tv legend - Maryland Institute College of Art

Transcription

NEWS, EVENTS, & EXHIBITIONS
September–October
’14
Find up-to-date event details and expanded
information at fyi.mica.edu.
MARYLAND INSTITUTE COLLEGE OF ART
TV LEGEND
Special Focus:
FILMMAKING
DAVID JACOBS ’61 REFLECTS ON
CREATING AWARD-WINNING TELEVISION
SHOWS DALLAS AND KNOTS LANDING
COMEDY CENTRAL
CUTTING-EDGE
GRADUATE
FILMMAKING
PROGRAM TO
LAUNCH
ABBI JACOBSON ’06
TURNS WEB SERIES
INTO HIT TELEVISION
SHOW, BROAD CITY
AT A GLANCE:
PRESIDENT HOI’S
FIRST WEEKS
On Campus
LOCALLY SOURCED
CONSTITUTION DAY 2014
The Guy Who Leaked
Controversial Top-Secret
Government Documents...
40 Years
before Snowden.
Daniel
Ellsberg
A Discussion on surveillance and civil liberties at
Constitution Day at MICA
September 17, 2014
visit mica.edu/constitutionday for details
CONTENTS
MICA Venues
Special Feature:
Flip magazine over for
more news stories.
Main Building
1300 W. Mount Royal Ave.
Brown Center
Fox Building
Bunting Center
The Gateway
News
SPECIAL FOCUS: FILMMAKING
COMMUNITY AND SOCIAL
ENGAGEMENT
MICA Alumna Could Be
Maryland’s Next First Lady 7
INNOVATION
Events &
Exhibitions
Spring Recap
Lecture: Kelly Rand Lecture: Jutta Koether
Constitution Day Foundation Exhibition
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9/22
34
9/25
37
9/29
42
9/30
41
9/30
Through 9/21
9/2-21
LOCALLY SOURCED
9/8-10/31
Student Exhibitions
9/9
Lecture: Barry Schwabsky
Type Nite Lecture: Box Brown Lecture: Henry Taylor Lecture: Haegue Yang Contributing Editors/Writers: Claire Cianos, Tamara
Holmes, Corey Lacey, Aja Myles
Designer: Becky Slogeris ’11 ’12
Additional MICA Communications Support: Justin Codd,
Allyson Morehead, Michael Walley-Rund, Brenda McElveen,
Bryan Sinagra, and Andrew Copeland ’13.
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Fred Lazarus IV Center
131 W. North Ave.
MICA PLACE
814 N. Collington Ave.
MICA Gallery Hours
Monday through Saturday, 10 am–
5 pm; Sunday, noon–5 pm
Closed major holidays
MICA PLACE Hours
By appointment; contact the
Department of Exhibitions
at 410-225-2280 or
[email protected]
Download MICA’s fyi.mica.
edu events and exhibitions
mobile app for iOS in the
Apple App Store.
Twitter:
@mica_news
YouTube:
MICAmultimedia
David Jacobs ’61:
Larger Than Life 20
Editors/Writers at Large: Jessica Weglein Goldstein ’13,
Dionne McConkey, Lorri Angelloz
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Mount Royal Station
1400 Cathedral St.
facebook.com/
mica.edu
ALUMNI
Cedric Demond Mobley, Associate Vice President of
Institutional Communications
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Lecture: Wayne Koestenbaum 40
Return on Imagination: The
Immeasurable Value of MICA
Scholarships 10
Michael Franco, EdD, Vice President for Advancement
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9/17
Sabbatical Exhibition Samuel Hoi, President
41
9/17
Lecture: Deana Haggag ’13 September
Getting Down to Business 4
41
9/15
16, 25, 28, 34, 43
MFA in Filmmaking Program
Launches Fall 2015 24
CONNECTIONS
Lecture: Patty Chang Retrospective
Through 9/21
NASA Partners with MICA
Students on Short Films 17
9/9
9/16
Empowered by MICA’s Master of
Arts in Teaching Program 8
GLOBAL
Dolphin Building
100 Dolphin St.
LinkedIn:
mica.edu/linkedin
To highlight special affiliations with the College, designations may follow a person’s name, including: Alumnus: year of
graduation; Honorary Degree Recipient: H and year degree awarded; and Parent: P and year of child’s graduation.
Thank you for your support of MICA and its programs! MICA’s exhibitions and public programs receive generous
support from the Robert and Jane Meyerhoff Special Programs Endowment; the Amalie Rothschild ’34 Residency Program
Endowment; The Rouse Company Endowment; the Richard Kalter Endowment; the Wm. O. Steinmetz ’50 Designer in
Residence Endowment; the Rosetta, Samson, and Sadie B. Feldman Endowment; the Maryland State Arts Council, an
agency dedicated to cultivating a vibrant cultural community where the arts thrive; and the generous contributors to
MICA’s Annual Fund. BBOX—Betty • Bill • Black Box—is named for Betty Cooke ’46 and Bill Steinmetz ’50.
Although every effort is made to ensure the completeness and accuracy of Juxtapositions, information does sometimes
change. We suggest you confirm event details by checking MICA’s website at mica.edu, where you will also find driving
directions and a campus map. Events and exhibitions are free and open to the public, unless otherwise noted. To request
disability accommodations, call 410-225-2416 or email [email protected]. For more information, to adjust your
subscription options, or to submit story ideas or comments, email [email protected] or call 410-225-2300.
© 2014 Maryland Institute College of Art
(cover) David Jacobs ’61 (painting), legendary creator of Dallas and Knots Landing, at his home in Los Angeles, California (photo
by Carlos Florez ’06).
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CONNECTIONS
Getting Down to Business
President Samuel Hoi spent the first weeks of July 2014 settling into his new office and getting down to business, meeting with
members of MICA’s extended community to help him set the College’s priorities for the future.
Vice President for Advancement Michael Franco, EdD, pays a visit to Hoi in his still very sparsely appointed office.
Very little furniture has arrived, but it won’t stop Hoi from getting to work.
Sometimes, all you need is a table, a chair, and a laptop.
Hoi discusses workflow and administrative details with Executive Assistant
Marian Smith.
Hoi gets to know the staff team, including Karol Martinez, director of Student Activities.
CONNECTIONS
The senior staff gathers to hear Hoi’s initial plans during his first senior staff meeting.
Vice President for Operations Michael Molla meets with Hoi to talk infrastructure, facilities, and
community engagement.
Vice President for Academic Affairs and Provost Ray Allen (right) provides Hoi and Vice President for
Fiscal Affairs and Chief Financial Officer Douglas Mann (center) with important insight on the academic
workings of the College.
At a staff welcome reception for Hoi, he shares a laugh with MICA staff.
Hoi talks with staff members during his welcome reception.
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CONNECTIONS
This won’t be the last time you see Hoi in cowboy boots.
MICA cordially invites you to...
A Once-in-a Lifetime
Online Live Streaming Event:
The Inauguration of President Samuel Hoi
Join the MICA family as Samuel Hoi is formally inaugurated
as MICA’s new president. The event can be viewed live online:
Friday, October 31, 2014
2:30 pm
mica.edu/inauguration
Please check mica.edu/inauguration prior to the event for
additional details.
COMMUNITY ENGAGEMENT
MICA alumna and adjunct faculty member Yumi Hogan ’08 (painting).
MICA Alumna Could Be Maryland’s Next
First Lady
Chances are when Yumi Hogan ’08 (painting) graduated from college, she was much more focused on exhibiting than on
politics. Fast forward to 2014, and she is ensconced in the art of campaigning, traveling all over the state of Maryland in support of
her husband, Larry Hogan, Jr., the Republican nominee for Maryland governor who served as Maryland Cabinet Secretary under
former Governor Robert L. Ehrlich, Jr.
Since the nomination of her husband, the MICA alumna and adjunct
faculty member has taken center stage. Hogan has been heavily engaged
in the gubernatorial race, with a special focus on the Asian community in
Maryland. The campaign has organized several events for Asian-American
communities across the state, specifically in Howard and Montgomery
counties.
“I am trying to involve more people in the process who normally
have not been included,” she said. “I would be the first Asian First Lady in
Maryland history and would obviously be someone who they feel will listen
to their concerns and make sure that they have a seat at the table, just like
the art and art education community will.”
The Anne Arundel County resident, mother of three, and
grandmother of one, seems to be managing all that life has thrown her
way. Even while she advocates for the positions and platform of the
campaign, art is never far from her heart.
“Art is my life, it has always been, and will continue to be extremely
important to me,” Hogan said. “It’s something that I am very passionate
about and will be an advocate for.”
Raised as the youngest of eight children on a small chicken farm in
South Korea’s southern region, she has always felt a connection to nature
and her surroundings. Through the use of oil and acrylic paints, and most
recently, Asian Sumi ink on Hangi paper and mixed media, Hogan blends
East and West cultures in her work.
“Korea is a lot like Maryland with mountains, and the ocean and the
Bay, the farmlands and wooded forests, and that’s really what has inspired
my landscape abstract work,” she said.
Hogan attended and now teaches at MICA. “I loved being a MICA
student and feel I got an excellent education, and I am thrilled to be back
on the faculty now. It gives me the opportunity to give back and share my
knowledge and experience with my students, and I can understand exactly
what they are going through from the perspective of a former student who
went through the same programs,” she said.
After graduating from MICA, Hogan went on to earn an MFA
from American University in Washington, DC. At the same time, she has
been an active exhibitor—featured in numerous exhibitions in Maryland,
Washington, DC, and South Korea.
If given the opportunity to be Maryland’s next First Lady, the arts
would remain as one of her top priorities. “Of course art and art education
are priorities, and I will stay involved in MICA and the art community,
display artist exhibitions at the governor’s mansion and state house, and
help make more Marylanders aware of the importance of the arts and of
art education,” Hogan said. “My love for MICA will not diminish. In fact, I
hope that I will be able to continue to teach at MICA, even after I become
First Lady of Maryland!”
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INNOVATION
(left to right) Juan Carlos Castro, PhD, ’99 ’00 (photography, Teaching); and Karen Carroll, EdD, dean of the Center for Art Education and Florence Gaskins Harper Chair in Art Education at MICA.
Empowered by MICA’s Master of Arts in
Teaching Program
When Juan Carlos Castro, PhD, ’99 ’00 (photography, Teaching) won the 2013 Manuel Barkan Award—one of the National
Art Education Association’s (NAEA) most prestigious honors—he tied his time in MICA’s Master of Arts in Teaching (MAT)
program to the research that resulted in the win.
“My experience in the MAT program is reflected in my research,” Castro
said. “One of the things the MAT program emphasizes is that you should
connect your research to how it is manifested in actual practice in the
classroom. That idea of practical application is a current that runs through
the whole program, and that’s one of its great strengths. It enables me as a
teacher and in the research I’m doing right now.”
Currently assistant professor of art education at Concordia University
in Montreal, Castro won the Barkan Award at the NAEA’s annual convention
in August 2013. The award is presented annually to an individual who
contributes a product of scholarly merit to the field of art education,
specifically through articles published in the journals Art Education and
Studies in Art Education. Castro was recognized for his research into the
ways social media affects how teenagers learn and how teachers educate
them, as outlined in his Studies in Art Education article, Learning and
Teaching Art through Social Media, published in 2012.
Castro continues to study the shifts that communicative technologies
have caused, particularly social media and emerging mobile media, and is
currently examining how students who dropped out of high school and are
now pursuing a college degree can be better reached using these new tools.
Karen Carroll, EdD, dean of the Center for Art Education and Florence
Gaskins Harper Chair in Art Education at MICA, said that the pragmatic,
real-world foundation of Castro’s research is no surprise, emphasizing, “We
teach our MAT students to do research that matters in the classroom and in
the field of art education.”
Castro added that the program also prepares students to become
successful art teachers, saying, “In terms of being a professional, what the
faculty in the MAT program really did was make me well prepared to not
only survive teaching, but thrive as a teacher.”
As a testament to that assertion, the MAT program has a nearly 100
percent job placement record overall. According to a recent survey of MAT
alumni, 45 percent of respondents remain in Maryland to teach in public
schools; 24 percent teach in other states; 6 percent teach in private schools
in Maryland or elsewhere; and 1 percent teach abroad.
“Our graduates have a long record of retention in the schools and
in the profession,” Carroll said. “MAT graduates claim that this is due to
the depth of preparation they receive in both their studio practice and in
teaching. It is not uncommon for a principal to say to one of our alumni: ‘You
are teaching much better than a first-year teacher!’”
After his graduation from MICA, Castro landed a job at Towson High
School in Maryland, eventually becoming chair of the school’s visual arts
department before leaving to pursue his doctorate at the University of British
Columbia. He gained other honors before receiving the Barkan Award, such as
being named a 2008 Coca-Cola Foundation Distinguished Teacher in the Arts.
When summing up his experience both in the MAT program and as an
art education professional, Castro said, “Any art educator will tell you that
they see teaching as an art form where they can improve the lives of others.
That was the heart of the MAT program when I was at MICA—passion for
youth and visual arts, passion for making the lives of children better. But we
also understood that we were entering a profession, and we were prepared
to come out of the program and find a job and succeed. The best return I
received from my experience at MICA is that I’ve always been engaged with
the work I’ve done since becoming an educator, and I still am today.”
ALUMNI
Joseph Sheppard ’53 (general fine arts) inside the Leroy Merritt Center for the Art of Joseph Sheppard (photo by Katherine Lambert Photography).
Joseph Sheppard’s Legacy Is Set in Stone
Internationally renowned painter and sculptor Joseph Sheppard ’53 (general fine arts) began his career in 1951.
Known as a master of the realism style, the award-winning alumnus has created Baltimore’s sculptures of Pope John Paul II,
baseball legend Brooks Robinson, and the Holocaust Monument.
Outside of Baltimore, his celebrated portraits include Pope Benedict XVI,
located in Vatican City, and President and Mrs. George H.W. Bush, located
at the George W. Bush Presidential Library and Museum in Dallas.
Now stands the Leroy Merritt Center for the Art of Joseph Sheppard.
The center opened in spring 2010 at the University of Maryland University
College (UMUC) in honor of Sheppard and the late philanthropist and
commercial real estate developer Leroy M. Merritt, both Maryland natives.
“For UMUC, the Leroy Merritt Center for the Art of Joseph Sheppard
is an educational resource for students and the general public to learn
about the art, life, and legacy of one of Maryland’s most treasured artists,
Joseph Sheppard,” said Eric Key, arts program director, UMUC.
Unusual for its dedication to a living artist, the center houses a
permanent collection of more than 20 of Sheppard’s bronze and marble
sculptures and his paintings on loan, which are featured in rotating
exhibitions, in addition to his personal collection of approximately 1,000
books on classical art and artists and an original drawing series. The artist
personally selected all of the pieces in the art center to represent his very
best work, as well as art from his cherished personal collection.
For Sheppard, “The purpose of the center is to permanently display
my work so that future young artists can know that there existed an artist
who painted in a traditional way and was fairly successful.”
Sheppard’s career first took shape at MICA. He received a prize
for his participation in the Life in Baltimore show at the historic Peale
Museum in Baltimore during his junior year at the College, followed by
many more accolades.
Sheppard explained, “My teacher at the Maryland Institute was
Jacques Maroger; he was both my inspiration and mentor. His teaching of
the Old Masters’ techniques changed my whole life.”
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10
CONNECTIONS
Kasey Jones ’14 (Community Arts), You Can’t Escape Her (detail), mixed media installation.
Return on Imagination:
The Immeasurable Value of MICA Scholarships
An education at MICA is an investment that yields a lifetime of personal, intellectual, and professional growth
and accomplishment. The College and its donors are committed to helping students find ways to make that investment affordable,
with 95 percent of MICA students receiving some form of financial aid, including scholarships.
For recent fellowship and scholarship winners Patricia Fuentes ’17
(architectural design), Thomas Dahlberg ’15 (LeRoy E. Hoffberger School
of Painting), and Kasey Jones ’14 (Community Arts), receiving financial
support has opened up a world of opportunities for them to use their
imagination to make a difference in the world. It is an investment that is
already paying dividends by bringing attention to important social issues.
Fuentes is the recipient of the Jacques and Natasha Gelman
Foundation Scholarship, the Trustee Award, and the C.V. Starr Scholarship
for International Students. The Bolivia native, who immigrated to the United
States in 2000, is currently using her artwork to explore something she calls
“double consciousness.” She borrowed the term from historic civil rights
activist and historian W.E.B. Du Bois, PhD, who described living as a minority
in America as “the sense of looking at one’s self through the eyes of others.”
“I believe this term can be put in a larger context in reference to all
immigrants in America today,” Fuentes said. “This feeling of being caught
between cultures, of belonging to neither rather than both.”
Fuentes believes that the full-ride scholarship she obtained to attend
MICA represents “the sole opportunity” for her to attend a four-year
college. Not only has her scholarship allowed her to pursue a career path as
an architect and an artist, as well as a newfound passion for community art,
but the educational opportunity also has added special meaning for her.
“It has also given me a chance to prove how being an immigrant is not
a disadvantage,” she explained. “Rather it is a quality I have that empowers
me to continue to look beyond all the immediate obstacles.”
She credits MICA with helping her realize her potential as an artist/
activist through the College’s dedication to providing opportunities for
students to use art to make a difference in communities.
“Scholarships give people a chance to prove that despite financial
disadvantages, we are all capable of achieving great things,” she said.
“Without scholarships, a lot of people would be left in the dark, not knowing
the potential they have to succeed.”
Likewise, Thomas Dahlberg is making the most of his Hoffberger
Foundation Fellowship Award, focusing on making large, corporal oil
paintings designed to depict first person interactions with everyday objects
and spaces. “The viewer or maybe the canvas itself plays the role of the first
person,” he explained. “My aim is for the viewer to have a sort of experiential
or haptic sensation when looking at the work.”
Before coming to MICA, the Kentucky native studied visual art and
Portuguese at Brown University in Rhode Island, and then used a Fulbright
Fellowship to teach English in Brazil. His work has been exhibited in Bostonbased galleries and Georgia Southern University. As he hopes to still be
painting when he is 90, Dahlberg understands the importance of financial
support in providing an artist the freedom to pursue growth opportunities.
“Receiving scholarships has relieved some of the burden of student
loan debt, which in turn has enabled me to pursue an artist residency this
summer at the Vermont Studio Center,” he said. “Scholarships enable
people to take risks they wouldn’t normally take to achieve goals that aren’t
always aligned with economic gain. We study what we study because we’re
CONNECTIONS
passionate about culture and art, and we understand that what we do is as
vital to humanity as any other profession or study.”
At MICA, Dahlberg has learned just how important those risks are to
ultimate success.
“MICA, and the [LeRoy E.] Hoffberger program in particular, have
taught me not to get too complacent,” he acknowledged. “Change and
growth are necessary. When I started school, I was a little afraid to take
big chances, but then I got acclimated to MICA and started making drastic
changes in my work.”
Kasey Jones was raised in the steel belt city of Youngstown, Ohio,
graduated with a BFA from Ohio University, and spent a few years
working in San Diego, California, but her work took on new intensity as
she completed the MFA in Community Arts program at MICA. While in
Baltimore, she managed the after-school mural club and set design club
at an inner-city elementary school as an AmeriCorps member, conducted
ceramic and painting workshops for elderly residents, and served as a MICA
graduate teaching assistant. The Community Arts Scholarship and Keswick
Multi-Care Center-funded Libby Bowerman ’82 Fellowship allowed her the
time and space to engage in a studio practice investigating the struggle
between men, women, and nature.
“I am interested in creating public art that addresses global and local
environmental issues, such as man-made toxins that leach into our soil, air,
and drinking water,” she explained. “In addition, I develop projects for youth
and adults that center on our reconnection to the earth. The ultimate goal of
my work is to restore the sacred balance between humanity and nature.”
For Jones, financial assistance has been critical to her entire higher
education journey. “If it wasn’t for the scholarships I received as an
undergraduate, as well as the combined scholarship/fellowship I received
from MICA, I would not have been able to receive a bachelor’s or master’s
degree,” she said.
The financial support, though valuable, actually enabled her to
acquire something invaluable: confidence. “MICA instills your talents with
confidence,” she said. “The faculty provides ongoing support, and they
encourage you to trust who you are in relation to the art you create. In
addition, MICA cares. The institution as a whole wants you to succeed as an
artist, and they provide you with an immeasurable amount of opportunities
to attain success.”
The Libby Bowerman ’82 Fellowship, in particular, provided an
opportunity for Jones to make a positive impact on others’ lives. The
yearlong fellowship is focused on supporting a MICA student as he or she
works with residents of Keswick Multi-Care Center in Baltimore’s Hampden
neighborhood, encouraging the elderly who live there to express their
creativity. Jones developed both 2D and 3D weekly art classes for residents
of the center.
“Ninety percent of the people living at Keswick are immobile or in
a wheelchair,” she explained. “All of my projects centered on cultivating
a therapeutic creative arts experience that was unlike anything already
offered at the center.”
For students vying for a competitive scholarship or fellowship, Jones
said, “Tell your story, and don’t be afraid to share your vision with the
world.”
For more on student and alumni award recipients,
visit fyi.mica.edu.
(top to bottom) Thomas Dahlberg ’15 (LeRoy E. Hoffberger School of Painting); Patricia Fuentes ’17
(architectural design); and Kasey Jones ’14 (Community Arts).
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COMMUNITY ENGAGEMENT
Reflections from survivors of sexual assault from the Monument Project by Force: Upsetting Rape Culture (photo by Theresa Keil Photography).
Using Art to Force Action Against Rape Culture
Art has the power to turn perceptions upside down. MICA alumnae Hannah Brancato ’07 ’11 (fiber, Community
Arts) and Rebecca Nagle ’08 (fiber) are using it to challenge society’s view of sexual assault. Brancato and Nagle started their public
awareness campaign in 2010. “We both agreed we wanted to have a more public conversation about sexual assault,” Brancato said.
“We decided that instead of just showing the problem, we would
do something to more actively change the situation,” she added.
So the duo started Force: Upsetting Rape Culture, an
organization that promotes consent and creates safe spaces for
survivors of rape and sexual abuse. Since the organization started,
it has successfully used art to start conversations across the country
about what constitutes a healthy sexual environment.
“There is a culture that surrounds sexual assault that
perpetuates it, which is what we call rape culture,” Brancato
said. “It includes cultural attitudes in which victims are blamed,
and music and imagery that make sexual objectification
commonplace,” Brancato added.
Brancato and Nagle have used their creativity to get
national media attention from outlets, such as Huffington Post
and The New York Times, by spoofing major brands. After noting
that some of Victoria’s Secret campaigns seemed to use the words
“stop” and “no” as a way to flirt, they created a website that
promoted a line of consent-themed underwear. After that, they
created another site spoofing Playboy’s top party school list to
create a list of schools that promote consent.
“We got a lot of people talking by doing those projects, and
we learned that people are ready to have the conversation about
consent, supporting survivors, and ending rape,” Brancato said.
One effort organized by Force has been the Monument Project,
which is a series of temporary monuments to survivors of rape
and abuse on the National Mall. “The National Mall is a very
reflective space,” said Brancato, adding, “That’s the space for us
to think about our nation’s history and how we can make our
nation better, so it’s a perfect place to reflect on sexual assault
because it’s a national epidemic.”
These monuments also give survivors a public space where
they can tell their stories and be heard, while also connecting
with community. One such monument was Force’s projection
of the words “Rape is Rape” onto the United States Capitol
Building in 2012, along with stories of survivors; and another is
the organization’s Monument Quilt, a collection of thousands of
stories from survivors of rape and abuse that is stitched together
in fabric. The Monument Quilt is still being built, with Force
collecting quilt squares from survivors. Those who submit their
stories for the quilt “undergo a healing process because they
are actually building living monuments through their work,”
Brancato said. The quilt is intended to benefit communities
where it is shown because “people learn how to witness a survivor
story instead of judging or giving advice,” Brancato added.
“Everyone’s process of healing from sexual violence is very
different. I cannot heal unless I feel empowered. I feel empowered
the most when I feel like I am changing the circumstances and the
culture that created my abuse,” Nagle said.
CONNECTIONS
Pieces of the Monument Quilt laid out on the lawn of the US Capitol Building—part of Force: Upsetting
Rape Culture’s Monument Project.
People have thanked Brancato and Nagle profusely for
creating the space. “One survivor said this was the first time she felt
like she truly was safe in public to be a survivor,” Brancato said.
Force raised nearly $27,000 in May 2013 through a
Kickstarter campaign to fund the project. Since then, they’ve
received more than $300,000 in in-kind donations to move into
a studio, hold two public displays of the quilt, and launch a
new website. They are continuing to collect squares for the quilt
from throughout the nation, and they have launched a second
Kickstarter campaign to raise funds to take the Monument Quilt
to cities across the country.
There has also been a heavy MICA presence involved
with the project with students and faculty members helping in
different ways, including community engagement grant funding
from the Office of Community Engagement and working with
the Office of Development to write grants to raise money for
the effort. The funds they raise will be put to good use, as the
organization’s work continues to expand. Force is doing consent
workshops, communications campaigns, and trainings for
statewide sexual assault coalitions. They’ve also partnered with
a company called Say It with a Condom to promote a line of
consent condoms. Ten percent of the sales are donated to Force.
Many of the skills Brancato and Nagle have used to fuel
Force’s success were cultivated at MICA. Having both been fiber
majors, “we think a lot about the meaning of objects and the
cultural significance of materials,” Brancato said. “Our ability to
think critically and deconstruct pieces of our culture really comes
from conversations that happened in that department.” Brancato
also received her MA and MFA in Community Arts from MICA
and teaches at the College part time.
“We think of ourselves as being part of a social justice movement
as much as we think of ourselves as artists,” Brancato said.
To learn more about Force: Upsetting Rape Culture’s
Monument Quilt project, visit themonumentquilt.org.
MICA alumna Lindsay Bottos ’14 (photography).
Selfie Love
As selfies have taken the Internet by storm,
so has Lindsay Bottos’ ’14 (photography) Anonymous project, which
imposed cruel messages she received online on top of self-portraits
of herself. Bottos received national media nods from BuzzFeed, Good
Morning America, MTV, Huffington Post, Baltimore Sun, and more,
for her photography in what was actually an early draft for a larger
project for her spring The Body in Photography class.
Bottos has noted that though she’s honored by the national
media coverage, for her, “it’s about the conversation, working toward
the goal of making people aware that cyber bullying happens, why it
happens, and realize it has consequences,” she said.
With the working title Anonymous Web Piece, Bottos is now
creating, with two web artists, an interactive online space where
people can submit their own content in any medium to share their
online bullying experiences with each other. She’s hoping this
will be a safe haven for teens and young adults—a pivotal age
Bottos believes can be most affected by such harsh comments—to
welcome peer-driven discussions on these issues.
Identity and reflections on figuring out how to navigate the
world are themes that continue into Bottos’ thesis photographyand fiber-centric work, displayed in MICA’s Commencement
Exhibition in May 2014. As a self-identified feminist and feminine
woman, her work looks at sexism and how it’s affected her, as well
as gender expression in relation to her being an opinionated person.
Having taken only photography classes prior to MICA, Bottos
credits the College with providing her with a strong foundation of
skills and introducing her to a plethora of creatives with common
interests. After graduation, she hopes to stay in Baltimore for the
immediate future, and ultimately become a dedicated practicing
artist, while perhaps working with publications, such as Bitch
Magazine or BUST Magazine, on writing and photography projects.
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INNOVATION
New Faculty Faces
The newest crop of faculty derives from a wide variety of
professions including artists, designers, and educators. The 2014-2015
new faculty includes:
Isaac Gertman
GRAPHIC DESIGN
Isaac Gertman ’03 (graphic design) is a designer, educator, and writer whose interests include
the overlapping social, cultural, and infrastructural systems found in cities. He’s experienced
in strategic planning, design, and production of editorial and brand identity systems, websites,
publications, printed ephemera, motion graphics, and exhibitions. Gertman, a 2014 Wassaic
Project Design Fellow, has had his writings appear in Print magazine and Design Bureau,
among others.
Kiel Mutschelknaus
GRAPHIC DESIGN
A Midwest native, Kiel Mutschelknaus pursued a bachelor of arts in studio art and a master of
fine arts in 2D design from Augustana College in Rock Island, Illinois, and Cranbrook Academy
of Art in Bloomfield Hills, Michigan, respectively. The designer/illustrator has worked in
advertising and education in the United States. In his studio practice and classroom, he aims to
push the boundaries of conventional working methodologies and embrace the potential energy
of the unknown.
Andrea Pippins
GRAPHIC DESIGN
Andrea Pippins is an educator, artist, and designer skilled in design and digital media. Pippins
has worked for Hallmark Cards and TV Land/Nick at Nite networks, and has been published in
How Magazine, Canadian House & Home and CMYK Magazine, among others. She’s received
recognition in the design industry, including Dell’s #Inspire 100, a list of professionals who’ve
used technology to empower and inspire others.
Ryan Hoover
Interdisciplinary sculpture
Ryan Hoover ’06 (Mount Royal School of Art) is an artist who uses an array of digital, biological,
and traditional media to explore technology and its history, focusing on how it structures and
shapes society. He’s exhibited throughout the United States and abroad in contemporary art
centers and museums. Prior to joining MICA’s Interdisciplinary Sculpture Department as a fulltime faculty member, Hoover served at the College as the director of Fabrication Studios and
taught in the Interdisciplinary Sculpture and Environmental Design departments.
Adriane Pereira
TEACHING
Adriane Pereira received a bachelor of arts in art history from Boston University, a master of
science in art education from Florida International University, and a PhD from the University
of Florida. With National Board Certification and many years of urban public school teaching
experience, Pereira is an artist and an educator. She continues to maintain an active artistic
practice and regularly presents her teaching and research investigating critical and creative
cognitive processes at state and national conferences.
(top to bottom) MICA faculty members Isaac Gertman, Kiel Mutschelknaus, Andrea Pippins, Ryan Hoover, and Adriane Pereira.
INNOVATION
(clockwise from left) Shadra Strickland; and illustrations (detail) from Please, Louise, written by Toni Morrison and Slade Morrison, and illustrated by MICA faculty member Shadra Strickland (all photos © Shadra Strickland).
Faculty Member Shadra Strickland Illustrates for
Renowned Author Toni Morrison
“Baltimore chose me,” said MICA Illustration Department faculty member and Trustee Fellowship for Excellence in
Teaching recipient Shadra Strickland. Many people would say that illustration chose her as well. Strickland is an award-winning
artist who studied illustration and children’s illustration during her undergraduate and graduate studies, respectively.
“Book illustration was the thing that resonated with me the most,”
Strickland said.
Strickland came to MICA in 2010 and had previously worked as an
elementary school teacher in the Atlanta Public Schools system, where she
was profoundly impacted by her pint-size inspirations. “I had been reading
so many books to my students in the classroom, and I would see myself
among the pages in works by Kadir Nelson, Pat Cummings, and other
African-American illustrators,” she said.
One of her first significant book offers was Bird, written by Zetta
Elliott and illustrated by Strickland. Her illustrations brought to life the
story of a young boy who escapes reality into his art. Published in 2009,
the book received the Coretta Scott King - John Steptoe Award for New
Talent and the Ezra Jack Keats Book Award, and was recognized on the
Association for Library Service to Children’s (ALSC) Notable Children’s
Books list.
Other opportunities began to blossom. She was offered several
picture book manuscripts. In the queue was Please, Louise by Pulitzer
Prize- and Nobel Prize-winning writer Toni Morrison and the late Slade
Morrison, who died in 2010.
Strickland’s illustrations in the children’s book tell the story of a young
girl and her fears, traveling through what she perceives as a scary world and
seeking refuge in the library in the discovery of books.
Strickland began her yearlong process of creating and completing
the visual narrative for the book—sketchbooks, thumbnails, discussions
with the editor and art director, and sample illustrations. Her team
looked at the character, Louise, in relation to diversity and being
inclusive, and played around with portraying different types of children,
including racially ambiguous children.
Being inclusive is something Strickland has talked about with her
MICA students. “If you are living inclusively, you don’t have to think as
much about being diverse as an artist and reflecting diversity in your
work,” she said. “So open yourself up to different types of people and
experiences because you’ll get to use all of that in your work, and it just
makes it richer and more valuable for many different types of people.”
Strickland continues to teach and create—with a new illustration
project, Sunday Shopping, a children’s book, and her very own book in
the works.
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SPECIAL SECTION
(clockwise from top left) Michael Chiarella ’14 (environmental design), Caroline Kable ’14 (environmental design), Cindy Jian ’13 ’14 (environmental design, Social Design), and Austin Peppel ’15 (environmental
design), Peg Board Shelter, plywood, PVC, canvas, rope, and hardware; Vanessa Wallace ’14 (general fine arts), Lost in Another, tracing paper, acrylic paint, and gloss medium (photo by Phylicia Ghee ’10); Evan W.H.
Price ’14 (interdisciplinary sculpture), Display, various; and Valerie Vernon ’14 (ceramics), I reached out to you, raku-fired cone four earthenware, cone six porcelain, and fur.
Spring Recap: Commencement Exhibition 2014
The Commencement Exhibition highlighted works by nearly 400 emerging artists in the undergraduate class of 2014 this
past May. By transforming the College’s permanent galleries, hallways, classrooms, and open spaces into one expansive gallery space,
each student showed a substantial body of work.
To view more images visit, fyi.mica.edu.
GLOBAL
(left to right) Tour guide with MICA students at NASA’s Goddard Space Flight Center; and MICA students view the assembly of the James Webb space telescope.
NASA Partners with MICA Students on
Short Films
Students at MICA often collaborate with working professionals on real-world projects, with outcomes that can have
local, national, and even global influence. This past spring, thanks to a collaborative effort among Animation Department
Chair Laurence Arcadias, MICA’s Office of Community Engagement, and scientists from NASA, students in the Advanced 2D
Animation course translated astrophysics concepts into animation—a film project with outcomes that have a universal impact.
During the five-week project, students from MICA worked closely
with the Fermi Gamma-ray Space Telescope team at NASA’s
Goddard Space Flight Center in Maryland to animate the cosmic
phenomena and theories the team of scientists is exploring. The result—five short films that visually explore dark matter,
binary stars, Fermi bubbles, cosmic rays, and space debris—has
tremendous potential in helping NASA educate the public
about the Fermi telescope mission and the science behind it. The
animations have already been presented at the SIGGRAPH 2014’s
3rd Annual Faculty Submitted Student Work Exhibit and at a
conference at Columbia University in New York.
“The collaboration started from a discussion I had with
Robin Corbet, a scientist who is part of the Fermi Gammaray Space Telescope team,” Arcadias explained. “We discussed
merging disciplines, and, eventually, we started to plan a class
project where students at MICA had to react to real scientific
challenges that the Fermi team tries to solve.”
To kick off the project, Corbet visited with students at MICA
to discuss the research being conducted by the Fermi scientists.
The students began to create storyboards and animatics based on
that information, and with organizational support from the Office
of Community Engagement, were able to show their ideas on
location at Goddard Space Flight Center.
“For the students, going on site and standing in front of
the scientists and explaining their concepts was an incredible
experience. They got good feedback and support, and several
scientists offered to mentor student teams all along the production
phase,” Arcadias said.
The students then began to further develop their ideas,
translating astrophysics concepts into animation. Use of the
website Tumblr to post their work allowed their mentors at
NASA to leave feedback. Another outcome of the project was the creation of an
internship that will allow an animation student from MICA
to create art and develop research projects under the guidance
of scientists at NASA. This past summer, Turner Gillespie ’14
(animation) became the first student selected for the initiative.
He co-presented his project at the DC/MD/VA Astrophysics
Summer 2014 Meeting.
“Having scientists review their work was a real eye opener for
the students. They were surprised to see how easy and meaningful
the communication was, and how receptive and impressed
the scientists were by their work,” Arcadias concluded. “It was
important for everyone involved to learn to communicate—not
just for the students to learn more science, but for scientists to
understand what animation is about, and what it can do to serve a
purpose. Hopefully this is the start of something bigger.”
For more on the MICA and NASA collaboration,
visit nasamicacollab.tumblr.com.
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INNOVATION
MICA faculty member Susan Waters-Eller ’72 ’78 ’98 (painting, Art Education, Digital Arts).
Brain Science Research Sheds a Light on Critique
While one might not immediately see a connection between art and brain science, the two are very much intertwined. “They
both start with observation,” said MICA faculty member Susan Waters-Eller ’72 ’78 ’98 (painting, Art Education, Digital Arts).
“One is observing the feeling tone of things and the sense of the whole and
the implications of all the relationships in it, whereas the other is breaking
things down into little parts,” Waters-Eller said.
She first developed an interest in brain science when she was a
graduate student at MICA and did a thesis on perception. “The more I
read, the more I found that brain science was absolutely pertinent to art
and to understanding what it is that art does,” she said. Her fascination
has inspired her work. She uses illusionistic techniques to challenge views
of reality. “If you see something you think is an oasis, once you see that it’s
a mirage, you’ll never see it as an oasis again,” she explained.
Her ability to change perceptions through art was noted by
Baltimore’s City Paper, when it wrote that “much of the subtlety that
Waters-Eller brings to the canvas comes through not in her storytelling
but in her technique.” Her work has been included in many solo and group
shows, as well as highlighted in Contemporary American Oil Painting,
published in China. Her blog, Seeing Meaning, has readers from more
than 60 countries, and she is working on a book about illusionism for the
general reader.
She has always been fascinated with the concept of how the brain
uses the way we move through the world as a foundation for how we see
all things. “The way that we perceive the external world—those are the
same mechanisms by which we perceive art,” Waters-Eller said.
A person’s critique or interpretation of art reflects his or her own
feelings. According to Waters-Eller, research has shown that feeling
precedes thinking, so during critiques, the brain works to translate
visual feelings into words; every time that happens, people strengthen
their corpus callosum, the bundle of fibers that connects the different
hemispheres in the brain. “When people look at a piece that resonates
with them, that piece of art expresses for them something that they can’t
articulate for themselves,” she said.
That means one might have one view of a piece of art today and a
different view five years from now, depending upon what’s going on in that
person’s life at those two different times.
A person can also use art to better understand him or herself. “The
things that we are drawn to are a mirror of our inner life,” Waters-Eller
said. “I think it would be wonderful if people made a practice of either
going to a gallery or leafing through an art book because the things they’re
drawn to will vary from time to time, and noticing that will be helpful in
understanding their own moods,” she said.
Art also provides a glimpse inside the mind of the artist. “When I
start a drawing, I don’t really go in with a preconceived idea,” Waters-Eller
said. Instead, she watches images evolve that eventually match her state
of mind. Sometimes the end result surprises her. “I might realize, ‘gosh, I
must be feeling bad,’” she said. “It often shows me something about myself
that I didn’t know.”
CONNECTIONS
Susan Waters-Eller ’72 ’78 ’98 (painting, Art Education, Digital Arts), Hidden Forces (detail), 3D.
Art can also challenge one’s perceptions about life. “If you create a
different way of seeing a subject, you can never see it the old way again.
Emphasis on the way one used to see,” Waters-Eller said.
Because perception is so subjective, “when I have a critique with a
class, I try to get the whole range of ways that students will connect to
that structure because sometimes they’re contradictory, and one of the
beauties of art is that it can hold those contradictions,” Waters-Eller said.
From Waters-Eller’s perspective, there can be no negative critique
of art since it always reflects somebody’s truth. “What that does is it
creates a safe space for my students where I see them flower and try
things that they might never get into if they were afraid of being put
down,” she said. “You have to trust it’s taking them somewhere.”
Her work with her students has not gone unnoticed. Three times
she has won the Trustees Award for Excellence in Teaching from MICA.
As a MICA graduate and faculty member, Waters-Eller has been in
a position to see the College grow and change. “The students have been
getting better and better,” she said. “The better the student, the more
inspired I become, and so MICA has been the perfect petri dish for the
development of these ideas.”
MICA has also given her the opportunity to develop her own
courses, Illusionism and Advanced Illusionism. “Visual thinking is a
movement for the future,” she said. “We need the ability to assess visual
information quickly and move on to what’s significant.”
MICA faculty members took on the topic of critique and how
there is no one right way to do it. “I knew that I did a very different
thing using brain science, and I assumed that there were very different
approaches to critique,” she said. “We thought it might be interesting
if we had personal essays from a number of teachers talking about
how they did it so that rather than say ‘this is the way to do critique,’
someone can look at a lot of different ways and build their own way.”
The result of those efforts was Beyond Critique: Different Ways of
Talking About Art, a collection of faculty essays edited by Waters-Eller
and MICA Associate Dean for Liberal Arts Joseph J. Basile. Published
in December 2013, “the book is part of a movement to break loose from
the restrictions of a particular mindset of what art should be,” she said.
Carolyn Case ’97 (Mount Royal School of Art).
MICA Faculty Member Awarded
Prestigious Residency
For three weeks this winter, Foundation Department
faculty member Carolyn Case ’97 (Mount Royal School of Art) can
focus solely on her art thanks to a Virginia Center for the Creative
Arts (VCCA) residency funded through a program by the L.E.A.W.
Family Foundation. Case will be joined by 25 artists from around
the United States and other countries in a scenic, community
setting in Amherst, Virginia.
Linda Wachtmeister ’73 (ceramics), who is a member of the
VCCA board of directors, established the collaboration between
MICA and VCCA. The three-year commitment with MICA is VCCA’s
first time partnering with a college.
“Both of these organizations are important in my life,”
Wachtmeister said. “I have experienced wonderful things because
of being a MICA artist and a VCCA fellow. I wanted to share that
with other people,” she continued.
Case expressed enthusiasm for her residency with, “I am
very grateful for this fellowship. Especially at this time in my life,
an uninterrupted block of time to be able to work alongside fellow
artists is such a treasure.”
Case has received awards and residences nationally and
internationally. She has shown in the mid-Atlantic region with solo
exhibitions at Loyola University Maryland in Baltimore; McLean
Projects for the Arts in McLean, Virginia; and The Art Registry in
Washington, DC; in addition to group exhibitions at Joyce Goldstein
Gallery in Chatham, New York; John Fonda Gallery in Baltimore;
and Delaware Art Museum. She is currently represented by Asya
Geisberg Gallery in New York, with a solo exhibition in 2015, and
Reynolds Gallery in Richmond, Virginia.
Case was chosen out of a pool of seven MICA faculty member
candidates representing the College’s wide range of academic
departments through a two-part review process, one conducted
by three outside panelists selected by MICA, and then by a second
panel at VCCA.
More information on the VCCA residency can be
found at fyi.mica.edu.
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ALUMNI
(left to right) Donna Mills, David Jacobs ’61 (panting), Michelle Phillips, and Michele Lee accept the 30th Anniversary Award for Knots Landing onstage at the 7th Annual TV Land Awards in 2009 (photo by
Alberto E. Rodriguez/Getty Images).
David Jacobs ’61: Larger Than Life
A MICA Alumnus Makes Television History
Before he became a television legend, David Jacobs ’61 (painting) was just a kid in Baltimore trying to find his place.
After attending MICA, the alumnus worked his way to Hollywood, where he struck gold on the small screen, creating the legendary
television shows Knots Landing and Dallas, the Emmy-winning iconic drama featuring the Ewing clan that ran for 14 seasons, was
named one of Time magazine’s “100 Best TV Shows of All Time,” and remains one of the longest-lasting, full-hour primetime
television series. Jacobs, who served as writer, producer, and/or director for 20 television shows on ABC, CBS, and NBC from 1977
to 2005, recently spent time with Juxtapositions in his home in the shadow of the famous Hollywood sign.
Juxtapositions: Thank you so much for meeting with us.
David Jacobs: Glad to have you.
Juxtapositions: What attracted you to art school?
Jacobs: I’ll be very honest. I was a horrible student in high school. I just
despised school. Once I got to the Maryland Institute, as it was called
then, I really did find myself. It was an epiphany. I finally understood what
had been wrong all along. At MICA, I was surrounded by artists. It was
and still is a very stimulating place—very warm and comfortable. [Former
President] Bud Leake had just ransacked the faculty at the Yale and Ohio
art schools and convinced many of the best to come to MICA, so I had the
advantage of learning from guys like Richard Ireland, Robert Forth, and
Josh Fendel. I just loved it.
That was step one of my salvation. Step two was moving to New
York four years later.
Juxtapositions: So you found that the creative atmosphere at MICA was
something that really invigorated you?
Jacobs: It was both an appreciation for the creative and an appreciation
for differences, and for not being rigid—what we now call “out of the
box” thinking. That was important because, as I mentioned before, I was
a terrible student. I didn’t want to read the assigned books, but I would
read plenty of books that I wanted to read. I would get Cs in English, even
though I was a good writer, because I refused to memorize the grammar
rules. I eventually made a deal with my ninth grade teacher, who agreed
that I wouldn’t have to write down the grammar rules as long as I never
made an error. If I did, he would retroactively cut all of my scores in half.
I agreed. And I never made an error. I tried that with my 10th grade
teacher, though, and he told me to “Sit down.”
But that’s a good example of what I’m talking about. That ninth
grade teacher had what I think of as the Maryland Institute attitude. “Ok,
you think you can do it? Solve the problem. Solve the problem creatively
and you don’t need to learn the rules, but you’d better not make the
mistake.” You better have confidence in yourself. And I’d never been asked
to have confidence in myself before that. So when I went to the Institute,
it was great. I can’t even describe how alive I felt. By the end of my first
ALUMNI
(left to right) Larry Hagman, Patrick Duffy, Linda Gray, Charlene Tilton, Ken Kercheval, and David Jacobs ’61 (panting) at the Dallas DVD Launch Party for seasons one and two (photo by Layne Murdoch/
WireImage for Warner Home Video).
year at MICA, even with taking all of my academic courses at Johns
Hopkins University, I was on the Dean’s List all of the time. I didn’t even
think about it in terms of grades, though. It was just a great place to be.
After four years as a painting major, I realized that I was a better
writer than a painter. But MICA had taught me that I wanted to be part
of that world, and so the obvious solution was to write about the arts. I
was lucky enough to get a job in New York, writing little biographies of
artists for a children’s encyclopedia called The Book of Knowledge. I was
first supposed to be a picture editor, but ended up writing the articles. I
was able to publish very young, at age 23. My first book was called Master
Painters of the Renaissance, which was a kid’s book of artists’ biographies.
And I started writing about social history and art together. I wrote a lot of
other material too—more kid’s books, supplementary texts about the arts,
architecture critiques, and a book about Charlie Chaplin.
Juxtapositions: So how did you make the turn from that type of writing
to screenplays and scripts?
Jacobs: Around 1970, I started writing short stories. Fiction. I started
this novel and, even though I never finished, four chapters were published
as short stories in Cosmopolitan and a couple of other places. But things
got rough financially for writers in New York in the 1970s, kind of like
now. A lot of magazines were folding, there were fewer markets than
before, and more writers were competing with each other for fewer
jobs. Meanwhile my ex-wife married an actor and decided to move to
Los Angeles, taking my 11-year-old daughter Albyn with them. As I had
been as active as my ex-wife was raising my daughter, I decided to give
the West Coast a try. My girlfriend, Diana, volunteered to make the move
with me—good move because I had exactly $212…and a lot of debt.
And Diana was a bookkeeper as well as an artist so she brought home
whatever little bacon we had.
For the first nine months, I didn’t even know if I could do
screenwriting. But I did finally get a rewriting job over Labor Day weekend
in 1972 for a show called The Blue Knight about gang wars in Chinatown.
I dropped it off at Warner Brothers on Tuesday morning, and by Tuesday
afternoon my agent called and said that they wanted to see me first thing
the next morning.
I said, “Well at least they didn’t say they tossed out my rewrite,”
which does happen. I didn’t really know anything about television or
screenwriting, so I didn’t immediately realize then how extraordinary this
was, but as I sat waiting to see the producers, I realized the show that all
of the production people were preparing to do next was the show I’d just
rewritten over the weekend. In fact, they’d thrown out the script they had
been using because the one I wrote was more camera ready. So they hired
me as a staff writer. And then four weeks later, The Blue Knight was shut
down by CBS. But my agent told me that a studio representative wanted
to talk with me about doing my own show.
I accepted a story editor job on a show called Family, but the
studio representative kept calling and asking me when I was going to
come up with my own idea. I wanted to do a show featuring scenes
from a marriage times four—four married couples living in a cul-de-sac
in California. CBS felt that there were too many shows with too much
violence, and wanted to do a domestic show. But they wanted to start
with something a little more glitzy, more like a saga. Well, to me, a saga
sounded like something that would happen in Texas, which I’d driven
through pretty fast one time. And for some reason, I remembered seeing a
billboard outside of Dallas called Ewing Buick.
And the rest was history. The foundation of the show was a working
class girl, marrying into a wealthy family, to be the eyes and ears of the
audience. I sent it over to the studio representative, who read it, but tore
off the title page, which said “Untitled.” When I asked what he called it, he
said Dallas.
I had it all wrong because I hadn’t done a lot of research. Dallas was
a banking town. Houston was the oil town. The first time I went to Dallas,
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ALUMNI
A promotional still from the American television series Dallas shows members of the Ewing family as they pose in front of their television home, the Southfork Ranch, Dallas, Texas, 1979. (Back row, from left)
Patrick Duffy as Bobby Ewing, Victoria Principal as Pamela Barnes Ewing, Barbara Bel Geddes as Eleanor Southworth “Miss Ellie” Ewing, and Larry Hagman as John Ross “J.R.” Ewing, Jr. (Front row, from left)
Charlene Tilton as Lucy Ewing, Jim Davis as John Ross “Jock” Ewing, and Linda Gray as Sue Ellen Ewing (photo by CBS Photo Archive/Getty Images).
I didn’t see guys in business suits wearing boots and Stetsons. I tried to
make it more conservative, but nobody wanted that. They didn’t care. So
we left it the way it was. I had a hurricane in one of the episodes and there
had never been a hurricane in Dallas! [Laughs.] But after Dallas became
a hit show, all of a sudden, guys started wearing Stetsons and boots and
they even actually had a hurricane!
After Dallas came on the air, the studio executives pulled out the
pages I’d done for the show set in a cul-de-sac in California and asked if
there was any way to make it a Dallas spinoff. So I created Knots Landing.
After Dallas’ success, I was able to demand that I produce the next thing
I wrote.
Juxtapositions: And so all of the characters were yours? All the main
characters—J.R., Bobby, Pam, Sue Ellen, Gary Ewing…
Jacobs: Everybody.
Juxtapositions: And how’d you get the idea for J.R.?
Jacobs: I had the idea of J.R. being the son that’s running the family
business. He’s made 10 times more money than his father ever did, but his
father still likes his little brother best.
I was sitting in the office of the president of Lorimar, and we made
a phone call to this actor to whom we were thinking about offering the
part. The actor asked why J.R. was so miserable, and how we were going
to make him more sympathetic. I said, “We’re not.” When the actor asked
why, I said, “Because he likes it. He believes the way of business is that
you screw them before they screw you.” The actor passed on the part. And
that’s when the casting director suggested Larry Hagman.
I was already in the office when Larry arrived for our meeting.
I turned around and there, standing in the doorway with the Stetson
and cowboy boots, was Larry Hagman. He was completely in character
as J.R. Ewing. In the original pilot script, J.R. tries to entrap Pam in a
compromising situation, but is foiled by her. He realizes he has a worthy
adversary, saying, “I won’t make that mistake again.” But when Larry did
the line, he said the line as written and then added this little laugh, as if
J.R. actually enjoyed the competition. And that’s really how things work in
television; it becomes a collaboration between artists, writers, and actors.
Now that Larry’s gone, I’m the only person whose name appears on every
episode of Dallas.
But the one thing that upset me about Dallas is that there weren’t
any black people and hardly any brown people. I kept asking when they
were going to cast some black people, and they said, “yeah, one of these
days.” So when I later wrote the miniseries Dallas: The Early Years, I
wrote that the entire Ewing fortune was built on a deal they’d made with
a sharecropper. Bill Duke played the part of the sharecropper, who had
signed a lease saying the sharecroppers shared equally in what was under
the ground with the Ewings—except the Ewings put in a clause exempting
mineral rights. We had Bill make a great speech about not being able to
look his son in the eye after falling for that deal. And the Ku Klux Klan was
involved—we had great stuff. So I just had satisfaction that in some way,
we at least showed that there were black people in Dallas.
So my first two shows were my two biggest hits.
ALUMNI
Jacobs: My wife Diana and I had always set up scholarships, mostly
Dallas and Knots Landing creator, David Jacobs ’61 (painting), in his home office, Los Angeles, California
(photo by Carlos Florez ’06).
Juxtapositions: So what did you like better, the writing or the
producing?
Jacobs: Producing in television is writing without typing. Producing
television or film is problem solving, and the problems are never the same;
they always seem to be different in every show. You try and make the show
work and make it on budget, and it really all comes back to the script.
Juxtapositions: And do you think that’s why you were so successful
in producing—back to the same thing you said about high school
and college—that you didn’t necessarily like to follow strict rules and
in producing you said you never did the same thing twice? No day was
the same?
Jacobs: That’s an interesting question. In the sense that the creative
thinking, creative problem solving is the job of the screenwriter and
television writer, it is the same thing. It’s thinking of a way to do it, but not
necessarily the way it’s been done before.
And I’ll tell you a story about MICA and me. In 1960, I came up with
a style that was very slick: big horizontal paintings with nudes usually or
some other figure and very thick, very slick whites and grays. And they
were cool paintings, except that I was really onto something and I kept
doing them over and over. Dick Ireland, one of the greatest influences in
my life, once looked over my shoulder as I was painting. I didn’t even ask,
“What do you think?” but he said, “Why don’t you try some pink?” And
he just laughed. And I knew immediately what he meant. He meant that
I should do something nuts. He didn’t even know about the rest of the
paintings. He just looked and knew that I was doing something very safe.
I did put some pink in it, and I ruined it, but I worked my way out of
it. I’ve always liked to work that way, even in writing—to get myself in a
mess and work my way out. But you’re allowed to do that in an art school.
And to this day, if I’m reading something I wrote, and I’m looking it over,
and I say that it needs pink, I mean that it needs something to shock it.
You know, it needs something to give it a little more snap. “Why don’t you
try some pink” is the greatest thing that was said to me in my professional
life. If it needs pink, you have to be bold, and you have to take a chance.
Juxtapositions: Tell us about the fulfillment you get out of your support
for MICA.
for kids. And we knew whatever money we had, we wanted to put into
something charitable, for education. I asked [recently retired President]
Fred Lazarus IV what MICA needed most, and he said it was help
recruiting international students. And that really worked well with our
plan. The first one was a young woman from India. I never met her, but we
paid for four full years of tuition and living expenses. Later, we provided
a scholarship to a young man from Trinidad and Tobago, and we became
very close. He said that he didn’t understand what it was like to be a black
man in America until he came to Bolton Hill. And he actually organized
meetings between the cops and the students, and he was just a great
influence. He was very successful.
We also funded a young Chinese filmmaker. When I first saw her,
she was modest and mousey. We went to breakfast later, after she got
acclimated to MICA, and she couldn’t eat because she was talking so
much. What a difference! It’s all about confidence, and that’s what MICA
gives in a way that no other place does. I could never get in now, because
all of the kids are extraordinary. It’s so alive to me. I’m so connected that I
don’t see how that connection could ever come apart.
When I was a kid, I grew up in Baltimore and was a loner. I
didn’t have any friends. My grandfather had a shoe repair store on East
Monument Street. I loved to be there. Several years ago, with time to kill
before a MICA committee meeting for trustees, I took a drive to check
out the shop. After Hopkins Hospital, East Monument Street turned into
a slum, then a ghost town. Buildings boarded up. Newspaper rolling down
the pavement like tumbleweed. Depressing.
I got on Interstate 83 and came back down toward MICA. I hadn’t
seen the Brown Center yet. When I parked and walked around the corner
and saw it for the first time—what a mood swing! From a miserable,
boarded-up ruin of an old shoemaker’s shop to the best building in
Baltimore, its glass reflecting 1300 Mount Royal Avenue in the afternoon
sun—the triumphant symbols of a world-class college educating the next
generation of world-class artists and designers. In a half-hour’s time I’d
seen the two most important places of my youth in Baltimore, the two
places where I was happiest. One past, gone—a memory—the other the
present and future—all promise and hope. I’m getting old now but I’d still
rather be looking ahead than back. I can never leave MICA.
MICA alumnus and legendary writer and creator David Jacobs ’61 (painting) takes in the view from his
Los Angeles, California, home (photo by Carlos Florez ’06).
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24
INNOVATION
Filmmaker Tarek Turkey shooting the Wall Hunters project for documentary Vacant View (photography by Julia Pitch).
MFA in Filmmaking Program Launches
Fall 2015
Throughout its history, MICA has successfully launched first-of-their-kind educational programs to fill needs that no other college
was addressing. With the launch of the new MFA in Filmmaking in fall 2015, the College expands on that legacy, this time creating a program
tailored to respond to a sweeping, technology-driven realignment of the film and media industry.
“Technology has changed how films are made and transformed how media
is delivered,” explained Patrick Wright, director of the MFA in Filmmaking
and chair of the undergraduate Film and Video Department.
While most film programs have not kept pace with these changes,
MICA’s MFA in Filmmaking has been designed to take advantage of
this revolutionary shift in the industry. In addition to teaching practical
filmmaking skills, the curriculum will train and position students to play a
vital role in developing new cinematic communities and provide students the
knowledge and flexibility to build a sustained career in filmmaking anywhere
in the world, including Baltimore—itself a burgeoning location for films, such
as Lotfy Nathan’s ’09 (painting) documentary 12 O’Clock Boys, and shows,
such as HBO’s Veep and the Netflix drama House of Cards.
The program also builds on long-term partnerships with both The Johns
Hopkins University (JHU) Film and Media Studies program and the Maryland
Film Festival (MFF), and will further expand MICA’s presence in Baltimore’s
Station North Arts and Entertainment District.
“MICA is committed to helping define Baltimore as an international
center for filmmaking,” said Samuel Hoi, MICA president. “We aren’t
thinking small. Our aim is to create a nexus that enables all of the region’s
film, cinema, and animation resources to achieve synergy and grow
dramatically.”
Students from MICA and JHU will share a state-of-the-art facility
located just steps away from the MFF Parkway Film Center in Station
North, forming a collective network that gives students access to faculty
and resources from two world-class educational institutions, as well as
international films and filmmakers.
Linda DeLibero, director of the Film and Media Studies program at
JHU, discussed the shared academic facility, saying, “Working together
under one roof means that we’ll finally have what we’ve dreamed of for a
decade: a hub of collective filmmaking and film education that draws on
the best of what each school has to offer.”
“The MFF Parkway Film Center’s main function is to bring films and
filmmakers that do not now come to Baltimore,” said Jed Dietz, director
of the Maryland Film Festival. “This involves not just screenings, but also
student access to the film community. I don’t know of another academic
program in the country that has this kind of partnership. It’s going to help
identify MICA as a unique graduate program,” Dietz said.
Wright added, “MFA students are looking for connections into the
professional world, and over the years, this partnership with the Maryland
Film Festival has given students access to blue chip filmmakers, a long
list that includes Barry Levinson, Alex Gibney, Ellen Kuras, and D.A.
Pennebaker. At the Parkway, the festival will program eight screenings
and filmmaker visits a semester for our students, and the filmmakers
themselves will host a seminar or review student work. This will connect
students to an international body of work and add to the building culture
of cinema in Baltimore.”
“Film is the most democratic art form,” Dietz said. “People attend
movies more than all professional sports combined by a factor of four or
five, and technology is helping the art form expand even more. The three
institutions—MICA, JHU, the Maryland Film Festival—get it. It’s going to
change everyone involved, and it’s going to change Baltimore,” he added.
MFA in Filmmaking grew from a joint narrative filmmaking course and
concentration offered by MICA and JHU, into a program where students have
the opportunity to learn all aspects of filmmaking and to be at the forefront
of emerging practices in film through new distribution, production, funding,
and consumption models. The program is ideal for students interested in visual
storytelling in either nonfiction or fiction. Recent MICA alumni mentored by
the film and video program include: Nathan; Errol Webber ’08 (video), who
became the youngest cinematographer ever to shoot an Oscar-winning film
when the documentary short, Music by Prudence, won in that category; and
Abbi Jacobson ’06 (general fine arts), co-creator of the Comedy Central show
Broad City, which premiered in 2014 and has been renewed.
SPECIAL SECTION
(clockwise from top) The Empathy Project exhibition; writings from participants of The Empathy Project; and artwork by Hannah Jeremiah ’16 (interdisciplinary sculpture), Adhesive Sketchbook, scraps and various
fasteners, for The Empathy Project (all photos by Xiaotian Yang ’14).
Spring Recap: The Empathy Project
Robert W. Deutsch Foundation Artist-in-Residence and Research Fellow Paul Rucker created The Empathy Project.
Aimed to continue intercultural conversations in the community about diversity, difference, and global perspectives, the interactive
exhibition included performances, exhibitions, workshops, luncheons, and a forum. MFA in Curatorial Practice program faculty
member Marcus Civin curated the exhibition this past February and March.
25
26
ALUMNI
Abbi Jacobson ’06 (general fine arts) and Ilana Glazer are creators of the Comedy Central television series Broad City and also star as the series leads (photo by Lane Savage).
Alumna Chronicles Life in the Big City
with Hit Show
Who knew Broad City, a Comedy Central television series, would be such a hit? The fans did, and they were right. The
show, nominated for the Critics’ Choice Television Awards “Best Comedy Series,” is the vision of newcomers Abbi Jacobson ’06
(general fine arts) and Ilana Glazer, series creators and stars.
The no-holds-barred comedy is derived from Jacobson and
Glazer’s web series of the same name, airing from 2009 to
2011. It gained a cult following, with the finale featuring
famed actress, writer, and producer Amy Poehler, an executive
producer of the current television version.
Premiering in January 2014, the half-hour television series
takes viewers along as actresses Jacobson and Glazer—as
outsized versions of themselves—grapple with adulthood in
New York City, with all of their hiccups, mishaps, and selfdiscovery in tow.
To the excitement of not only fans, but also Jacobson and
Glazer, the hit show has been renewed for a second season,
with new episodes airing in 2015.
“I was walking home from the subway one night after work
and got the call,” Jacobson said. “Those calls are so rare and
so sort of, stop-you-in-your-tracks kind of calls. It was such a
sense of relief to know we’d get to make more—to know the
network believed in the show and that people were watching
and digging what we made,” she added.
But before the life-changing calls, the doting fans, and the
favorable reviews, Jacobson called MICA home. It was there
where she got her foundation and fed her interests in video and
television.
“I was always pretty obsessed with SNL as a kid, and
in middle school and high school, I was very interested in
performing,” she said.
When Jacobson came to MICA, she was more focused on
non-time-based visual art, eventually changing course, saying,
“but once I started [taking] video, it sparked my interests
again, and I tried to find more outlets for performance.”
Jacobson seized the opportunity her program provided—to
delve into her many different interests.
ALUMNI
Still of Abbi Jacobson ’06 (general fine arts) in her MICA hoodie from an episode of the new Comedy Central show Broad City (photo courtesy of Comedy Central).
“General fine arts was great for me because I had so many
interests and, initially, couldn’t really figure out exactly what I
wanted to do,” she said. “I was interested in maps and writing,
and performing and exploring nostalgia, and the program
allowed me to take all sorts of classes and form a body of work.
The video major introduced me to a lot of different ways of
telling stories. The combo was really invaluable to me.”
Being a multifaceted artist—a writer and actress—has
proven beneficial still. In Jacobson’s work for the show, her
creativity flows between disciplines.
“It’s interesting, because lately I’m finding myself in stages
of the production where I’m really focused on one of those
things,” she said. “Like right now, we’re writing the second
season, so I’m in writer mode full force. Soon, we’ll move
into the actual production, and then I’ll be much more in
actor mode. It’s very fluid, though, as [both roles] are essential
throughout the whole process.”
Though it may be hard to believe, a lot of what happens in
the show is based on Jacobson’s and Glazer’s real lives. And to
keep that creativity continuous, they are always searching for
and creating new material.
“The satisfaction of seeing it come to life is motivation to
make more, and make them grow. Also, we work with people
we love and admire…so it makes every day fun,” Jacobson said. Jacobson and Glazer, alumnae of the Upright Citizens
Brigade Theatre, a prestigious theater and training center in
New York, bring with them an amazing amount of talent.
Along with show writers and producers, for season one, they
worked with actors Hannibal Buress, John Gemberling, and
Arturo Castro, among others.
Jacobson credits MICA’s courses and instructors for
teaching her how to “come up with a concept I believe in,
create it, edit it, and find the words to describe it and defend it
while being able to take criticism.”
“Those studio courses got me used to spending a lot of time
looking at one thing and paying attention to detail. I think
overall, MICA and the classes I took taught me how many
different ways there are to look at the world and that your specific
[point of view] is worth exploring and sharing,” she added.
To do what you love sometimes doesn’t come easy, or to
everyone. But Broad City forges ahead with the support of
millions of viewers, including Jacobson’s family and close friends.
“It’s been nothing but positive and supportive. I think it’s
still unbelievable for a lot of people in my life that the show is
actually on TV. It’s been a bit of a whirlwind.”
Her advice to young creatives: to take advantage of the
opportunities colleges affords them.
“MICA has such an amazing array of interesting classes that
can help you find your voice, which is the goal. Your voice, in
whatever your medium, will change over time, but the more
you put out into the world, the more you’ll filter what works
and where to go next.”
Jacobson has clearly found her voice.
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28
EVENTS & EXHIBITIONS
(clockwise from top left) The Sun Magazine article about Tyson Street with photographs by A. Aubrey Bodine; selection of objects and artworks from Betty Cooke ’46 (art education) and William O. Steinmetz’s ’50
(general design) personal collection; Dedicated exhibition graphic logo inspired by motifs found in both Betty Cooke’s ’46 (art education) jewelry and William O. Steinmetz’s ’50 (general design) artwork; and jewelry
by Betty Cooke ’46 (art education) from the late and early 1950s.
Spring Recap: Dedicated
In June, Dedicated celebrated decades-long active alumni Betty Cooke ’46 (art education), an award-winning jewelry
designer and former MICA faculty member, and William O. Steinmetz ’50 (general design), an accomplished artist and designer,
former MICA faculty member, and current board member. The exhibition told the tale of the two Baltimore natives who met at
MICA in the post-WWII era and successfully built their lives around their creative practices.
ALUMNI
(left to right) Ronald E. Fidler ’64 (graphic design); and workers drape an American flag along the wall struck by hijacked American Airlines Flight 77 during the September 11, 2001 terrorist attacks at the
Pentagon, September 11, 2011, in Arlington, Virginia (photo by Brendan Smialowski/Getty Images).
A Monumental Mission:
Alumnus Helps a Nation Rebuild
Many Americans felt a surge of patriotism in the days following the terrorist attacks of September 11, 2001, which
killed nearly 3,000 people in the North and South towers of the World Trade Center complex in New York, the Pentagon in
Arlington, Virginia, and on Flight 93 in western Pennsylvania. But Ronald E. Fidler ’64 (graphic design) got to put that sense
of patriotism to action, helping the Pentagon literally rise up from its ashes.
Three days after the 9/11 terrorist attacks, Baltimore-based RTKL
Associates, an architectural firm where Fidler was a vice president and
project director, received a call from the Pentagon asking them to help to
rebuild the building, which serves as headquarters to the US Department
of Defense. With all of the company’s employees—like the rest of
America—mesmerized by the 24-hour coverage of the horrific events that
had unfolded, there was only one answer they could give. The firm issued
an immediate “yes.”
Fidler’s responsibilities included overseeing project coordination, as
well as ensuring quality and schedule assurances. Once the team was able
to assess the damage, they realized they had a major challenge before
them. Fire, water damage, and even mold had wreaked havoc on the
building. Normally a project of that scope would take two or three years
to complete, but then-Secretary of Defense Donald Rumsfeld wanted the
outer ring of the Pentagon to be completed by September 11, 2002.
“We realized we were facing a challenge,” Fidler said, but staff
from every one of the company’s offices around the world volunteered
to become involved with the project. Another difficulty, however, was
coordinating with partner architectural firms, contractors, and engineers
to get the job done on a rushed schedule.
“Everyone was putting in at least 12-hour days,” Fidler recalled. “We
would have project meetings at the Pentagon at five o’clock in the morning
because the contractors were working three eight-hour shifts, virtually
around the clock; so you were designing, you were detailing, you were
trying to resolve construction issues—it was what we call an architectural
fast-track project.”
Then there was the historic preservation aspect of the project. “It was
a historic building, so we had to reconstruct it to look just like it did before,”
Fidler said. That required a lot of investigation into new materials and
different ways of doing things since the building was built in the 1940s.
For Fidler, the project, nicknamed The Phoenix Project after the
symbolic bird that rises from the ashes, evoked a range of emotions “from
sadness and despair after the building had been hit, to being overwhelmed
by the loss of life and the amount of destruction, to the ultimate pride
in finishing the project and realizing that you were doing something
for your country.” The most gut-wrenching part of the experience for
Fidler was the first time the team walked through the ruins and realized
firsthand how extensive the destruction was and how many lives were lost.
While Fidler was well-suited for the task, he didn’t always plan for a
career in architecture. After studying graphic design as an undergraduate
at MICA, Fidler was hired by RTKL to do graphic design work on the
company’s promotional brochure, in addition to other projects.
“While working at RTKL, I fell in love with architecture and wound up
staying there and becoming a registered architect,” he said. Fidler is an
emeritus member of the American Institute of Architects.
MICA prepared him well for the career change. “The creative problem
solving that you learn at MICA translates over into many different art
forms, including architecture,” he said.
After retiring from RTKL, Fidler founded Fidler Consulting Group, an
architectural and interior design consulting service. He has also maintained
his MICA connections, serving on the Board of Trustees since 2004,
heading up the Buildings and Grounds Committee, and chairing the Lazarus
Legacy Committee.
While he has warm memories of many of his design projects, when Fidler
drives past the Pentagon, he still gets a lump in his throat. “It was no doubt
the culmination of my career,” he said. “It’s the project I will never forget.”
29
30
CONNECTIONS
Dishon Hall ’16 (illustration) receives the Emerging Leader Award from Sarah Brousseau ’15 (painting) at the MICA Leadership Reception in May 2014.
Leadership Reception Awards Outstanding
Student Commitment
Students and student-led organizations that actively engage in strengthening MICA and the community of Baltimore
were recognized at the MICA Leadership Reception held last May.
Started in 2004 by the Office of Student Activities, the
Leadership Reception honors outstanding students and event
programming for the academic year, and emphasizes the
importance of leadership for the student body. The awards for
students, organizations, and programs support students in their
efforts to make a positive impact at the College.
Sarah Brousseau ’15 (painting), who won the Emerging
Leader Award at the 2013 reception, relates her work in student
activities directly to her artistic career. Brousseau has served in
numerous leadership roles at MICA and continues to be involved
as an orientation coordinator, Undergraduate Admission special
event assistant, and co-president and founder of MICAfit, a
student organization devoted to creating community through
the love for fitness. “We’re not just leading other students, we’re
also leading ourselves as artists,” Brousseau said. “We have to
have these important roles of leadership and learning how to
work with other people that help us gain all the elements that
come into leadership as professionals and as artists.”
Dishon Hall ’16 (illustration), a winner of this year’s
Emerging Leader Award, describes a leader as someone who
is patient, understanding, and can adapt to the needs of other
people. “I try to make everyone comfortable and at home,” Hall
said. “The MICA community is warm, expressive, welcoming,
and encouraging, and helps you not only as an artist but as
a person. I became an orientation leader to help students
understand that,” he added.
Along with being an orientation leader, Hall is a member of
The Crew, a student-led group that helps plan and work events
around campus, and the video game club, among others.
Bailey Sheehan ’16 (interdisciplinary sculpture), who
won the Outstanding Achievement Award, explains that
being a leader involves networking and involving oneself in
various activities. “Just totally dunk yourself into the MICA
community; get your name out there and meet other people,”
Sheehan said. “I encourage working with different clubs and
companies because you create a diverse group inside and
outside of your event.”
Sheehan has become an advocate for the reception
and commends MICA for recognizing students for their
outstanding achievements. “It was more of a celebration
having all of the students and leaders come into one place. It
developed a good sense of community,” Sheehan explained.
Students and organizations are selected by a committee
coordinated by Assistant Director for the Office of Student
Activities Kirsten Fricke ’03 (general fine arts). The
committee evaluates the nomination letters submitted by
fellow students, faculty, and staff members. In addition, each
category has specific criteria that each student, organization,
or program must meet to receive the award, including good
academic standing, making extensive and effective leadership
contributions to the MICA community, and exuding
professionalism.
This year, the Fred Lazarus Leadership for Social Change
Award was established in honor of then-President Fred
Lazarus IV’s retirement.
Recipients of awards include the Fred Lazarus Leadership
for Social Change Award: Amelia Hutchison ’15 (general
fine arts) and Vincent Purcell ’14 (Social Design); Sidney
Lake Award: Valerie Vernon ’14 (ceramics), Vivien Wise
’14 (fiber), and Pat Galluzzo ’14 (Photographic and
Electronic Media); Outstanding Achievement Award:
Bailey Sheehan ’16 (interdisciplinary sculpture), Tori
Munoz ’15 (art history, theory, and criticism), and Arthur
Morrill ’15 (Mount Royal School of Art); Emerging Leader
Award: Dishon Hall ’16 (illustration) and Joshua Fetzer
’16 (painting); Alumni Award: Lindsay Aura Miller ’14
’15 (ceramics, Teaching) and Katie Duffy ’14 (Mount
Royal); Student Organization of the Year Award: MICA
Burlesque and Salon; Social Event Award: Junk Foodie/
Meyerhoff Master Chef; Cultural Event Award: Chinese
New Year; Educational Event Award: LGBTQ (non-Hetero)
Sex-Ed; Wellness Event Award: MICAfit Games; Community
Service Award: CONGREGATE Art + Faith + Community;
and LeaderShape Award: Alexandria Hall ’17 (fiber), Alyse
Ruriani ’17 (graphic design), Emma Jo Shatto ’17 (painting),
and Ryan Gugenheim ’17 (interdisciplinary sculpture).
32
GLOBAL
(clockwise from top left) Nada Alaradi ’16 (Curatorial Practice), partial space of the introduction room in The world turns still exhibition; Dinah Kubeck ’16 (LeRoy E. Hoffberger School of Painting), Wanderlust,
acrylic on canvas, 2013; Sara Al Haddad ’16 (Rinehart School of Sculpture), everything and nothing (detail), mattress steel springs, sponge, sequins, beads, ribbons, and embroidery thread, 2013; and Emily Zuch ’08
(painting), Ghost of a Tree (detail), oil on canvas, 2013.
Global Appeal
MICA has not only been a top producer of Fulbright Scholars among specialty schools, but also attracts students from across
the world who receive Fulbright scholarships and choose to continue their study and research at the College. Here is a selection of
this year’s Fulbright Program recipients both from MICA and coming here from abroad:
Emily Zuch, United States to Germany
From the United States to Germany, MICA alumna Emily Zuch ’08
(painting) will embark on an almost year journey, revealing as much about
her as about the country. The New York-born and based artist received
a Fulbright Study/Research grant for 2014-2015, which will support her
travel to Leipzig, Saxony, and Stuttgart, Baden-Württemberg, in Germany.
For her project, Zuch will observe and make drawings of rehearsals and
productions by contemporary puppeteers and students of puppetry. The
drawings will then be used to create a body of paintings that will examine
the ways puppets move through and interact with the space around them.
“Germany possesses a rich history of this art form, which has made it
home to an extensive puppetry scene today,” Zuch said.
She proposed this project because of her interest in folklore and fairy
tale imagery. “I create set-ups from a variety of materials, often including
figures and forms, which fly, hang, and sweep through space, leading to a
natural interest in puppetry and theater in general,” she said.
For the Fulbright, Zuch has partnered with the Leipzig-based
Figurentheater Wilde & Vogel and the puppetry department at the
Staatliche Hochschule für Musik und Darstellende Kunst Stuttgart (State
University of Music and the Performing Arts Stuttgart).
Her schooling at MICA helped her development as an artist, “by
allowing me space and guidance to find my own voice, experiment with a
variety of media, and fail as much as is necessary to grow.”
GLOBAL
Silvia Mata-Marin, Costa Rica
Dinah Kubeck, Germany
Costa Rica-born Silvia Mata-Marin ’15 (Social Design) comes from a
family of Fulbright recipients—both her parents were awarded grants
to pursue their doctoral degrees. While studying graphic design and
sculptural design at the Universidad de Costa Rica, she became involved
with social outreach projects. “I have always had a great interest in social
documentary photography, which is why I decided to document migrant
populations in Costa Rica and neighboring country Panama, especially
indigenous migrant groups,” Mata-Marin said.
After graduation, she began working as a graphic designer, but
continued to be drawn to projects that dealt with social issues, and later
decided to return to this interest. Mata-Marin then began looking for a
social design master’s degree program, saying, “I quickly found out that
this is a relatively new field in the world, and it’s almost unheard of in
Costa Rica.”
“So, I began exploring my options outside of what my country
could offer and discovered the MA in Social Design program at MICA,”
she added. Mata-Marin’s Fulbright Study/Research grant proposal
centered on the emerging and growing social design field in the
Americas. “[Costa Rica] being a developing country, there is a great
need for interdisciplinary approaches to solve and deal with pressing
social issues.” She plans to apply what she will learn at MICA, and from
local partnering organizations, in her home country. “My main goal is to
understand how to work along with organizations and groups to address
complex social problems and use design as an enabling tool in dealing
with these issues” Mata-Marin said.
For Fulbright fellow Dinah Kubeck ’16 (LeRoy E. Hoffberger School of
Painting), art is about exploring, experimenting, studying, learning, and
reflecting. “The same goes for new cultural encounters: opening up to new
cultures helps to understand the world a little bit better,” she said. The
German- and Sweden-educated artist embarks on her studies at MICA
this semester.
Kubeck has a background in both illustration and painting. Over the
past year, she has been working with and examining concepts of chance and
planning in art. “I begin my paintings with a notion or an impulse, rather
than an elaborate idea or mental image of what the painting should look
like,” she said, adding, “I then try to evolve the idea, constantly talking to
my paintings, seeing where they take me.”
She came to MICA because of its reputation as a leading art and
design school and the structure of the Hoffberger program—frequent
critiques, discussions, and dialogues with the director, the artist in
residence, and visiting artists, as well as trips to major art centers. “I
also talked to several people who studied at MICA, who told me what an
amazing time they had there, and how much they and their work evolved
during and through their studies there,” she said.
Sara Al Haddad, United Arab Emirates
Sara Al Haddad ’16 (Rinehart School of Sculpture) uses fiber to confront
insecurities, doubts, and fears through her works, which also aim to
create paths of self-empowerment. A 2011 graduate of American
University in Dubai, she has exhibited internationally, including a solo
exhibition, i know, i knew, at the Dubai Community Theatre and Arts
Centre and group shows in New York, Germany, and Switzerland.
Al Haddad delves into her feelings to gain knowledge of the
emotional human nature and how persons’ psyches impact their
emotional reactions relative to time and space. “I want to give an
embodiment to those feelings to extend their longevity. The possibility of
a feeling being reduced to becoming just a thought scares me, because
thoughts tend to get lost with time and change with place,” she said.
The artist has not explored “the possibility of a feeling, any feeling,
being of any value past its initial form,” she added. But Al Haddad plans
to further study this concept while at MICA.
Seeking a top art school, she began to research graduate programs
in the United States and chose to attend MICA through her Fulbright
Study/Research funding. “I was looking for a great sculpture program
in a close-knit community, which offers the institutional support and
community I need to grow, and that could embrace my fiber background
and interest,” Al Haddad said. Through interactions with MICA faculty,
visiting artists, and peers, she hopes to expand her knowledge, as well as
use of materials, and not limit herself to the familiar, but be open to new
possibilities in art.
Nada Alaradi, Bahrain
Bahraini artist Nada Alaradi ’16 (Curatorial Practice) has shown in various
exhibitions, including the Bahrain Female Artists Annual Exhibition and Al
Riwaq Art Space, Manama, Bahrain. In 2012, Alaradi co-founded Ulafa’a, an
art organization that aims to promote peaceful communities through public
and interactive art, where she also co-curates.
The interactions between humans interest her. “The way we become
‘the way we are’ is largely based on how we are imprinted on by others,”
Alaradi said. She works on conceptually-based art and design that possess
both human and spiritual aspects. Many of her works also deal with the
connections or lack thereof among people and their impact.
She has been recently influenced by the 2011 Bahrain protests and
rallies that called for political reform and equality, and according to Alaradi,
“created a social divide that was non-existent before [then].” Her response
was to aid in resolving the rift in the country. “Humans create invisible lines
between each other and categorize people to ‘us’ and the ‘other.’ This occurs
all around the world, so the concept that I’m working with is universal.”
Alaradi will attend MICA’s MFA in Curatorial Practice program, which
she describes as having “a wonderful balance between theoretical and
practical approaches to curatorial practice that not all colleges provide.”
“I was also looking for a college that is situated in a city that is
culturally permeated, and has a very active and lively museum and arts
scene,” she added.
While at MICA, Alaradi intends to create well-timed exhibitions
that can cause change and impact individuals, and discover alternative
approaches to present art. “I feel that curatorial is fascinating and relevant
in reaching individuals’ thoughts and reflections on important matters and
should be used as a tool to create a movement in society.”
In addition to Alaradi, Kubeck, Al Haddad, and Mata-Marin, Meltem
Sahin ’16 (Illustration Practice) of Turkey, and Francisca Carvalho ’16
(Mount Royal School of Art) of Portugal, have received Fulbright Study/
Research grants to attend MICA this academic year.
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SPECIAL SECTION
(clockwise from top left) Nick Primo ’14 (Rinehart School of Sculpture), When It Recognizes Two Opposing Objects, It Grows Stronger Ash, plaster; Katherine Gagnon ’14 (LeRoy E. Hoffberger School of Painting),
Running Through the Woods (detail), oil on panel; Andy Dahl ’14 (Community Arts), Pedaled Revelation, kinetic bike; and Qianliu Chen ’14 (Illustration Practice), Woolly & Shaggy _ Let’s Swap! (detail), illustration.
Spring Recap: MICA Grad Show 2014
The graduate spring and summer exhibition season showcased the creative achievements of MICA’s graduate
programs—a diverse group of artists, designers, scholars, and curators—from January to July 2014. The season included MFA, MA,
and post-baccalaureate exhibitions, critiques, student-curated installations, interactive gallery talks, presentations, public programs,
workshops, and a symposium at the College and throughout Baltimore City.
Foundation Exhibition
Friday, August 29-Sunday, September 21
Fox Building: Meyerhoff Gallery, 1303 W. Mount Royal Ave.; and Bunting
Center: Pinkard Gallery, 1401 W. Mount Royal Ave.
Reception: Thursday, September 11, 5-7 pm
Timed to coincide with the arrival of this year’s
freshmen, this highly regarded student exhibition features
work produced by current sophomore students during their
foundation year at MICA. This annual exhibition provides a
first glimpse at the works of artists who are developing their skills
and vision over the next few years in a variety of media.
RENAISSANZ RZEN:
ARTIST IN EXILE
Wednesday, October 1-Tuesday, October 14
Brown Center: Rosenberg Gallery, 1301 W. Mount Royal Ave.
Reception: Friday, October 3, 7 pm
Sabbatical Exhibition
This show will feature the work of artist Warren
Hynson, who works under the name Renaissanz Rzen.
Hynson has spent more than 20 years in prison and is
currently incarcerated in the Jessup Correctional Institution.
He began painting after being inspired by the work of his
fellow prison artists. His vibrant acrylic portraits of inmates
help tell the story of his own struggle and the struggles of his
comrades in exile.
Friday, August 29-Sunday, September 21
Fox Building: Decker Gallery, 1303 W. Mount Royal Ave.
Reception: Thursday, September 11, 5-7 pm
Faculty Exhibition
Renaissanz Rzen, The Struggle, acrylic, brush, and canvas.
This annual exhibition features works produced by a
small group of faculty members on sabbaticals during the
previous year.
Thursday, October 2-Sunday, November 2
Fox Building: Meyerhoff and Decker galleries, 1303 W. Mount Royal Ave.; and
Bunting Center: Pinkard Gallery, 1401 W. Mount Royal Ave.
The faculty exhibition features the work of MICA’s
world-renowned full-time faculty, highlighting their diversity
in content, medium, and style.
STI Around the World
Friday, October 10, noon
Brown Center: Room 100, 1301 W. Mount Royal Ave.
Learn about the Summer Travel Intensive (STI) trips for summer 2015 at STI Around the World, a fair
featuring the art, culture, and cuisine from representative destinations. Guests can travel from station to station
learning about locale, people, food, and where they can create art and even earn credit. They can also find out about
individual information sessions scheduled throughout the fall. Summer 2014 STI trips included Paris, South Africa,
South Korea, London, Peru, Nicaragua, and New York City.
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(left to right) Aaron Henkin and Wendel Patrick, Out of the Blocks; and work (detail) by Paula Whaley (photo by Emily Russell).
LOCALLY SOURCED
Tuesday, September 2–Sunday, September 21
Fred Lazarus IV Center: Sheila & Richard Riggs and Leidy galleries, 131 W. North Ave.
Reception: Friday, September 5, 5–7 pm
MICA’s MFA in Curatorial Practice class of 2015 explores
how exchanges between local artists and their neighbors help a
community thrive. For LOCALLY SOURCED, five artists based
in central Baltimore’s Station North Arts and Entertainment
District—MICA faculty member Aaron Henkin, Jason
Hoylman ’07 (general sculptural studies), Nether, Wendel
Patrick, and Paula Whaley—will showcase newly commissioned
works in a variety of media. Through sculpture, sound,
photography, and painting, these artists will offer different
perspectives on the vibrant and interconnected cultural
landscape of Station North.
“LOCALLY SOURCED goes beyond looking at the artwork
itself by examining artists’ social roles and the contributions
they provide to the neighborhoods they work within,” said
Kelly Johnson ’15, co-curator and MFA in Curatorial Practice
candidate. “In the process of making their work, all of these
artists grow networks of people around them which in turn
contribute to the success of their art.”
The curators assert: the selected artists are not all activists,
nor do they all create specifically community-based projects. But
their awareness of and engagement with their communities are
essential to their working methods.
“The artists will highlight their exchanges with the
neighborhood,” said Melani Douglass ’15, co-curator and
MFA in Curatorial Practice candidate. “These five artists have
been introduced to each other for the first time through this
project, and we [the curators] examine how the artists’ networks
overlap—informing, contributing to, and impacting both arts
and non-arts communities.”
Henkin and musician Patrick collect and collage personal
narratives through sound and image. Through Patrick’s work at
performing arts venue the Windup Space with the Baltimore
Boom Bap Society, an experimental hip-hop collective, and
Henkin’s work at MICA and WYPR Radio, they have both
embedded themselves in the creative community of Station
North. For LOCALLY SOURCED, the duo will work in the
neighborhoods of Station North to create a rendition of their
previous collaboration Out of the Blocks, a series that combined
experimental sounds, music, and photographs with the oral
histories of residents in Baltimore’s Waverly neighborhood.
Hoylman’s practice relies on his astute observations of
space and community in Station North. As he walks his daily
routes, he records his observations and interactions with
different populations, from long-time residents and families, to
commuters, students, and business owners. Hoylman has given
Station North community members Walking Journals to record
their paths through the neighborhood. For the exhibition, he
will carve these paths into a large-scale plywood map, creating a
visualization of a community’s overlapping uses of space.
Nether is a street artist and muralist. His large-scale wheat
paste portraits on abandoned buildings and neglected storefronts
call attention to local activist voices and tackle social issues, such
as vacant housing. Nether sees his environment as a canvas,
which visually realizes his street-level connection with people,
thus initiating discussion and action. The exhibition will feature
a newly commissioned mural, highlighting the different types
of wisdom that can be found within a community. The mural
will be accompanied by painted portraits of Station North
community members.
Whaley is a figurative sculptor who uses paper, fabric,
and other organic materials to create stylized sculptural
portraits. Active in the Station North community, Whaley
operates a storefront gallery in her home, exhibiting local
artists and providing an intimate learning space for workshops
she holds for groups, such as Baltimore’s Youth Resiliency
Institute. Her studio and the artworks within it can provide
a spiritually uplifting environment for her community. For
LOCALLY SOURCED, Whaley will create a large-scale
sculptural installation.
LOCALLY SOURCED is presented by the MFA in Curatorial
Practice class of 2015, with faculty members Jeffry Cudlin
and Gerald Ross. Curatorial Practice is directed by George
Ciscle, MICA’s curator-in-residence and creator of MICA’s
innovative Exhibition Development Seminar. The exhibition is
made possible in part by support from the Friends of Curatorial
Practice and an Office of Community Engagement grant.
For the most up-to-date visitor information, visit the exhibition
website at locallysourced.weebly.com.
(top to bottom) Nether, Monroe Street, photo by artist; and Jason Hoylman created Walking Journals
for LOCALLY SOURCED participants (photo by Yeim Bae).
Daniel Ellsberg.
Constitution Day
One Nation Under Watch: Surveillance,
Privacy, and National Security in America
Wednesday, September 17, 7-9 pm
Brown Center: Falvey Hall, 1301 W. Mount Royal Ave.
Tickets: In addition to free tickets distributed in advance to the
MICA community, a limited number of tickets will be available to
the general public on the day of the event.
Daniel Ellsberg, author, former United States
military analyst, and one of the most prominent political
whistleblowers in United States history, will headline
Constitution Day. The panel, moderated by WYPR’s
The Signal producer and MICA faculty member Aaron
Henkin, will also include Kade Crockford, director
of the Technology for Liberty project at the ACLU
of Massachusetts, and interdisciplinary artist Hasan
Elahi, whose work has explored the implications and
consequences of surveillance for more than a decade.
The 2014 symposium centers on the trade-off between
government surveillance and civil liberties, considered
one of the most complex and controversial issues facing
society today.
“Increasingly, to live in 21st-century America is to
live your life in public,” said Constitution Day organizer
and MICA Humanistic Studies faculty member Firmin
DeBrabander, PhD. “The private sphere is greatly
diminished. Revelations about the NSA suggest it might
be seriously endangered—if not extinguished soon.”
Constitution Day is co-sponsored by MICA and the
American Civil Liberties Union of Maryland (ACLU–MD).
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Barry Schwabsky (photo by Ryan Gander).
Patty Chang, Invocation for a Wandering Lake (detail), video still.
Barry Schwabsky,
Patty Chang,
Between Dawn and Dusk: Flashburn in
The Mysterious Middle Uzbekistan, etc.
Tuesday, September 9, 10 am
Fred Lazarus IV Center: Auditorium,
131 W. North Ave.
Tuesday, September 9, 1:30 pm
131 W. North Ave.
The Middle Years artist talks series
features art critic of The Nation, Barry
Schwabsky. The series will examine the
“mid-career” as a perennial problem for
artists and the works by notable artists.
Patty Chang’s video and installation
work has been exhibited internationally
at institutions, such as the Guggenheim
Museum, MoMA, and New Museum,
all in New York, and Kunstverein in
Hamburg, Germany, among others.
Sponsored by: LeRoy E. Hoffberger School
of Painting, part of The Middle Years artist talks
series.
Sponsored by: Mount Royal School of Art,
with additional support from the MA in Critical
Studies.
Writer and crafter Kelly Rand.
Lunchtime Lecture:
Kelly Rand
Monday, September 15, 12:15 pm
131 W. North Ave.
Kelly Rand is a writer, crafter, and
speaker. Her recent book, Handmade
to Sell, helps creatives work through
questions and misconceptions regarding
entrepreneurship and helps them to start
thinking like a business. She’s a graduate
of Savannah College of Art and Design
and has exhibited at art galleries and
craft fairs alike.
Sponsored by:
MFA in Illustration Practice.
Jutta Koether, Berliner Schlüssel #14 (detail), acrylic on canvas,
2010 (courtesy of the artist and Bortolami Gallery, New York).
Deana Haggag (photo by Patrick Fava).
Abbott Miller: Design and Content by MICA faculty member Abbott
Miller, published August 2014.
Jutta Koether
Art@Lunch: Deana Haggag Type Nite
Tuesday, September 16, 10:30 am
131 W. North Ave.
Wednesday, September 17, noon
Bunting Center: Room 320,
Brown Center: Falvey Hall,
Jutta Koether is a multidisciplinary
artist known for her paintings,
performance, music, and writing. She’s a
professor at the Hochschule für bildende
Künste Hamburg, Germany. Koether
has been a strong creative presence on
many cultural fronts for more than two
decades.
Deana Haggag ’13 (Curatorial
Practice), director of The Contemporary,
will present an overview of the museum
today, highlighting its many evolutions
and most recent relaunch. Prior to her
work with The Contemporary, Haggag
was the curator-in-residence at Gallery
CA, located in Baltimore.
MFA in Graphic Design faculty
members Abbott Miller, Ellen Lupton,
program director, and Tal Leming, along
with special guests, will showcase new
typefaces under development, explore
type at work on page, screen, and the
built environment, and celebrate new
publications.
of Painting with additional support from Mount
Royal School of Art.
Sponsored by: Department of Art History,
Theory, and Criticism.
Sponsored by:
MFA in Graphic Design.
Wayne Koestenbaum (courtesy of CUNY Graduate Center).
Wayne Koestenbaum
Thursday, September 25, 7 pm
131 W. North Ave.
Cartoonist, illustrator, and comics publisher Box Brown.
Lunchtime Lecture:
Box Brown
131 W. North Ave.
Henry Taylor (photo by Dennis Hollingsworth).
Henry Taylor
Tuesday, September 30, 10:30 am
131 W. North Ave.
MA in Critical Studies, Mount
Royal School of Art, and the Humanistic Studies
Department.
Henry Taylor’s paintings represent
a heterogeneous domesticity that is
Box Brown is a New York Times
as much a part of his Los Angeles
bestselling cartoonist, illustrator, and
surroundings as it is a part of
comic publisher. His web and print
community in general. A graduate of
comic, Everything Dies, was named
the California Institute of the Arts, he’s
a notable comic of 2011 in the Best
exhibited nationally, including MoMA
American Comics and honored with two PS1, Studio Museum in Harlem, and
Ignatz Awards. His comics publishing
Carnegie Museum of Art.
outfit, Retrofit, launched in 2011.
Sponsored by: LeRoy E. Hoffberger School of
Sponsored by: MFA in Illustration Practice.
Painting.
Haegue Yang, Accommodating the Epic Dispersion (detail),
aluminum Venetian blinds, aluminum hanging structure, powder
coating, and steel wire (courtesy of Kukje Gallery, Seoul).
Barnaby Furnas, Antietam I 2007 (detail), urethane and guerra
water dispersed pigments on linen (courtesy Marianne Boesky
Gallery).
Haegue Yang,
Movement Studies
Barnaby Furnas
Wayne Koestenbaum is a poet, author,
artist, and cultural critic. He received
degrees from Harvard University, The
Johns Hopkins University, and Princeton
University. A Distinguished Professor of
English at City University of New York,
his work explores the lives of “American
queer intellectuals.”
Sponsored by:
Tuesday, September 30, 1:30 pm
131 W. North Ave.
Haegue Yang primarily makes complex
sensorial installations, sculptures, and
video. She represented South Korea at
the 2009 Venice Biennale and exhibited
at dOCUMENTA (13), Germany, and
Tate Modern, London, among others.
Sponsored by: Mount Royal School of Art
with additional support from Rinehart School of
Sculpture.
Tuesday, October 7, 10:30 am
131 W. North Ave.
Barnaby Furnas’ large explosive
paintings recast the genre of history
painting in the vernacular of the video
game era. His exhibitions include the
Whitney Biennial and Ullens Center
for Contemporary Art, Beijing. He’s
represented by Marianne Boesky, Anthony
Meier Fine Arts, and Victoria Miro.
Sponsored by:
Painting.
LeRoy E. Hoffberger School of
Joanne Greenbaum, Untitled (detail), oil, acrylic, flashe, and graphite
on canvas.
Joanne Greenbaum
Tuesday, October 7, 1:30 pm
131 W. North Ave.
Joanne Greenbaum’s paintings
and sculptures move freely between
transparent layers and opaque textures.
She’s shown internationally in venues,
including MoMA PS1, New York;
Hammer Museum, Los Angeles; Museum
of Contemporary Art Chicago; Kunsthalle
Basel, Switzerland; and Whitechapel
Gallery, London.
Sponsored by:
Mount Royal School of Art.
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Joyce Hesselberth.
Illustrator Marcos Chin.
Lunchtime Lecture:
Joyce Hesselberth
Lunchtime Lecture:
Marcos Chin
Thursday, October 9, 12:15 pm
131 W. North Ave.
Monday, October 13, 12:15 pm
131 W. North Ave.
Joyce Hesselberth has received
prestige for her illustrations. She also
develops educational apps for children
and children’s books, with a picture book
set for 2015. She and her spouse, MICA
Illustration Department faculty member
David Plunkert, co-founded Spur
Design in 1995.
Marcos Chin is an award-winning
illustrator whose work has appeared as
surface and wall designs, on book and
CD covers, and in advertisements, fashion
catalogues, and magazines. He has also
created a custom design T-shirt label
called Yee Yee. Chin teaches illustration at
the School of Visual Arts in New York.
Sponsored by:
Sponsored by:
Dawn Clements, Movie, Sumi ink on paper, 2007 (collection of
Saatchi Gallery, London).
Dawn Clements,
Framing the Immediate
Present and Other
Impossibilities
131 W. North Ave.
Dawn Clements’ complex spatial
drawings have been shown in the 2010
Whitney Biennial, New York; Venice
Biennale; Kunsthalle Wien, Austria;
Mass MoCA, Massachusetts; and Aldrich
Contemporary Art Museum, Connecticut.
Sponsored by:
Mount Royal School of Art.
Barry Schwabsky photographed by Mathias Augustyniak
Poetry Marathon, Serpentine Gallery, London, 2009
© M/M (Paris).
Barry Schwabsky,
Perils of Success
Tuesday, October 14, 10 am
131 W. North Ave.
Barry Schwabsky is the art critic of
The Nation, where he has been writing
regularly since 2005. His books include
The Widening Circle: Consequences of
Modernism in Contemporary Art.
of Painting, part of The Middle Years artist talks
series.
Neil Swaab.
Comics creator Benjamin Marra.
Lunchtime Lecture:
Neil Swaab
Lunchtime Lecture:
Benjamin Marra
Thursday, October 23, 12:15 pm
131 W. North Ave.
Monday, October 27, 12:15 pm
131 W. North Ave.
Neil Swaab is a Brooklyn-based
illustrator, art director, cartoonist, and
writer. He’s received much recognition
for his work, including from the Society
of Illustrators and Academy of Motion
Picture Arts and Sciences. Swaab has a
plethora of top clients, including The
New York Times and Comedy Central.
Benjamin Marra is the founder and
publisher of Traditional Comics and
co-founder of illustration and design journal
Mammal. The creator of comic books, such
as Night Business, has had his work recognized
by the Society of Illustrators and 3x3, among
others. He’s a recipient of the Young Guns 5
Award by the New York Art Directors Club.
Sponsored by:
Sponsored by:
Art@Lunch: Nate Harrison and
Ian Bourland, Art, Theft, and
Appropriation in Contemporary
Art: A Conversation
Wednesday, October 15, noon
131 W. North Ave.
Nate Harrison is an artist and writer working at
the intersection of intellectual property, cultural
production, and the formation of creative processes
in modern media. He teaches at the School of the
Museum of Fine Arts, Boston. Ian Bourland is
assistant professor in the Art History, Theory, and
Criticism Department at MICA. He works on issues
of race, globalization, and recent art, and writes
criticism for a range of publications, including Nka
and Artforum.
Sponsored by:
Department of Art History, Theory,
and Criticism.
Nate Harrison; and an image of ”Can I Get An Amen?” by Nate Harrison.
Sheila Heti.
Laura Newman, Match Set (detail), oil and acrylic on canvas.
Brent Green, Strange Fates (detail), poster.
Sheila Heti, How Should
a Person Be?
Laura Newman
Brent Green
Tuesday, October 28, 10:30 am
131 W. North Ave.
131 W. North Ave.
Laura Newman is an abstract painter
whose modest paintings engage in a
complex visual dialogue. She’s received
fellowships and awards, including from
the John Simon Guggenheim Memorial
Foundation and has exhibited at Lesley
Heller Workspace in New York, among
others. Newman teaches at Vassar
College in Poughkeepsie, New York.
Brent Green is a visual artist and
filmmaker. Often, his sculptural work
and installations are displayed alongside
his animated films. His work is in the
permanent collections of the Hammer
Museum and Museum of Modern Art.
Green is a 2005 Creative Capital grantee.
Monday, October 27, 7 pm
131 W. North Ave.
Sheila Heti is a Canadian writer,
playwright, and author of How Should
a Person Be?, which she describes as
constructed reality based on recorded
interviews with her friends—particularly
painter Margaux Williamson. It was
chosen by The New York Times and The
New Yorker’s James Wood as one of the
“best books” of 2012.
Sponsored by: MA in Critical Studies.
Sponsored by:
Painting.
LeRoy E. Hoffberger School of
Sponsored by: Mount Royal School of Art
with additional support from the Animation
Department.
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Student Exhibitions
Alexander Reynolds ’15
(painting)
Take Me To The River
Monday, September 8-Friday, October 3
Reception: Friday, September 12, 5-7 pm
Gateway: Gallery One
Shane Smith ’15 (photography)
Fairy Floss: Pink Confection
Gateway: Gallery Two
Ji Won Song ’15 (painting, MAT)
September
Meyerhoff House: Piano Gallery
Estelle Kline ’15 (photography,
graphic design)
Screen Name
Bunting Center: Student Space Gallery-Pinkard
Nick Metzler ’15
(interdisciplinary sculpture)
What Happens When Nothing
Else Does
Monday, October 6-Friday, October 31
Reception: Friday, October 10, 5-7 pm
Gateway: Gallery One
Kara Mask ’14 (painting)
OFF/GRID
Gateway: Gallery Two
McKinley Wallace III ’15
(painting)
Projections
Meyerhoff House: Piano Gallery
Jane Yoon ’14 (general fine arts)
Law of Reflection
Bunting Center: Student Space Gallery-Pinkard
(clockwise from top) Artwork by Alexander Reynolds ’15 (painting), Voyage, oil on canvas, 2013; Ji Won Song ’15 (painting, Teaching), Black
Seed #1 (25 drawings), charcoal on paper, 2014; Nick Metzler ’15 (interdisciplinary sculpture), J Curve, stone, bentwood, steel, and synthetic
materials, 2013; and Shane Smith ’15 (photography), Fairy Floss; Excerpt 7 (detail).
(clockwise from top left) Lola Borovyk ’14 (fiber), 163-22; Joshua Fetzer ’16 (illustration), The Hunt (photo by Christopher Myers ’94); Rachel Wheeler ’14 (fiber), Glare; Lo Ashford ’16 (fiber), WOLF PACK (photo by
Christopher Myers ’94); and Christy Chong ’14 (general fine arts), More than Mundane (photo by Christopher Myers ’94).
Spring Recap: Week of Fashion 2014
MICA students’ inventive and thought-provoking designs took center stage at the XIX, An Experimental Fashion
Event and UNMARKED, the 21st Annual Benefit Fashion Show in April. The events pushed the boundaries of fashion, showcasing a
distinctive use of fiber and textiles, along with additional media, through imaginative and original creations.
For additional highlights, visit fyi.mica.edu.
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CONNECTIONS
Growing a Strong Alumni Community
“There is a real role for the alumni at MICA,” said Laura LeBrun Hatcher
’98 (visual communications), president of the MICA Alumni Council. She became re-engaged
with the College after accepting an invitation extended to alumni seeking their perspectives
and opinions on diversity at MICA. Since then, Hatcher has become an active alumna. “It’s
rewarding to maintain a connection to an institution that you care deeply about, which has
grown so much and has made such an amazing impact—both in Baltimore and beyond.”
MICA has more than 16,000 alumni artists, community leaders, critics, designers, editors,
educators, and entrepreneurs. Founded nearly 125 years ago, the Alumni Council serves the
alumni community. It acts as a bridge and a sounding board to the administration of the College.
The council builds a valuable community and strong network for alumni; enhances the
student experience and strengthens programs that facilitate the student-to-alumni transition;
increases parent understanding on the education of the artist; and raises the visibility of the
MICA Alumni Association and community of artists and designers locally and regionally.
As both advisors and ambassadors, members of the council help to inform the College by
raising questions and concerns and making recommendations and suggestions. Members also
participate in a variety of local and regional events, receptions, and exhibitions for prospective
and current students and their families, MICA alumni, faculty, and staff.
The council envisions a deeper connection through re-engagement, networking, and
providing resources, “so that alumni can continue to be connected to something that was once
such a vital part of their lives,” said Hatcher.
Laura LeBrun Hatcher ’98 (visual communications).
MARK YOUR CALENDAR
For the most up-to-date information and additional news, events, and exhibitions as well as videos,
photos, artwork, and interactive features, visit Juxtapositions online at fyi.mica.edu.
Image from previous MICA Art Market.
DJ Spooky/Milan, Italy (photo by Roberto Masotti).
MICA Art Market
≠
Wednesday, December 10–Friday, December 12,
11 am–7 pm, and Saturday, December 13,
10 am–6 pm
Brown Center: Leidy Atrium and Falvey Hall
lobby, 1301 W. Mount Royal Ave.
Friday, November 7–Sunday, November 16
Fred Lazarus IV Center: Sheila & Richard Riggs
and Leidy galleries, 131 W. North Ave.
Reception: Friday, November 7
At this festive sale, holiday shoppers and collectors
can discover work by emerging and established
artists. Fine art and handmade objects by more
than 300 MICA students, alumni, faculty, and staff
will be on sale. The event is sponsored by the MICA
Alumni Association. A portion of the proceeds goes to
scholarships for MICA students. Admission is free.
MICA artist-in-residence Paul D. Miller, aka DJ Spooky
that Subliminal Kid, visited the National Security
Agency’s (NSA) National Cryptologic Museum and
was inspired by the history of modern computing that
the museum represents. The exhibition incorporates
material generated from the history of computing and
his upcoming book, The Imaginary App, for MIT Press.
His residency concluded spring 2014.
Image from previous Juried Undergraduate Exhibition.
Juried Undergraduate
Exhibition
Friday, November 21–Sunday, December 14
Fox Building: Meyerhoff and Decker galleries,
The work in this annual exhibition is a selection of the
best submissions from all four years of undergraduate
students. From hundreds of entries, approximately
100 will be chosen in a variety of disciplines based on
artistic merit, creativity, and vision.
Sign up to receive weekly event or monthly news updates at www.mica.edu/signup.
ESSAY
Seizing the Moment
By MICA President Samuel Hoi
“As we write the
next chapter in
our great history,
your input will be
invaluable. I am
honored to embark
on this journey
with you.”
On July 7, 2014 , I walked up the steps of
MICA’s Main Building for my first full day as
the new president, with much of the same sense
of anticipation and eagerness as a new freshman
on the first day of the academic year. I was awed
by the College’s accomplishments and traditions
established over its 188-year history; yet I
couldn’t help but be excited by the thought of
contributions to that legacy for an even brighter
future that we will all make together. I came to
MICA because I sincerely believe that this will
be the place from which the most transformative
ideas in art and design education will emerge
over the next decade and that we all will have a
role to play.
I am equally excited about becoming a
Baltimorean—specifically a new Bolton Hill
resident. I will take a lot of time over the next
year to listen to and learn from members of
the MICA family, including students, parents,
faculty, staff, trustees, alumni, and our supporters
in academia, the arts, and the community.
From talking to my neighbors, I have gotten
an even greater sense of just how impactful
MICA has been in adding to the quality of
life, as well as opportunities, in this part of
the city for residents, business owners, and
service providers in the greater Station North
area. In fact, numerous people I have met in
Baltimore—from government and community
leaders to arts enthusiasts—have told me just
how important the College is to the city, and
the unique way MICA has used its leadership
in the arts and education to reinvigorate
neighborhoods, promote social wellness, and
foster cultural vibrancy. I look forward to using
my passion for community engagement to
support and help expand MICA’s role at the
center of creative civic leadership.
As we envision the “MICA of Tomorrow,”
we can seize this moment to enlarge MICA’s
achievements by enhancing our diversity,
broadening our global reach, and further
developing our educational programs and
services to meet 21st-century needs. It is also
clear that MICA can be, and should be, at the
forefront of the international discussion on the
expanding platform for artists and designers to
participate in the economy, social change and,
of course, cultural innovation. Understanding
deeply both the tangible and intangible outcomes
of our work, we have a phenomenal opportunity
to articulate the value of a MICA education to
the world and authentically convey our message
regarding return on investment for families.
Of course, service to our students will always
be my principal concern. MICA is a special place
for gifted art and design students to come into
their own artistically, intellectually, civically, and
professionally. It takes a whole-team approach
among faculty, staff, and an ever-expanding
network of partners to engage our students
in a holistic and forward thinking education.
MICA’s reputation for exploring and establishing
novel and excellent approaches to teaching and
learning is well known, and we are uniquely
positioned to move boldly into new frontiers in
art and design education.
The MICA family has already made me
feel incredibly welcome, and I look forward
to meeting as many members of our extended
community as possible in the weeks and months
to come. As we write the next chapter in our
great history, your input will be invaluable. I am
honored to embark on this journey with you.
45
46
CONTENTS
MICA Venues
Main Building
Special Feature:
Flip magazine over for
more news stories.
Brown Center
Fox Building
Bunting Center
The Gateway
Dolphin Building
100 Dolphin St.
Mount Royal Station
1400 Cathedral St.
Fred Lazarus IV Center
131 W. North Ave.
MICA PLACE
814 N. Collington Ave.
News
SPECIAL FOCUS: FILMMAKING
COMMUNITY AND SOCIAL
ENGAGEMENT
Using Art to Force Action
Against Rape Culture 12
Events &
Exhibitions
Lecture: Barry Schwabsky 39
Lecture: Dawn Clements Lecture: Nate Harrison
16, 25, 28, 35, 43 and Ian Bourland 38
10/23
39
Lecture: Neil Swaab Brain Science Research Sheds
a Light on Critique 18
10/1-14
Lecture: Benjamin Marra GLOBAL
Faculty Exhibition Global Appeal 33
CONNECTIONS
10/2-11/2
Lecture: Barnaby Furnas
Selfie Love 13
ALUMNI
10/9
A Monumental Mission: Alumnus
Helps a Nation Rebuild 29
34
10/7
10/7
Alumna Chronicles Life in the
Big City with Hit Show 27
10/27
Renaissanz Rzen: Artist in Exile 34
Lecture: Joanne Greenbaum Lecture: Joyce Hesselberth 40
40
38
Lecture: Sheila Heti 10/28
38
10/28
Lecture: Brent Green
39
10/10
STI Around the World 39
10/27
Lecture: Laura Newman
34
Monday through Saturday, 10 am–
5 pm; Sunday, noon–5 pm
Closed major holidays
MICA PLACE Hours
10/15
October
INNOVATION
39
10/14
Retrospective
Spring Recap
MICA Gallery Hours
10/14
38
By appointment; contact the
Department of Exhibitions at
410-225-2280 or
[email protected]
Download MICA’s fyi.mica.
edu events and exhibitions
mobile app for iOS in the
Apple App Store.
Twitter:
@mica_news
facebook.com/
mica.edu
YouTube:
MICAmultimedia
LinkedIn:
mica.edu/linkedin
10/13
Lecture: Marcos Chin Samuel Hoi, President
Michael Franco, EdD, Vice President for Advancement
Cedric Demond Mobley, Associate Vice President of
Institutional Communications
Editors/Writers at Large: Jessica Weglein Goldstein ’13,
Dionne McConkey, Lorri Angelloz
Contributing Editors/Writers: Claire Cianos, Tamara
Holmes, Corey Lacey, Aja Myles
Designer: Becky Slogeris ’11 ’12
Additional MICA Communications Support: Justin Codd,
Allyson Morehead, Michael Walley-Rund, Brenda McElveen,
Bryan Sinagra, and Andrew Copeland ’13.
39
To highlight special affiliations with the College, designations may follow a person’s name, including: Alumnus: year of
graduation; Honorary Degree Recipient: H and year degree awarded; and Parent: P and year of child’s graduation.
Thank you for your support of MICA and its programs! MICA’s exhibitions and public programs receive generous
support from the Robert and Jane Meyerhoff Special Programs Endowment; the Amalie Rothschild ’34 Residency Program
Endowment; The Rouse Company Endowment; the Richard Kalter Endowment; the Wm. O. Steinmetz ’50 Designer in
Residence Endowment; the Rosetta, Samson, and Sadie B. Feldman Endowment; the Maryland State Arts Council, an
agency dedicated to cultivating a vibrant cultural community where the arts thrive; and the generous contributors to
MICA’s Annual Fund. BBOX—Betty • Bill • Black Box—is named for Betty Cooke ’46 and Bill Steinmetz ’50.
Although every effort is made to ensure the completeness and accuracy of Juxtapositions, information does sometimes
change. We suggest you confirm event details by checking MICA’s website at mica.edu, where you will also find driving
directions and a campus map. Events and exhibitions are free and open to the public, unless otherwise noted. To request
disability accommodations, call 410-225-2416 or email [email protected]. For more information, to adjust your
subscription options, or to submit story ideas or comments, email [email protected] or call 410-225-2300.
© 2014 Maryland Institute College of Art
(back cover) Abbi Jacobson ’06 (general fine arts) and Ilana Glazer (left), creators and stars of Broad City (photo by Lane Savage).
Maryland Institute College of Art will be represented at each of the following
portfolio day events. Here is your chance for any interested high school
student you know to meet with us, receive counseling about their portfolio,
and discuss admission procedures and scholarship opportunities. For a
complete list of dates and more information about attending a National
Portfolio Day, visit the National Portfolio Day Association’s website at
www.portfolioday.net.
WE’LL BE THERE
SAVE THE DATE
2014–2015
MIDDLE STATES
25
09
15
16
22
23
Oct
Nov
Nov
Nov
Nov
Nov
National
Portfolio
Days
CONTACT #:
Syracuse, NY
Philadelphia, PA
Purchase, NY
New York, NY
Washington, DC
Baltimore, MD
Syracuse University, College of Visual & Performing Arts
Pennsylvania Convention Center, hosted by Tyler School of Art, Temple University
Purchase College, SUNY
Jacob K. Javits Convention Center, hosted by Fashion Institute of Technology
Corcoran College of Art & Design
Maryland Institute College of Art
315-443-2769
215-777-9000
914-251-6000
212-217-3762
202-639-1814
410-225-2222
Milwaukee, WI
Chicago, IL
Kansas City, MO
St. Louis, MO
Grand Rapids, MI
Milwaukee Institute of Art & Design
School of the Art Institute of Chicago
Kansas City Art Institute
Washington University
Kendall College of Art and Design of Ferris State University
414-847-3255
800-232-7242
800-522-5224
314-935-6500
616-451-2787
Hartford, CT
Boston, MA
Hartford Art School, University of Hartford
Hynes Convention Center, hosted by Massachusetts College of Art & Design
860-768-4393
800-643-6078
Albuquerque, NM
Albuquerque Marriott Pyramid North, hosted by Washington University
314-935-6500
Richmond, VA
Atlanta, GA
Charlotte, NC
New Orleans, LA
Miami, FL
Sarasota, FL
Virginia Commonwealth University
Cobb Galleria Centre, hosted by Maryland Institute College of Art
Hilton, Charlotte Executive Park, hosted by Memphis College of Art
Four Points New Orleans Airport Hotel, hosted by Memphis College of Art
Location TBA, hosted by New World School of the Arts
Ringling College of Art & Design
804-828-2787
410-225-2222
901-272-5151
901-272-5151
305-237-3135
800-255-7695
Phoenix, AZ
Seattle, WA
Portland, OR
San Francisco, CA
San Diego, CA
Mesa Community College, hosted by Cornish College of the Arts
Cornish College of the Arts
Pacific Northwest College of Art
San Francisco Art Instuite
The Westin San Diego, hosted by Laguna College of Art + Design
206-726-5151
206-726-5151
503-821-8926
415-703-9532
949-376-6000
Ontario College of Art & Design University
Emily Carr University of Art & Design
416-977-6000
800-832-7788
MIDWEST
18
19
25
26
26
Oct
Oct
Oct
Oct
Oct
NEW ENGLAND
18 Oct
19 Oct
SOUTHWEST
07 Dec
SOUTH
01
08
23
17
24
25
Nov
Nov
Nov
Jan
Jan
Jan
WEST
06
10
11
17
18
Dec
Jan
Jan
Jan
Jan
INTERNATIONAL
08 Nov
06 Dec
Toronto, ON
Vancouver, BC
September–October
NEWS, EVENTS, & EXHIBITIONS
’14
Find up-to-date event details and expanded
information at fyi.mica.edu.
MARYLAND INSTITUTE COLLEGE OF ART
COMEDY
CENTRAL
ABBI JACOBSON ’06
TURNS WEB SERIES
INTO HIT TELEVISION
SHOW, BROAD CITY
Special Focus:
FILMMAKING
TV LEGEND
DAVID JACOBS ’61
REFLECTS ON CREATING
AWARD-WINNING
TELEVISION SHOWS
DALLAS AND
KNOTS LANDING
CUTTING-EDGE
GRADUATE
FILMMAKING
PROGRAM TO
LAUNCH
AT A GLANCE:
PRESIDENT HOI’S
FIRST WEEKS
On Campus
LOCALLY SOURCED
CONSTITUTION DAY 2014
Maryland Institute College of Art
Baltimore, Maryland 21217

tv legend - Maryland Institute College of Art

Transcription

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