment here in Gainesville. As the objects are some of my personal favorites from my studio, I see them as a form of self-portrait. BIOGRAPHY
Maggie Taylor is an artist who lives amid the Spanish moss and live oaks at the edge of a small swamp on the outskirts of Gainesville, Florida. She was born in Cleveland, Ohio, in 1961, and moved to Florida at the age of 11. Her childhood was spent watching countless hours of situation comedies and science fiction on television; later she received a philosophy degree from Yale University. A little later she got a master’s degree in photography from the University of Florida. Taylor’s digital composites have been widely exhibited and reside in the collections of museums including: the Center for Creative Photography, Tucson, Arizona; George Eastman House, Rochester, New York; Harn Museum of Art, Gainesville, Florida; Harry Ransom Center, the University of Texas, Austin, Texas; High Museum, Atlanta, Georgia; Museum of Fine Arts, Houston, Texas; Ogden Museum of Southern Art, New Orleans, Louisiana; the Art Museum, Princeton University, Princeton, New Jersey; the Cleveland Museum of Art, Cleveland, Ohio; the Fogg Art Museum, Harvard University, Cambridge, Massachusetts; the Nelson-Atkins Museum of Art, Kansas City, Missouri; and the Santa Barbara Museum of Art, Santa Barbara, California.
THE BURDEN OF DREAMS - 2012 - 50” X 50” - DIGITAL PRINT
19 61 - BORN CLE VE L A ND, OH
201 3 - GR A DHAUS OPENS
54 | MAGGIE TAYLOR
THE BURDEN OF DREAMS - 2013 - 50” X 50” - DIGITAL PRINT
1983 - BA , PHILOSOPHY, YA L E UNI VER S I T Y
1 9 8 7 - MFA , PHOTO GR A PHY, UNI VER S I T Y O F F LO RIDA
2013 - G A R DEN OF T HE HEA RT ’ S DES I R E: PER S I A N T EX T I L ES F R O M T HE CO L L EC T I O N OF MA HI N G H A N BA RI
55
THE VOLUPTUOUS HORROR OF METAPHOR - 2011 - 66” X 52” - OIL ON CANVAS
1961 - BORN W EST PA LM BEACH, F L
2014 - SA +A H U R BA N A RT S PAC E ES TA B L I S HED AT UF ’ S I -S QUA R E
56 | KEN WEAVER
Ken Weaver K E N W E AV E R A R T. C O M
PHOTO COURTESY OF JORGE COLOMBO
The paintings in this exhibition are from
BIOGRAPHY
my recent solo show ‘Requiem for the
Ken Weaver is an artist who lives and works in Brooklyn, New York.
Immortal’, a pictorial opera based on
He received his BFA from the University of Florida and MFA from
the classic story of Faust. Within these
Long Island University. He has had solo exhibitions at Schroeder
works, I play the devil’s messenger
Romero Gallery in New York, G-Module Galerie in Paris, Heather
Mephistopheles, the demonic seducer
Marks Gallery in San Francisco, Regen Projects in Los Angeles
showering Faust with unlimited
and Galerie EXPRMNTL in Toulouse, France. His work has been
creativity and an embarrassment of
featured in group exhibitions worldwide, Art Basel in Miami, Frieze
riches. My Mephisto is both tempter
London and the Armory Show in New York. His work has been
and guide, embodying the passion and
reviewed in numerous publications including Art Forum, Flash Art,
the ego of the artist’s self. As such, I
Frieze, Modern Painters, the New York Times and the Los Angeles
become my own demon muse, taking
Times. His paintings have been used for various music album
on the form of a violent artistic warrior,
covers and is featured on the cover of Slavoj Zizek’s book of essays
forging personal and creative growth in the face of all obstacles.
‘Plague of Fantasies’. Weaver is the lead singer of the Brooklyn
My Mephisto is the shaman and guru emancipator inside us all,
based heavy metal band GROWLER, and is currently studying the
a passionate reminder that time is short and there is much to
Japanese style of dance known as Butoh.
accomplish. It is within this guise that I find my creative force, and partake in the celebration of all artistic and hedonistic activities.
UF REFLECTIONS
It may seem overly dramatic to say, but one event changed the course of my life. I had originally transferred to the University of Florida as an architecture major AA junior level. For my first semester I was allowed to take an elective landscape painting class. During the afternoon session a typical Florida rainstorm raged through campus, and I was the only one in the class crazy enough to stay outside and paint throughout the storm. That painting was horrible, but the advisor of the Art College at the time, Don Murray, was watching and took note of my heroics. Later that day he approached me with the proverbial offer I could not refuse, drop architecture for fine arts, and enter the college at junior level for studio painting. I accepted his offer and never turned back. It was then that I met two mentors who would shape the artist I was to become, Professors Richard Heipp and Jerry Cutler. I condensed a decade’s worth of study into the next two years with their help. Professor Cutler was the consummate formalist who pushed me to excel within the nuts and bolts of the craft, while Professor Heipp was the radical thinker who challenged me to think outside of the creative box. They both helped me strive to achieve more than I ever thought possible, and I will be forever grateful to the University of Florida for this profoundly life changing experience.
REQUIEM FOR THE IMMORTAL - 2010 - 86” X 68” - OIL ON CANVAS
1984 - BFA, PAI N TI N G , U NIVERSIT Y OF F LORIDA
1 9 8 7 - B FA , PA I NT I NG, LONG I S L A ND UNI VER S I T Y
57
Yang Qian YA N G Q I A N . A R T R O N . N E T
To have chosen currency as subject of my work demonstrates my skepticism on the recent rapid inflation of value. It seems to be a mathematical increase on the surface, which can be extended to the art market or the issue of value, but it is in fact a deflation and depreciation. It is an over calculated evaluation. There are errors in our value judgments, such error is like Arabian Nights. That is why I have changed the face value of the currency to 1001.
BIOGRAPHY
Qian Yang received his BA degree from Sichuan Fine Arts Institute, Chongqing, China in 1982, and he received his MFA degree from University of Florida In 1988. Currently he lives and works in Beijing. He has shown his works internationally in venues including the such as 55 Venice Biennale/International Art Exhibition, Italy; Seville Biennale, Spain; Busan Biennale, Korea; Museum of Contemporary Art at ZKM, Debrecen MODEM Art Center, Hungry; Art Santa Monica, Barcelona, Spain; 6th and 9th Shanghai Biennale; Asia Art Museum, San Francisco; Czech National Art Museum; and the National Museum of Contemporary Art, Seoul, Korea. Yang’s works are included in the collection of National Museum of Art, Beijing; K21 Museum for Contemporary Art, Germany; Guang Dong Art Museum, Guangzhou,Shanghai; Zhengda Museum of Modern Art; Fondazione Cassa di Risparmio in Bologna, Italy and the Uli Sigg Foundation. UF REFLECTIONS
I was very lucky to study at University of Florida in 1980s since there was no free art education in China during that time. The most important thing I learned during my MFA study was to be free and open. It seems simple but hard to insist without getting any negative influence from commercial world. I hope I shall always be free and open in my life.
LENGEND1001 NO.2 (DETAIL)
1959 - BORN CHENG D U, CHINA
201 4 - 5 0 TH A NNUA L FAC ULT Y EX HI B I T I ON T HE HA R N MUS EUM O F A RT
58 | YANG QIAN
LENGEND1001 NO.2 - 2009 - 78”X 118” (200 X 300 CM) - SHREDDED MAGAZINE AND COPIES OF CURRENCY ON CANVAS
1 982 - BA, SI CHUAN F INE A RTS INST IT U T E, CHONG QING , CHI NA
1 9 8 8 - MFA , PA I NT I NG, UNI VER S I T Y OF F LOR I DA
2014-2015 - UNIVERSIT Y GA L L ERY C EL EB R AT ES 5 0 Y EA R S
59
COOL IS DEAD - 2013 - 23˝ X 17˝ - SCREEN PRINT VISITING ARTIST: YOSHUA OKÓN - 2007 - 28˝ X 22˝ - SCREEN PRINT
SILVERSUN PICKUPS AT THE GREEK THEATER - 2010 - 24˝ X 18˝ SCREEN PRINT
1979 - B ORN E UGE N E, OR
60 | FLORENCIO ZAVALA
BEYOND THE HORIZON - 2007 - 30.5˝ X 25.5˝ - SCREEN PRINT
Florencio Zavala F LO R E N C I O Z AVA L A . C O M
As far as design objects go, the poster is as pure as it gets - a piece of paper marked by a combination of type and image. And yet in that simplicity is power - to inform, to entertain, to manipulate, to excite and provoke. Posters are delicate. As ephemeral objects they come and go. Their meanings change over time. In this moment they are functional and utilitarian, charged by the anticipation of an experience. Tomorrow they are nostalgic artifacts, a physical record of the past. I have created at least a hundred posters in my career and will create hundreds more - a medium that never goes out of favor or style. The bulk of this collection was designed and printed at CalArts from 2005-2007. Printing techniques range from offset to screen print to diazo print to digital output. Collaborators include Victor Hu, Tanya Rubbak, Tiffany Malakooti and Gundula Prinz. BIOGRAPHY
In February 2014, Florencio joined BBH LA as Head of Design. He
Florencio Zavala is an accomplished designer, illustrator and fine
lives and works in the Highland Park neighborhood of East Los
artist, having exhibited his work in New York, San Francisco, Tokyo
Angeles with his wife and two daughters.
and Los Angeles. He graduated from the University of Florida graphic design program in 2001. Florencio received the ADC Young
UF REFLECTIONS
Gun cube in 2009 and was featured in the 24th International
My UF experience could not have started in a more perfect place
Biennial of Graphic Design Brno 2010.
then in WARP, directed by whom I consider my first creative mentor, Monika Lidman. Her approach to art education was a completely
Florencio began his artistic career in Los Angeles, California at
immersive experience. She also showed a great deal of respect for
Blk/Mrkt, a design studio helmed by artist and designers Shepard
students - pushing radical thinking and exposing us to contemporary
Fairey and Dave Kinsey.
art and practices. My first ever exhibited work was shown at Verkstad, a live/work space she shared with her husband John.
He left in 2003 to help establish Fairey’s Studio Number One, working as an Art Director for brands such as Virgin Megastore,
The Graphic Design program was equally nurturing and the studio
Interscope Records and Toyota. During this time the studio
felt akin to a real work environment - long hours, communal meals,
launched Swindle, a street culture publication, featuring in-depth
impromptu critiques. The camaraderie brought us together but it
and rare interviews with the likes of Banksy, Billy Idol, Lee Ving
also pushed us and the work. This manifested most impressively
and Damien Hirst.
during Ligature, our end of year design symposium. It was actually here at Ligature that my professional career began. The
After pursuing his graduate studies at Cal Arts (2005-2007),
connections made led to an internship, my first job and eventually
Florencio returned to SNO as ACD and Studio Manager,
my move to LA.
spearheading the Dewar’s White Label and Obey Clothing accounts. In 2011 Florencio joined digital agency JESS3 as Creative Director of Content, producing data visualizations, short films, social campaigns and interactive installations for clients including Google, Harvard, Intel, AMEX and HBO. During his tenure at JESS3 the agency was awarded 2012 Small Agency of the Year as well as being listed 430 on the Inc. 500.
2 0 0 1 - B FA, GRAPH I C D ESIG N, U NIVERSIT Y OF F LORIDA
2005 -2007 - GR A DUAT E S T UDI ES AT CA L A RTS
2015 - FA BL A B A ND MINT OPEN AT UF ’ S I NF I NI T Y HA L L
61
ACKNOWLEDGEMENTS
The College of the Arts & School of Art + Art History at the University of Florida gratefully acknowledge the support for this exhibition and publication by the following patrons: Billie Brown David & Morgan Claytor Jennifer & Channing Coolidge Michael Hastings & Morris Hylton III Richard Heipp Marcia Isaacson Mernet Larsen Jawshing Arthur Liou Daniel McFarlane Yang Qian Matthew Schreiber
Thank you to the SA+AH office staff Oaklianna Caraballo, Paulette Chaplin, and
Ken Weaver
Patrick Grigsby, for their assistance in the
and the
production of the catalog and the entire
Fredric G. Levin College of Law
gallery staff for their assistance in the installation of this exhibition.
SA+AH Sculpture Development Fund
This publication accompanies the exhibition SÄ€ + Ă„H Alumni Invitational Exhibition: Image / Object / Idea, on view from September 8 through October 8, 2015, in the University Gallery at the University of Florida. Editors: Richard Heipp, Bryan Yeager Catalog design: Hatchet Design, LLC All rights reserved. No part of this publication may be reproduced in any manner without permission. All images belong to the artists, reproduced with the kind permission of the artists and/or their representatives.
I SBN: 9 78 - 0- 9 9 111 7 1- 6 -1
62 | ACKNOWLEDGEMENTS
S A + A H FA C I L I T I E S
AP P L I C AT I O N D E AD L I N E S
This catalog printed on FSC Certified paper from
UNDERGRADUATE
GRADUATE
Freshman: November 1st
PhD, MA: January 1st
Junior Transfer: March 1st
MFA: February 1st
responsible forestry.
arts.ufl.edu
201 5 - SĀ +Ä H A LUMNI EX HI B I T I O N
63
A SELECTION OF ALUMNI WITH CAREERS IN THE ARTS (CONTINUED) | Amanda Kimble - MA - Development - St. Petersburg Museum of Art - St. Petersburg FL | Kathy King - MFA - Instructor - Director of Education - Ceramics Program - Arts at Harvard - Boston MA | Lauren Lake - MFA - Associate Professor - Chairman Art and Art History - University of Alabama - Birmingham AL | Thomas Earl Larose - MA - Associate Professor - Art History - Virginia State University - Petersburg VA | Mernet Larsen - BFA - Faculty (Retired) - University of South Florida - Tamap FL | Preston Lawing - MFA - Associate Professor - St. Mary’s University of Minnesota - Winona MN | Cindy - Li - BFA - Product Designer - Design Rabbit - San Francisco CA | Carrie Smith Libman - MFA - Assistant Program Manager at PNC - Pittsburge PA | Hui Chi Lee - MFA - Assistant Professor, Appalachian State University - Boone NC | Jawshing Arthur Liou - MFA - Director and Professor - Hope School of Art - Indiana University - Bloomington IN | Jen Louis - BFA - Global Strategy at Facebook London - London - England | Ashley Lowery - MA - Digital Collections Librarian - Georgia Southern University - Statesboro GA | Miguel Luciano - MFA - Miguel Luciano Studio - NY - Brooklyn NY | Dandan Luo - R/GA - Senior User Experience Designer - New York NY | Alicia Sumner - Mack - BFA - Instructor - University of South Carolina - Columbia SC | Ashley Vladem - Mady - BA - Founder of Brandberry - Boca Raton FL | Erika Mahr - BFA - Assistant Professor - SUNY Westchester Community College - Valhalla NY | Tammy Marinuzzi - MFA - Professor - Gulf Coast State College - Panama City FL | Thuvia Martin - BA - School and Family Program Manager - History Miami - Miami FL | Lauren - Matisoff - MA - Lead educator Mission San Luis - Tallahassee FL | Julie Henry - Matus - MA - Curator of Education - Tampa Bay History Center - Tampa Bay FL | Freeman - McArthur - BFA - Assistant Professor - University of South Florida - Tampa FL | Sean McCaughan - BA - Editor - Curbed Miami - Vox Media - Miami FL | Missy McCormick - MFA - Ceramics Faculty - Youngstown State University - Youngstown OH | Daniel McFarlane - MFA - Visiting Lecturer - Sam Houston State University - Houston TX | Prita Meier - BA - Assistant Professor - University of Illinois - Urbana/Champagne IL | Lorie Mertes - MA - Assistant to the Director of Special Projects - National Museum of Women in the Arts - Washington DC | Courtney Micots - MA - Researcher - Asiedu Institute | Jeremy Mikolajczak - MA - Executive Director and Chief Curator - The Museum of Art + Design at Miami Dade College - Miami FL | Maile Miller - MA - Associate Director - Individual Gifts for Dr. Phillips Center for Performing Arts - Orlando FL | Marilyn Minter - BFA - Marilyn Minter Studio - New York NY | Jason Mitcham - MFA - Jason Mitcham Studio - New York NY | MacKenzie Moon-Ryan - PhD - Assistant Professor - Rollins College - Winter Park FL | Patrick Moser - MFA - Professor - Flagler College - St. Augustine FL | Matt Mulder - BA - Executive Creative Director - Digital Kitchen - Seattle WA | Tina Mullen - MFA - Director of Shands Arts in Medicine, UF - Gainesville FL | Laurie Myers - MA - Lecturer - Arts - Languages - and Philosophy - Missouri S&T | Kymia Nawabi - MFA - Kymia Nawabi - New York NY | Laura Nemmers - MA - Registrar for the Harn Museum of Art - Gainesville FL | Lorene Nichols - MFA - Professor - Ceramics - Mary Washington - Fredericksburg VA | Kelly O’Neill - MA - Painting Conservator - ArtCareMIA - Miami FL | Tracey Pfaff - MA - Gallery Director - Mark Murray Gallery - New York NY | Giang Pham - MFA - Assistant Professor - University of Alabama - Tuscaloosa - Tuscaloosa TN | Shawna Pies - MA - Director at The Children’s Museum of Bloomsburg - PA - Bloomsburg PA | Laura Randall - MA - Registrar - Rubell Family Collection - Miami FL | Betsy Reed - MA - Gallery Coordinator at WARPhaus Gallery - Gainesville FL |
Christopher Richards - MA -
Curator of Photography - Ringling Museum of Art - Sarasota FL | Chloe Richardson - MA - Collections Technician - Planet Hollywood - Orlando FL
|
Leslie Robison - MFA - Associate Professor - Department Chair - Flagler
College - St. Augustine FL | Richard Ross - MFA - Distinguished Professor of Art - University of California Santa Barbara - Santa Barbara CA | Michael Rowland - MA - Museum of Aviation - Robbins Air Force Base - Warner Robbins GA | Sydney Royal - MA - Des Moines Art Center - curatorial and registration work - Des Moines IA | Jennifer Sabo - MA - Executive Director - VSA Florida - Tampa FL | Lourdes Santamaria Wheeler - MA - Exhibits Coordinator for the George A. Smathers Libraries - Gainesville FL | Matthew Savage - BA - Assistant Professor - School of Art - Louisiana State University - Baton Rouge LA | Bill Schaaf - BFA - Bill Schaaf Studio - Gainesville FL |
Matthew Schreiber - BFA - Matthew Schreiber Studio - NY - Brooklyn NY |
Amy Schwartzott - PhD -
Lecturer - Coastal Carolina University - Conway SC | Tony Shipp - MFA - Associate Professor - Sam Huston State University - Huntsville TX | Stephanie - Silberman - BA - The Gabrielle Foundation and LACMA - Los Angeles CA | Keith - Smith - MFA - Tenured Professor - Ceramics/Sculpture - Kennessaw State University - Woodstock GA | Sarah Smith - MA - Collections Manager - Ruth Funk Center for Textile Arts - Melbourne FL | Hannah Soh - MA - Collections department at Smithsonian National Air and Space Museum - Washington DC | Margaret Sotrop BA - Senior Creative Director - Macy’s Home Store - New York NY | Nicole Soukup - MA - Art Liaison - Minneapolis Museum of Art - Minneapolis MN | Jane Spangler - MFA - Executive Director of Strategic Initiatives - University of Pittsburgh - Pittsburgh PA
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Jessica Theaman Spirer - MA - Development Director - Center for Student
Opportunity - Washington DC | Sandra Starr - MA - Senior Researcher - Smithsonian National Museum of the American Indian - Washington DC | Todd Steinemann - BFA - Director - User Experience + Product Design - Cox Communications - Atlanta GA | Dan Stepp - BFA - Faculty, Santa Fe College - Gainesville, FL | Amanda Streeter Trum - MA - Collection Managerat Montana Historical Society - Helena MT | Shantanu Suman - MFA - Graphic Designerm Open Door Design Studio (ODDS) - Ashville NC | Matt Sung - BFA - Creative Director - Makerbot - New York NY | Andrea Sutphin - MA - Course Director - Full Sail University - Orlando FL | Michael Tabie - BFA - TwoArms - Inc - Brooklyn NY | Maggie Taylor - MFA - Maggie Taylor Studio - Gainesville FL | Leslie Tharp - Leslie Tharp Designs - Gainesville FL | Jessica Theaman - MA - Development Department of the Archives of American Art - Washington DC | Chris Thomas - BFA - Design Team - Jet Blue - Long Island City NY | Barbara Thompson - MA - Cantor Center for the Arts - Stanford CA | Michelle Threadgill - MA - Collections Manager at the Utah Museum of Fine Art - Salt Lake City UT | Kim Tinnell - MA - Consultant Associate for Informal Learning Experiences Inc - Denver CO | Margaret Tolbert - BFA, MFA - Margaret Tolbert Studio - Gainesville FL | Terry Towery - MFA - Associate Professor of Art - Lehman College CUNY - New York NY | Maria Trujillo - MA - Education Coordinator - Wolfsonian Museum at Florida International University - Miami Beach FL | Sarah Truman - Post-bacc - Faculty - Gainesville High School - Gainesville FL | Bruce Turkel - BFA - CEO Turkel Brands - Miami FL | Lauren Turner - MA - Curatorial Assistant - Ackland Art Museum - University of North Carolina - Chapel Hill NC | Jeremy Underwood - MA - Exhibition Project Manager - Atlanta history Center - Atlanta GA | Chris Valle - MFA - Associate Professor - Painting - University of Tampa - Tampa FL | Gianina Valle-Gilbreath - BA - Hagen Galleries - Nashville TN | Ethel Villafranca - MA - Administration Head at Lopez Memorial Museum and Library - Metro Manila - Philippes | Ellen Walker Pitts - MA - Graduate Business Intern at Samuel P. Harn Museum of Art - Gainesville FL | Monica Walker-Vadillo - MA - Assistant Professor - Hite Art Institute University of Louisville - Louisville KY | Greg Watts - MFA - Dean - College of Visual Arts and Design - University of North Texas - Denton TX | Ken Weaver - BFA - Ken Weaver Art - Brooklyn NY | John Westmark - MFA - John Westmark Studio and Westmark Design and Illustration - Gainesville FL | Chase Westfall - BFA - Director, Protocol Gallery - Gainesville FL | Vagner Whitehead - MFA - Department Chair - Art and Art History - Oakland University - Rochester MI | E. Michael Whittington - MA - President and CEO - Oklahoma City Museum of Art - Oklahoma City OK | Douglas Whittle - MFA - Faculty Associate - Educational Travel - Madison WI | Wynne Wilber - MFA - Professor - Truman State University - Kirksville MO | Edward Walton Wilcox - BFA - Edward Walton Wilcon Studio - Los Angles CA | Kalina Winska MA - Assistant Professor - Painting/Drawing - Valdosta State University - Valdosta GA | Michelle Wirt - MFA - Associate Professor - College of Central Florida - Ocala FL | Ibett - Yanez - MA - Director - de la Cruz Collection - Miami FL | Qian Yang - MFA - Qian Yang Studio - Beijing - Beijing - Cna | Cynthia Young - MFA - Studio Artist - Faculty - Pittsburgh Center for the Arts and Point Park University - Pittsburgh PA | Dede Young - MA - Director of Galerie Lelong - New York NY | Mona Young - BA - Assistant Director of Admission - Art Institute of Raleigh-Durham - Durham NC | Florencio Zavala - BFA - BBH LA - Big Skills - Los Angeles CA | Yue Zhang - MA - Director - Canadian Society for Asian Arts - Vancover Canada
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School of Art + Art History
101 Fine Arts Building C Gainesville, FL 32611 Phone: 3 5 2 . 3 9 2 . 0 2 0 1
arts.ufl.edu