S T. L O UI S
CONFERENCE
MA RCH 30 – A P RIL 2, 20 11
THURSDAY
MARCH 31
7:00 Continental Breakfast Arch View Ballroom
Exhibits & Poster Displays Setup Grand Foyer
8:00 Conference Registration Begins Grand Foyer
Exhibits & Poster Displays Grand Foyer
9:00 Session I
SESSION 1
GRAND SUITE 1 & 2
Capstone Experiences
Donna Lee Adams, University of Indianapolis
Capstone experiences involve evolution, examine issues and practices related to managing
an artist’s studio and career. Subsequent incarnations, philosophy, objectives, assessment,
challenges, and successes are explored. Plans for a new BA in Visual Art (BAVA) Thesis
Project involve publishable, topical works emphasize visual art-based research. Capstone
experiences also need to be based on degree and discipline.
John Watson, Webster University • hwatson@webster.edu
and Jeffrey Hughes, Webster University • hughesja@webster.edu
OMG, I’m Graduating with a Degree in Art! Now WTF Am I
Supposed to Do?
Dusty Benedict, Warren Wilson College • benedict@warren-wilson.edu
The Evolution of a Capstone Experience in a Small, Rural, Liberal
Arts College
Christopher Burnett, University of Toledo • chris.burnett@utoledo.edu
New Expectations for a Reformed Program:The BAVA Thesis
Project Capstone
Donna Lee Adams, University of Indianapolis • dadams@uindy.edu
Differentiated Capstone Experiences
SALON A
Teaching the Foundations of Site-Specific Practices
Anna Campbell • campbean@gvsu.edu
Site-specificity has emerged as one of the most critical modes of production in
contemporary art practice. Efforts to engage this practice at the undergraduate level
1
are largely clustered in upper-level courses; this panel will offer tactics for engaging art assessment in the Frostic School of Art at Western Michigan University, a plan that
foundational students in site-specific concerns. encompasses foundation students, graduating seniors, and everyone in between.
Anna Campbell, Grand Valley State University Karen Bondarchuk, Western Michigan University
Dr. Joyce Kubiski, Western Michigan University
Isabel Reichert, California College of the Arts
ireichert@gmail.com, ireichert@cca.edu
Which Line(s) Can’t You Cross? GATEWAY 4 & 5
Jeremy Botts, Wheaton College • Jeremy.Botts@wheaton.edu Exploring Place
Greg Halvorsen Schreck, Wheaton College • ghschreck@gmail.com
Ryan E. Gregg • ryangregg80@webster.edu
Earthworks: Collaboration as Foundational Practice
Place takes many forms in art, from landscapes and framed views to a viewer’s position or
Driscoll Kathleen, Mount Ida College • kdriscoll@mountida.edu
embodied space. This session considers both the variety of those forms and the different
Perception and Space: Altering Spatial Experience, a 2D & 3D Installation
means through which we discuss them.
in Real Time
Gail Simpson, University of Wisconsin- Madison • gsimpson@education.wisc.edu Ryan E. Gregg, Webster University
Engaging the Architecture of the Institution Allison Sauls , Missouri Western State University • sauls@missouriwestern.edu
How Sense of Place Works: Mapping Epistemological Symbols of Memory
and Projection
SALON B
John Dempsey, Mott Community College/Buckham Fine Arts Project
Coordinating a FATE Regional Event jvdempsey@gmail.com
Pamela S. Allen • pallen@troy.edu The Salience of Place: Making a Case for Observational Drawing
in Foundation Programs
ProjectShare is one example of many FATE Regional Events that have or will occur
over the next year throughout the many regions. I am proposing that these regional Carol Hodson, Webster University • hodsonca@webster.edu
coordinators pool together these events into a one-panel session to discuss how they The Village of The Little People: Creative Collaboration in
Unprotected Space
organized their regional events.
Jesse Payne,Virginia Commonwealth University Qatar • jwpayne2@qatar.vcu.edu
Coordinating a Regional Event SALON E
Chris Kienke, Savannah College of Art and Design • ckienke@scad.edu Beyond Postmodernism: Moving the Contemporary
Envisioning a New Foundation Art History Course into the 21st Century
Heidi Neff, Harford Community College • hneff@harford.edu Caroline Simpson • msimpson@eiu.edu
Starting Small: How Micro-Meeting Can Help Build Relationships and
The history of contemporary art is a standard component of most undergraduate
Revitalize Your Teaching Practice
curriculums. How might the content and pedagogy of such courses be reconceived to
Pamela S. Allen, Troy University • pallen@troy.edu better meet students’ needs and to be more focused on the art of the 21st century and
Behind the Scenes of ProjectShare what Nicolas Bourriaud describes as an art of an altermodern age?
Caroline Simpson, Eastern Illinois University
GATEWAY 3
Alex Emmons, Central Washington University • alex@alexemmons.com
Less is More: The Building Blocks of Art Assessment The Costume Party: (Re)defining How Students Connect with
Contemporary Art
Karen Bondarchuk • karen.bondarchuk@wmich.edu
Scott Contreras-Koterbay, East Tennessee State University • koterbay@etsu.edu
Art assessment is generally viewed as a necessary evil by art educators, and is often
Situational Translation:Teaching Contemporary Art History To
unnecessarily complicated. This presentation will outline the ‘less-is-more’ approach to
Contemporary Students
2 3
Jay Noble, Pennsylvannia College of Art and Design • jnoble@pcad.edu
What Contemporary Means Today
10:15 Break
Timea Tihanyi, University of Washington • timea@u.washington.edu
10:30 Session II
From the Classroom to the Studio: Inquiry-based Teaching of
Contemporary Art at the Foundation Level (Case Study of ART 120:
SESSION II
Issues and Influences in Contemporary Art)
SALON F
GRAND SUITE 1 & 2
Foundations and Media: Bringing the System Sketchbook? Textbook? Notebook? No Book?
On-Stream Exploring Pedagogies for the Studio Drawing Class
William Hosterman • hostermw@gvsu.edu
Doug Schlesier, Clarke College • Doug.Schlesier@clarke.edu
This panel will focus on strategies for incorporating media culture, such as film,
Instructors have used various teaching methods for the many categories of the
advertisements and the Internet into a variety of foundations curriculum. The goals of the
drawing class ranging from direct observation to technological programs. This panel
panel are to be informative on ways that art programs have approached the subject, and
seeks to explore these various pedagogies both practically and theoretically along with
practical in the sharing of project information.
their teaching aids and practices, ie: the personal sketchbook, instructional textbooks,
William Hosterman, Grand Valley State University photographical aids and methods, computer software, and studio assignments, to name
a few. Is the critique the most efficacious form of evaluation and does it add to the
Dave Richardson, Eastern Illinois University • drichardson@eiu.edu
learning process?
Make Things Move: Integrating Simple Motion Design
into 2D Foundations Projects Ken Wood, St Louis Community College Meramec • kwood57@stlcc.edu
Dean Valadez, University of WI-Milwaukee Institute of Art & Design Joe Chesla, St Louis Community College at Meramec • JChesla@stlcc.edu
deanvaladez@gmail.com Sketchbooks — The Portable Wonderland
Media Ecology: Remix Culture and Remix Pedagogy Carla Rokes, The University of North Carolina at Pembroke • carla.rokes@uncp.edu
Allison Denyer, The University of Utah • a.denyer@utah.edu Directional Clues
The Continual Line Edward Stanton, Stanford University • edwardstanton03@yahoo.com
Mess as a Creative Generator
SALON G Jessie Rebik, Clarke University • Jessie.Rebik@clarke.edu
Resource Challenge: Beyond Google
Breaking the Mold: Interdisciplinary Studies &
Collaboration in Studio Art Foundations SALON A
Garrick Imatani • garrick@lclark.edu
Publicity Abstract: Interdisciplinary studies and collaboration are two important models Solid Ground or Shifting Sand: Foundations in Art
in contemporary studio art practice. Foundation classes have a unique challenge in and Technology
addressing these ideas at the beginning of an art student’s academic career. This panel Barbara Yontz • byontz@stac.edu
will endeavor to address these challenges by highlighting specific collaborative projects
Since many college and university Art, Design and New Media departments share
from varied perspectives.
common Foundations, and as programs are becoming more technological, what is role of
Lisa Stinson, Moderator, Appalachian State University • stinsonlm@appstate.edu the traditional Foundations core? This session is designed to investigate how the traditional
Jason Watson, Appalachian State University • watsonjd@appstate.edu model for foundations impacts the new, more diverse arts programs.
Garrick Imatani, Lewis & Clark College • garrick@lclark.edu
Anne Bentley, Lewis & Clark College, Chemistry Department • bentley@lclark.edu Barbara Yontz, St. Thomas Aquinas College
John Stephenson, Appalachian State University • stephensonjwl@appstate.edu
4 5
Jane Venes, Middle Tennessee State University • jvenes@mtsu.edu Sara Dismukes • Troy University
Making the Shoe Fit: Content for Contemporary Foundations Self-Portrait of the Artist on a Flying Cat: Why Photoshop is a Great Tool
for 2D Design Foundations
Maureen Garvin, Savannah College of Art and Design • mgarvin@scad.edu
At the Core—Building Visual, Conceptual, and Creative Abilities Liz Murphy Thomas • University of Illinois Springfield
Creativity and the Internet
Tammy Knipp, Florida Atlantic University • tknipp@fau.edu
Visual Grammar: The Conjunction of Traditional and Digital Foundations Nell Ruby • Agnes Scott College
to Mark-Making Social Mechanics at Work: Blogging and (Visual) Thinking
Peter Tucker • SUNY Fredonia
SALON B Social Networking—Works
Foundations in Literature: Developing a
GATEWAY 4 & 5
Culture of Reading Within the Art and Design
Foundations Program Foundations and Crafts — Roundtable Discussion
Greg Skaggs, Troy University • jgskaggs@troy.edu Jennifer Mokren • mokrenj@uwgb.edu
Is your institution pushing for more literature in the classroom? Are you required to In this roundtable discussion, educators who teach both in foundations and a craft studio
participate in a campus-wide freshman reading initiative? Or do you believe that a culture discipline discuss the relevancy of foundations for the students they expect to see in their
of reading in the classroom develops a better problem-solving student? As institutions craft studio areas down the road, and their goals as educators responsible for teaching
push faculty to incorporate reading programs into all areas of a liberal arts program, both Foundations and Craft.
the fine arts have much to add to the body of literary knowledge. From classics such as
Alison Gates – Moderator, University of Wisconsin Green Bay • gatesa@uwgb.edu
Edwin Abbott Abbott’s “Flatland” to more contemporary examples such as “The Creative
Jennifer Mokren, University of Wisconsin Green Bay •
Habit” by Twyla Tharp, this discussion group promises to equip participants with ideas and
Alan Mette, University of Illinois at Urbana Champaign • amette@illinois.edu
classroom examples with ways to integrate literature into your course curriculum. Summer Zickefoose, Westminster College • summerzickefoose@gmail.com
Frankie Flood, University of Wisconsin Milwaukee • fflood@uwm.edu
Participants will look at a variety of literary examples and brainstorm creative ways that
the texts can be developed into new modules or adapted to fit some of your tried and
tested classroom projects. If you’ve been implementing a culture of reading into your SALON E
classroom, come prepared to share successful ideas that have worked with the rest of us.
Writing Across Foundations
Amy Schmierbach • aschmier@fhsu.edu
GATEWAY 3
To write or not to write that is the question. Most students dread the art history paper
Social Networking Your Way to Visual Literacy and I hate grading them. However, I have seen the benefits of writing assignments.
During this panel I would like to learn different perspectives and approaches to writing in
Marlene Lipinski • mlipinski@colum.edu
foundation studio classes.
Panel participants present experiences with visual literacy instruction incorporating
internet research through hybrid courses incorporating studio practice during class time Amy Schmierbach, Fort Hays State University
and continuing instruction beyond the traditional boundaries of the classroom via social Chandler Pritchett, University of Memphis • chandlerpritchett@gmail.com
networking sites, (e.g.Twitter, blogging, Facebook), and instructional supports, (such as The Love Letter
Moodle, Blackboard and other LMS technologies), podcasting and other technological
Kim Taylor, University of Cincinnati Clermont College • taylork6@uc.edu
innovations to create a collaborative and interactive learning environment.
Kelly Frigard, University of Cincinnati Clermont College • kelly.frigard@uc.edu
Marlene Lipinski • Columbia College Chicago Beyond the Traditional and Representational: Using Writing as a Tool for
Understanding Contemporary Art in Art Foundations Courses
Heidi May, Emily Carr • University of Art & Design,Vancouver, BC
Art in the Age of Networked Learning
6 7
William Potter, Herron School of Art and Design-IUPUI • wwpotter@iupui.edu
Mark Harper, Herron School of Art and Design-IUPUI • mcharper@iupui.edu
11:45 Break
Ways of Seeing: Art and Culture
12:00 Lunch Arch View Ballroom
SALON F 1:00 Conference Welcome Arch View Ballroom
Betz/Richardson
Keeping it Fuzzy 1:15 Break
Brett Reif • breif@kcai.edu 1:30 Session III
The desire to analyze and quantify curricular pathways, language and assessment can
conflict with creating inventive and expressive students. In this panel we will discuss the
benefits and liabilities of articulation and specificity in curriculum, architecture, language SESSION III
and assessment. In foundations instruction we must remember to keep it fuzzy.
Brett Reif, Kansas City Art Institute GRAND SUITE 1 & 2
Functional Ambiguity
Sweeping Changes in Foundations
Mary Connelly, University of Colorado, Denver • Mary.Connelly@ucdenver.edu
Gary Setzer, garysetzer@yahoo.com
Rubrics & Student-Centered Learning in Studio Arts
A review of innovative new programs in art foundations/fundamentals.
Jim Sajovic, Kansas City Art Institute • jsajovic@att.net
No-noun Sense Gary Setzer, University of Arizona • garysetzer@yahoo.com
Strategies for Democratically Developing and Implementing Broad
Tom Lewis, Kansas City Art Institute • tlewis@kcai.edu
Curricular Change: They’ll Only Drink the Kool-Aid, If They’re In On
Technology & Creativity in the Foundation Classroom
the Recipe
Michelle Illuminato, Alfred University • illuminato@alfred.edu
SALON G Looking Back While Moving Forward OR How Do You Continue to
Be Progressive?
Capstone Strategies in Foundations
Susan Meyer, University of Denver • Susan.Meyer@du.edu
Kim Sloane • ksloane@pratt.edu
Ongoing Changes:The Core Art and Media Program at the University
of Denver
Kim Sloane, Pratt Institute • ksloane@pratt.edu
Foundation Book Project: Integrating the Digital into Foundation Manuel Aja-Herrera, Savannah College of Art and Design • majaherr@scad.edu
Curriculum Developing Critical Thinking and Concept Development in Foundations
Sherry Stone, Herron School of Art and Design, IUPUI • sstonecl@iupui.edu Ryan Mulligan, University of Cincinnati • mulligrn@ucmail.uc.edu
Keeping the Tools at Hand: The Creative Process as Instrument Critical Vision Seminars in the First Year Experience
for Synthesis
David Begley, University of North Florida • dbegley@unf.edu SALON A
Bridging the Technical Divide: Reinforcing Foundations for Graphic
Design Students Global Color
Steven Bleicher • bleicher@coastal.edu
Issues of multiculturalism and global identity have become increasingly important areas
of investigation. Students must be taught to think conceptually in terms of global color as
well as traditional western concepts. This session will explore the importance of teaching
global issues of color and will also include studio assignments and related projects.
8 9
Steven Bleicher, Coastal Carolina University GATEWAY 4 & 5
Why Global Color
Reconsideration and Modification of FATE Guidelines
Antoinette Martin, University of Hawai’i / Windward Comm College
toni-martin@hawaii.rr.com Ralph M. Larmann • RL29@evansville.edu
Humanizing the Study of Color FATE members are invited to join in a discussion of the efficacy of the current FATE
Rowen Schussheim-Anderson, Augustana College Guidelines and offer suggestions for editing, clarity, and to bring new issues to the
rowenschussheim@augustana.edu table that might need to be included in the future. Obtain a copy of the Guidelines at
Coloring Outside the Lines foundations-art.org/guidelines.html
Meredith Rode, Ph.D, University of the District of Columbia • mrode@udc.edu Ralph M. Larmann, University of Evansville
Crossing the Color Line: The Jaundiced Eye Peter Winant, George Mason University • pwinant@gmu.edu
Christine McCullough,Youngstown State University • cmcculllough@ysu.edu
SALON B
SALON E
The Relevance of Introductory Art History Courses
Katie Robinson Edwards • Katie_R_Edwards@baylor.edu Attentiveness
How pertinent are “ART 101” courses to 21st century college students majoring in non- Cedar Lorca Nordbye • cnordbye@memphis.edu
art fields? Can we keep a broad art education relevant to these students, even if we only Attentiveness, high-powered noticing, deep investment and concern for the present,
teach them for a semester? This session addresses pros and cons, with examples of what engagement in the work at hand, is at the heart of the artistic practice and the most
might stay or go. essential skill that students build. How do we teach it? This panel explores attentiveness
and showcase teachers’ strategies for developing attentiveness in foundations.
Katie Robinson Edwards, Allbritton Art Institute, Baylor University
Introductory Remarks Cedar Lorca Nordbye, University of Memphis
Irina D. Costache, California State University Channel Islands Kenneth Haltman, University of Oklahoma • haltman@ou.edu
irina.costache@csuci.edu Looking Close and Seeing Far
Art 101: What Is the Canon?
Anne Beffel, Syracuse University • aebeffel@syr.edu
Carey Rote, Texas A & M University—Corpus Christi • carey.rote@tamucc.edu Fieldwork of Attunement
Incidents of Travel in Artlandia: Making Art 101 Meaningful
David Kamm, Luther College • kammdavi@luther.edu
Ferdinanda Florence, Solano Community College • ferdinanda.florence@solano.edu Death to Multi-Tasking (and Her Little Dog,Too)
and Marc Pandone, Solano Community College • marc.pandone@solano.edu
What’s Appreciation Got to Do with It? Building the Culturally-Literate Cara Tomlinson, Lewis and Clark College • cara@lclark.edu
Citizen through Art Education Drawing Attention: Teaching Drawing as Process not Product
GATEWAY 3 SALON F
Publishing Forum Teaching Foundations vs. Studio Practice
Heather Deyling • hdeyling@gmail.com
Unhosted Roundtable
As a foundations professor, does the work you do in the classroom creep into the studio, or
FATE/MACAA members (and perhaps their publishers) who have published books will is what you do in the studio a reaction against what you teach? Is teaching a liability or an
conduct a roundtable to inform the audience about what it takes to write and publish a asset to your work? Perhaps the answer lies somewhere in between?
book for the higher educational art market.
Heather Deyling, Savannah College of Art and Design
Teaching Foundations vs. Studio Practice: Is There an Overlap?
Panel yet to be determined.
10 11
SESSION IV
Hollis Hammonds, St. Edward’s University • lauraah@stedwards.edu
For Better or for Worse? The Union between Teaching and
Making Drawings
GRAND SUITE 1 & 2
Michael Kellner, The Ohio State University • contact@michaelkellnerart.com
Process over Product The Triumphs of Teaching in a Multicultural
Foundation Program
SALON G Christopher Olszewski, Savannah College of Art and Design
chris_olszewski@me.com
Bringing It All Back Home: Overcoming Resentment
This panel represents Multicultural Foundation Professors who contribute to positive
in Non-Art Majors social change through projects that share best practices for increased impact nationally
Katie Robinson Edwards • Katie_R_Edwards@baylor.edu and globally. The ultimate goal is to promote cultural diversity in higher education and
Many colleges and universities offer lower level courses to non-majors. Some students encourage artists of color to get involved in the FATE Biennial Conference.
want to be there; some don’t. How do we best appeal to all sectors, convincing them of
Edward Stanton, Stanford University • Edwardstanton03@yahoo.com
the vitality of art and visual culture? Bechtel International Center at Stanford University
Katie Robinson Edwards, Allbritton Art Institute, Baylor University Najjar Abdul-Musawwir, Southern Illinois University • mekka@siu.edu
Session Chair and Summarizing Remarks Cultural Realities in Learning Styles
Sharon Grimes, Greenville College • Sharon.Grimes@greenville.edu Yonsenia White,Virginia Tech University • ywhite@vt.edu
“This course has nothing to do with my major (or life), so why do I have White Elephant in the Design Classroom
to take it?”
John Jennings, University of Illinois • Ssum28@gmail.com
Chris Balaschak, Flagler College • CBalaschak@flagler.edu In the Mix: Design, Intersectional, and the Pedagogy of Visual
After Art101: The Visual Culture Turn Communication
Lin Sun, Clark Atlanta University • lsun@cau.edu or sharon.grimes@greenville.edu Pernell Johnson, Savannah College of Art and Design • phjohnso@scad.edu
Incorporating Creative Thinking Projects Unspoken Truth in Color
Gina Cestaro, University of West Florida • gcestaro@uwf.edu
Not Just Another Pretty Face: The Importance of Art Education in
SALON A
Human Development
Inspired by Our Children
Elizabeth Bilyeu • ebilyeu@pcc.edu
2:45 Break (Beverages and Dessert)
In our profession, how are we inspired by our children? “The personal is political”
3:00 Session IV
revolution opened doors between public and private spheres. How do we integrate
these areas of our lives? Let’s explore creative, intellectual, emotional, and psychological
nuances of blurring boundaries between public and private. Expect a 21st-century
consciousness-raising!
Moderator: Elizabeth Bilyeu, Portland Community College
Michael Arrigo, Bowling Green State University
Rodent Locomotion: How Domestication Led to a More Feral Approach
to Making Art
Scott Betz, Winston-Salem State University
Target Subset: Overlapping Two Circles and Stealing Precious Time
12 13
Shelley Gipson, Arkansas State University GATEWAY 4 & 5
Inspired by our Children: Fancy Me That
On [Field and] Stream
Jennifer Williams Terpstra, University of Wisconsin – La Crosse
Drawn Together: Drawing, Play and Studio Practice Winn Rea • winn.rea@liu.edu
Our students have grown up as a “containerized” generation separated from the natural
environment. Technology is one of many factors contributing to this “nature-deficit
SALON B
disorder.” Can technology function as a bridge back into nature? Can working in the
Rethinking Art Criticism environment spawn creative new uses of technology? What can we, as teachers, do to
facilitate re-discovery of the environment? What happens when students re-combine the
Dr. Alexandria Pierce • apierce@scad.edu
digital world and the natural world?
This session concentrate on innovative ways to promote art criticism as a necessary
field to enhance our understanding of the arts. It seeks papers that discuss creative Winn Rea, C.W. Post Campus of Long Island University
contemporary art criticism as a selective method to promote the most original art of Jeremy Shellhorn, University of Kansas • jeshellh@ku.edu
our time. Typography Off the Screen and Into the World: How Does Context
Emphasize/Change or Challenge Meaning?
Dr. Alexandria Pierce, Savannah College of Art and Design
Scott Thorp, Savannah College of Art and Design • wthorp@scad.edu
Dennis Farber, Maryland Institute College of Art • dfemail@aol.com Turning Toys of Technology into Tools of Discovery
Art Criticism: Appropriate or not for Foundation?
Barbara WF Miner, University of Toledo • Barbara.Miner@utoledo.edu
Dr. Lin Sun, Clark Atlanta University • lsun@cau.edu En Plein Air
Art Criticism of Intrinsic and Extrinsic Properties for the Intellectual and
Aesthetic Understanding of Art
Dr. Terry Barrett, University of North Texas • terry.barrett@unt.edu SALON E
Interpretation as Criticism
Evolving Foundations in an Ever-Changing Art World
Geoffrey S. Beadle • gbeadle@edinboro.edu
GATEWAY 3
Does a foundations curriculum that has worked for the past fifty years necessarily need
Citizen/Artist to change? Can a technologically illiterate foundations instructor be effective? These are
just some of the questions this panel will address in a discussion of the ongoing role of
Peter Winant • pwinant@gmu.edu
foundations in our ever-changing visual arts curricula.
The voice of the artist/designer, as one for responsive social engagement, is on an upswing.
This panel will address strategies that incorporate broad principles of creative inquiry Geoff Beadle, Edinboro University of Pennsylvania
to serve art majors as well as non-art majors with essential, enduring skills for social Brian Curtis, University of Miami • b.curtis@miami.edu
engagement through the foundational art studio experience. Deconstructing Duchamp’s Disciples
Peter Winant, George Mason University • pwinant@gmu.edu Michael Ryan, School of the Art Institute of Chicago • mryan3@saic.edu
We’re Not Going to Make Art How Should the AP Studio Art Program Address the Ever-Changing Art
and Design World?
Jim Elniski, School of the Art Institute of Chicago • jelniski@saic.edu
Community Based Learning KC Rosenberg, The California College of The Arts • kcrosenberg@cca.edu
Is It Right to Reject Resources?
Eileen Doktorski, Mt. San Jacinto College • eileendoktorski@gmail.com
Foundations: Springboard from Classroom to Community Raya Bodnarchuk, Corcoran College of Art and Design
rbodnarchuk@corcoran.org
Eugene Rodriguez, De Anza College • eugenerodriguez@msn.com and Rick Wall, Corcoran College of Art and Design • rwall@corcoran.org
Let a Thousand Artists Bloom A New Foundation: The Early Results
14 15
SALON F Mary Landon Reid Preis, Pacific Northwest College of Art • mpreis@pnca.edu
Art History Is Dead, Long Live Art History
Out of the Frying Pan: How Graduate Teaching
Assistants Help Shape Foundation Programs
Pat Boas • boasp@pdx.edu 5:00–7:00 Dinner on your own
In many schools with MFA programs, graduate teaching assistants help deliver foundation 7:00–7:30 Doors open for seating
instruction. At a time of intense development in their own work, teaching assistants may 7:30–8:30 Keynote Speaker/Performance Hilton Ballpark
provide insight into debates over the role of basics. What methods are being used to make MICHAEL MOSCHEN Ballroom
the most of the opportunity for everyone involved?
Pat Boas, Portland State University
FRIDAY
Robert McCann, Michigan State University • ccannr@msu.edu
The Big Picture: Philosophical and Conceptual Underpinnings of Graduate APRIL 1
Assistant Orientation
Grant Billingsley, Texas Tech University • grant.bilingsley@ttu.edu 7:00–8:30 Breakfast Buffet Gateway I
Hyper Portraits in the Foundations Classroom FATE Members BUSINESS MEETING Arch View
Jared L. Applegate, Texas Tech University • jared.applegate@ttu.edu Ballroom
Letters to an Artist MACAA Members BUSINESS MEETING Gateway 2
Jason Sturgill, Portland State University • jasongsturgill@gmail.com 8:00 Conference Registration Grand Foyer
The Parasite Project Exhibits & Poster Displays Grand Foyer
Robin Corbo, Portland State University • el_corbo@yahoo.com 8:30 Session V
SALON G STREAMING
Issue and Thematic Based Art History for
Foundation Programs
Charles Licka • kanchiku@gci.net
The session, “Issue and Thematic Based Art History for Foundation Programs,” explores
practical and theoretical approaches integrating Art History more effectively to the
Foundation student’s course of studies from a thematic and/or issue based approach.
Dr. Charles E. Licka, University of Alaska Anchorage
Cindy B. Damschroder, University of Cincinnati • cindybd@cinci.rr.com
Art History’s History: Who is My Consumer and How Do I Best Meet
Their Needs?
Daniel Venne, U of the District of Columbia • dvenne@udc.edu
30,000 Years of Art History in 10 Easy Sound Bites
Josie Osborne, U of WI-Milwaukee, Peck School of the Arts • josieosborne.com
Issues and Thematic Based Art History for Foundation Programs: Making
Meaningful Connections to Life and Other Content Areas
16 17
SESSION V SESSION VI
Setting the Stage – Creativity (Streaming) GRAND SUITE 1 & 2
Arch View Ballroom Buzz Spector
Facilitator Peter Winant • pwinant@gmu.edu
Marilu Knode Executive Director Laumeier Sculpture Park and Aronson Professor of
Modern and Contemporary Art, University of MO-St. Louis SALON A
Michael Uthoff Artistic & Executive Director, Dance St. Louis Marilu Knode
Facilitator Daniel Collins • dan.collins@asu.edu
Jasmin Aber Architect, Director of Creative Exchange Lab (CEL) in St Louis, Missouri
SALON B
Dave Gray is the Founder of XPLANE, the visual thinking company, and a Partner in the
Dachis Group, a social business consultancy. Jasmin Aber
Facilitator Cliff Tierney • cliff.tierney@lipscomb.edu
Stephen Snyder teaches in the department of philosophy at Fatih University in
Istanbul. SALON C
Matt Homann Innovational Speaker, Creative Facilitator, Recovering Lawyer, Dad. Matt Michael Uthoff
is the Director of COCAbiz at the Center of Creative Arts. Facilitator Cynthia Hellyer Heinz • chheinz4@comcast.net
Buzz Spector is Dean of the College and Graduate School of Art in the Sam Fox SALON D
School of Design & Visual Arts at Washington University in St. Louis.
Kim Yasuda
Kim Yasuda is a visual artist and professor of spatial studies in the Art Department Facilitator Jesse Payne • jwpayne2@qatar.vcu.edu
at University of California, Santa Barbara. Support for Kim Yasuda’s participation in
OnStream comes from Laumeier Sculpture Park and Laumeier’s Aronson Endowment SALON E
Fund at the University of Missouri-St. Louis.
Dave Gray
Biographies and current activities for each of the speakers are included at the end of the Facilitator Anthony Fontana • anthonymfontana@gmail.com
Friday Session Schedule
SALON F
10:00 Break Matt Homann
10:15 Session VI Facilitator Lou Haney • Lhaney@olemiss.edu
SALON G
Stephen Snyder
Facilitator Chris Kienke • kienke.com@gmail.com
11:45 Break
12:00 Lunch Arch View Ballroom
1:00 Presentation of Awards
18 19
Ignoring tradition represents a loss of historical and conceptual perspective and yet
focusing on it too heavily ties students to it through tools and techniques. This talk is an
2:30 Break (desserts)
exploration of striking this balance from an artist who incorporates a range of techniques
3:00 Session VII from the “high-tech” and virtual to the low tech, handmade, fabricated and found.
SESSION VII GRAND SUITE 2
Fostering Creativity: Where It Comes from and How
GRAND SUITE 1
to Prepare for It
Part 2 Nicholas Bonner • bonnerian1@me.com • Northern Kentucky University
John Richardson • af5343@wayne.edu and Dean Adams • Dean-MT@rocketmail.com • Montana State University
The Part 2 panel bridges the October SECAC/MACAA conference with the March FATE/ This Roundtable will begin by discussing the nature of creativity and explore strategies
MACAA conference. All panelists presented in Richmond and will elaborate, extend, modify, aimed at strengthening student creativity while re-enforcing critical thinking and art-
amend, and amplify their thoughts in St. Louis. Due to the nature of the session, brief making skills.
abstracts are provided. Eric Standley, School of Visual Arts,Virginia Tech
John Richardson, Wayne State University Brian Evans, University of Alabama
Christopher L. Williams, Savannah College of Art and Design
Creative Social Commentary Tony Reynaldo, The Ohio State University
Nathaniel Hein, Delta State University
and Jennifer Gonzalez, Memphis College of Art SALON A
This is the focus of the collaborative artists’ go.hein. Gonzales and Hein define this type
of commentary as the act of addressing societal issues through art. Go.hein creates Excavating Kindness, Creativity and Cooperation in
installations and site-specific sculpture to reinterpret ideas into experiential forms and Contemporary Art Theory
invite participants to respond and create a new commentary. The artists will talk about Dr. Lori Kent • loriakent@hotmail.com
their process of collaboration, artwork, and viewer interactivity.
Is there a gentler side of constructing, interpreting, and teaching art theory in the
Synethesia, Language, and Boundaries foundations-level classroom? Visual arts theory is a necessary layer of the verbal over the
Michael Bogdan, Wayne State University visual–at worse mystifying, combative, and disconnected. This panel shares pedagogy that
Art critiques often discuss fundamental elements of the artwork. One question seldom reshapes competitive approaches in favor of the collaborative and kind.
asked is how a visual piece relates to sound or smell and how sound/smell relate to a
Dr. Lori Kent, Kutztown University
visual piece. This crucial element is often overlooked when it comes to both 3D and 2D
work. Further, how does the artwork interact with time or the perception of time? As Jane Hesser, Rhode Island School of Design • jhesser01@risd.edu
the art world changes, new language about and new insight into the interdependency The Role of Empathy in Teaching and Learning Critical Thinking Skills in
of the senses must be created to understand how one interacts with a work of art. This Foundation Level Art Education
presentation will explore these and related issues. Rick Salfia, Kutztown University • Salafia@kutztown.edu
The Self Selection Bias: Fostering the Collaborative Instinct
Choices in the Round, Real and Virtual
Arnold Martin, University of Wisconsin–Madison Laura Ruby. University of Hawaii • lruby@hawaii.edu
What we teach, in college art programs, can have a profound effect on the products Kinder Art Theory and Critical Practice: The Circle Model
and careers of students in varying art disciplines. But what we teach is tied to how our
programs are structured in terms of curriculum, tradition and media. This talk addresses
some of the choices facing three dimensional disciplines that affect which tools are put
at the disposal of artists developing in college art institutions and why. Technology is
the basis of a sculpture discipline, some old, some timeless and some more cutting edge.
20 21
SALON B Richard Siegesmund, President, Integrative Teaching International (ITI)
Lamar Dodd School of Art, University of Georgia
Radical Erasures: Creative Approaches to Drawing Mat Kelly, Central College
Lou Haney • Lhaney@olemiss.edu Jerry Johnson, Miami International University of Art & Design
Jim Elniksi, School of the Art Institute of Chicago
How do we teach drawing in a way that respects the traditional principles but engages Daniel Barber, Oxford College of Emory University
with the 21st century? This panel will discuss contemporary approaches to drawing. This Chris Kienke, Savannah College of Art and Design
panel’s focus is drawing pedagogy that is not in the textbooks, but emerges from the
artist’s studio practice or creative mind. SALON E
Lou Haney, University of Mississippi
Points of Intersection: A New Sam Fox Core
Herb Rieth, Pellissippi State Community College • hardycat67@yahoo.com Curriculum for Art, Architecture, and Design at
Gawking, Grappling and Gridding: Observational Drawing in the
Information Age
the Sam Fox School of Design & Visual Arts at
Washington University in St. Louis.
Nancy R. Doolan, Savannah College of Art & Design • ndoolan@scad.edu
Jamie Adams • adams@samfox.wustl.edu
Rain-Dancing a Drawing: Global Art in the Classroom
Session will consist of brief introductions to topics pertaining to the new Sam Fox School
Edward Stanton, Stanford University • edwardstanton03@Yahoo.com
Foundations and Commons Curriculum followed by panel discussion.
Drawing Circus
Jamie Adams, Washington University St. Louis
Drawing Area Coordinator
SALON C
Cheryl Wassenaar, Washington University St. Louis
Building Creative Communities: Service Learning in wassenaar@samfox.wustl.edu
Foundation Courses 2D Area Coordinator
Sandra Williams • swilliams2@unl.edu
Arny Nadler, Washington University St. Louis
Introducing service learning at the freshman level engages students in the greater creative
nadler@samfox.wustl.edu
community, preparing them to design for the future by investigating and evaluating 3D Area Coordinator/Core Director
social issues facing their specific community. This panel seeks to address service-learning
projects that various programs use in their foundation courses. Igor Marjanovic, Washington University St. Louis
marjanovic@samfox.wustl.edu
Raoul Deal, University of Wisconsin-Milwaukee • rgdeal@uwm.edu
Undergraduate Core Coordinator
Strengthening Communities through Art, Service and Collective Action
Elaine Pawlowicz, University of North Texas • Elaine.Pawlowicz@unt.edu SALON F
United Way Silent Auction: Implementing Service Learning in Foundation
Duane Elverum, Emily Carr University of Art & Design • elverumd@ecuad.ca
Designer as Artist
Should All Education Be Ecological? A Proposal for a Sustainability Minor Ashley John Pigford • ashley@designisgoodforyou.com
Starting in Foundation For this panel, creativity is considered the result of a process involving thought, behavior,
awareness, action and time–something akin to rout human nature that bridges the
SALON D disciplines of art and design. Panelists will present and discuss their individual design
processes in the context of artistic production.
Report from ThinkTank5: Four Minds for the Future
Ashley John Pigford, University of Delaware
Richard Siegesmund • rsieg@uga.edu
Jennifer McKnight, University of Missouri-Saint Louis • mcknightj@umsl.edu
White paper reports from ThinkTank5 held at the University of Georgia, June 2010: Four Hybrid Methods: How Designer-Artists Solve Visual Problems
Minds for the Future: Creative, Constructive, Critical, Connective
22 23
Jason Lee, West Virginia University • jason.lee@mail.wvu.edu O N S TR E A M :
Re-designing the Unnatural Environment S E T TI N G TH E S TAG E — C R E ATI V IT Y
Henry Dean, Savannah College of Art and Design • hdean@scad.edu (S TR E A M I N G)
What’s the Value of a Working Sketch?
Presenter Biographies
Nathan Ross Davis, Montana State University • nathan.davis2@montana.edu
Creative Processing in Art and Design Practice Jasmin Aber
CREATIVITY AS C ATALYST
SALON G Architect (RIBA, I&II), Director of the Creative Exchange Lab
Jasmin Aber is a co-founder and executive director of the Creative Exchange Lab, a
A Separate Piece—Do Fine Art and Design Need research and incubation center dedicated to providing entrepreneurial support for
Different Foundations Programs? emerging designers to develop and commercialize ideas integrating art and sciences,
Rosanne Gibel • rosanne.gibel@gmail.com on the path to promoting sustainability, green technology in an interdisciplinary
environment. As an architect and urbanist, she works as a consultant, as an academic
Historically, art and design are closely related, sharing many resources and divided at researcher she is part of an international researchers network on weak economy
many points. Do we need to reunite, separate completely or develop an interdisciplinary city’s (SCiRN) based at IURD–UC Berkeley California’s Shrinking Cities Center. As
model? This panel invites discussion from artists and designers on these issues in our adjunct lecturer Ms. Aber teaches at Washington University’s Architecture Depart-
current structure, particularly as the foundation courses impact later classes. ment. Ms. Aber holds a Bachelor of Arts Degree with Distinction from the University
of Portsmouth, England; she also holds a joint Post-Graduate Degree with Honors
Rosanne Gibel, Art Institute of Ft. Lauderdale from the Architectural Association London and University of Portsmouth. She is a
licensed architect in Germany (since 1998), and holds certifications I & II from the
Leif Allmendinger, Northern Illinois University Royal Institute of British Architects. As an architect, Ms. Aber has worked on a vari-
KO’d by Reality: A Case Study of The Art/Design Relation in ety of projects in London, Frankfurt, and Berkeley, California, St Louis Missouri.
a Foundation Program
Dennis M. Dake, Iowa State University, Prof. Emeritus of Art & Design Dave Gray
The Interdisciplinary Natural Visual Mind CREATIVITY AT WORK
Craig Lloyd, College of Mt. St. Joseph Dave is the Founder of XPLANE, the visual thinking company, and a Partner in the
The Bigger Picture: A Collaborative Search for Foundations Unity Dachis Group, a social business consultancy. Dave’s time is spent researching, sketch-
Ann Sobiech Munson, Iowa State University ing and writing on innovation, design, systems thinking, and creativity in business, as
CORE: A Case for Shared Art and Design Foundations well as speaking, coaching and delivering workshops to educators, corporate clients
and the public.
KC Rosenberg, The California College of The Arts
In the Ring, On the Ropes... and the Winner Is? His latest book, Gamestorming: A Playbook for Innovators, Rulebreakers, and Changemak-
ers details more than 80 tools and techniques used by the world’s leading innova-
tors. He is also a founding member of VizThink, an international community of Visual
Thinkers. Personal blog: Communication Nation. Visual Thinking School is an online
educational resource on visual thinking.
Stephen Snyder
CREATIVITY: BETWEEN CRITIQUE AND NOVELTY
Stephen is an assistant professor in the department of philosophy at Fatih
University in Istanbul. His recent publications appear in The International Journal for
the Humanities, The Aesthetic Dimension of Visual Culture, Revisiones, Leitmotiv and The
Hero in Western Literature. At Saint Louis University he completed his Ph.D. in the
philosophy of art, a critical assessment of the end-of-art theses of Hegel, Nietzsche
and Danto. He has recently completed a manuscript that elaborates on two
24 25
significant themes in the context of the modern continental tradition from Kant to Matt Homann
Habermas: art as a transitory mode of knowledge and art as a medium of symbolic BEYOND THE DONATION: BUILDING A CREATIVE BRIDGE
communication. Supporting the latter thesis, Snyder crafts an alternative account of
what Danto labels ‘post-historical’ art. As an extension of his aesthetic research, he TO BIG BUSINESS
applies the critical theory of Jürgen Habermas, with whom he studied in Frankfurt, Matthew Homann is the Director of COCAbiz at the Center of Creative Arts in
to an examination of the ways that aesthetic dialogue influences social identity and St. Louis. COCAbiz merges authentic arts teaching with business facilitation to de-
cultural change. His current research employs a philosophical analysis to provide a liver innovative business skills training, workshops, classes and retreats to businesses
new perspective on how Byzantine art formed when the cultural symbols of the early of all sizes. Prior to joining COCAbiz, Matthew worked in the United States and
Judeo-Christian world merged with the legacy of Platonic thought. He is currently on Europe as an “Innovational” speaker and facilitator. A recovering lawyer, he still writes
research leave and living in St. Louis. the award-winning legal blog “the [non]billable hour” and continues to speak to legal
audiences around the world. His passion is helping smart people think together bet-
Asst Professor, Department of Philosophy, Fatih University Istanbul,Turkey ter, and he has an 8-year-old daughter named Grace.
stephensnyder@earthlink.net
Phone: 314.776.5173 (home) 314.420.3103 (cell) My take on creativity: At COCAbiz, we try not to focus on selling creativity, but rather on
selling training businesses need delivered in creative ways. I often joke that my job is to sell
something businesses rarely buy disguised as something they regularly do.
Marilu Knode
GLOB AL CREATIVITY IN A LOC AL CONTEXT Matt Homann
Matt@COCAbiz.com
Executive Director, Laumeier Sculpture Park/Aronson Endowed Professor of Modern 314-725-6555 x 134 (W) 314-266-9635 (C)
and Contemporary Art, University of Missouri-St. Louis
Marilu Knode joined Laumeier Sculpture Park in fall 2009 where she is focusing Buzz Spector
programs on the “archaeology of place.” Knode is overseeing a Capital Campaign EARLY CHILDHOOD READING AND CREATIVITY
program that includes a new exibition space designed by Pugh + Scarpa, the renova-
tion of existing buildings into year-round educational spaces and land preservation. Buzz became Dean of the College and Graduate School of Art in the Sam Fox School
of Design and Visual Arts at Washington University in St. Louis on July 1, 2009. Prior
Prior to arrival at Laumeier, Knode served as Associate Director/Head of Research to his appointment he was Professor in the Department of Art at Cornell University.
at F.A.R. (Future Arts Research) at Arizona State University, where she commissioned Spector served six years (2001–07) as Chair of the Department of Art at Cornell,
special projects, performances and panels. She served as Senior Curator at the Scott- following five years (1997–2001) as chair of the painting program at the University of
sdale Museum of Contemporary Art (2003–2007) where she organized thematic Illinois at Urbana-Champaign. Spector has also taught as visiting faculty at the Univer-
group shows such as Water,Water Everywhere… and a traveling show with Pae White. sity of California-Riverside (1989–94), Art Center College of Design, Pasadena, CA
While at the Institute of Visual Arts (inova) at the University of Wisconsin–Milwau- (1989–93), and the School of the Art Institute of Chicago (1982–88).
kee (1997–2003), she worked with artists Ghada Amer (Egypt/USA), Andrea Bowers
(USA), Matts Leiderstam (Sweden), Per Maning (Norway), Mona Marzouk (Egypt), Spector’s own art practice makes frequent use of the book, both as subject and
Yoshitomo Nara (Japan), Berni Searle (South Africa) and Pascale Marthine Tayou object, and is concerned with relationships between public history, individual memory,
(Cameroon/Belgium), among others. Knode was the U.S. Commissioner for the 7th and perception. He has had numerous exhibits in private and institutional galler-
International Cairo Biennale with Nancy Spero and co-founded a curatorial practice ies and museums in the U.S., Europe, and Asia, and his solo or two-person museum
program at the American University in Cairo. exhibits including the Art Institute of Chicago, Corcoran Gallery of Art, Washington,
DC, Mattress Factory, Pittsburgh, PA, and Orange County Museum of Art, Newport
Knode has an extensive record of lecture, panel and jury activities including ArtFo- Beach, CA.
rum Berlin and the Yale School of Architecture. She has contributed essays to Art in
America, Flash Art, Tema Celeste, the Savannah College of Art and Design, CA2M Centro Spector earned his B.A. in Art from Southern Illinois University at Carbondale in
de Arte Dos de Mayo, Madrid, the Neuer Aachener Kunstverein, Germany and Town- 1972, and his M.F.A. with the Committee on Art and Design at the University of Chi-
house Gallery, Cairo. Knode received a BA in Art History from the University of Kan- cago in 1978. In 2005 he was awarded a New York Foundation for the Arts Fellowship
sas in 1980 and an MA in Museum Studies from City College of New York in 1984. in Printmaking/Drawing/Artists’ Books. Among his other awards are a Louis Comfort
Tiffany Foundation Fellowship in 1991, and National Endowment for the Arts Indi-
vidual Artist Fellowships in 1982, 1985, and 1991.
26 27
Kim Yasuda OnStream comes from Laumeier Sculpture Park and Laumeier’s Aronson Endowment
Fund at the University of Missouri-St. Louis.
Kim is a visual artist and professor of spatial studies in the Art Department at
University of California, Santa Barbara. She has served as department chair and is cur- Michael Uthoff
rently co-director of the multi-campus research unit, the U.C. Institute for Research
in the Arts (UCIRA). The UCIRA serves as a major platform for presenting, discussing A LIFE IN DANCE
and advocating for the arts-centered research across the 10-campus U.C. system. Michael Uthoff, internationally renowned director, choreographer, teacher and dancer,
Its expanded mission supports active and embedded scholarship models that work has been artistic and executive director of Dance St. Louis since 2006. Uthoff was
transitively through multi-agency partnerships and geographic settings outside the born in Santiago, Chile, to former dancers, Ernst Uthoff and Lola Botka of the Jooss
conventional teaching, studio, gallery, museum or performance contexts. Ballet and founders of the Chilean National Ballet. In New York, he danced with the
Yasuda’s past gallery installations and public projects investigate links between identity José Limón Company and was a principal dancer with The Joffrey Ballet. In 1972,
and place. She has commissioned projects throughout California, including a subway Uthoff established the Hartford Ballet in Hartford, Connecticut, and directed the
station and bus shelter facility for the Metropolitan Transit Authority of Los Angeles company until 1992, when he became artistic director of Ballet Arizona, a post he
and permanent commemorative installations for the City of San Jose and Hollywood. held until 1999. Uthoff’s large-scale works include The Nutcracker, Coppelia, Hansel and
She has exhibited her work internationally at institutions including the Art Gallery Gretel, Alice in Wonderland, Awakening, Dias de Muertos, and Romeo and Juliet. Uthoff is
of Ontario, Canada; Camerawork, London; the New Museum of Contemporary Art, on the staff of the dance departments at University of Missouri-St. Louis and Webster
New York, The Whitney Museum of American Art, Connecticut and MIT List Visual University. In 2007, he received the Chilean North American Institute’s Distincción
Arts Center, Boston. She is the recipient of visual arts fellowships from the National Ernst Uthoff Award for his distinguished 40-year career. In August 2010, he received
Endowment for the Arts, US/Japan Foundation, Howard Foundation, Art Matters, Joan an honorary doctorate in fine arts from the University of Missouri-St. Louis. In 2010,
Mitchell Foundation and Anonymous Was a Woman Foundation. Uthoff received an honorary Doctorate in Fine Arts from the University of Missouri-
St. Louis. He is on the staff of the dance department at University of Missouri-St.
In the past 5 years,Yasuda has activated university teaching with her public arts Louis and Webster University. He recently completed a recreation for MADCO in St.
research and creative administration, developing initiatives that forge partnerships Louis and has been commissioned to create a new work by Dancing Wheels in Cleve-
between academic environs and the local/regional communities in which they are land. He is also choreographing for New World School of the Arts in Miami, Florida,
situated. As a recent body of research, she experiments with the potential intersec- for the final performance under retiring Dean Daniel Lewis in Spring 2011.
tions between institutional knowledge production and a creative practice.Yasuda
works collaboratively with her students on spatial demonstration projects, including
the 2006 student-homeowner public art collaboration with residents of a 52-unit, 5:00 Dinner on your own
affordable farm-worker housing complex in Oxnard, California and the 2007-8 re-
cycling and repurposing of used shipping containers into mobile art studios to serve 6:30–11:00 Members Show Exhibit Mad Art Gallery
as satellite sustainability labs for campus research to take place within a publicly- Transportation provided
accessible realm. 6:30-9:00 St. Louis Art Museum Transportation provided
Through these experiments in ‘class-as-artwork’ and ‘exhibition-as-school’,Yasuda
established the Friday Academy, a temporary instructional environment within the
SATURDAY
university that maintains its own academic calendar and experimental curricula to
conduct year-round, off-site and project-based learning within an itinerant classroom
setting. Straying from traditional studio arts training models, the Friday Academy APRIL 2
encourages flexible programming in response to immediate social and environmental
concerns, drawing from an interdisciplinary array of students, academics and commu-
nity scholars to work in situated, collective partnership with one another. Projects of 7:00 Continental Breakfast Arch View Ballroom
the Friday Academy include the storefront renovation of a local bakery and a public
8:00 Conference Registration Grand Foyer
art program for the central business corridor of the student community of Isla Vista.
Exhibits & Poster Displays Grand Foyer
Through affiliations with civic and non-profit agencies,Yasuda designs opportunities
for student engagement in a practice of ‘civic aesthetics’. These experimental mergers 9:00–12:00 Session VIII
facilitate what Yasuda identifies as “a critical need to retool existing institutional learn- WORKSHOPS / EXTENDED SESSIONS
ing structures toward the practice of an ‘anticipatory’ education—one that prepares
the 21st century scholar with the capacity and creative skill set to effectively engage
in their unforeseen and uncertain futures”. Support for Kim Yasuda’s participation in
28 29
SESSION VIII
SALON E
Outside the Box, Looking In: Innovative Approaches
SALON A to Foundation Programs
Zines & Artist Books: An Open Exchange of the Jesse Payne • jwpayne2@qatar.vcu.edu
‘Exquisite Corpse’ This session will examine three of the most successful, influential and innovative
Kim Manchester • kim.manchester@pcc.edu foundations programs around. This session invites foundations coordinators who have
recently undergone major curriculum revisions and/or developed innovative approaches to
Create something tactile and personal. Come explore with other art educators the foundations studies.
issue of integrating cross-disciplinary practices and how to create an environment of
open engagement inside and outside the classroom through zines, artist books and the Dan Collins, Arizona State University • dan.collins@asu.edu
‘exquisite corpse.’ artCORE: Inquiry-based Learning in a Studio Foundation Art Curriculum
Kim Manchester, Portland Community College • kim.manchester@pcc.edu Bethany Taylor, University of Florida • bwarp@ufl.edu
Angela Batchelor, Portland Community College • angela.batchelor@pcc.edu Strategies from Shifting Sidelines: The Workshop for Art Research and
Practice (WARP)
Elissa Armstrong,VA Commonwealth University & VCUQatar
SALON B ecarmstrong@vcu.edu
and Line Ulrika Christiansen,VA Commonwealth University & VCU Qatar
This Place Has Changed: Google Sketch Up and the luchristians@qatar.vcu.edu
World of Freeware Art & Design Foundation and VCUarts
Michael Burton • mburton4@unl.edu
This workshop will include an overview of assignments utilizing free software, student The Phenomena of the Non-Art and Design Major:
work, and intensive how-to instruction for the foundation studio and AP level high school Discouragement or Encouragement?
classroom. Participants will create a project and will develop possibilities for use with David E. Harmon • Sterling College • dharmon@sterling.edu
their students. The project will explore ways to create a site in different time periods and
We in academe teach many non art majors. I have heard much dread from colleagues
produce an animated flythrough. Presenters will supply a list of cost effective software,
who are discouraged to teach these students. This panel would explore teaching
methods for creative inquiry, and examples of student work. The goal of this workshop is
methodologies designed to encourage these students some of whom are quite motivated
to develop new ways to utilize free software for design education and process centered
about art and how it fits in their personal coursework matrix.
learning in the digital age. Participants are asked to bring their own laptop computer.
Edward Rushton, Georgia Southern University • erushton@georgiasouthern.edu
Michael Burton, University of Nebraska Universal Design Strategies: Teaching Graphic Design to Non-Majors
Google Sketch Up: sketchup.google.com
Diane Tarter, Western Oregon University • tarterd@wou.edu
Maria Sarmiento, The Art Institute of Atlanta Expectations, 21st Century Style
Google Sketch Up
Barbara WF Miner, University of Toledo • Barbara.Miner@utoledo.edu
Sandro Corsi, Fullerton College How to Hook Them
The GIMP: gimp.org
Anita Giddings, Herron, IUPUI • agidding@iupui.edu
Steve Luecking, DePaul University Introducing Fine Art: The Role of Studio Classes for the Non-Art Major
Karin Broker, Rice University • broker@rice.edu
Redefining the Win-Win: Non-Artists in a Viable Art Program
Brooke Scherer, The University of Tampa • bscherer@ut.edu
The Art of Cross-Listing: Communicative Benefits of Teaching Graphic
Design to Non-Majors
30 31
This presentation will introduce trompe l’oeil painting and the motivation for creating a
beginning project with high representational demands. Historical and student examples
9:00-10:15 Session X
will be shown.
SESSION IX
9:45–10:15
#2) NASAD Accreditation Process: What I Will Have Learned
Cynthia Roberts • croberts@endicott.edu
GRAND SUITE 1 This roundtable will focus on the foundation faculty and coordinator’s experience in the
NASAD accreditation process. If you have been through the NASAD accreditation process
Publishing in FATE IN REVIEW
or are considering pursuing it, join us for a discussion on best practices, recommendations,
Editor Kevin Bell • kevin.bell@umontana.edu ways to organize and contribute as foundations coordinators and faculty. The philosophical
Journal Editor Kevin Bell will meet with conference attendees who want to find out more dimension of the accreditation process will be open for discussion as well. This session is
regarding being selected for publication in the fate journal. Guidelines and procedures will open to participants whose institutions are pursuing, considering seeking or already hold
be explained and questions will be answered. NASAD accreditation, and those pursuing or considering other accreditations as well.
Cynthia Roberts, Endicott College • croberts@endicott.edu
GRAND SUITE 2 Mysoon Rizk, Ph.D., University of Toledo • mysoon@utoledo.edu
Independent Presentations SALON C
9:00–9:30
Understanding and Evaluating Fine Art Papers
#1) Trick of the Eye: Trompe L’oeil for First Year Students
Jessica Mccoy, Pitzer College • Jessica_mccoy@pitzer.edu Ed Brickler, Canson-US • ebrickler@canson-us.com
Trompe l’oeil is often considered the epitome of realism, but is perfectly attainable for Paper questions? How does one evaluate a paper surface? What are the differences in
even the most inexperienced painters. The resulting work is both visually stunning and a papers? What mediums work well with which paper surface? Which papers work well
remarkable tool for beginning conversations about conceptual approaches to painting. with mixed media? What about inkjet papers? All your questions will be answered. Each
participant will receive a copy of the CD presentation and paper samples.
First year painting students lack the confidence, skill, and well-honed perception necessary
to develop realistic work. Very few students are able to represent precise detail after a
SALON D
few months of class, yet they all aspire to craft a highly accurate representation. When
shown images of realistic work they express doubt in their ability to produce work at a Beyond Textbooks: Do You See the End of the
similar level. My desire to instill confidence and push beyond my students’ perceived skills
caused me to look again at the remarkable realism of trompe l’oeil painting. Researching
Traditional Paper Textbook?
and using traditional trompe l’oeil as a model, I have introduced and assigned this work Scott Betz • betzs@wssu.edu
in my first year classes with incredible results. It is a culminating study of still life that Ubiquitous computing, expensive paper textbooks, and distance learning options may be
utilizes months of fundamentals. Students take ownership of the assignment by composing paving the way for individual, custom art education texts via the web. This session will
small assemblages of personal objects. Students find the process of observing this small look at the challenges and rewards of developing custom digital text sites and e-texts for
shallow space akin to painting from a photograph. Not only have the resulting paintings students pursuing the study of art.
been some of the finest works I have seen from a foundations course, but the process of
creating assemblages has become deeply personal for the students. The project becomes a Scott Betz, Winston-Salem State University
Do You See the End of the Traditional Paper Textbook?
platform to document their life and space, create a narrative, or display a collection.
The paintings began as a technical exercise, but they have become a means for Bonnie Mitchell , Bowling Green State University • bonniem@bgsu.edu
conceptual dialog. Interfacing Information: Art Instruction On-line, in Print, and in the Palm
of your Hand
Stephen Luecking, DePaul University • sluecking@cdm.depaul.edu
Out of Sight, Out of Mind: Why Students Don’t Use On-Line Materials
32 33
Kelley Thames, The Art Institute of Atlanta GRAND SUITE 2
mauldinRB@bellsouth.net or kthames@aii.edu
Hello Online Textbook Transition to Contemporary Practices
Anthony Fontana, Bowling Green State University • Anthonymfontana@gmail.com Amy Vogel • avogel@saic.edu
Wikis at Work Recently, the School of the Art Institute of Chicago made the transition from a First Year
Martha Horvay, University of Nebraska-Lincoln • mhorvay1@unl.edu Program to a Department of Contemporary Practices. In this panel discussion, faculty
Making Design Theory More Like a Video Game members address what this shift means in terms of the curriculum and ways in which
SAIC works with incoming students.
SALON F Andy Hall, The School of the Art Institute of Chicago • ahall@saic.edu
Pete Fagundo, The School of the Art Institute of Chicago • pfagun@saic.edu
Studio Safety and Liability Panel Titus O’Brian, The School of the Art Institute of Chicago • mtitusobrien@saic.edu
Raya Bodnarchuck • rbodnarchuk@corcoran.org
SALON C
This panel will be run as an information session to share approaches to keeping high
standards for safety in the studio. We will discuss the members’ ways of running safe Session Title: From Access to Zooming: ARTstor
operations. Five different schools will be represented to begin with, and participation Digital Library Collections, Features, and
from all schools and studios is hoped for. This is a very important subject that runs hand
in hand with any studio situation that is based on the use of tools or simply uses some
Functionalities
tools. Faculty techniques for safety and schools’ and departments’ policies for safety are Rachel Harrison, Library Relations Associate, ARTstor
the subject. Rachel.Harrison@artstor.org
This session will offer a guided tour of ARTstor, the nonprofit digital library of more than
Jimmy Kuehnle, University of Alabama in Huntsville • james.kuehnle@uah.edu
one million images in the arts, architecture, humanities, and sciences. In addition to
Joseph C. Chesla, St. Louis Community College at Meramec • JChesla@stlcc.edu
surveying ARTstor’s diverse collections, helpful features and user-friendly functionalities,
Todd Lucas, Texas A&M University-Kingsville • kftal00@tamuk.edu
Rick Wall, Corcoran College of Art and Design • rwall@corcoran.org tips for actively integrating ARTstor into the curriculum and related course materials will
Mollie Oblinger, Ripon College • OblingerM@ripon.edu be explored.
Raya Bodnarchuk, Corcoran College of Art and Design
rayabodnarchuk@verizon.net
SALON D
10:15 Break Integration of Art History Survey into Foundations:
10:30 Session X Yes, No, Maybe?
Zbynek Smetana • zb.smetana@gmail.com
SESSION X
Art History survey classes required for incoming art students are normally not seen as
a part of the foundation sequence. This session invites discussion about this traditional
arrangement in favor of more integrated curriculum beneficial to the students through a
GRAND SUITE 1 more cohesive interaction of theory and practice.
Prismacolor Workshop (Sanford Products) Zbynek Smetana, Murray State University
Introductory Remarks: Time to Think Outside the Box
Diana Garrett, Fine Art Consumer Specialist • prismacolor.com
Lai Orenduff,Valdosta State University • lorenduff@valdosta.edu
Tips and Techniques With Prismacolor Products—See how a colored pencil is made, learn
The Symbiotic Relationship Between Art History & the University Core
how to sharpen a Prismacolor pencil for the least amount of breakage, papers, techniques
for mixed media, and more ideas will be offered for using Prismacolor graphite, colored Lucy Curzon, The University of Alabama • lcurzon@as.ua.edu Institution
pencils, art markers, and Nupastels. Samples and prizes will be given. Bring questions that Autonomous Cohorts: Towards an Integrated Foundations Education
you may have on using products and great project ideas to share with others.
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Elizabeth Fowler, Syracuse University • ejfowler@syr.edu Institution
Back to the Future: Innovations in Syracuse University’s Art/Design
History Foundation Curriculum
James Slauson, Milwaukee Institute of Art and Design • jslauson@miad.edu
Foundations Art History at MIAD: The Integration Factor
SALON F
Re:View—Effect of Portfolio Review in Foundations
Robert McCann • mccannr@msu.edu • Michigan State University
How can Portfolio Review be both rigorous and inclusive? Does review have unintended
learning outcomes? Does the prospect of independent results-based review influence
teaching and student response to process-oriented and conceptual strategies? This session
will highlight issues related to degree gateway Portfolio Review to open a dialogue about
best practices.
Stewart Parker, Pratt Institute • cpar1046@pratt.edu
E:View—The Electronic Portfolio Portal?
Jeff Boshart, Eastern Illinois University • jgboshart@eiu.edu
Visual Sampling for Portfolio Reviews
Dean Adams, Montana State University • deanadams@montana.edu
Portfolio Review: Presentation and Celebration
12:00 Lunch on your own
12:30–2:30 3rd Degree Glass Factory Demo Transportation provided;
pre-registration required,
limited to 50 people
1:00–5:00 Laumeier Sculpture Park Circling bus transportation
St. Louis Art Museum
Mad Art Gallery
3:00 Cardinals vs. Padres
5:00 Conference ends—technically
6:00 Dinner on your own
8:00–10:00 Closing Reception (Pending) To be determined
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