Foundation Studies

Design director of insight designs, Herrera (U.K.) Ltd.; professor, visual studies coordinator, South Thames College, Southbank University, London, United Kingdom; adjunct professor, London College of Fashion; adjunct professor, London Institute; adjunct professor The Kent Institute - KIAD; adjunct professor West Herts College; adjunct professor, the American University in London

As design director of insight designs at Herrera (U.K.) Ltd., designed for major international companies including Balenciaga, Paris, France; NYGAARD International, Canada and USA; Traffico de Modas, Spain; and Pierre Cardin, Paris; Bronze Records, London, among others

Selected exhibitions
Anderson Hall, SCAD, Savannah, Georgia; Mercury Gallery, London, U.K.; Alexander Hall Gallery, SCAD, Savannah; Bergen Hall Gallery, SCAD, Savannah; Stowells Art Gallery, London; the Hamilton Gallery, London; Galleria Taurr, Barcelona, Spain; the Royal Academy, London; Air Gallery, London

Midlands Art, Fine Art Printmaking; Stowell's Trophy, painting, Royal Academy; Whitworth Wallis Award, Whitworth Wallis Foundation, U.K.; Fine Art Scholarship in Painting, Krakow University, Poland; Outstanding Intellectuals of the 21st Century, International Professional of the Year, Silver Medal of Honor for Outstanding Achievement, the International Biographical Centre of Cambridge, England; included in Marquis register, Who's Who in America; life member, Biltmore Who's Who in America

2011. FATE/MACAA Conference, St. Louis, Missouri. Presentation: "Developing Critical Thinking and Concept Development in Foundations"

"I was taught by very inspirational people who were not working in the teaching profession but came from living the life of creative artists and designers. They wanted to pass on to others through their products the wonder, magic and exploration of ideas and quality of life; they opened conceptual doors that would otherwise have remained closed to me. I feel I would have been a lesser person if I had not had this contact. As a designer and artist I strive to keep the ethos of invention, innovation and exploration. As a professor I want to open those thought processes and inner doors for others, to show them a path to their fulfillment in some positive way, through looking and experiencing the world as artists or designers."

• DRAW 100 Drawing I: Form and Space
• DRAW 101 Drawing II: Composition and Media
• DRAW 200 Life Drawing I

"I'm involved in visually processing the world through the use of materials and ideas that support a sense of physical alienation from the perceived and metaphysical relationship with what is real."

1992

Design instructor, department of architecture, Louisiana State University, 1983-92

Who's Who in American Colleges and Universities; Smithsonian Environmental Research Center (permanent collection); Grand Prize, Animals in Art, Strasbourg, France; Award of Merit, Whirlpool Foundation, national touring sculpture exhibition; Award of Merit, Keane Mason Gallery, national sculpture competition; first place, Birmingham Biennial national sculpture competition, Birmingham, Alabama; first place, Beaumont National sculpture competition, Beaumont, Texas

Thirteen: a Savannah artist group

"My father served as a great example of an inspired, enthusiastic teacher whose compassion greatly motivated students. A second source of inspiration is the intellectual energy that I receive from various visual and conceptual works of art."

DSGN 102 Design II: 3-D Form in Space

"As a professional artist living and working in the coastal region of Georgia, I am fascinated with the wildlife and the broad, open landscapes in the area. These two themes have become the primary sources of inspiration in my sculpture. The creation of my high- and low-relief renderings of landscapes of the coast are wall hangings normally created in welded steel, thus utilizing the rich, reflective qualities of metal or cast plaster with its stunning capabilities of light manipulation. The wildlife studies are freestanding, welded steel replicas of insects or crustaceans. The exoskeletons of these creatures have an elegant architecture that lend themselves to sculptural creation. These pieces are an expression of my own interest in marine biology."

edwardbarbier.com

2006

• DRAW 100 Drawing I: Form and Space
• DRAW 101 Drawing II: Composition and Media
• DRAW 200 Life Drawing I
• DRAW 201 Life Drawing II
• DRAW 206 Drawing For Storyboarding
• DRAW 350 Classical Rendering
• ANIM 180 Action Analysis I

Professor Baronian has worked in the entertainment industry for more than a decade in Hollywood, San Francisco and Pittsburgh, Pennsylvania. Her inspiration for teaching is the joy of interaction with her students. Pollock, Degas, Duchamp, Basquiat, Caravaggio and Dali inspire her to make artwork.

2005

Anne Bessac was the first gallery director for the R.C. Moore Gallery at Gainesville College in Georgia. A few of the many exhibitions she curated include: "African Hand: African Art Collection of Bert and Edith Carpenter," "Surfaces and Connections: American Crafts in the South," "The Collaborative Art: Costume, Stage Set, and Lighting Design," "Henry Casselli's Watercolors & Drawings" and "Mattie Lou O'Kelley, A Northeast Georgia Folk Artist." From 1998-2005, Bessac was head of the Gainesville College art department. She has shown her large charcoal drawings regionally and internationally. She has performed extensive post-graduate studies in printmaking, including Crown Point Press in San Francisco. In the summer of 2011, she completed a six-week artist in residency at Hospitalfield, Arbroath, Angus, Scotland.

Anne Bessac was awarded a Presidential Fellowship by Dr. Paula Wallace for the Summer of 2011.

Presidential Fellowship, 2011; Who's Who in America's Teachers, 2004, 2005; Gainesville College Foundation Travel Grant, Italy; Fulbright-Hayes Group Travel Grant, India; Howard Art Scholarship for Artistic Excellence, University of North Carolina at Greensboro; Chancellor Purchase Award, Weatherspoon Gallery, University of North Carolina at Greensboro

• CAA panel chair, "Nexus Press: A Reflection of the Triumphs of and Challenges to the Book Art"
• Visiting artist lecture, State University of West Georgia, Carrollton, Georgia
• Visiting artist lecture, University of Indianapolis, Indianapolis, Indiana SECAC/MACAA panel chair, "Old Roots of the New South"

"The dedication of Ben Berns, Bert Carpenter and Andrew Martin to excellence in the arts."

• DRAW 100 Drawing I: Form and Space
• DRAW 101 Drawing II: Composition and Media
• DRAW 200 Life Drawing I

"The power of the human form to evoke an intimate presence is at the heart of my work. The figure's ability to reflect one's sense of being with one's self emerges and re-emerges in my work. The physicality of my images is not reduced to an object of desire or deconstructed as a cultural construct. Instead, in moments of solitude and loneliness, it is one's own innate sense of self and sexuality that is revealed. The accumulated effects of time on the body are reflected in a vulnerable and intimate beauty that elicits an empathy with the observed human form.

"Drawing is an act through which I come to know my world and myself. I crave and need the solitude of seeing. And this need imprints itself on the work. A place, an image, becomes tangible to me as my eye and hand explore intervals of space and particular qualities of light. The act of observation is transformed from mimicry into the poetry of seeing.

"Recently I have drawn and photographed the force of the sea, its patterns and enveloping light. I return as much as possible to the same sites. I do not search out the picturesque, but any landscape artist must reckon with nature's innate beauty. The beauty is never tame. The immutable dominance of the ocean against the resistance and shifting continuity of the barrier islands creates powerful forces that reshape the land and my drawings. The dominance of the ocean's force against industrial made jetties reveals the futility of our will to tame nature. Yet to the human eye it is these same jetties that enable one to perceive the ocean's vast openness. This contradiction has been essential to these works rather than an imitation of nature. The power of the sea, its patterns and enveloping light, challenge me and rekindle my sense of touch and place as I draw and photograph.

"My work has been influenced by contemporary printmaking. I am enticed by the possibilities that the richness of tone and the surface of marks offer me. The specificity of observation has been coupled with the resonating power of one image playing off another. The juxtaposition of images becomes an expressive force that evokes sensual, emotional spaces. On the paper's surface, rich, dark tones of subtle contrast create an emotional landscape. The tangibility of observed experience adds power and vitality to the viewer's identification with the imagery. A quiet lyricism of solitude and sensual darks pervade the works.

"In the end, my work reveals a consistent and particular sensibility rather than a signature style or technique. Observation, tradition and innovation are my partners in generating and regenerating images that are in my memory and my hand. And it is through this partnership that an emotional interaction with the fabric of living is conveyed.

"I am an observer, fascinated by the world around me, curious about life and intrigued by things different from myself. And it is this intimacy and empathy that is at the core of my work."

annebessac.com/home.html

2003

Professional urban planner/designer for 20 years

Florence Award, Florida State University
SCAD Presidential Fellowship SCAD 2007

Faculty Adviser - SCAD Improv Club

• DRAW 100 Drawing I: Form and Space
• DRAW 101 Drawing II: Composition and Media
• DRAW 102 Drawing III: Content and Interpretation
• DSGN 101 Color: Theory and Application
• DSGN 115 Creative Thinking Strategies

2003

Chair of Curriculum Revisions Committee, department of foundation studies, Savannah College of Art and Design; adjunct lecturer in drawing and design, department of architecture, Lehigh University, Bethlehem, Pennsylvania; adjunct instructor in art education and assistant professor in drawing and design, Kutztown University, Kutztown, Pennsylvania; art teacher, Jackson Memorial School District, Jackson, New Jersey; director and drawing instructor for Program for Talented High School Students, Kutztown University; state secretary, board member, regional vice president, curriculum chair, Pennsylvania Art Education Association

Curriculum development at SCAD: leading the Foundation Studies Curriculum Revisions Committee through a shift in the program goals including the revision of courses, development of assessment tests and the development of new courses; launching the M.A.T. program at SCAD; leading the development of a new program proposal for a B.F.A., M.A. and M.F.A. in scientific illustration

Distinguished Artist Award, Gallery Latreuo, Jacksonville, Florida; commissioned by Augsburg Fortress Press

Foundations in Art: Theory and Education (FATE); Guild of Natural Science Illustrators; Southeastern College Art Conference (SECAC)

• 2010. Southeastern College Art Conference, Richmond, Virginia. Presentation: "Preparing Students for Careers."
• 2010. The Guild of Natural Science Illustrators national conference, North Carolina State University, Raleigh, North Carolina. Presentation: "Techniques Showcase Demonstration."
• 2009. Think Tank IV, The Institute for Integrative Teaching, University of Georgia, Athens, Georgia. Presentation: "The Structure of Content."
• 2007. Biennial FATE National Conference, Milwaukee, Wisconsin. Presentation: "Drawing for Design, Shifting the Focus of Foundation Drawing."

"During seven years of study at the Barnstone Studios, I became aware of many visual design and drawing practices that have been developed and refined over the centuries -- our heritage as visual artists. Seeing the strength these practices made possible in the development of many artists of the past, as well those students studying at the Studios, made it clear that this heritage needed to be shared on a wider scale. I was then and remain, very motivated to help students understand the depth of visual art and design and help them become aware of their rightful heritage. I hope to help them develop a deep respect and a passion for this field of study and give them a sound foundation to help them realize their career goals."

• DRAW 100 Drawing I: Form and Space
• DRAW 101 Drawing II: Composition and Media
• DRAW 230 Drawing for Design
• DSGN 100 Design I: Elements and Organization
• DSGN 101 Color: Theory and Application
• DSGN 105 Visual Design Systems
• ILLU 240 Drawing for Scientific Illustration

"Dynamic symmetry, the geometry of composition, has been of interest to me for years. It is for me a means of creating visual music that enhances my work, offering a sense of harmony and completeness. Initially, the expression of spiritual concepts drove my imagery. Recently, I have developed an interest in the art of botanical studies and apply the same depth of composition to these works as well. It is my hope that my work will encourage contemplation of the relationships between the symbols of structure and imagery and the relationships between the creation and its Creator."

1999

Professor of foundations, Savannah College of Art and Design, Savannah, Georgia; assistant director of campus printing, Savannah College of Art and Design; intern at the National Museum of American Art, Smithsonian Institution (exhibition design department), Washington, D.C.; freelance graphic designer and illustrator; graphic designer for EXA (Authorized Apple Computers Center).

Solo exhibition at Miami University in Ohio after winning the William and Dorothy Yeck award for the Young Painters Competition in 2000; was invited to the campus as visiting artist for a few days

Winner of the William and Dorothy Yeck award (Best of Show), Young American Painters, Miami University, Oxford Ohio; honorary mention, First National Computer Art contest, Museum of Contemporary Art and Design, Costa Rica

• The Campus Chronicle, Vol. 3 #4, "Professors offer three sides of the story," by Hannah Pittard, 2003
• Magazine, Savannah College of Art and Design, Vol. 5, "10,000 Reasons to Paint," by Amy Krissman, Savannah, Georgia, 2001
• Creative Loafing, Vol. 8, No. 3, "Totems & Trials explores psychology & mystery," by Kathleen Thomas, Savannah Georgia, 2001
• The Miami University report, "Savannah artist wins first Miami $10,000 Young Painters Competition," Oxford, Ohio, 2000
• Arts at Miami, "Young Painters Competition Sponsored by William and Dorothy Yeck," Oxford, Ohio, 2000

"Teaching allows me to share my passion for art and design with students who have chosen a career in these fields. It also pushes me to be a lifelong learner. I find the interaction with students in the classroom enriching and inspiring and have grown as an individual and an artist because of that opportunity."

• DRAW 100 Drawing I: Form and Space
• DRAW 101 Drawing II: Composition and Media
• DRAW 102 Drawing III: Content and Interpretation
• DRAW 200 Life Drawing I
• DRAW 201 Life Drawing II
• DRAW 312 Color Drawing

"As an artist I am interested in exploring narrative through drawing and painting. This allows me to represent my reflections on life in a metaphorical manner. I sometimes create images based on the life of specific individuals, other times I let a place, an encounter or an event inspire a story.

"Parallel to my narrative work, I am constantly working from direct observation through quick sketches or fully developed drawings. I enjoy the process of translating what I'm seeing onto a two-dimensional surface.

"In all my work I'm interested in evoking emotions not only through imagery but also through the handling of color, value, mark-making and space. Over the years my decisions regarding composition color and value have become more deliberate.

"In my process, I create several sketches to define a composition before I begin a drawing or painting. After I've begun the final piece I allow myself to be responsive in the development of surfaces and mark-making. I enjoy the process of layering, scraping, adding and subtracting."

2006

Ginger Co (Division of Delta faucets): Designer 2003-2004; Instructor for Art Institute of Charlotte (2004)

Designer for Ginger Co. (faucet technology and touch sensors now present on Delta Products); worked with the nARCHITECTS to construct Windshape in 2006

Artist in Residence, Art Works, Johnstown, Pennsylvania

• Architectural Record
• Surface magazine
• Icon
• Domus

"I enjoy helping students work through the design process. The problem solving and eventual creation of their ideas fuels my desire to teach. Watching and encouraging other artists' success is essential for the creative mind's development."

• DSGN 102 3-D Form in Space
• DRAW 100 Drawing I: Form and Space
• DRAW 230 Drawing for Design
• IDUS 100 Introduction to Industrial Design
• EXHI 220 Large-scale Exhibition Design
• EXHI 331 Point of Purchase Merchandising

Cynthia Crane uses furniture forms and large format panel paintings to carry out her creative visions. With carefully chosen materials, she creates artifacts out of items that would otherwise have no further purpose. She has studied under Ateliers Jean Nouvel, and worked with such artistic masters as Tokujin Yoshioka and nARCHITECTs.

1990

Director of Faculty Development, Director of Academic Research and Faculty Development, Special Program Director, Dean of Special Programs, Special Program Coordinator, Savannah College of Art and Design, Savannah, Georgia; Director of Exhibitions, Kentuck Museum, Northport, Alabama; adjunct faculty, University of Alabama, Tuscaloosa, Alabama; Deckled Edges, Fine Handmade Papers, sole proprietor; adjunct faculty, Central Piedmont Community College, Charlotte, North Carolina

U.S. Fulbright Scholar Program Award, Germany, 2004

Presidential Fellowship for Faculty Development, Savannah College of Art and Design, 2008; Recipient of Access to Artistic Excellence Grant Award from the National Endowment for the Arts for the Island School Council for the Arts Patrick Dougherty Installation at Palmetto Bluff, Bluffton, South Carolina, 2006-07; U.S. Fulbright Scholar Program - International Education Administrators Seminar to Germany, peer review committee, 2005, 2006, 2007; U.S. Fulbright Scholar Program Award - International Education Administrators Seminar to Germany, 2004; Who's Who Among America's Teachers, 1996; Emerging Artist Grant, Charlotte Mecklenburg Arts and Science Council, 1986; Fellowship Recipient, South Carolina Arts Commission, 1983

SCAD press release:

• "SCAD faculty honored with Vulcan Materials Company Teaching Excellence Awards"

College Art Association, Southeastern College Art Association, Foundations in Art Theory and Education

• Sketchbook Development panel presentation, Embracing Sketchbook Reluctance, Southeastern College Art Conference, Mobile, Alabama, 2009
• Poster Session: No Translation Required: Artists' Books in Germany and Georgia, Fulbright Association's 32nd Annual Conference, Mutual Understanding amid Global Economic Challenges, Washington, D.C., 2009
• QEP Pilot Project Public Art Theory and Practice Design Charrette panelist: Public Art: Within the Socio-Political Landscape; Relational Aesthetics, Community Strategies and the Public and Public Space Design Innovative Approaches to Land Use, SCAD-Atlanta, 2009
• No Translation Required: Artists' Books in Germany and Georgia, Savannah College of Art and Design Off-campus program, Germany, 2009
• Phillips Academy, Andover, Massachusetts, bookmaking workshop and lecture, 1999
• Yunan Art Institute, Cultural Exchange Presentation, Kunming, China, 1996
• Rangsit University, Visiting lecturer, Bangkok, Thailand, 1996
• Mimar Sinan University, Papermaking Workshop, Istanbul, Turkey, 1994
• Marmara University, Papermaking Lecture, Istanbul, Turkey, 1994
• Robert College, Bookmaking and Papermaking Workshops, Istanbul, Turkey, 1994
• American School in London, Papermaking and Bookmaking Workshops, London, England, 1994
• Southeastern College Art Conference, Image Makers; 3 D, Little Rock, Arkansas, 1989
• University of North Carolina Chapel Hill, Southern Accents Fine Arts Festival, Guest Lecturer, 1987

"The opportunity and privilege to engage with other creative individuals - fostering creative thinking that leads to innovation; empowering others to continually engage in a process of inquiry and exploration that leads to discovery and insight; collaborating with students, colleagues and external partners in preparing future generations of art and design leaders and professionals is truly inspiring and a rewarding profession."

• FIBR 336 Experimental Bookmaking
• FIBR 736 The Book as Art: New Concepts in Bookmaking
• DSGN 100 Design I: Elements/Organization
• DSGN 102 Design II: Form in Space
• DSGN 115 Creative Thinking Strategies

"Selectively choosing materials, images and objects for the potential they have to carry universal metaphoric meaning, I attempt to arrange and or construct images and sculptural objects that are descriptive of personal yet shared human experience or situations."

1999

April 1999, Teaching residency at Absegami High School, Pleasantville, New Jersey; February 1999, Teaching residency at Bret Harte Elementary School, Cherry Hill, New Jersey

"Continuing to evolve and progress as an artist, teacher and human being."

1999, Co-recipient, with Bret Harte Elementary School, Cherry Hill, New Jersey, 1999, New Jersey Newarts In Education Award

• "The Art of the Working Sketch." Paper presented in the panel discussion "The Designer as Artist," at ONSTREAM 2011, F.A.T.E biennial conference, St Louis, MO, April 2011.
• "Outcomes of the Curriculum Ideation Forum: An extended School of Foundation Studies' faculty peer collaboration, brainstorming ongoing changes in curriculum of SCAD's core foundation drawing and design courses." Paper presented at F.A.T.E regional conference (Southeast): ENVISIONING A NEW FOUNDATION, IDENTITY & PURPOSE, May 2010, Savannah, GA.
• AMERICAN ARTIST: Drawing magazine, Winter 2009 edition.
• Feature article, "Concepts Grounded in Concrete Sketches;" managing editor Bob Bahr's article explores Dean's sketch art practice and its relationship to his ephemeral outdoor installations.
• "The Landscape through the Painter's Eye." Paper presented at the CAPTURING NATURE'S PATTERNS IN LANDSCAPE DESIGN symposium, produced by University of Pennsylvania's Landscape Architecture Department, at Villanova University and Connecticut College.
• "Sieve," Connect Savannah news article by Bertha Husband, November, 2003
• Project initiator and lead curatorial statement for exhibition catalog of: "THROUGH THE HEART OF THE CITY: An exhibition with the Schuykill River as the source of inspiration," at The Philadelphia Art Alliance, Philadelphia, PA, May 1998.

"Mentor students of differing ability at the outset of their college experience. Teach the art of response and gesture drawing. Promote daily use of the sketchbook-journal. Help students develop the ability to be independent, critical thinkers-and team players in collaborative interdisciplinary situations. To coach approaches in drawing that facilitate research and development processes, central to design methodologies in all the visual art professions. To design, prepare and teach drawing courses so that students experience and enjoy the challenge of active thinking, academic rigor and standards of excellence-where learning in and away from the studio classroom happens 'outside the box,' on a daily basis. To encourage students to embrace the history of art, drawing inspiration and ideas from 'old' and contemporary masters and mistresses."

• DRAW 100 Drawing I: Form and Space
• DRAW 101 Drawing II: Composition and Media
• DRAW 200 Life Drawing I
• DRAW 201 Life Drawing II
• DRAW 305 Drawing on a Theme
• DRAW 310 Landscape Drawing

"The practice of drawing allows for constant experimentation in ideas and mark. Art is many things and serves many purposes, known and unknown. It expresses a love for and desire to make things with the hands. Henri Bergson said, 'Art has no other object than to set aside the symbols of practical utility, the generalities that are conventionally and socially accepted, everything in fact which masks reality from us, in order to set us face to face with reality itself.' "

2001

Taught classes in painting and foundation studies at Virginia Commonwealth University; taught painting, drawing and 3-D classes at John Tyler Community College; taught printmaking and lithography at The Visual Arts Center in Richmond, Virginia; taught drawing classes at Petersburg Area Art League

Listed in Who's Who in America, Who's Who in the World, Who's Who in American Education; Who's Who Among American Teachers; Who's Who of American Women; Commonwealth of Virginia Fellowship; SCAD Presidential Fellowship; emeritus member, alumni board for the School of the Arts, Virginia Commonwealth University

Telfair Museum; College Art Association

• "Things My First Unhappy Student Taught Me," Faculty Focus, special publication, March 2010
• Chosen presenter, Savannah College of Art and Design "Last Lecture" series
• "Methods of Evaluation in the Classroom," Talk About Teaching, Savannah College of Art and Design
• " 'From Observation to Abstraction,' a demonstration on my own working process in which I recreated my studio, discussed the development of my work from initial drawn image to idea to final product, and gave a demonstration of the process as I discussed the developmental process"
• "Moving from Black and White to Color," Virginia Art Education Association, Fairfax, Virginia
• "Moving from Black and White to Color," Florida Art Educators Forum, Orlando, Florida

• DSGN 101 Color: Theory and Application
• DRAW 100 Drawing I: Form and Space
• DRAW 101 Drawing II: Composition and Media
• DRAW 102 Drawing III: Content and Interpretation
• DRAW 200 Life Drawing I
• DRAW 302 Alternative Drawing Methods
• DRAW 312 Color Drawing
• DRAW 502 Drawing Methods Studio
• PNTG 728 Painting Studio I
• PNTG 738 Painting Studio II
• PRMK 203 Introduction to Lithography

2006

Adjunct professor, Tyler School of Art, Elkins Park, Pennsylvania; graduate teaching assistant (instructor of record); Kent State University, Kent, Ohio; freelance Web designer/multimedia developer

Solo exhibitions: ADA Gallery, Richmond, Virginia; Gallery S.P.A.C.E., Savannah, Georgia

Artist grant, one-month residency, Vermont Studio Center; SCAD Presidential Fellowship

College Art Association, Foundations in Art: Theory and Education (FATE), Southeastern College Art Conference (SECAC)

• FATE Biennial Conference, St. Louis, Missouri, 2011
• Session chair: "Teaching Foundations vs. Studio Practice"
• Paper: "Teaching Foundations vs. Studio Practice: Is There an Overlap?"
• Artist lecture, Dr. Mary Evelyn Stringer Auditorium, Mississippi University for Women, Columbus, Mississippi, 2011
• SECAC/MACAA Annual Conference, Richmond, Virginia, paper: "Collaborative Nonobjective Drawing: A Classroom Experiment," 2010
• SECAC Annual Conference, Mobile, Alabama, 2009
• Session chair: "Bridging the Gap: The Use of Digital Technologies in Painting"; Paper: "Organizing, Formatting and Presenting Digital Images"

"I am inspired by my former professors, whose generosity and commitment was unwavering. Introducing students to images, techniques and concepts and viewing their interpretations of them is engaging and enlightening. The search for creative solutions is an exciting and surprising endeavor and one that I am proud to share with my students."

• DRAW 100 Drawing I: Form and Space
• DRAW 101 Drawing II: Composition and Media
• DRAW 102 Drawing III: Content and Interpretation
• DRAW 200 Life Drawing I
• DRAW 302 Alternative Drawing Methods
• DSGN 100 Design I: Elements and Organization
• DSGN 101 Color: Theory and Application

"My current body of work, which includes painting, collage and installation, was developed through a process of playful experimentation and is influenced by the persistent growth of flora and the relationship it has to architecture and other plant species. Trees grow out of derelict buildings; Spanish moss, ferns and palmettos live in live oaks in the South; and kudzu strangles trees, buildings and anything else in its path. These phenomena have inspired abstract work that reference sites where a takeover is slowly taking place. The shapes grow and mutate, claiming the space. The collaged felt shapes, which become installation pieces, come from my paintings and drawings."

noglamourouslife.com

2002

Teaching assistant, Radford University; full-time foundations adjunct, Radford University; adjunct, University of North Florida; painting teacher, Art Institute of Naples, Florida; professor of foundation studies, SCAD, Savannah, Georgia

Creator/editor and sole operator of The Depot Dispatch, a community publication for news, art and culture, Elkhart Lake, Wisconsin. Researched and interviewed, wrote feature stories, illustrated stories, photographed and processed film, sold advertising and laid out ads, composed type and structure of pages, printed and distributed publications in local communities. The Depot Dispatch continues publication under a staff of several contributors

Selected by President Wallace to design t-shirt for QEP; winner, SCAD's 25th Anniversary poetry competition; selected as Outstanding Professor by students at Turner Hall; selected Juror, 20th Naples National Art Festival; grant stipend, Radford University Galleries, consultation service, final assessment review for accreditation; selected juror, 18th Naples National Art Festival; Radford University, letter of recognition for grant services performed; Intern Award, Radford University Galleries GOS Grant and Radford University Galleries Museum Assessment Program; Golden Key National Honor Society, lifetime membership; design contest winner, Jacksonville Symphony Association poster contest, "A Zoo Called Earth"; Summa Cum Laude and University of North Florida Dean's List; Irene B. Kirbo Memorial Scholarship, University of North Florida; design contest winner, "Career Expo," University of North Florida, Career Development Services; scholarship, Business and Professional Women's Foundation; second place, University of North Florida Annual Student Gallery-Exhibition Competition; third place, University of North Florida student competition; first place, Jacksonville Electric Authority Toll Booth Poster; winner, bookmark design for UNF library; first place, Atlantic Beach Merchants Juried Art Competition; winner, masthead design competition, Plymouth Review, Plymouth, Wisconsin; Merit Award, John Michael Kohler Arts Center, Sheboygan Wisconsin, "Four Counties" juried triennial

FATE, SECAC, Telfair/Jepson Museum

FATE, St. Louis, Missouri, "Global Art in the Classroom," 2011; American Artist Magazine, 2007 (drawing); Arbus, 2001: North Florida's Arts and Business Magazine, "World's Best Loved Art Comes to Ocala"; SCAD 25th Anniversary commerative publication (winning poem); The Naples Review, 2000, Naples, Florida, (illustrations); La Crosse Tribune, "Jazz Meets Art," 1995, La Crosse, Wisconsin; Connections, Radford University literary magazine, The Vietnam War Memorial, 1992; UNF Soundings, University of North Florida magazine, (drawings), 1988; creator, editor, sole operator, The Depot Dispatch, 1980-83

"Ability and enjoyment of communicating ideas, interest in culling out the particular personal traits of individuals, passion for sharing the knowledge I have accumulated over the years."

• DRAW 100 Drawing I: Form and Space
• DRAW 101 Drawing II: Composition and Media
• DRAW 102 Drawing III: Content and Interpretation
• DRAW 200 Life Drawing I
• DRAW 201 Life Drawing II
• DRAW 310 Landscape Drawing
• DRAW 320 Non-Objective Drawing
• DRAW 341 Travel Portfolio

"My work is about the foibles of being human, in particular as discovered through 'slice of life' points of view. I am drawn to the human body as subject matter, how every person animates a specific individuality, character and shape, and how each shape integrates into and affects a particular environment in a way that signifies something special. I work mainly in oil for my paintings and mixed media for my drawings, and am particularly fond of ink and wash."

• nancydoolan.blogspot.com
• artcompost.blogspot.com

2006

Full-time faculty, art/studio foundations coordinator, Plymouth State University, Plymouth, New Hampshire; sculpture commission, bronze, Fidelity Investments Corp., Boston, Massachusetts; instructor of art, DeCordova Museum School of Art, Lincoln, Massachusetts; Public Sculpture residency co-sponsored by DeCordova Museum and Reading, Massachusetts, public schools; artist residency, mural project, Sanborn School, Andover, Massachusetts

Sculpture included in numerous private collections as well as these public collections: Tucson Museum of Art, DeCordova Museum, Danforth Museum of Art, Czech Ceramic Design Agency, Racine Art Museum, First National Bank, Columbia, Missouri, Arizona State University Art Museum; Mountain Bell Corporate Collection

Professional grant, Savannah College of Art and Design; Founders' Award, Creative Arts Center, Reading, Massachusetts; Purchase Award, two-year traveling exhibition, "Clay National," Erie Art Museum, Erie, Pennsylvania; Juror's Award, "7th Annual Vahki Exhibition," Galleria Mesa, Arizona

National Council on Education for the Ceramic Arts; College Art Association; Foundations in Art: Theory and Education (FATE)

• Marvin Sweet, "The Yixing Effect: Echoes of the Chinese Scholar," Foreign Languages Press Beijing, China, 2006
• Marvin Sweet, "Gayle Fichtinger: Carving a Path," Ceramics: Art and Perception, March 2003, pp. 60-61, No. 51
• "Upfront," Ceramics Monthly, February 2003, pp. 6, 18, Vol. 51, No. 2
• Cate McQuaid, "Nervous Energy" The Boston Globe Aug. 30, 2002, pp. C13, C16
• Christine Temin, "Perspectives" The Boston Globe, Aug. 14, 1996, p. C5

"After 15 years as an active studio artist, teaching found me. I enjoy the challenge of teaching and sharing my professional experiences and commitment to studio art with students. I believe that beginning college students need structure and a knowledgeable and enthusiastic coach. Foundations courses are rigorous and provide a framework for active students to build on."

• DSGN 100 Design I: Elements and Organization
• DSGN 102 Design II: 3-D Form in Space

"Through my work I respond to my environment, observing the wildness of nature and encroaching development. My collections of natural objects like split wood, nests of birds and insects and small animal skulls continue to grow, feeding my work as I sculpt and draw from life. The terracotta sculptures are assembled like memories of the forest floor, old growth trees and landscapes. Time, beauty, the natural object and sculpture as place concern me as I document the forest piece by piece. My work is meant for contemplation."

1988

Dean Garvin's previous teaching experience includes Penn State University, Moore College of Art, Philadelphia University, Arcadia University, Temple University and Trenton State College. Garvin's work has been exhibited in Atlanta, Chicago, New York City, and Philadelphia, as well as internationally in Beijing and London.

Helping to build the Savannah College of Art and Design since 1988

Grant for residency, Byrdcliffe Arts Colony, Woodstock, New York, 1993; grant for residency, Virginia Center for the Creative Arts, Sweet Briar, Virginia, 1985; grant for residency, Hambidge Center, Rabun Gap, Georgia, 1984; nominated by SCAD for Professor of Year Award, 1997 and 1998; Ohio Arts Council grant Artists in Education Program, Perry Local School, Cridersville, Ohio, two-week residency, January 1987

College Art Association; FATE-Foundations in Art: Theory & Education

• SECAC Conference fall 2011 Savannah, Georgia presented paper "Valuing the Process: Teaching Research and Ideation Strategies to First Year Students for the panel "Strategies for Cultivating and Harvesting Ideas."
• Think Tank June 8-11, 2011 Athens, Georgia was selected to participate in Think Tank 6 sponsored by Integrative Teaching International at UGA June chaired panel: "Four Curricular Models: From Bauhaus to Posthaus - a look at the mission, structure, audience and outcomes of four different foundation programs"
• FATE Conference March 30-April 2 St Louis, Missouri presented paper titled, "At the Core - Building Visual, Conceptual and Creative Abilities" in the panel "Solid Ground or Shifting Sands" Foundations for Art and Technology Programs."
• SECAC Fall 2010 Oct. 20-23, 2010 Richmond, Virginia chaired a panel Beyond Turf and Silo Cultivating a New Foundation. Four faculty presented including Jan Feldhausen, MIAD Milwaukee Wisconsin, Michael Arrigo form Bowling Green State University, Kevin Conlon from Ringling College of Art and Design and Kristie Bruzenak from SCAD.
• Think Tank June 2-6, 2010 Athens, Georgia was selected to participate in Think Tank 5 sponsored by Integrative Teaching International at UGA.

"The fundamental inspiration for teaching comes from students in observing how they learn and what interests and drives them. Teaching drawing and with all foundation courses is about teaching students how to see how to think visually, and how to develop ideas. It is really a process of transformation. Observing, listening and questioning students gives me a sense of who they are, what is the best way to teach them. My goal for teaching is to understanding the audience, have a deep mastery of the content and design the most effective way to have students not only know but 'own' the information and abilities covered in a course. Teaching is, for me, a creative act as well as an amazing and transformative process."

Draw 100 Drawing: Form in Space

Professor Garvin's studio work ranges from handmade paper pieces, large oil pastel works on paper to wall relief pieces made with paper pulp. Source material for her work has included outsider art, flea market finds, garden design from different cultures and in general how people personalize their own environments. Ultimately her studio work is a homage to the spirit and energy that drives people to express themselves through art.

2007

Adjunct faculty, St. Louis Community College at Meramec and Forest Park, St. Louis, Missouri; adjunct faculty, Washington University, St. Louis, Missouri; full-time faculty, Ohio University, Athens, Ohio; owner/faculty, The Watercolor Workshop, St. Louis, Missouri; graphic designer, Ryan + Friends Animation Studios, St. Louis, Missouri; freelance illustrator, St. Louis, Missouri, and Baton Rouge, Louisiana; intern, New Orleans Museum of Art, New Orleans, Louisiana

Authored examinations and PowerPoints for 8th edition of Design Basics by Lauer/Pentak, 2011; represented for 10 years (1995-2005) by Kathryn Markel Gallery, New York City, New York; represented for 11 years by Elliot Smith Gallery, St. Louis, Missouri (closed); represented for 20+ years (1978-2002) by Joy Horwich Gallery, Chicago, Illinois (closed); owner, The Watercolor Workshop, St. Louis, Missouri

Ohio Arts Council, Percent for Art Purchase; Vermont Studio Center, Johnson, Vermont, Fellowship (not taken); Smithsonian Institution (3-year world traveling exhibition), "Works On Paper"; Ohio Arts Council Grant, State of Ohio; The Art Institute of Chicago, full tuition scholarship; Fulbright Scholar Program, Finalist; Yale University, Yale at Norfolk, full scholarship; The Cooper Union, full tuition scholarship

College Art Association; FATE

Publications

• Mulvane Museum of Art, "Watermarks Invitational" catalogue, 1996; Daniel Smith Art Materials catalogue, "Featured Artist," 1995; American Artists Magazine, "Watercolor Artists," one of four featured artists, 1991; Ohio University Press, essay: "On the Evolution of the Family Photographic Album," Light Impressions, 1978
• Collections (selected): American Airlines, Hallmark Corp., Savannah College of Art and Design, Blackwell, Sanders, Peper and Martin Law, Renaissance Hotels, The Brunswick Corp., Nokia, Midwest Bank, New Orleans Museum of Art, USAA Insurance, Widmar-Garnant & Associates, Growmark Inc., Northwestern Michigan Community College, Apeiron Workshops, Ohio University, St. Louis Community Colleges, numerous private collections

"My inspiration for teaching is rooted in the design principles and elements. I strive to show students a path that makes learning an interesting and engaging process. The world, both natural and cerebral, motivates me. Everything is a possibility. I believe the human spirit is capable of great innovation."

• DSGN 100 Design I: Elements and Organization
• DSGN 101 Color: Theory and Application
• DRAW 100 Drawing I: Form and Space
• DRAW 101 Drawing II: Composition and Media
• DRAW 400 Non-Objective Drawing

"I make large non-objective paintings. They are about form, color and deep space. They are panoramic in shape and crammed with color."

bubbacat.com

2001

Drawing instructor, Gifu International Center; monoprint workshop instructor, Florida State University; life drawing instructor, Florida State University; technical assistant, Florida State University Museum of Art

Ten years of successful teaching at Savannah College of Art and Design

Voted "Outstanding Faculty Adviser" by the Inter-Club Council, Savannah College of Art and Design

"I have always been drawn to the exchange of ideas found within the classroom. I have always found it crucial to work in a diverse atmosphere in terms of conceptual approaches and elasticity of materials. My passion for art and design comes forth in my teaching and infuses my students with curiosity and determination. When I interact with my students, I am invigorated by their enthusiasm for new techniques and topics as well as their own influences found in literature, film and other media. These convictions set the stage for a greater dialogue that is at the core of my teaching philosophy."

• DRAW 100 Drawing I: Form and Space
• DRAW 101 Drawing II: Composition in Media
• DSGN 100 Design I: Elements and Organization
• DSGN 101 Color: Theory and Application
• DSGN 102 3-D Form in Space

"I find that I vacillate between being conceptually driven and driven by materials. For the past several years I have been focused on a series of small works that explore the concept of identity, specifically the identities we make for ourselves versus the identities we are granted at birth. I am drawn to soft, easily malleable materials that can represent analogies of character. I am also heavily influenced by literature, specifically contemporary Southern authors such as Michael Lee West and Clyde Edgerton."

2007

Adjunct instructor, Wayne State University; adjunct instructor, Oakland Community College; studio instructor, The Detroit Institute of Arts

Exhibitions: committee volunteer, Contemporary Art Institute of Detroit, "Artist At Work," Artist Demonstration - Detroit Institute of Arts; member, College Art Association; artist lecture, Desperate Acts of Repentance - Adrian College, Adrian, Michigan; James F. Duffy Jr. Travel Fellowship for the Visual Arts - Wayne State University; Helen DeRoy Fine Arts Competition Purchase Award; graduate student council member - Wayne State University; Purchase - Central Michigan University

Telfair/Jepson, Detroit Institute of the Arts, Contemporary Art Institute of Detroit

• Domino magazine website, "Nick Olsen's: The Daily Dose," Aug. 10, 2007
• Real Detroit Weekly, Jan. 4, 2006, March 9, 2000
• Metro Times, Oct. 6, 2004
• Detroit News, Sept. 24, 2004
• Detroit Free Press, May 12, 2002

"Issuing a design challenge and seeing 20 unique solutions in a studio context is always interesting. This inspires my own creative process."

• DRAW 100 Drawing I: Form and Space
• DRAW 101 Drawing II: Composition and Media
• DSGN 100 Elements and Organization
• DSGN 101 Color: Theory and Application

2001

Department chair, Archbishop Spaulding High School, Baltimore, Maryland; set design: Productions by Greenville Tech Presents; Development Panel Member: History Day, Greenville Technical College, Juror/Panel Member: An Evening's Conversation on the Arts, Midlands Technical College, Faculty Participant: South Carolina Internationalizing Education Consortium.

FATE, SECAC

"What motivates me to teach are the students. Facilitating the development of their skills from the ground up is among the most satisfying experiences in life, this is why I enjoy teaching in the School of Foundation Studies."

• DSGN 100 Two-dimensional Design
• DSGN 101 Color Theory
• DRAW 100 Drawing I: Form and Space
• DRAW 101 Drawing II: Composition and Media

"The grid has always played an important role in my work. Perhaps on a personal level its importance was cemented in my technical drawing foundation. Regardless, the grid has been the foundation of much construction, demarcation and exploration throughout human history. In these ways the grid has been used to measure, define and record. Indeed the grid has intrinsically affected how we respond to, and perceive, our environment and our place within it. I use the grid, in some form, in much of my work as a means of organization and enjoy working with its geometry as I push and pull space and color in response."

jeffreyscothicks.com

1996

Adjunct faculty, painting and foundation studies, Armstrong Atlantic State University, Savannah, Georgia; ceramics instructor, city of Savannah Cultural Affairs; director of art and installation, Savannah Fine Arts Gallery, Savannah; instructor, painting, New River Valley Fine Arts Center, Pulaski, Virginia; adjunct faculty, painting department, Radford University, Radford, Virginia

Receiving a fellowship to collaborate with Maestro Silvano Signoretto of Murano, Italy

Best of Show, international juried exhibition, "Contemporary Works of Faith," Capital University, Columbus, Ohio; painting selected by Jane Fonda for her private collection from the juried group exhibition, "Reflections of Jane Fonda"; Best of Show, University of Georgia, Fine Arts Exhibition; Graduate Teaching Fellowship, Radford University; Francis Larkin McCommon Scholarship, SCAD

Artist-Blacksmith's Association of North America (ABANA); Foundations in Art: Theory and Education (FATE)

"A Perfect Fit," Decor magazine; Design Sponge

"I have been an artist all my life and have worked in many mediums. Teaching is a way of sharing my passion for art as well as keeping me on my toes as to the underlying principles that create good work."

• DSGN 100 Design I: Elements and Organization
• DSGN 101 Color: Theory and Application

Hodges is intrinsically attracted to the decorative quality of old architectural cast iron abundant in the historic city of Savannah, and often revitalizes these remnants of the past as key elements in her work. Some are occasionally embellished with nests, branches, birds and other unique found objects. Through a combination of traditional blacksmithing, welding and hand painted surfaces, she creates work that is both functional and artistically beautiful.

wynnehodges.com

2007

Internationally exhibited painter, years of experience showing in and working for various New York City galleries

Paintings have been exhibited in museum and gallery exhibitions in Denver, Colorado; Los Angeles, California; Miami, Florida; Atlanta, Georgia; Paris, Hong Kong, Berlin and elsewhere

Critic's Choice, Saatchi Online; Best Solo Show, Emerging Artist, Westword (Denver); numerous newspaper, magazine and blog reviews and articles worldwide

College Art Association

"Monoplex: The Intercodes of Art and Meaning: Art Theory for Accelerated Attention Spans," publication forthcoming, 2012

"To share and foster a love of knowledge and a love of learning. To help students understand the importance of the history and context in which their work is embedded so they can then push it further and make it their own."

• DRAW 100 Drawing I: Form and Space
• PNTG 206 Water-based Media Exploration
• PNTG 409 Advanced Painting
• PNTG 415 Painting Senior Seminar
• PNTG 779T Graduate Teaching Internship
• SFIN 716 Theories and Processes I

"My paintings result from a determination to make art that can stand up to the rigors of 'official' art world aesthetic judgment and critique, yet still possess enough visual impact and 'oomph' to engage the vernacular glance of the untrained eye. In other words, to make paintings that work within and contribute to the cultural context of 'fine art' while also being just plain cool enough to be worth looking at by the average person who, while not formally learned in contemporary art, is quite visually sophisticated from a lifetime of iconographic and logotypic training via mass media. Just as the early modernist painters had to deal with the perceptual changes wrought by the invention of the camera, I believe that today's painters have to address contemporary changes in perceptual processing speeds, information intake and attention span, and make these changes our own."

jason-hoelscher.com

2008

Professor of art, St. Louis Community Colleges; professor of art, St. Charles Community College

Solo exhibitions of "The Doll House" and "Ghosts" paintings with the following International Ibsen Conferences: 2006, University of Oslo, Center for Ibsen Studies, 11th International Ibsen Conference / Centennial Commemoration; 2009, Fudan University, Shanghai, China, 12th International Ibsen Conference; 2009, Dhaka, Bangladesh, International Ibsen Theater Festival

• 2009, Presidential Fellowship, Savannah College of Art and Design
• 2005, Award of Excellence, Art St. Louis XXI
• Paintings reside in the collections of: Savannah College of Art and Design Permanent Collection; Center for Ibsen Studies, University of Oslo; Professor Astrid Saether, Center for Ibsen Studies, Oslo, Norway

CAA, College Art Association

Visiting artist lectures

• 2008, "The Nora Project," A discussion with Professor Michael Burke and Sara Paula Hoffman, St. Louis Community College at Meramec, St. Louis, Missouri
• 2007, "Painting Ibsen's Ghosts," Thomas Jefferson School, St. Louis, Missouri
• 2007, "Midwestern Dolls and Ghosts," The Sheldon Art Galleries, St. Louis, Missouri
• 2007, "Art and Literature, The Doll House Paintings," National Federation of Press Women, Missouri Affiliate, St. Louis, Missouri
• 2007, "Ghosts from the Heartland" The Messing Gallery at Mary Institute Country Day School, St. Louis, Missouri
• 2006, "Midwest Doll Houses," Blackburn College, Carlinville, Illinois
• 2006, "Doll House Paintings," Congregation Neve Shalom, Creve Coeur, Missouri
• 2005, "The Doll House Paintings and Henrik Ibsen," The Bonsack Gallery, John Burroughs School, St. Louis Missouri
• 2011, Studio Visit Magazine, Volume Fourteen, "Conversations with Joseph"

"Teaching is a natural extension of my life as an artist, keeping me intellectually alive, improving my artistic skills, and giving me a role in shaping the next generation of artists. Mentoring students through processes of intense looking, thinking, and making is very fulfilling. When my students find passion, joy and dedication in their work, I am confident they will succeed in their creative pursuits."

• DRAW 100 Drawing I: Form and Space
• DRAW 101 Drawing II: Composition and Media
• DSGN 100 Design I: Elements and Organization
• DSGN 101 Color: Theory and Application

"Process and theory are key components in my work. Literature and theater are sources of inspiration for me. In small format oil paintings my work takes psychological journeys through memory, patterns, and spiritual awakening."

sarapaula.com

1997

Counselor for At Risk Kids, Florida State University; teaching in foundations, Savannah College of Art and Design; Rising Star teaching, Summer Seminar teaching

Created (4) full-color illustration spreads for the African American CHILDREN'S STORIES through Publications International, LTD, Lincolnwood, Illinois, "The Legend of Annie Christmas"; artistic director, children's book "The Magic of Giving" Savannah, Georgia

Wrote News letter for Strathmore and displayed artwork magazine

Member of the (CAA) College Art Association, Member of the Society of Illustrators, Member of FATE Conference

• October 14, 2010 Art Director for Children's book with the help of former student as the illustrator
• January 10, 2009 Presented art paper in Honolulu, Hawaii's Art Conference

"Many years ago I had the awesome privilege of teaching a workshop at a local elementary school and it was very fulfilling. Being around that creative energy sparked something in me. Now having the pleasure of surrounding myself with talented SCAD students help me stay focused and grounded with my own work. Teaching has helped me to nurture and cultivate the unique qualities of each person through my personal artwork. It is my up bringing, which inspired my remarkable work. Although I have termed myself 'ordinary,' my ability to make the ordinary special through art is extraordinary."

• DSGN 100 Two-Dimensional Design
• DSGN 101 Color Theory
• DRAW 100 Drawing I: Form and Space
• DRAW 101 Drawing II: Composition and Media
• ILLU 213 Introduction to Illustration

"I concentrated in illustration and graphic design. Although, many of my pieces are graphic and illustration I do not limit myself with subject matter. I choose subject matter that moves me personally. I delve into the emotional bonds between an illustrator and my subjects, while leaving the image open to interpretation by those who view it."

pernelljohnson.com

1993

Exhibited in more than 100 group exhibitions in addition to numerous solo shows. These have been in the United States, London, Beijing, Hong Kong, Seoul, Ibiza and Perpignan, France.

Selected Solo Exhibitions: 2009, "White Rabbits, Clowns and Infantas," Texas Artists Museum, Port Arthur, Texas; 2008, "The Comedy of Painting," Roush Family Gallery, Carrollton Cultural Arts Center, Carrollton, Georgia; 2008, "Games of Wit and Chance," The Kellogg Gallery, Manatee Arts Center, Bradenton, Florida

International Group Exhibitions: "Year of the Rabbit," Moot Gallery, Hong Kong; "98 China Art Expo," Beijing, China; Museum of Modern Art, Oxford, England; "Seoul International Print Biennale," Seoul, Korea; "Perpignan Print Biennale," Perpignan, France; Ibiza Graphic Print Exhibition, Ibiza, Spain

Alliance Français

Art in America, Who's Who Among American Teachers, Who's Who in American Education, Who's Who of American Women, Southeastern College Art Association, Juried Exhibition Catalog, First Coast Regional Art Competition Catalog

• DSGN 101 Color: Theory and Application
• DRAW 200 Life Drawing I
• DRAW 201 Life Drawing II

"I am a figurative painter and I unashamedly include what interests me. I am primarily concerned with people in all their different human situations. In addition, I take visual delight in the costumes dating from the European 17th century, and reference to these is an immediate self-apparent feature of my work. I enjoy this for its exuberant flamboyance and the self-evident "joy of life" typically passed to the wearer displaying them."

2005

Professor, School of Foundation Studies, SCAD; visiting juror for masters thesis projects, University of Notre Dame School of Architecture, Indiana; guest lecturer, Hillsdale College Distinguished Artist Series; Savannah Area Artist Painting the Figure Workshop, Rise Studio; adjunct professor, Franciscan University Steubenville; Institute for Classical Art, Figure Drawing Studio; Pontifical North American College, Rome, Italy, visiting lecturer; visiting lecturer, Brown University Providence, Rhode Island; adjunct thesis advisor Antioch University Ohio; visiting lecturer, Ave Maria College, Ann Arbor, Michigan; visiting lecturer, University of Notre Dame, Indiana; guest lecturer, Thomas Aquinas College, Santa Paula, California; numerous commissioned art and design projects

SCAD Presidential Fellowship: "Drawing the Via Dolorosa" for exhibition and publication in cooperation with the Pontifical Council for Culture, Vatican City, Italy; Madrid Spain World Youth Day, "Faces of Christ", Madrid, 16-21 August; Château de Fontaine Henry, Normandy, France May 2011; Weymouth Center for the Arts & Humanities, Southern Pines, North Carolina May 7-21, Solo Langley Art with Designer Alice Henrick; "Splendors of the Vatican" at the Senator John Heinz Cultural Center, Pittsburgh, PA "Preparatory Cartoon for Signum Magnum"; School of Foundation Studies Spring Quarter Faculty Exhibit, Wallin Hall, SCAD Savannah, Spring March 2011; School of Foundation Studies Winter Quarter Faculty Drawing Exhibit; Studioplex Gallery, Atlanta Georgia and Anderson Hall, Savannah College of Art and Design, Savannah GA. January / March; National Juried Group Invitational, St Vincent College, Latrobe, Pennsylvania, Juror: Sr Wendy Beckett; Selected Work on Paper, John Paul II Cultural Center, Washington D.C.; Solo Exhibit, Distinguished Artist Series, Hillsdale College, Hillsdale Michigan

International Order of Alhambra, Fellowship for Classical Studies at SCAD

• Memory and Desire; The Figurative Art of James Langley Monograph with selected Drawings and Painting and Interview
• Faces of Christ Book including Cover Plate and Frontispiece sponsored by the Pontifical Council for Culture, Vatican City, Italy "Contemporary Sacred Art".
• The Magazine Antiques, February 2007 "New at the Metropolitan Museum of Art"
• American Artist, Drawing, Winter2007 "Drawing on Savannah's Aesthetic Allure"
• Le Pretre Catholique; Image du Christ, Steen Heidemann, Book Published in France by Editions DuPont
• The Magazine, Savannah College of Art and Design Fall 2006 Volume 10, Number 1 "Bringing Beauty into the World"
• The Southern Cross January 2011 January edition featuring "Signum Magnum"
• La Voz Latina December 2010 "Monumental painting of la Guadalupana by Savannah Artist".
• Thomas Aquinas College Newsletter Spring 2006, Interview
• Catholic World Report; November 2005 "The Redemption of Catholic Art" Interview by Ben Wiker
• Lay Witness Magazine, 5/June 2004 Cover Painting
• Riconquistare Lo Spazio Sacro 2000, Journal in English and Italian. Published Project: S. Caterina da Genova Apse Wall Retablo with Paintings New York, New York
• "Drawing and the Concept of The Beautiful" Guest lecture Veritas Academy, Savannah, Georgia
• "Beauty and the Beast" The Saint Anselm Society at the Juliette Gordon Low Cottage, Savannah, Georgia, Guest Lecturer, October 2008
• Solo Exhibit and Artist Talk: The Landings Art Association, Skidaway Island, Georgia, November 2008

"As a student of the great American painter Jack Beal, my career as an artist/educator found its inspiration. His irrepressible Baroque dynamism revealed the greatness of a life in art and forever abolished the petty taboos and egotism that is wont to infect academia and the art world.

"During the high tide of abstract expressionism Jack Beal inspired the rebirth of pictorial space and great narrative painting. He lifted his students into a place of poetry and wonder where expressions of creativity were always expressions of a deep, humane love for the world and all of its creatures. A master painter and the very soul of generosity; he demonstrated on a daily basis that no artistic ambition however grand could cramp the capacity to give all one had to ones students."

• DRAW 100 Drawing I: Form and Space
• DRAW 101 Drawing II: Composition and Media
• DRAW 200 Life Drawing I
• DRAW 201 Life Drawing II
• DRAW 210 Portrait Drawing
• DRAW 242 Sketchbook
• DRAW 300 Advanced Drawing and Painting
• DRAW 325 Advanced Portrait Drawing
• DRAW 350 Classical Rendering
• DRAW 707 Figure Drawing
• DSGN 100 Design I: Elements and Organization
• DSGN 101 Color: Theory and Application

"Life is Beautiful."

langleyart.com/

2005

Teaching: Faculty liaison, SCAD Lacoste, Summer 2010; Laguna College of Art and Design, Laguna Beach, California; Long Beach City College, Long Beach California; Orange County High School for the Arts, Orange, California

Dealer representation: Fresh Paint Art, Culver City, California; Soho Myriad, Atlanta Georgia; Daniel Fine Arts, Laguna Beach, California; The Art Group, Las Vegas, Nevada

Recent exhibitions: "Small Works" Exhibition, Gutstein Gallery, Savannah College of Art and Design, 2010; Group drawing show, Velimir Lekovic Gallery (Cultural Center) Bar, Montenegro, 2010; "7" Group Exhibition, Indigo Sky Gallery, Savannah, 2010; Faculty Drawing Exhibitions, SCAD, 2006-10

Selected collections
Borgata Hotel, Atlantic City, New Jersey; Venetian Hotel, Las Vegas, Nevada; Ritz Carleton, Rancho Mirage, California; Four Seasons, Palm Desert, California; Beverly Hills Hotel, Beverly Hills, California; Hilton Hotel, London, England; Merikan Park Oriental Hotel, Kobe, Japan; Peninsula Hospital Women's Clinic, San Pedro, California; Ambassador Hotel, Tai Pei, Taiwan; Marriot Tournament Players Resort, Scottsdale, Arizona; Balboa Yacht Club, Newport Beach, California

Los Angeles 1% for the Arts Commission, Zarahian Associates; Ralston Purina Life Drawing Award; University Publication Award for the State of California, University Magazine

Academic Support and Libraries Council; eLearning and Technology Council; assessment committee, foundation studies, SCAD; Visiting Artist College Council, SCAD

• Drawing Magazine, Winter issue, Drawing reproduced
• College Art Association, paper: "Color: Brick and Mortar or Virtual"
• FATE Conference 2011: Think Tank Intensive, March 2011, St. Louis, Missouri; Included in Contemporary American Oil Painting, Jilin Fine Arts Publishing

"Working with students is inspirational."

• DRAW 102 Drawing III
• DRAW 223 Perspective
• DRAW 230 Drawing for Design
• DRAW 341 Travel Portfolio
• DRAW 707 Figure Drawing
• DRAW 708 Graduate Drawing
• DSGN 101 Color: Theory and Application
• ILLU 205 Illustration Materials and Techniques
• PNTG 207 Watercolor
• PNTG 302 Intermediate Painting
• PNTG 409 Advanced Painting

dmalschick.com

dmalschick.com

1999

Professor of illustration and painting, School of Visual Arts Savannah, 1995-99

"Painting a mural of dinosaurs and cavemen with my son on his bedroom wall."

Illustrations published in Playboy magazine and New York Times Book Review among others; drawing published in American Artists magazine

Member, The Portrait Society of America

Authored two online Drawing Courses for SCAD eLearning

"Mom and Dad, grade 2 and 3 teachers Mrs. Dean and Mr. Hambleton."

• DRAW 200 Life Drawing I
• DRAW 201 Life Drawing II
• DRAW 100 Drawing I: Form and Space
• DRAW 101 Drawing II: Composition and Media

Jeff Markowsky's love for linseed oil began while building log homes with his family in Saskatchewan, Canada. As a teenager, his job was to "oil" the logs in a mixture of linseed oil and bleach. This protected and beautified the natural logs. When he wasn't playing hockey he was drawing, painting or sculpting figures with leftover clay found in his mother's pottery studio. Markowsky studied visual communications at The Alberta College of Art and Design in Calgary, Canada, and went on to receive an M.F.A. in illustration from the School of Visual Arts in New York City. His education as a painter began in graduate school with Gregory Crane and then with Frank Mason at the Art Students League in New York City. Markowsky is a painter, draftsman and educator who enjoys the physical, emotional and spiritual process of a studio practice. Through teaching, he finds peace and pleasure in passing on the information that was freely given to him. Markowsky has been teaching Painting, Drawing and Life Drawing since 1995 where it all started at the infamous SVA Savannah Campus. He currently lives in Savannah, Georgia, and teaches at the Savannah College of Art and Design. Markowsky acknowledges the many students he has met along the way as inspiring and influential teachers.

• jeffmarkowsky.com
• drawingthelifeforce.blogspot.com
• jeffmarkowsky.blogspot.com

2000

Kelley McClung has been producing time-based media installations and production designs since the late 1980s. These have been seen at the Edinburgh Fringe Festival in Scotland; the Kennedy Center in Washington, D.C.; and in numerous internationa and U.S cities, including: Paris, France; Mainz, Germany; Zagreb, Croatia; Shanghai, China; Minneapolis, Minnesota; Chicago, Illinois; Atlanta, Georgia; Los Angeles, California; and New York, New York. In 2000 she created P.I.G. (Performance Installation Group) in Savannah, Georgia, and in 2008 became a founding member of the Medeology Collective.

• Who's Who of Design Professionals and Architects, 2006
• Who's Who of American Women, 2004
• Kennedy Center Faculty Fellowship (lighting design), Washington, D.C., 2002
• Jury Winner United States Institute for Theatrical Technology Design Exposition, New Orleans, Louisiana, 2002
• Jury Winner USITT Design Exposition, Denver, Colorado, 2000
• Crisis Point Theatre Grant for "Digital Angel Project," Minneapolis, Minnesota, 2000
• Century Lighting Award. University of Minnesota Twin Cities, 1999 and 2000
• USA Amateur Boxing Official, Region IV Olympic Official, 1989-94
• Arts and Humanities Chair, Kentucky Recreation and Park Society, 1989-92

• College Art Association
• Southeastern College Art Conference (SECAC)
• Performance Studies International
• Illuminating Engineering Society
• International Association of Lighting Designers
• America College Theatre Festival, Georgia State Representative 2003-05
• United States Institute for Theatrical Technology

Presentations:

• "The Academy of the Spectacle: Art Education in the Age of Perpetual Apocalypse," SECAC, Richmond, Virginia, 2010

Publications:

• Frakcija Performing Arts Journal, PERFORMANCE STUDIES iNTERNATIONAL CONFERENCE #15
• "MISPERFORMANCE: Misfiring, Misfitting, Misreading," 2009 World Stage Design catalog, World Stage Design Digital Gallery, Toronto, Canada, 2005
• Women by Women catalog, "The Presence of Absence," Mona Bismarck Foundation, Paris, France, 2002
• TD&T Summer 2002 Lighting Design for Brecht's "Caucasian Chalk Circle," 2002
• TD&T Summer 2000 Lighting Design for Brecht's "Turandot" American Language Premiere, 2000

"Ignition is inspiration, creating combustion from a small spark, and teaching is providing the fuel. Helping others to develop as thinkers, artist and designers."

• DSGN 102 3-D Design II: 3-D Form in Space
• DSGN 204 4-D Design
• DSGN 300 The Art of the Spectacle
• MPRA 201 Survey of Theater and Drama I
• MPRA 495 Performing Arts Senior Project
• MPRA 746 Production Seminar: Lighting and Scene Design

Kelley McClung is an installation artist, designer of lighting and scenic environments. Her work is concerned with the influence of re-mediation collage and re-mix culture in the form of sculptural new media digital video performance and installation in public, academic, theatrical and gallery contexts.

• kelleymcclung.com
• medeologycollective.com

1991

"To help inspire students as I was inspired myself."

• DRAW 100 Drawing I: Form and Space
• DRAW 101 Drawing II: Composition and Media
• DRAW 102 Drawing III: Content and Interpretation
• DRAW 200 Life Drawing I

"Everything comes from the mind. I paint what I have lived. The main point of my work is to evoke emotion. I hope that everyone can look at one of my paintings and say, 'I've felt that way before.'"

patrickmckinnonfineart.com

2007

Adjunct faculty, Chapman University, Golden West College, Cypress College, Mt. San Antonio College, California State University Long Beach, Pasadena City College, and Cerritos College; scenic artist at the Seattle Opera, Seattle Repertory Theatre, A Contemporary Theatre, and Tacoma Actor's Guild

SCAD Presidential Fellowship for Artistic Development

Presidential Fellowship for Professional Development, Savannah College of Art and Design; First Prize, Women's Festival, Second City Council, Long Beach, California; Marilyn Werby Memorial Scholarship, California State University Long Beach

Selected exhibitions

• "Dancing with the Dead," Museum of Latin American Art, Long Beach, California
• "Delight and Plight," PCA Project Gallery, Pomona, California
• "On Site at the Gate," Angels Gate Cultural Center, San Pedro, California
• "Juried All Media Exhibition," Palos Verdes Art Center, Rancho Palos Verdes, California
• "All Media 111 Invitational Art Exhibition," Period Gallery, Omaha, Nebraska
• "35th Annual Open International," San Bernardino County Museum, Redlands, California
• "Persistent Harvest," Lake Tahoe Community College, California
• "National Open," Long Beach Arts, Long Beach, California
• "Women's Festival," Second City Council, Long Beach, California

"I realized I loved teaching when my fascination with how people learn caught up with my passion for drawing and painting. For me, it is not just about teaching students the visual arts, but offering them an experience where they discover 'how' to learn."

• DRAW 100 Drawing I: Form and Space
• DRAW 101 Drawing II: Composition and Media
• DRAW 200 Life Drawing I
• DRAW 201 Life Drawing II
• DSGN 100 Design I: Elements and Organization
• DSGN 101 Color: Theory and Application

"For me, seeing is a visceral experience and painting is the process I go through to understand what I visually encounter. My bodies of work are driven by direct observation while exploring themes that are both personal and universal."

sharonmcneil.com

2006

Professional artist with gallery exhibitions in New York, Chicago, Boston, St. Louis, Houston, Dallas and Atlanta; adjunct faculty, St. Louis Community College; instructor, St. Louis Art Museum; assistant professor, Truman State University art department, Kirksville, Missouri; freelance artist working for advertising agencies in Houston and Dallas, Texas

30' x 6' painting commissioned for the lobby of Sherman Hospital, a new state-of the-art, green facility in Elgin, Illinois; member organizing team for the SCAD Art Materials Trade Show

Artwork represented in numerous private and more than 60 corporate, hospital, government and museum collections including Hunter Museum in Chattanooga, Tennessee, the United States Embassies Collection, the Federal Reserve, Shell Oil, Exxon, McGraw-Hill Publishing, Hallmark Cards, Blue Cross Blue Shield, Boston Mass. General Hospital, Merrill Lynch, and A. G. Edwards

Attended the Annual National Art Material Trade Association (NAMTA) Convention, 2008-11

• Featured in the Canson / Royal Talens Newsletter 2011, first edition (image reproduction and essay on the use of Rembrandt pastels in landscape drawing).
• St. Louis Homes and Lifestyles, August 1997 (reproduction).
• A.G. Edwards & Sons' publication, Horizons, 1996 (image reproduction on the cover of publication).
• "Land and Sky," St. Louis Post Dispatch, by Carol Ferring Shepley, Jan. 26, 1996.

"For many years my focus was on my career as a working artist, creating works of art and exhibiting in galleries. While still keeping regular hours in the studio, now my focus is on my students. With my past experience, I am inspired to be a role model for students just beginning on the journey to fulfill their dreams of a life in the arts. In the classroom, I teach students how to measure success on step at a time, take pride in their accomplishments and thus become empowered to move forward with confidence."

• DSGN 101 Color: Theory and Application
• DRAW 100 Drawing I: Form and Space
• DRAW 101 Drawing II: Composition and Media

"My artwork focuses on the light, color, pattern and rhythms found in nature. These patterns are created by light and shadows as they define and obscure the forms in the landscape. Each painting or drawing represents a specific location, time of day and season. The images in my paintings are from landscapes which I have studied and know intimately. My childhood was spent wandering through the woods, pastures and streams of rural Southeast Texas. This exploration of the landscape creates a lasting impression and continues to inform my work."

terrymoeller.com

2006

Teaching: Pilot project director, Quality Enhancement Plan; Public Art Theory and Practice Design Symposium; department of sculpture, Savannah, Georgia; Otis College of Art and Design, Los Angeles, California; senior lecturer, department of fine arts, department of foundation studies, communication arts department, California State University Long Beach (chancellor's office); Summer Arts Program, design team instructor; Public Art in the Urban Landscape; Maricopa Community College District; associate faculty, Mesa Community College, Chandler-Gilbert Community, Phoenix College, Arizona; Santa Ana College, Santa Ana, California; Santa Monica College, Santa Monica, California; Long Beach City College, Long Beach, California

Arts administration: Education and outreach coordinator: Scottsdale Museum of Contemporary Art Public Art Program; project artist/manager, "Angel Train," Metropolitan Transit Authority, Blue Line, Transit Mall Station, MTA Metro Art; project artist/manager, "The Cape, the Bay, and the Clouds of Magellan," project for 100 Oceangate Tower, Metropolitan Life Insurance Company, New York, New York; PCA, Percent for Public Art Program.

Most significant accomplishment: Fulbright-Hays Research Fellowship: Host Country Portugal

American Academy in Rome, Visiting/Artist Scholar Program, Casa Rustica studio; SCAD Presidential Fellowship; Design Excellence Award: Long Beach Planning Commission; Museum Lecture Series, foundation department, Otis College of Art and Design; Faculty Development Grant: New School for Social Research, New York, New York; National Endowment for the Arts Project Grant

Arts Council of Long Beach, Americans for the Arts Public Art Network, SECAC

• 1997. "Kulture-Komet," project for PCA's office facade, Long Beach Public Corporation for the Arts, Public Art Program
• 1995. "Pre-Columbus Quincentenary Primal Experience Extravaganza Sale: A Mohr-Stone Promotion, NO.3," Angels Gate Cultural Center, American Indian Perspectives, (installation)

Selected presentations

• 2010. CSULB Fine Arts Round Table, California State University, Long Beach, California. Guest artist lecture: "The Road Least Traveled."
• 2009. SECAC/ MACAA Conference, Richmond, Virginia. Proposal (peer reviewed and presented paper): "Vulnerable Territories: Public Space Design and Innovative Approaches to Vernacular Land Use."

Selected publications

• 1999. "Arte actual en Los Angeles, La Voz de Ourense, Cuenca, Spain," L.A. New Art
• 1997. "Street Gallery, Guide to 1000 L.A. Murals," 1st & 2nd edition, by Robin Dunitz
• 1997. Los Angeles Times Calendar, "To Have and Have Not," by Cathy Curtis
• 1995. Art in America Annual, Public Art, reproduction

"What inspires me as a teacher is the ability to convey to the student the resilient spirit of investigation formed in the traditions of art making and to provide the guidance to commit each student to learning through the exploration and discovery of daily work in the studio. I also strive to make accessible, in clear incremental steps, how to explore and make connections to our common experience."

• DRAW 100 Drawing I: Form and Space
• DRAW 101 Drawing II: Composition and Media
• DRAW 230 Drawing for Design
• SCPT 110 Beginning Sculptural Practices I
• SCPT 405 Sculpture In Context: Public Art
• DSGN 102 Design II: 3-D Form in Space

"For several years, I have been extremely interested in public art and new genre/installation and consider public art to be an important focus of my professional activities. My interest in public art springs directly from my experience as an artist exploring cultural transactions among people. These interests have often been inspired by historical and cultural references related to the site, thereby establishing a strong sense of place for the viewer. I have successfully undertaken and completed more than 25 installations, five permanent works of public art, and numerous pieces of sculpture. I also employ elements of, parody and humor as a foil to deflect the bewildering effects 'high art' has on ordinary values."

• metro.net/about/art/artists/mohr/
• artslb.org/public_art/cape_bay_clouds_magellan.shtml
• lamurals.org/MuralistPages/MohrP.html
• artspca.org/public_art/kulture_komet.shtml
• articles.latimes.com/1991-04-22/entertainment/ca-366_1_group-artists
• publicartinla.com/Metroart/BlueLine/
• articles.latimes.com/1989-06-24/news/vw-1923_1_long-beach-art-expedition-bicycle-tour-artworks
• articles.latimes.com/keyword/lucinda-barnes/featured/2

1991

"I taught variety of age levels before starting here almost twenty years ago."

"Raising my two children."

Who's Who of American Teachers; Who's Who of American Artists

FATE, Ganoksin

"Interviewed and quoted in short Elle make-up article as color expert. Have been written up in Skirt. Did a demo on my jewelry for HGTV."

"I am inspired every day by my own students."

• DSGN 100 Two Dimensional Design
• DSGN 101 Color Theory and Application
• DSGN 210 Advanced Practices in Color and Design
• DRAW 100 Drawing I: Form and Space
• DRAW 101 Drawing II: Composition and Media
• DRAW 320 Non-Objective Drawing

"I see abstracting form and space as a logical transition from my figurative and illustrative background, in which naturalism was very important for me. Color, design and scale continue to occupy my compositions, but not necessarily in the traditional sense. My newest pieces include small scale studies in color and texture done in wire with beads, creating intricate bracelet forms, as well as large scale non-objective paintings on birch panels, with everyday 'to-do lists' serving as content."

Fulbright Scholar Grant; two-time MacDowell Fellow

"Simply put, I teach because I love it."

• DRAW 100 Drawing I: Form and Space
• DRAW 101 Drawing II: Composition and Media
• DRAW 102 Drawing III: Content and Interpretation
• DRAW 200 Life Drawing I
• DRAW 201 Life Drawing II
• DSGN 100 Design I: Elements and Organization
• DSGN 101 Color: Theory and Application

"After I make art, I have nothing to say. I draw, and that's enough."

airgallery.org

2006

Assistant professor of art, sculpture program coordinator, Keene State College, Keene, New Hampshire; instructor, sculpture and art history, Arapahoe Community College, Littleton, Colorado; adjunct instructor, University of Colorado at Denver, Colorado; adjunct instructor, University of New Mexico Gallup Campus, Gallup, New Mexico

Creating art and showing art: "31o North of East," two-part outdoor installation, Texas Woman's University, Denton, Texas; "The Loudest Silence," dance performance at installation site; "Reflective," installation, University of Wyoming Museum of Art, Laramie, Wisconsin; "Confluence," sculpture, installation, drawings, Fort Collins Museum of Contemporary Art, Colorado; "Navel Gazing: Artists Visions of Florida," Brevard Art Museum, Melbourne, Florida; "Re: materialization," Deborah Martin Gallery, Los Angeles, California; "Why Go Anywhere Else? Traveling Exhibition of Paintings and Drawings in Montenegro"; Petrovic Castle, Podgorica; Modern Gallery, Budva; Velimir Lekovic Gallery Cultural Center, Bar; Kod Homena Gallery, Kotor; Josip Bepo Benkovic Gallery, Herceg-Novi; O3one Project, Belgrade; National Gallery, Novi Sad; Museum of Contemporary Art, Vojvodina

Individual Artist Fellowship for Artistic Merit, New Hampshire State Council on the Arts; Alumni Association Grant, Keene State College Alumni Foundation; Faculty Professional Development Grant, Keene State College Foundation

International Sculpture Center (institutional membership)

• Catalog, "Navel Gazing, Fresh-Squeezed Visions of Florida," Brevard Art Museum Press, 2010
• Catalog, Ever Present and in Motion, Savannah College of Art and Design, 2010
• Profile, New Hampshire Arts News, Autumn 2005
• Profile, Fort Worth Star-Telegram, Nov. 3, 2001
• Review, Denver Rocky Mountain News, Feb. 20, 1998
• Recognition, The Best of Denver 1997, Best Installation Show, Westword, June 26, 1997

"Working with students is one of the most rewarding experiences. Their innovative perspectives are extremely inspiring. It is a thrill to engage students as they take initial ideas and develop them into substantive works of art."

• DSGN 100 Design I: Elements and Organization
• DSGN 102 Design II: 3-D Form in Space
• SCPT 110 Beginning Sculptural Practices I
• SCPT 203 Additive and Subtractive Sculptural Practices
• SCPT 320 Intermediate Sculptural Practices
• SCPT 360 Installation Art

Christopher Nitsche builds sculptures that evoke the visual and metaphorical attributes of ships -- a pursuit he started in 1995. An early influence came from a family history of sailing. Since childhood, the taper and lines of a double-curved hull intrigued him. Other inspirations are the found objects he chooses for making art, where the extant history of utility remains present. Couple this with his travels, living in points across the country, which leave an enduring impression of place and the course of a journey. The triad of found objects, ship form and injected content makes for a transformative whole.

chrisnitsche.com

2010

Professor, Foundation Studies, SCAD; assistant professor, Studio Art Faculty; foundations area coordinator, director of the Visiting Artist Lecture Series, Jackson State University, Jackson, Mississippi; adjunct faculty, Henry Ford Community College; Drawing in the Galleries fine art workshop, Institute of the Arts; assistant exhibition coordinator, creative area supervisor, Park West Gallery; adjunct faculty, Oakland Community College; head graduate assistant, University of Kentucky International Exchange Program at the University of Wolverhampton, England; head graduate assistant, University of Kentucky Iron Project in Krakow, Poland

University Scholar's Competitive Travel Grant, University of Mississippi Exhibition Honorarium, New College of Florida Visiting Lecturer, Augusta State Visiting Artist Honorarium, University Scholar's Competitive Travel Grant, Scholar's Competitive Travel Grant, Northern Arizona University Exhibition Award, Delta Center for the Arts Exhibition Honorarium, Fine Arts Center Gallery ASU Exhibition Honorarium, The Detroit Institute of the Arts-Guest Lecturer Stipend, Indianapolis Art Center Exhibition Honorarium, Girardot National Drawing Juror's Award, Commonwealth Research Award, Competitive Graduate Studies Grant, Lyman T. Johnson Fellowship, State of Michigan Governor's Fine Arts Grant

College Art Association (CAA), Southeastern College Art Conference (SECAC), Foundations in Art: Theory and Education (FATE), Mid-America College Art Association (MACAA)

• 2011 SECAC Chair Conference Session: "At Ease: Shaping Aesthetic of Our Military Veterans" Savannah, Georgia
• 2011 FATE Chair Conference Session: "The Triumphs of Teaching in a Multicultural Foundations Program" St. Louis, Missouri
• 2010 SECAC Chair Conference Session: "Visual Artists in the Time of Conflict" Richmond, Virginia
• 2009 SECAC Conference Session: "Desire and Repulsion in Visual Art" Mobile, Alabama
• 2009 Guest Lecturer: University of Mississippi Oxford, Mississippi
• 2009 FATE Chair: Conference Session "The Power of Culture and Communication on Art Foundations" Portland, Oregon
• 2009 Guest Lecturer: Mississippi State University Starkville, Mississippi
• 2009 Guest Lecturer: University of Wyoming Laramie, Wyoming
• 2009 Guest Lecturer: Institute of American Indian Arts Santa Fe, New Mexico
• 2008 SECAC Chair: Conference Session "Investigating the Challenges of being Creative in Studio Art Courses" New Orleans, Louisiana
• 2008 Guest Lecturer: New College of Florida Sarasota, Florida
• 2008 Guest Lecturer: Augusta State University Augusta, Georgia
• 2008 Visiting Artist/Guest Lecturer: Tennessee State University Nashville, Tennessee
• 2007 SECAC Conference Session "The Next Generation: SECAC's Newest Artists" Charleston, West Virginia
• 2007 FATE Conference Session "Cross Cultural Aesthetics" Milwaukee, Wisconsin
• 2006 Visiting Art/ Guest Lecturer: Texas A&M University at Corpus Christi Corpus Christi, Texas
• 2006 Guest Lecturer: Belhaven College Jackson, Mississippi

"Finding your way in the art world can be a very difficult process; I was lucky enough to encounter a few teachers along the way that mentored me and gave me the knowledge to pursue art as a career. I became a teacher because of this and truly love working with young artists and helping them to develop their creative skills. Savannah College of Art and Design is a creative institution with world-class students, state of the art technology and my colleagues are professional visual artists. Within this setting, I encourage diversity of interpretation, innovation, and experimentation with an emphasis on contemporary strategies, art history and visual analyses. My classes are a culmination of technical and conceptual studio experiences along with exposure to problem solving strategies."

• DSGN 100 Design I: Elements and Organization
• DSGN 102 Design II: 3-D Form and Space
• DRAW 100 Drawing I: Form and Space
• DRAW 102 Drawing II: Composition and Media

"As an active member of the Chippewa of Mnjikaning First Nation, I have developed my aesthetic from the creative visual language of the Northern Woodland people. My work is rooted in western painting traditions, as well as being trained in the modernist/postmodernist philosophy of art. I also have a fascination with the ancient Native American world and how it interacts with current times.

"I hope to convey a sense of Chippewa culture and history, Western education, mainstream American culture, delight and hardship, the light and the dark and last but not least, harmony between the past and the present. Using the exaggerated expressiveness of cartooning and the stylistic rendering of graphic illustration, my paintings balance a zeitgeist of modern day anxiety with Native American ethos."

olszewskiart.com

1991

"The Pulp Painting Portfolio Award has given me the opportunity to share my work with numerous public and private collections such as Thomas J. Watson Library Metropolitan Museum of Art, University of Virginia at Wise, Guild of Papermakers, UCLA Young Research Library, The Banff Centre, Michigan State University Libraries, Columbia College and many others."

Liquitex Excellence in Art Award; Pulp Painting Portfolio Award, Washington D.C.

Society of Children's Book Writers and Illustrators, English Setter Association of America

• Works published in Artist magazine
• Hand Papermaking magazine
• Hand Papermaking website

"The interaction with talented creative students makes teaching a new experience during each class. The diversity of students and their varied interests bring different points of view into the learning environment. The most inspiring times are the stars align and students realize that their talent, newly learned criteria and their work comes together and they become aware of their success They have learned new artistic concepts and they are inspired to learn more."

• DRAW 100 Drawing I: Form and Space
• DRAW 101 Drawing II: Composition and Media
• DRAW 102 Drawing III: Content and Interpretation
• DSGN 100 Two-dimensional Design
• DSGN 101 Color: Theory and Application

"Drawing with silver, making paper, working with all kinds of materials to create artist's books excites me! Designing with words and mixed media transforms the traditional book format into tactile interactive artwork that can be experienced over and over.

"Drawing with silver is magical. The medium is rarely used but the results are a unique drawing that transforms over time.

"The tactile quality of both art forms inspires me to explore the possibilities."

2004

Assistant inker, Archie Comics; comic artist appearing in anthologies from Fantagraphic Books, Top Shelf Productions, Static Press, Midnight Horizon Comics and the Savannah College of Art and Design; breakdown and ink artist on projects for Kennedy Communications and Innfusion Studios; comic and motion comic asset artist for Innfusion Studios; comic artist for Devils Due Publishing/Fox TV

Inclusion in the Cartoon Art Museum's 2009 "Monsters Of Webcomics."

First Place, Best Editorial Feature, Georgia College Press Association for the "Dr. Dead" serial featured in District.

Comic Book Legal Defense Fund, Comic Con International, ConceptArt.Org

• Horrific Tale Anthology 2008, c. Midnight Horizon Comics. The story "One Bad Cat" appears as a part of this anthology.
• "Family Guy" Issues 1 and 2, c. Devil's Due Publishing / FOX Television. Artist on multiple stories.
• "Reasons I should Not Be On A Talkshow" Vol 2, c. Static Press. Inks.
• Senses, published by the Savannah College of Art and Design and distributed by Top Shelf Productions. The story "Breakfast" appears as a part of this anthology.
• "Archie and Friends", c. Archie Publications. Background inks.
• Betty, c. Archie Publications. Background inks.
• "KNIVES OUT!" posted at knivesoutcomicbook.blogspot.com, c. Benjamin Reid Phillips.
• Toonami EndGame no. 1-2 posted at Cartoon Network.com, c. Cartoon Network. Background inks.

"The continuous flow of creative energy from the students. Seeing their growth, excitement and their amazing accomplishments as they move from making their dreams to their reality is a constant source of inspiration."

• DRAW 100 Drawing I: Form and Space
• DRAW 101 Drawing II: Composition and Media
• DRAW 200 Life Drawing I
• DRAW 206 Drawing for Storyboarding
• SEQA 100 Introduction to Sequential Art
• SEQA 405 Visual Storytelling II
• SEQA 410 Sequential Art Senior Project

"Energy, life, story -- these are things which obsess me. Always searching to find the whole, not the parts, to always find the implied, the sublime and the things that fit together."

benjaminreidphillips.com

2010

Project director and artist, PIXNIT Productions, Boston, Massachusetts; adjunct professor, School of the Museum of Fine Arts Boston, Boston; artist in residence/art instructor, Alma De' Arte School, Las Cruces, New Mexico; owner and director, The Art Company and Gallery, Fort Collins, Colorado and Chicago, Illinois

An exhibition at the DeCordova Museum in Lincoln, Massachusetts, and an artist project at the Scope International Art Fair in Basel, Switzerland, during Art Basel

New England Art Award; The Best of Boston, The Boston Phoenix

College Art Association

Articles

• "Best of Art," Boston Home Magazine, 2009
• "In Pursuit of Beauty," Artscope Art Magazine, 2009
• "In Pursuit of Beauty at Montserrat College of Art," review, Berkshire Fine Arts Journal, 2008
• "Hello my Name is PIXNIT," review, The Boston Globe, 2008
• "Homeland Insecurity Ignites Adams ArtSpace," review, The Harvard Crimson, 2003

Presentations

• 2011. Art First, Savannah College of Art and Design, Savannah, Georgia. Presentation: "Death by Misadventure"
• 2009. Institute of Contemporary Art, Boston, Massachusetts. Presentation: "Design as a Social Agent."

"As an educator and professional artist, I strive to encourage excellence in my students and myself. My class material is challenging, interactive and relevant to current issues and events. I believe that it is important for students to make a connection with art by encouraging them to make their efforts relevant to their lives and the world in which they live. I follow a comprehensive approach to art education, which integrates art history, art production, art criticism and aesthetics. When opportunities are provided for students to understand the contextual influences upon artistic productions, it can lead to a greater worldview and deeper investment in their work. Most of all I encourage students to be creative and to express their thoughts and ideas in a visual manner."

• DRAW 100 Drawing I: Form and Space
• DRAW 101 Drawing II: Composition and Media
• DSGN 101 Color: Theory and Application
• PNTG 206 Water-Based Media Exploration
• SFIN 745 Fine Art M.A. Self-promotion

"While working under the pseudonym PIXNIT, I produced multiple painting installations that investigate the relationship between painting, performance and installation. The name PIXNIT is based on the Latin word 'pinxit' meaning he/she painted this work. Using historical references from architectural ornament, decoration, pattern and design, I created large-scale painting installations in site-specific locations. The wall paintings commented on urban design, the uses and misuses of social space, and issues surrounding renewal and beautification. Conceived as a body of work with a beginning and an end, in 2010 I retired the pseudonym PIXINT through an obituary released to the media stating, 'PIXNIT is presumed dead by misadventure.'"

vanessaplatacis.com

1999

Instructor, assistant professor the College of William and Mary, the University of Wisconsin, the Kansas City Art Institute and the University of Southern Maine; freelance design, New York City, New York

Exhibiting sculptures and drawings at the Brooklyn Museum in Brooklyn, New York

Ford Foundation Grant

College Art Association, Foundations in Art: Theory and Education

Presentations

• Forum on Creativity, Pratt Institute, Brooklyn, New York.
• Sunday Lecture Series, The Brooklyn Museum, Brooklyn, New York.
• Understanding Creativity, National Public Radio, New York City, New York.

Publications

• "A Looking Glass on the Way We Might Live" The New York Times, Sunday, June 12 by William Zimmer.
• Published a review in Flash Art International, summer, 1996, pages 132-33: a solo painting exhibition titled "Jim Sajovic" at Leedy-Voulkos Gallery, Kansas City, Missouri.
• Published a review in Flash Art International, January/February, 1997, page 96: a group photography exhibition titled "Delirium" at Ricco/Maresca Gallery, New York City, New York.

"During my first teaching experience I was surprised to realize how much inspiration I received from students while helping them learn to explore and grow with creative processes. The sparkle of growth in a student's eye is a beautiful and powerful force. All teachers strive to ignite this sparkle. Helping students explore new possibilities, discover new potential, expand their understanding, knowledge, skill and, most importantly, personal confidence is one of the most rewarding things one can do in life. After almost twenty years of teaching, the inspiration students give remains as fulfilling today as it was in the beginning."

• DRAW 100 Drawing I: Form and Space
• DRAW 101 Drawing II: Media and Composition
• DSGN 101 Two-Dimensional Design
• DSGN 102 Three-Dimensional Design

"Making art enables me to process my life experience as a private individual in a broader social and natural context. My work has always expressed a delicate balance of diverse forces-introspection and anonymity, vulnerability and strength, reproduction and destruction with ephemeral reflections of an infinite continuum."

2004

Professor Ramsey joined the Savannah College of Art and Design in 2004 following 15 years of corporate experience in art direction and illustration in the promotional marketing industry. Ramsey's client list includes Carrot Top, Dennis Rodman, and Jerry Garcia; artist Mary Englebreit; and the National Football League, Field and Stream, Mongoose Bicycles, Anheuser-Busch and Harley-Davidson.

Professor Ramsey's work has been twice selected by the Corning Museum of Glass for their international New Glass Review. In addition, his work has been selected twice for exhibition at the international MacWorld Expo and SIGGRAPH conferences, and in many nationally recognized events.

Ambassador Choice Award; SCAD Presidential Fellowship; Gold Award, Strathmore Papers Digital Art Competition; Golden Pixel Award, Center for Contemporary Art, Sacramento, California; Agnes Gund Memorial Scholarship, Cleveland Institute of Art; National Deans List, 1982

College Art Association, SECAC, Glass Art Society, American Glass Guild, American Craft Council

• Humor in Craft. Brigitte Martin: CraftHaus, Pittsburgh, Pennsylvania.
• Open Art Gallery. EFX: Art and Design. Vol. 9., Ed. 35, 2002, Stockholm, Sweden
• Exhibition. 3D World Magazine. Issue 10, 2003, Bath, U.K.
• Cover Art. Screen & Display Graphics. December 2001. NBM Inc., Denver, Colorado
• Cover Art. Printwear Magazine, November 2001, NBM Inc. Denver, Colorado
• Cover Art. Printwear Magazine. December 2000, NBM Inc. Denver, Colorado
• "Steven A Ramsey: Digital Artboy/" Owen Bailey. 3D World Magazine. Issue 12, 2004. Bath, U.K.
• "Glass Artisans look through children's eyes for inspiraton," Elaine Graybill, the Pantagraph. Bloomington, Illinois, 1986.

Exhibitions
2011 American Craft Council Exhibition, Atlanta. Georgia; 2010 Telfair Museum Art Show, Savannah, Georgia; 2010 American Craft Council Exhibition, Atlanta. Georgia

"My pedagogy seeks to engage the students into making a personal investment in their learning by encouraging participation and dialogue by incorporating active learning exercises and analysis in a manner that reveals the correlation of visual concepts to personal interests and exploration. Conceptual development is addressed by including research, organic exploration and other creative problem solving strategies with group and individual analysis of project solutions. Creativity is inspired by exploring connectivity to areas outside of the venue of visual art. Critiques are both written and oral to reinforce clear and coherent ideation."

• SCPT 223 Introduction to Sculptural Processes: Cold Glass
• SCPT 225 Introduction to Sculptural Processes: Warm Glass
• SCPT 325 Advanced Sculpt Process: Warm Glass
• SCPT 499 Special Topics in Sculpture
• CMPA 100 Survey of Computer Art Applications
• DRAW100 Drawing I: Form and Space
• DRAW101 Drawing II: Composition and Media
• DSGN100 Design I: Elements and Organization
• DSGN102 Design II: 3-D Form in Space

"The content focus of my personal, unique works is on narrative and form exploring connections, both visual and tactile, between individual experience and universal commonalities. My central interest is to engage the observer through the narrative enhanced by the associations we often apply to physical, utilitarian objects."

martahewett.com

2005

Started Best Artists Products, a company to design, manufacture and distribute Canvas Stretcher Bar systems, wood screenprint frames for commercial printing and hardwood artist easels; designed and marketed hybrid aluminum and wood canvas stretcher bar system; sold the company to the Jack Richeson Co. in 1995; taught drawing and painting classes at University of New Mexico, first as a graduate assistant and later as an adjunct instructor

"When I recognize that a student is unsure and/or lacks self confidence in his/her abilities, through the course of the class I can build their confidence and esteem.

"The success my students enjoy with their work, in national and student competitions, here at SCAD.

"The inception and profitable results of the Art Materials Trade Show, from which the profits fund our Foundations School Scholarship program."

SCAD press release:

• "SCAD faculty honored with Vulcan Materials Company Teaching Excellence Awards"

Subscriber to CAA, SECAC; member, ASTM Committee

"Industry and Academia: The Disconnect Between the Art Materials Industry and Academia," presented as keynote at 2010 NAMTA (National Art Materials Trade Association) annual business meeting, Indianapolis, Indiana, April 2010 Same topic, delivered at 2011 CAA Conference, New York, February 2011

"I believe that creative and communicative skills and disciplines are best served and made stronger when they are continually tested by exposure to new possibilities and practices of thinking and doing. I believe that my understanding of the principals and execution of ideas in separate disciplines is better, because it makes them at once more interconnected and flexible. Such is what making art, and teaching others about that process, gives to me."

• DRAW 100 Drawing I: Form and Space
• DRAW 101 Drawing II: Composition and Media
• DRAW 102 Drawing III: Content and Interpretation

johnrise.com

2005

Freelance graphic designer, illustrator and storyboard artist; full-time instructor of applied arts, The Art Institute of Houston

"My present project, a book titled 'The Spirit of Gesture.' "

Work selected by Foundation for Sacred Arts for national traveling exhibition; solo exhibition: "The Mystic Image," The Jung Center, Houston, Texas

Lecture and workshop presentations

• 2010. California Art Education Association, San Jose, California. Presentation: "The Intuitive Approach in Art."
• 2009. Florida Art Education Association, Orlando, Florida. Presentation: "Intuition in Art."

"Loving what you do makes things exciting already. To see my students' work improve from the beginning to the end of a quarter gives me plenty of satisfaction. Teaching allows me to share my knowledge and experience and at the same time keeps me learning new things and new ways of making art."

• DRAW 101 Drawing II: Composition and Media
• DRAW 200 Life Drawing I
• DRAW 206 Drawing for Storyboarding
• DRAW 230 Drawing for Design

"I teach and work with the belief that the ultimate goal of art and science is invention. You achieve that climax after you plentifully feed your imagination through the process of right observation, which involves the use of all the senses combined with heart and soul."

• rubensalinas.com
• mysticsouth.com

2003

Adjunct professor, Western Oregon University, Monmouth, Oregon; adjunct professor of drawing, Chemeketa Community College, Salem, Oregon; adjunct professor of figure drawing, University Of North Texas, Denton, Texas; assistant for Barrett DeBusk, DeBusk Sculpture, Fort Worth, Texas; assistant for Richard Davis Sculptor, Denton, Texas

Articles

• Savannah Morning News, "High-Impact Art," by Allison Hersh, June 27, 2008
• Connect Savannah, "Don't Try This at Home," by Linda Sickler, June 25, 2008
• The District, "Professor's Art is Explosive," by Victoria Phetmisy, May 23, 2008
• Design News, "SCAD Professor Uses Energetic Materials to Create Explosive Art," May 2008

• DSGN 100 Elements and Origination
• DSGN 102 Form in Space
• SCPT 110 Beginning Sculptural Processes I
• SCPT 115 Beginning sculptural Processes II
• SCPT 204 Casting and Mold-making

"I like to use a variety of energetic materials to create sculptures and drawings. I use any media that produces immediate, intuitive and spontaneous marks on a variety of surfaces including paper, metal, and stone. The result is art that I hope inspires and elevates the imagination through the marks and the process."

• Gizmodo.com, "Expolosive Art Created with Rocket Fuel, Gunpowder, Propellants and Bullets," by Sean Fallon, Jun 26, 2008
• Neatorama.com, "Explosive Art," June 26, 2008
• Uncertain Times, "Explosive Art," by John J. McNulty June 25, 2008
• Trendhunter, "Painting with Bullets: Military Folk Art by Matthew Stromberg," June 2008
• Master Blaster, "Abstract Art Created By the Use of Explosives," by Gerry Rice, Volume 2, Issue 3, November 2008
• Latesht.com
• Digg.com, "Amazing Explosive Art Created Using Fuel and Ammo,"
• Weburbanist.com, "Art of War: 20 Awesome Gun and Bullet Artworks" by Steph on January 5th, 2009

1997

Assistant buyer, Certified Fashion Guild; curatorial assistant, Savannah History Museum

Exhibited work in venues throughout the United States, including North Carolina State University, University of Wisconsin and the Jacksonville Museum of Modern Art, and internationally in England, India, Canada and Australia

College Art Association (CAA); Southeastern College Art Conference (SECAC); Foundations in Art: Theory and Education (FATE)

Savannah Pecha Kecha 7, March 28, 2011

"A haiku for teaching:

Tangential knowledge
Humor as motivation
Speak to the future."

• DSGN 100 Design I: Elements and Organization
• DSGN 101 Color: Theory and Application
• DSGN 102 Design II: 3-D Form in Space

Balancing an undergraduate degree in architecture and a master's degree in fine art with an obsessive interest in objects and language, Heather Szatmary builds metaphorical mixed-media assemblages. Currently, her work relies on computer-modeled forms driven by data collected over a two-year period focused on body transformation. The resultant forms are expressed through laser engraved drawings on wood and digitally manipulated photographs.

heatherszatmary.com

2008

Graduate and undergraduate painting/drawing, Howard University, Washington, D.C.; Montgomery College, Takoma Park Campus, Takoma, Maryland; Northern Virginia Community College, Alexandria, Virginia; University of the District of Columbia, Washington, D.C.

Commissions: Pliable layered mesh membrane, American Embassy Addis Ababa, Ethiopia; Two-artist collaborative out-door aluminum relief (52 feet X 9 feet), Ethiopian Embassy in Washington, D.C.; DC ARTS, murals, Duke Ellington School of the Arts; For Navy Memorial Archives, Washington, D.C. Portrait of President Johnson on permanent display

Faculty Authors award, Howard University, Washington, D.C.; Honored in Hall of Heroes, 100 people who made a difference, from helping American slaves in the 1800s to fighting Asian slavery in the present, Underground Railroad Freedom Center, 50 East Freedom Way; Cincinnati, Ohio; Outstanding Excellence Award, Government of the Federal Democratic Republic of Ethiopia, for the creation of an outdoor aluminum sculpture, Nexus", Embassy of Ethiopia, Washington, D.C.; Outstanding Achievement Award, first place, Multi cultural art exhibition, Washington, D.C.; Presidential Portrait, First Prize, United states Navy Memorial Archives, Washington, D.C.; nominated for National Dean's List sixteenth Annual Edition; Excellence in Scholarship and commendable professional Achievement in poetry, Ethiopian Research Council, Washington, D.C.; four years of Special talent scholarship, Howard University, Washington, D.C.

College Art Association (CAA), African Studies Association (ASA), African Literature Association (ALA)

Publications

• The New African Diaspora, by Isidore Okpewho & Nkiru Nzegwu Chapter 15 Immigration And African Diaspora Women Artist, Indiana University Press, 2009
• Of note online Magazine "Kebedech Tekleab: Creating an Ethiopian Narrative in America, Interview by Ethelbert Miller
  
• Sudplanet Portail De La Diversite Culturelle "Words and Images of Kebedech Tekleab" Interview by Beti Ellerson.
  
• Baltimore Afro-American, April 2, 2005-April 8, 2005, "Ethiopian POW portrays human condition with art" By Zenitha Prince.
• A Proud Continuum, eight decades of art at Howard University, Howard University Gallery
• Washington Post, Style section, September 24, 2003, "The Art of Endurance" by Natalie Hopkinson.
• "Ethiopian Passages: Contemporary art from the Diaspora", by Elizabeth Harney, Smithsonian National Museum of African Art, Philip Wilson Publishers
• Washington Post, Sunday May 11,2003, Arts, "Homing In On Their Culture" by Jo Ann Lewis.
• Intowner, August 2003, "Howard University's Influence on Display for All to Admire. By David Barrows and Anthony L. Harvey.
• 6th International Conference on the history of Ethiopian Art "Current Discourse in Contemporary African Art and the place of Diaspora in Ethiopian Art"
• "Ethiopian review", Atlanta, Georgia, March
• Anthology of Poetry "Egna" 110 Poems in Amharic, Addis, Ethiopia

Presentations

• Conference paper "Infinite Rift Infinite Seal: Art & Social Unrest" 10th International conference of the European Sociological Association, Geneva Switzerland (Scheduled September, 2011)
• Conference paper "Exploring the Edge of Trauma" Kingston University, London England
• Conference Paper "The Differing Dynamics between Tragedy and Sublime. University of Technology, Durban South Africa
• Panelist, at The Museum of African Art, Smithsonian institution, Washington, DC, a discussion on "Body of Evidence" exhibits from the museum's contemporary collection.
• Ohio State University, Columbus, Ohio. Presentation on my work.
• Goucher College, MD. Slide presentation about my work
• Presentation to secondary art teachers in Fairfax Virginia, West Potomac High School
• Radford University, Radford, Virginia. Slide lecture
• Howard University, Washington, DC. Paper Presentation at the 14th Annual James A. Porter Colloquium on African American Art
• African Literature Association 28th Annual Conference, San Diego California, (Poetry reading)
• Paper presentation, Montgomery College, MD
• Paper presentation, Cornell University, Ithaca New York
• Guest lecture (two sessions) George Mason University for the course "African History and Culture through art and music" "Survey of the History and Social value of art"
• Guest lectured, George Mason University, Sample reading and discussion from my poetry
• Slide lecture on my work, Montgomery College, Faculty show
• Paper presentation on my work, 39th annual conference African studies Association, San Francisco, California
• Slide lecture on my art, University of Arizona in Tucson and studio critic for graduate and undergraduate students
• Paper presentation "The Long Walk To Light: Art in Operation", 83rd Annual Conference of the College Art Association (CAA), San Antonio, Texas
• Lecture on my art for "Blacks In The Arts" class, Howard University, Washington, D.C.
• Lecture about my work, North Dakota State University's First Annual African-American Awareness Week. Fargo, North Dakota

"Student curiosity, my own research."

• DRAW 100 Drawing I: Form and Space
• DRAW 101 Drawing II: Composition and Media

"My works are meant to be seen in space, either mounted, suspended or as floor pieces. I use non-traditional materials in my work both as a metaphor and abstract medium to articulate the concept of time, reality, memory and space. These nuances come from the basis of my living in America and are informed by my cultural/social memories that touch upon the humanities as reflected mainly in such areas as poetry, drama, ancient architecture etc. They shed light on the sublime as well as the dire side of the social memory I share with others."

• ofnotemagazine.wordpress.com/2009/08/23/748/
• sudplanete.net/?menu=arti&no=7670
• africa.si.edu/exhibits/passages/tekleab.html

2005

Adjunct faculty, Anne Arundel Community College, Arnold Maryland; instructor, Pre-college Program, Maryland Institute College of Art

Exhibited in " Corcoran Select," WPA Corcoran, Corcoran Gallery of Art, Washington, D.C., 2003

New American Paintings, "Scott Thorp," April 2003, Mid-Atlantic edition, photo and bio; "Corcoran Views," Corcoran quarterly newsletter, WPA/C Auction, Winter 2003, photo; Radar, "Scott Thorp," Patrick Burns, December 2002, interview and photo; Arts 901, catalog essay, Annie Gawlak, January 2000; City Paper, "Schools In," Mike Giuliano, review of "School 33 Biennial" Exhibition, essay and photo, September 1999

Foundations in Art: Theory and Education (FATE); Southeastern College Art Conference (SECAC)

• 2011. FATE National Conference, St. Louis, Missouri. Presentation: "Turning Toys of Technology into Tools of Discovery."
• 2009. Regional SECAC Conference, Mobile, Alabama. Presentation: "Separation and Combination: The Sketchbook as a Thinking Tool."
• 2009. MUSE Conference (Design Assessment), Savannah, Georgia. Presentation: "Threats to Validity: Restructuring the Review Process to Minimize Threats to Validity," Scott Thorp and David Dirlam.
• Published "The Afterbirth of the Clinic: A Foucauldian Perspective on 'House M.D.' and American Medicine in the 21st Century," Perspectives in Biology and Medicine, Spring 2008 edition, Leigh E. Rich, Jack Simmons, David Adams, Scott Thorp and Michael Mink.

"Working with young talented individuals in a creative environment."

• DRAW 100 Drawing I: Form and Space
• DRAW 101 Drawing II: Composition and Media
• DRAW 200 Life Drawing I
• DSGN 101 Color: Theory and Application
• DSGN 105 Visual Design Systems
• DSGN 115 Creative Thinking Strategies

"My paintings are a complex series of relationships which include geometry, history and perception. I primarily use acrylic paint on wood panels. The most recent paintings are made from seven to nine panels which are arranged and bolted together to make dynamic configurations of shapes. All of the panels used in a painting are from a single geometric relationship. Many of these relate to the golden section. By occluding implied shapes and referencing a variety of depth cues, I create a perceptual space that shifts as the viewer tries to read the paintings in their most simple form."

2006

Assistant professor, Georgia Southern University, Statesboro, Georgia; co-director, Gallery 303, Georgia Southern University, Betty Foy Sanders Department of Art; custom fabricator, Nordquist Sign Co., Minneapolis, Minnesota; steering committee, International Conference on Contemporary Cast Iron Art

Project organizer, Iron Bridge Gorge Museum Trust Collection, "Exquisite Cupola"; Project, Donal G. Myer Arboretum, "Ferruginous Pyre: An Iron Opus, (Armature for Wisteria)," Southern Illinois University, Edwardsville

SCAD Presidential Fellowship; Chancellor's Award, University System of Georgia America's Council; Scottish Sculpture Workshop International Bursary Award; First place award, Georgia Southern University's Magazine of the Arts; artist-in-residence, Franconia Sculpture Park

Creative Force Artist Collective, College Art Association, International Sculpture Center

• 6th International Conference on Contemporary Cast Iron Art. Kidwelly, Wales, U.K. Performance: "Kinship: A Tribute of Iron," 2010
• Telfair Museums and the Savannah Music Festival, Savannah, Georgia. Collaborative performance: "Seeing Sounds," 2008
• Georgia Southern University, Statesboro, Georgia. Performance: "Fire Performance: Law of Unintended Consequences," 2006
• "2300 F - 2002: Contemporary Sculpture in Cast Iron," grounds for sculpture museum, Hamilton, New Jersey, 2002

"Three greatest women in my life: my grandmother, mother and sister. Each has taught me important lessons that I continue to share with my students. They have measured success through a life of rich experience in the company of good friends and family."

• SCPT 110 Beginning Sculptural Practices I
• SCPT 271 Introduction to Foundry
• SCPT 371 Intermediate Foundry

"I have always been interested in dynamic forms shaped by time and the forces of nature; the evidence of tension and strain lends to their beauty. Like a smooth stone that has worked its way down a mountain river over many years or the gnarled and twisted branches that have struggled to seek light over decades, these objects beckon to be observed more closely. Conversely, industrial, manufactured machinery tends to be more precise, mathematical and lifeless. By combining these objects with an attention to continuity of contour, I seek to promote the beauty of both contrasting aesthetics. Ultimately, I have found that the impetus of this artwork is not to recreate nature or industry, but to showcase their similarities and fine details."

• matttoole.com
• Kinship: A Tribute of Iron Performance (video)

1999

Terminal degree, teaching certificate

"Married 25 years, father of two girls."

Citizen of the Year, Gates, New York, 1993; grants: Mark Diamond Grant, University at Buffalo, 1997; Presidential Fellowship, Savannah College of Art and Design, 2003; Presidential Fellowship, Savannah College of Art and Design, 2008

CAA, FATE, SACS, SCAD Athletics, Celtic Soccer, Asbury Memorial Church

• "Visualization of Flow," Bridges Pecs, Pecs, Hungary, July 2010
• "Planes, Space, Cubism and Perceptual Displacement in 3D Design," Bridges Banff, Banff, Canada, July 2009
• "Louis Kahn and the Shadowland Transformation: a 3D Foundations Project," FATE in Review, Foundations in Art: Theory and Education, Volume 21, 1998-1999
• "Skateboarders, Moral Rights and the Ribbon Promenade," Proceedings of the 1997 ACSA International Conference, June 1997
• Presentations: My Art Work: Ocala, Florida, 2011; Pecha Kucha: "Wabi Sabi," Savannah, 2011; Art First: SCAD, 2010
• Conferences: "Visualization of Flow," Bridges Conference, Pecs, Hungary, July 2010
• "Planes, Space, Cubism and Perceptual Displacement in 3D Design," Bridges Conference, Banff, Canada, July 2009
• "Locating Creativity Within the Body," SECAC Conference, New Orleans, Louisiana, September 2008
• "Utilizing Metaphor in Foundations," FATE Conference, Milwaukee, Wisconsin, March 2007
• "Wombats and Free Radicals," FATE Conference, Columbus, Ohio, April 2005
• "Alter Ego Protective Devise," FATE Conference, Sarasota, Florida, April 2003
• "Murals: Design for Community Service," FATE Conference, Boston, Massachusetts, March 2000
• "Resisting the Temptation of Portfolio Reviews: Why They are Not Beneficial," CAA Conference, New York City, February 1999
• "Louis Kahn and the Shadowland Transformation: A 3D Foundations Project," FATE Conference, Fort Collins, Colorado, March 1999
• "Skateboarders and the Ribbon Promenade: The Question of Access or Defacement in a Post-modern Culture," CAA Conference, Toronto, Ontario, February 1998
• "Skateboarders, Moral Rights and the Ribbon Promenade," ACSA International Conference, Berlin, Germany, June 1997
• Curator: Annual Show, College of Central Florida, Ocala, Florida, 2011; Golden Isles Sacred Arts Show, Brunswick, Georgia, 2002
• Play: five interactive installations, Starland Arts Center, Savannah, Georgia, 2004

"Importance of lifelong learning."

• DSGN 101 Color: Theory and Application
• DSGN 102 Design II: 3-D Form in Space
• DSGN 115 Creative Thinking Strategies
• SCPT 305 Portrait Sculpture
• SCPT 360 Installation Art

"My work is pluralistic in concept, form, materials, process, association, and memory. As such, it tends to be as diverse as my ideas and experience. However, consistent themes of wit and transcendent beauty are played out in many varied ways."

2001

Assistant professor, University of Alabama; faculty, Alabama School of Fine Arts; instructor, University of Alabama at Birmingham

"Products I designed have been featured in numerous national publications including O: The Oprah Magazine, Upscale Magazine, People en Español, and Baby Talk. In addition, my artwork has been exhibited extensively throughout the United States including solo exhibitions at Vanderbilt University and Sewanee, The University of the South."

• "9 Tips for Great Outdoor Photos of Your Kids -- Increase the odds of getting frame-worthy shots with expert tricks," National Wildlife Federation online magazine, Oct. 22, 2010
• "Playing with Imagination," National Wildlife Federation online magazine, Jan. 27, 2010
• "Here at Home," National Wildlife Federation online magazine, Feb. 10, 2009
• 2009. FATE: Foundations in Art Theory and Education Conference, Portland, Oregon. Panel: "What the Heck is 2D Design?"
• 2011. SECAC Conference, Savannah, Georgia. Panel: "Power Play: Negotiating a Balance Between Creativity and Constraint in Design"

• DSGN 100 Design I: Elements and Organization
• DSGN 101 Color: Theory and Application

facultypages.scad.edu/~awaldvog

2008

Professor of foundation studies, SCAD; instructor of drawing, Telfair Museum of Art; academic mentor to undergraduate students, SCAD

Solo exhibition, "Wore," Jack the Pelican Presents Gallery, Brooklyn, New York, 2008

• Guest artist speaker, Alabama Council of the Arts ceremony for the Visual Arts Achievement awards, 2011
• "Painting the Undead," South Magazine, October/November 2007

"My inspiration comes from the ever-changing dynamic of working with students and peers who have a passion for drawing."

• DRAW 100 Drawing I: Form and Space
• DRAW 101 Drawing II: Composition and Media
• DRAW 200 Life Drawing I
• DRAW 201 Life Drawing II
• DRAW 210 Portrait Drawing

"The works presented are a reaction to a memorial erected for the Confederate dead in Savannah, Georgia's, Forsyth Park. The monument's inscription reads, 'Come From The Four Winds O Breath, And Breathe Into These Slain, That They May Live.' I have created several memorial portraits of the aforementioned slain. They are painted as zombies, creatures neither living nor dead. The paintings and drawings are an exploration of issues regarding race culture. As a white male in the South, I have been allowed to view racism candidly. This has played an essential role in my reaction to the monument. The zombie memorials exploit the absurd presentation of the original Confederate memorial. The soldiers are painted with conventional zombie mannerisms. The frames are an equal and essential part of the work and when combined with the painting, the memorial is born."

local-artists.org/users/ben-e-ward

2007

Adjunct faculty, director, Corcoran College of Art and Design, Washington, D.C.; adjunct faculty, American University, Washington, D.C.; gallery director, 3south Alternative Gallery and Artist Space, Baltimore, Maryland; teaching intern, Maryland Institute College of Art, Baltimore, Maryland

Solo exhibition: Legato, Flashpoint Gallery, Washington, D.C., December 2005

SCAD Presidential Fellowship; assessment mini-grant, SCAD; Faculty Development Grant, Corcoran College of Art and Design; presentation of colors, Corcoran College of Art and Design, B.F.A. graduation 2004; Departmental Award for Excellence in Studio Art, Cortland College

College Art Association; Southeastern College Art Conference (SECAC); Foundations in Art: Theory and Education (FATE)

• FATE Conference, St. Louis, Missouri. Presentation: "Applied Creative Thinking," 2011
• SECAC Conference, Richmond, Virginia. Presentation: "Fixed Slippery, Beginning and End of Representation," 2010
• MUSE (Measuring Unique Studies Effectively) Conference, Savannah College of Art and Design, Savannah, Georgia. Presentation: "Trillions of Ways to Design," 2009
• Review of "Legato," solo exhibition, The Washington Post, Dec. 17, 2005

"I thoroughly enjoy my interaction with students; it is an integral part of my own artistic process. I am continually inspired by the talent and creativity of my students. Teaching at SCAD is such an immersive environment, where the exchange of innovative ideas is a daily routine. Coming from a family of educators, I have always had an interest in the collaboration between teacher and student. I feel lucky that I am able to walk into a classroom daily and contribute to a student's creative journey."

• DSGN 100 Design I: Elements and Organization
• DSGN 101 Color: Theory and Application
• DSGN 102 Design II: 3-D Form and Space
• DSGN 115 Creative Thinking Strategies
• DRAW 101 Drawing II: Composition and Media
• SCPT 360 Installation Art

"My artwork uses space as sculptural material, creating relationships between objects, ideas and environments. I am intrigued by collective spaces and the way people choose to interact with their environment. In my architectural and environmental interventions and sculptures, I attempt to share this fascination with the viewer, providing a space of inter-subjectivity. Drawing on my experiences and research of a location, and observations of public interaction, I entangle diverse perspectives."

clwilliamsart.com

2005

Drawing Minor Committee, Diversity Committee, Open Model Committee, chair of the Admissions Council, Savannah College of Art and Design; board of trustees, Gunnison Arts Center, Gunnison, Colorado; visiting professor of art, Western State College of Colorado, Gunnison; gallery director, Quigley Gallery of Art, Western State College of Colorado; judge, the Utrecht National Student Portrait Competition; artist assistant, John Alexander, Robert Hughes; Art Students League, New York City

Alumni Association of Western State College Award for Teaching Excellence

Featured artist for the Lake City, Florida, annual art festival Graduate School of Figurative Art of the New York Academy of Art scholarship; Center for Public Service Scholarship awarded in recognition of community service; registered black belt of Tae Kwon Do

• "Dear Jason," Sketches (Western State College Art Newsletter), 2004
• "12 Artists 12 Styles," City Weekly Magazine, April 2002
• "Artist Returns to College," St. Louis Post-Dispatch
• "Portrait of the Artist," Belleville News Democrat
• "Artfully Done" McKendree Magazine

"My past teachers and seeing students learn."

• DRAW 100 Drawing I: Form and Space
• DRAW 101 Drawing II: Composition and Media
• DRAW 200 Life Drawing I
• DRAW 201 Life Drawing II
• DRAW 210 Portrait Drawing
• DRAW 223 Perspective
• DRAW 350 Classical Rendering
• DSGN 101 Color: Theory and Application
• PNTG 206 Water-based Media Exploration

"As artists we allow our past to influence the art that we create today. It is inevitable that the way I was raised by my parents and the society that surrounded me impacted the way I paint. Being raised in a small rural town of Southern Illinois exposed me to farms, wildlife and the varying landscapes that supported rivers, creeks and deep ditches that grew fierce crawfish. Primarily I am a figurative oil painter dealing with situations or thoughts that govern my life at the time but looking at my portfolio you will find flayed livestock or caught fish. While some people saw the process of butchering livestock or flaying fish as barbaric, I accepted the procedure as the way of life. I saw the beauty in the vibrant colors, textures, sheens and design leading me to the use the brush in creative, aggressive ways to make an interesting surface."

2010

Consultant in Higher Education, Columbia University, University of Tennessee, 2008-present; painting instructor, Middle Tennessee State University, 2004-present; assistant director, Tennessee Teaching and Learning Center, University of Tennessee, 2004-present; research assistant, University of Tennessee, 2005-2008; assistant professor of foundations, Middle Tennessee State University, 2001-2005; adjunct professor, Watkins College of Art & Design, 2001-2005; visiting art faculty, Frist Center for the Visual Arts, 2005; lecturer part-time, Austin Peay University, 2001-2002; adjunct instructor, Vol. State University, 2001-2002; curatorial intern, Solomon R. Guggenheim Museum, 1999-2000; teaching assistant, New York University, 1999-200; research assistant, New York University, 1999-2001

Chancellor's Honors Award for Extraordinary Professional Promise for Graduate Students, 2008, University of Tennessee; Individual Artist Fellowship Grant for Visual Arts, 2006, Tennessee Arts Commission; Kellie W. McGarrh Travel Support Award, 2007, University of Tennessee; Dean of Education, Health, and Human Sciences Travel Award, 2007, University of Tennessee; Educational Psychology Department Travel Award, 2007, University of Tennessee; AAACE Graduate Student Scholarship, 2006; Outstanding Graduating Senior, Fine Arts, 1999, University of Tennessee; Cinematography Award, 1998, University of Tennessee

College Art Association, Southeastern College Art Conference, Professional and Organization Development Network in Higher Education, Lilly Conferences on College & University Teaching, American Association for Adult and Continuing Education, Adult Education Research Conference

• DSGN 100 Design I: Elements and Organization
• DSGN 101 Color: Theory and Application
• DSGN 115 Creative Thinking Strategies

2006

Atlanta College of Art; University of Georgia Studies Abroad in Cortona, Italy

Solo shows at: Artist's Space, New York, New York; Gallery Juno, New York, New York; group shows at: "Sex Drive," Cantor Fitzgerald Gallery; Haverford College, Haverford, Pennsylvania; "Making a Mark," Kathleen Ewing Gallery, Washington, D.C.; "Buddy Greenburg Collection," Wichita Art Museum, Wichita, Kansas; "A Disarming Beauty: The Venus de Milo in 20th-Century Art," Salvador Dali Museum, St. Petersburg, Florida; "Don't Leave Me This Way: Art in the Age of AIDS," National Gallery of Australia; Canberra, AUS; "Dealing With Death", x-art; New Orleans, LA/New Visions Gallery, Atlanta, Georgia; "Georgia Printmakers," High Museum of Art, Atlanta, Georgia; Museum of Modern Art/Franklin Furnace Artist Book Collection, New York, New York

Artist in residence, Cortona, Italy; University of Georgia Studies Abroad

Atlanta Contemporary Arts Center

• Curator, "Race, Sex, Politics, Religion" Space One-Eleven, Birmingham, Alabama and Emory University, Atlanta, Georgia
• Curator, "The Last TABOO" Museum of Contemporary Art of Georgia, Atlanta, Georgia
• Lecturer, "Hanes Visiting Artists Series" University of North Carolina at Chapel Hill
• Panelist, Society for Photographic Education National Conference, Atlanta, Georgia
• Co-curator "The Subject Is AIDS" Nexus Contemporary Arts Center, Atlanta, Georgia

"Having come from a very small town I did not have any contact with art or art education until college my sophomore year. I fell in love with all of it: painting, art history, printmaking, drawing and sculpture. In hindsight, I believe it was my ignorance about art and then my enthusiasm as a result of wonderful teachers that has made me a cheerleader for the power of art."

• DRAW 100 Drawing I: Form and Space
• DRAW 101 Drawing II: Composition and Media
• DRAW 200 Life Drawing I
• DRAW 201 Life Drawing II
• DRAW 312 Color Drawing
• DRAW 708 Graduate Drawing
• PNTG 502 Graduate Painting Methods Studio

"I make art in search of who I am. It is a slow process of letting information out, refining it and playing archeologist to my psyche. Over the years, I have raised honest doubt within my art and seek the questions that give more insightful answers. I also make art in defense of who I am. I want to expand and redefine the argument on issues surrounding sexual identity."

larryjensanderson.com

2007

Painting instructor, Oak Park Art League, Oak Park, Illinois; painting instructor at the Village Art Gallery, Skokie, Illinois; owner/art director/graphic designer, Brett Callero Design, Atlanta, Georgia; graphic designer, John Barnes & Co., Chicago, Illinois; graphic designer, ERO Industries Inc., Mount Prospect, Illinois

International ArtExpo: Rising Star Certificate of Achievement, New York, New York; letterhead design featured in the book American Corporate Identity '97 (Vol. 12) (page 131); letterhead design featured in the book American Corporate Identity 11 (page 185); logo design featured in the book American Corporate Identity 10 (page 243)

• 2008, Reorder/Represent: exhibition catalog @ Hermann Arts Center, Marietta College, Marietta, Ohio
• 2008, The Chronicle, (Vol. 8, No. 17, page 6, 2/15/08) feature article: Professor of the Week, Atlanta, Georgia
• 2004, Chicago Art Journal: Decadence, (Spring 2004, pages 52-55), University of Chicago Press, Chicago, Illinois
• 2004, District, (Issue 158, page 9, 1/23/04) cover story review of Sometimes Almost Always, Savannah, Georgia
• 2004, The Campus Chronicle, (Vol. 4, No. 8, page 6, 1/16/04) article on Sometimes Almost Always, Savannah, Georgia
• 2003, District, (Issue 142, page 9, 5/16/03) review of Alexander Ink, Savannah, Georgia
• 2003, The Campus Chronicle, (Vol. 3, No. 14, page 5, 2/28/03) review of FLOW, Savannah, Georgia
• 2003, International ArtExpo: 2003 Rising Star Competition Preview Magazine, (page 34), New York, New York
• 2002, SCAD-TV, interview, (aired 10/6/02), Savannah, Georgia
• 2002, Savannah Morning News, (Sunday Accent, page 10E, 9/8/02), Savannah, Georgia
• 2002, District, (Issue 117, page 6, 9/20/02) cover story interview/review of Loco Motives, Savannah, Georgia

• DRAW 100 Drawing I: Form and Space
• DSGN 100 Color: Theory and Application
• DSGN 102 3-D Form in Space
• DSGN 105 Visual Design Systems

brettcallero.com

2002

Visiting professor of foundation studies, Savannah College of Art and Design, Hong Kong; visiting professor of foundation studies, Savannah College of Art and Design, Lacoste, France; program coordinator of foundation studies, Savannah College of Art and Design, Atlanta, Georgia; visiting professor of foundation studies, Savannah College of Art and Design, Lacoste, France; chair of visual communication, American University in Dubai, U.A.E.; assistant professor of visual communication, American University in Dubai, U.A.E.; graduate teaching assistant, Clemson University, Clemson, South Carolina; executive director, South Carolina Artisans Center, Walterboro, South Carolina

Atlanta Printmakers Studio, Southern Graphics Council

• War Birds, University of Houston-Clear Lake, Clear Lake, Texas (solo exhibition)
• 2010 Southern Print Biennale, North Georgia College & State University, Dahlonga, Georgia
• 44th Annual National Drawing and Small Sculpture Show, Del Mar College, Corpus Christi, Texas Natural History: Critical Condition, The Ink Shop, Ithaca, New York
• Natural History: Critical Condition, The Morgan Art of Papermaking Conservatory, Cleveland, Ohio
• Folium Darwini, Seen Gallery, Decatur, Georgia
• Little Things Mean A Lot. Swan Coach House Gallery, Atlanta, Georgia
• Myths and Marks, The Printmaking Council of New Jersey, Sommerville, New Jersey
• Organic Perspectives, Artlink Contemporary Gallery, Fort Wayne, Indiana
• Paper Does Not Lie, Dewberry Gallery, Atlanta, Georgia
• Paper in Particular, Columbia College, Columbia, Missouri
• Picturing the Beast, Hall Street Gallery, Savannah, Georgia

• DRAW 100 Drawing I: Form and Space
• DRAW 101 Drawing II: Composition and Media
• DRAW 102 Drawing III: Content and Interpretation
• DRAW 200 Life Drawing I
• DRAW 201 Life Drawing II
• DSGN 100 Design I: Elements and Organization
• DSGN 101 Color: Theory and Application
• PRMK 200 Introduction to Printmaking

"The imagery included in my work comes directly from my environment. I am not concerned with strictly representing the reality in front of me, but more importantly utilizing the forms and the space of my environment as vehicles to address formal issues, ultimately presenting these familiar subjects in a way that may challenge the viewer's perception. A major influence on my work has been the experience of living and working in the Middle East from 1996-2002. During that time, I became aware of, and consequently was influenced by the traditional arts of the region. The exposure to the textiles and other applied arts, especially those from South East Asian cultures, provided a significant insight into the cultural heritage of that environment. This exposure challenged my perception of symbols and iconography, which has led me to understand a vast history of meaning, which goes beyond that of Western cultural associations.

"The most recent prints and drawings are part of a series of road-kill prints that I have been developing since 2003. I became fascinated with this subject matter as I traveled the highways and back roads of Georgia and South Carolina. I was first attracted to their strong visual presence, which I enjoy transforming into a visual language. Whether it is the prehistoric look of the armadillo or the dynamic gesture of the possum feigning death, I use the subjects as vehicles to address formal elements and principles such as line, shape, texture and pattern. In addition, their unfortunate circumstances allowed me to explore more universal themes such as fate, luck, deception and truth and their impact on our day-to-day lives."

2006

Professor, Atlanta College of Art, Atlanta, Georgia; teaching assistant, University of New Mexico, Albuquerque, New Mexico

2009 Solo show "Sight Specific," Museum of Contemporary Art of Georgia

Fulbright-Hays Fellowship; artist residency: Santa Fe Art Institute, Santa Fe, New Mexico; nominee, United States Artists Fellow; Museum of Contemporary Art of Georgia Working Artist Project; Footpaths to Creativity Residency (Azores Archipelago); SCAD Presidential Fellowship

Association Internationale de la Couleur, Emory University Friends of Visual Arts, Atlanta Printmakers Studio, Southeastern College Art Conference, Inter Society Color Council, College Art Association, Union International de la Marionnette, United States Holocaust Memorial Museum, Jung Society

Selected permanent collections

• High Museum of Art, Atlanta, Georgia
• Museum of Fine Arts, Houston, Texas
• Museum of Contemporary Art of Georgia, Atlanta, Georgia
• United States Information Agency, Washington, D.C.

Visiting artist

• 2009. Panel Participant, "Re: Viewing Black Mountain College," Asheville, North Carolina
• 2008. Panel Participant, "Color Effects and Affects," AIC 08, Stockholm, Sweden
• 2005. Panel Participant, AIC Colour 2005: "Artist and Colorist," Granada, Spain
• 2004. Panel Participant, ISCC: "More Interactions of Color," Fashion Institute of Technology, New York City

Selected solo exhibitions

• 2010. "Turning: Sketchbooks 1975-2010," ACA Library of SCAD, Atlanta, Georgia
• 2009. "Sight Specific," MOCA Georgia Working Artist Project, MOCA Georgia, Atlanta , Georgia

Selected group exhibitions

• 2008. "Paperworks 2008," juror: Samantha Rippner, B.J. Spoke Gallery, Huntington, New York
• 2008. "Magic Silver," juror: Joyce Tenneson, Eagel Gallery, Murray State University, Murray, Kentucky

"The Bauhaus."

• DSGN 100 Design I: Elements and Organization
• DSGN 101 Color: Theory and Application

"Color is onmidirectional. Of the many dimensions of color, its ability to communicate as a sign and as a symbol is of particular interest. Color is a primary signifier for cultures ancient and modern and inherent to the phenomena of color is its ability to communicate by analogy. My paintings, works on paper, photographs, books and polychrome sculpture explore color and meaning. The embedded characteristics of color and its codification in nature and culture inform my idiosyncratic process of discovery, analysis and synthesis in my artwork."

marciarcohen.com

2010

Summer Seminar instructor, Savannah College of Art and Design, Atlanta, Georgia; teaching assistant, Savannah College of Art and Design, Atlanta, Georgia; community education instructor, Savannah College of Art and Design, Atlanta, Georgia; tutor, Atlanta, Georgia; mentor, Savannah College of Art and Design, Atlanta, Georgia; drawing instructor, Atlanta, Georgia

Artist for the 2011 Oni Press graphic novel, "Holliday"

Full-Tuition Artistic Merit Fellowship, Savannah College of Art and Design, Atlanta, Georgia

The Temple of Cartoon Mojo, SCAD-Atlanta Student Services Council

Publications

• 2011. Oni Press "Holliday"
• 2009. White Wolf Publishing "Armory Reloaded"
• 2008. Oni Press "Resurrection Annual #1
• 2008. Desperado Publishing "Ally"
• 2008. Sequential Art Anthology "Switch"
• 2007. White Wolf Publishing "Monte Cook's World of Darkness"
• 2007. White Wolf Publishing "World of Darkness, Urban Legends"
• 2007. Not Quite Super "The Legend's Granddaughter"
• 2006. SCAD-Atlanta "Pwned Card Game"

Exhibitions

• "Mail Me Art: Medium without a Message Exhibition" at Read Gate Gallery in London, England.
• "In the Fold" at the Artist Book Room of the ACA Library in SCAD Atlanta.

"I have always had a passion for teaching individuals. Whether it was coaching soccer or assisting with a class assignment, I loved the feeling of helping people understand the principles that will help them succeed. In a high school film class, my teacher once told me that the difference between an educated person and an uneducated person is not knowing the answer, but why it is the answer. Before I attended SCAD as student, I had never had anyone teach me the 'why' in art theory, techniques and principles. Seeing how so many of the SCAD professors implemented this approach affected me as well so many other students. While it contributed to all of us being successful in our fields, it redirected the passion I had for teaching to the subject matter I love most - art. Now as a professor, in every class I teach the 'why' to students, so not only will they be successful in their fields, but also have the ability to educate others."

• DRAW 100 Drawing I: Form and Space
• DRAW 206 Drawing for Storyboarding
• SEQA 202 Drawing for Sequential Art
• SEQA 215 Materials and Techniques for Sequential Art
• SEQA 224 Character Design and Storyboarding for Animation
• SEQA 325 Environments, Props and Structures
• SEQA 388 Constructive Animal Anatomy

"I strongly believe in demonstrating and explaining art in a rational, approachable manner, while encouraging the student to push the boundaries of their personal limits. In addition to being dedicated and enthusiastic, I believe it is very important for students to have a professor who is active in their industry so that they can understand the various career possibilities available to them when they graduate. Being active in the sequential art field keeps me up-to-date on current art trends and offers students industry contacts that they may not have alone."

dougdabbs.com

2006

Dumas-Hernandez has taught at various institutions since 2000, including the Art Institute of Atlanta, Atlanta College of Art and Alfred University before coming to the Savannah College of Art and Design in 2006. Canadian Clay and Glass Gallery (museum solo show), "Joy Ride: The Golden Path to Happiness and Enlightenment," Waterloo, Ontario, Canada, 2011; STUDIOPLEX, "Blessings and Curses: New Work by Amanda Dumas-Hernandez," Atlanta, Georgia, 2010; John Michael Kohler Arts Center, "Razzle Dazzle" Sheboygan, Wisconsin, 2006-07; Groundfloor Gallery (solo show), "Clean Thoughts," Sydney, Australia, 2006; Groundfloor Gallery (solo show), "Preconceived Notions," Sydney, Australia 2005; Erwin Eisch Museum and Gallery (two-person show), Fraunau, Germany, 1999

BBC artist interview, solo shows in Sydney, Australia, and Canada

Eisch Glashütte (factory) residence (four months), Fraunau, Germany 1999; Alfred University Fellowship 2001-03; Rhode Island School of Design Scholarship, 1994-97

International Sculpture Society

• Courrier International (cover image), "Chicken Purse," Paris, France, July 2010
• Artworld Digest, Seed Issue, ("Pink Feeling #333"), Brooklyn, New York, Spring. pp. 48-49, 2007
• BBC Radio, "Five Live," (artist interview), London, United Kingdom, Aug. 12, 2006
• ETV, "Today on 3," (TV review), London, United Kingdom, Aug. 29, 2006
• The Sun, "TV Bra," p. 7, London, United Kingdom, Aug. 11, 2006
• BLEND Magazine, pp. 20-21, The Netherlands, June 2006
• Gastronomica: The Journal of Food and Culture, "Pretty Plates About Digestion," pp. 27-29, Berkeley, California, Spring 2006
• Sculpture Magazine, review, p. 79, September 2005
• Tangent: An Independently Produced Art-zine, "Cool Artists," p. 15, London, United Kingdom, October 2005
• RISD Views, p. 39, Providence, Rhode Island, Spring 2005
• Sydney Morning Herald, "Critics Pick", Metro Section, p. 27, Sydney, Australia, March 11-17, 2005

"My own professors, and helping people find their way in the world."

DRAW 230 Drawing for Design

"Constructs such as irony, contradiction and conundrum are always constants in my creative process, although my media and methods may vary from piece to piece. I work very intuitively, and my ideas form cumulatively-sometimes like rhythmic literary word play.

"Miles Davis once said, 'When I trip on a crack in the sidewalk I make music out of it.' I borrow this mantra for the intuitive, improvisational way that I think and create. I love absurdity and making beautiful or intriguing objects out of the commonplace or banal. Intrinsic meanings, materials, processes and absurd juxtapositions and preconceptions resonate in my practice."

amandadumas.com

2009

Visiting faculty in foundations and ceramics, Georgia State University, Atlanta, Georgia; part-time assistant professor, Kennesaw State University, Kennesaw, Georgia; full-time visiting assistant professor, Denison University, Granville, Ohio

Three sculptures in the collection at the Ariana Swiss Museum of Ceramics and Glass, Geneva, Switzerland; co-curator, "Symbiosis," Baltimore Clayworks, Baltimore, Maryland

Graduate Fellowship Award, The Ohio State University; Magna cum Laude and Divisional Honors in Ceramics, NYSCC at Alfred University

Articles

• Daehler, Hanspeter, "Krista Grecco, The Ambivalence of Being," Ceramics Art and Perception, September 2010: 12-15
• Ritzler, Karl W., "Why I Love My Job," The Atlanta Journal-Constitution, July 1, 2007: R9

Presentations
"The Clay Figure Throughout History," Columbus Museum, Columbus, Georgia, 2008

"What draws me to teaching is the interaction with students. I have never been satisfied only working in an isolated studio, and I thrive mixing with different people and students. Teaching techniques that I do not use every day, and encouraging my students to experiment and push their boundaries, inspires me to do the same with my own work."

• CERA 125 Introduction to Ceramics
• DSGN 100 Design I: Elements and Organization
• DSGN 102 Design II: 3-D Form in Space

"I work with the figure, both human and animal, because it is a direct way to speak about emotions. I work with clay because it is a direct way to speak about form, volume and surface. Flesh, folds, fabric and fur lend life to my sculptures. Our human need for companionship and nostalgia fuels the basis of my work. From the friendships, stuffed animals and photographs we have carefully preserved since childhood to the humiliations and heartaches we cannot seem to forget, we surround ourselves with personal history - both the sweet and the sour. "

kristagrecco.com

2006

Solo exhibitions

• "Contemplating Memory," Atlanta Financial Center, Atlanta, Georgia "Eternal/Ephemeral: Work by Lisa Hart," Kimura Gallery, University of Alaska, Anchorage
• "Natural Forms," Chattahoochee Valley Art Museum, LaGrange, Georgia
• "Lisa Hart," DeKalb College of Fine Arts Gallery, Clarkston, Georgia

SCAD Presidential Fellowship; invited participant, artist retreat at Haystack Mountain School of Crafts, Deer Isle, Maine; Visiting Artist's Grant, Alaska Council for the Arts; second prize, 3rd International Betonac Prize, Provincial Museum, Hasselt, Belgium

Foundations in Art: Theory in Education; The Museum of Contemporary Art of Georgia; Atlanta Contemporary Art Center (executive board member)

• Stratton, Shannon, "Reconstructive Surgery: Re-imaging the Body in Fiber," catalog essay for the "Body in Fiber" exhibition, Tarble Arts Center, Eastern Illinois University, Charleston, Illinois, September 2006
• Fox, Catherine, "Celebration Gives Way to a Farewell," The Atlanta Journal-Constitution, Sept. 4, 2005
• Raznick, Jennifer, "Culture, A closer look into the fine arts of Atlanta," Jezebel Magazine, February 2003
• Feaster, Felicia. "Angels and Insects," Creative Loafing, Jan. 29-Feb. 4, 2003

• DSGN 100 Design I: Elements and Organization
• DSGN 101 Color: Theory and Application
• PRMK 375 Advanced Bookmaking: Experimental Structure

"We live surrounded by ideas and objects infinitely more ancient than we imagine; and yet at the same time everything is in motion." - Pierre Teilhard de Chardin

facultypages.scad.edu/~ehart

1999

Republic of China (Taiwan) Army; art director, fine arts department, The Army 8th Corps; guest lecturer, Chinese calligraphy, watercolor, and painting, The Youth Activity Center, China Youth Corps

Works have been featured in several international art publications

Works have won several awards internationally; awarded several medals while serving in the Republic of China (Taiwan) Army; biography was selected to be listed in the newest editions of Marquis "Who's Who in the World", "Who's Who in America", "Who's Who in American Art", and "Who's Who among American Teachers and Educators"

Pastel Society of America; Portrait Society of America; Southeastern Pastel Society; Chinese-American Academic and Professional Association in Southeastern United States; Southeastern College Art Conference

• New American Paintings
• Pastel Journal
• Pastel Artist International
• International Artist
• Oranges & Sardine
• Best of Worldwide Artists
• CAPASUS Journal
• SCAN magazine

"Being able to help someone learn something is a gift."

• DRAW 100 Drawing I: Form and Space
• DRAW 101 Drawing II: Composition and Media
• DRAW 200 Life Drawing I
• DRAW 201 Life Drawing II
• DRAW 312 Color Drawing
• DRAW 210 Portrait Drawing
• DRAW 310 Landscape Drawing
• DRAW 350 Classical Rendering
• PNTG 310 Life Painting
• PNTG 332 Advanced Portrait Painting
• PNTG 764 Narrative Painting
• PNTG 355 Human Image and Metaphor
• PNTG 728 Painting Studio I
• PNTG 738 Painting Studio II

"My painting style is related to my drawing methods. I use the media of pastel to achieve clear and realistic images. When I use pastel on canvas, I feel that I am enjoying painting and drawing at the same time. Sometimes I expressed the sentimental human sense with a powerful visual effect through the huge, detailed faces. I used the simple background to emphasize the figure and to involve minimal atmosphere. Through my paintings, I want to bring a different way of representing portraiture to viewers and make this art form more contemporary."

www.chinchenghung.com
cccgallery.org/profile/ChinChengHung?xg_source=profiles_memberList

2006

Author, "Lucius and the Storm," Red Cygnet Press; manager of ACA Gallery of SCAD-Atlanta, Atlanta, Georgia; teaching assistant, University of Georgia, Athens, Georgia; teaching practicum, University of Georgia, Athens, Georgia

Author/illustrator, "Lucius and the Storm" (Red Cygnet Press, 2007)

Member, High Museum of Art; president, Wormwood Studios Inc.; founder, Order of the Open Hand

• Advertisement for SCAD, Delta Sky Magazine, 2010
• Cover piece for Midtown Beacon, 2010
• "The many faces of Kent Knowles," SCAD Connector, 2009
• Cover piece, marquee, Athens-Banner Herald, 2004
• Reviews of the Southeast, ART PAPERS magazine, 2001

"The inexhaustible potential for collaboration and self-awareness."

• PNTG 101 Painting Basics for the Non-major
• PNTG 203 Oil-based Media Exploration
• PNTG 210 Color and the Painted Image
• PNTG 302 Intermediate Painting
• PNTG 310 Life Painting
• PNTG 319 Painting Materials and Techniques
• PNTG 321 Portrait Painting
• PNTG 325 Narrative Painting
• PNTG 333 Mural Painting
• PNTG 401 Alternative Media Exploration
• PNTG 404 Abstract Painting
• PNTG 409 Advanced Painting
• PNTG 415 Painting Senior Seminar
• SFIN 413 Professional Practices in Fine Arts

"The majority of my paintings are veiled illustrations of the current happenings in my life. A previous body, 'ORNAMENT,' reflected my interest in starting a family, manifesting in a series of large paintings featuring shapely women amidst blooming fields and pregnant clouds. As a new father to a girl, it is no surprise that my latest body of work is populated by young women, engaged in multiple activities at various stations in life. When painting these figures, I imagine the experiences my daughter might encounter during her developmental years, the decisions she will make, the company she will keep, the formation of her personality and her perception of the world."

kentknowles.com

2009

Art consultant, Canvas Art Consultants, Atlanta, Georgia; managing partner, Linstrum + Matre Artworks, Atlanta, Georgia; adjunct instructor, online learning, Georgia Perimeter College, Clarkston, Georgia; adjunct instructor, Fine Art Studio, Georgia Perimeter College, Clarkston, Georgia; graduate instructor, Fine Art Studio, Georgia State University, Atlanta, Georgia; owner, Aliya Linstrum Gallery, Atlanta, Georgia; managing partner, Aliya Ardavin Gallery, Atlanta, Georgia; director, Aliya Gallery, Atlanta, Georgia

Founding member of the reformed Atlanta Gallery Association, whose mission was to position Atlanta as the cultural and visual arts capital of the South; served on the board of the AGA for four years and assisted in the development of annual programming of events, lectures and workshops to execute the goals of the organization; assisted in the networking of visual arts organizations, including galleries, museums, non-profits and institutional exhibitions spaces through the programming and permanent assets such as websites and printed materials

Juror, Chairish the Future Auction (design competition), Metro Atlanta Furniture Bank, 2009; Live Auction, Chairish the Future Gala, Metro Atlanta Furniture Bank, 2009; juror, Jasper Marble Festival (two- and three-dimensional categories), Jasper, Georgia, 2008; portfolio reviewer, PhotoNola (photography) New Orleans, Louisiana, 2007; Hybrid Fellowship: team member for development of hybrid courses at Georgia Perimeter College, Clarkston, Georgia, 2005; Visiting Artist Grant: Teaching Mixed-Media Painting Workshop, Chicago, Illinois, 2004; juror, 26th Annual South Carolina Artists Exhibition, Pickens County Museum, 2003; juror, Spirituality Exhibition, Unitarian Church Gallery, 2002; juror, Georgia High School Drawing Competition, Atlanta College of Art Gallery, 2002; juror's Award, Great Plains National, 2001; Live Auction, Habitat For Humanity Birdhouse Artfest, 1996; second place, Decatur Arts Alliance Show, 1995; Live Auction and Founders Award, Habitat For Humanity Birdhouse Artfest, 1995

College Art Association; Atlanta Gallery Association; Virginia Highland Gallery Association (founding member)

Publications

• "Gallery Profile: Lark & Key", exhibit C, November/December 2008, 71
• "Creating the Perfect Fine Arts Gallery", Atlanta Showguide, Fall 2008, 20
• Taylor Arnold, "Aliya Linstrum Gallery," The Piedmont Review, October 2006, 18
• Danny Solomon Bonvissuto, "Annandale Homes on Parade," The City Paper, October 2006
• Ann Nichols, "Color, Texture and Memory," Chattanooga Times Free Press, July 2005.
• Catherine Fox, "Images, Allusion in Flower," Atlanta Journal Constitution, October 2004, L3
• Jerry Cullum, "A New Artist Ponders Time and Memory," Atlanta Journal Constitution, September 2002
• "Plastic Sentiment," Atlanta Journal Constitution, September 2002
• "Study for Passage," Atlanta Journal Constitution, March 2001
• Suzanne Wright, "Collecting Art with a Passion," Atlanta Homes and Lifestyles, February 2000, AAS4
• "Jester," Atlanta Magazine, May 1999, 162
• Ann Nichols, "New Traditionalists," Chattanooga News Free Press, May 1998 "Cage," Where Atlanta, December 1997, 72
• Tina Cook Westfall, "A Walk of Art," Peachtree Magazine, October 1996, 74

Presentations

• Three Approaches to Art: Artist, Teacher, Dealer, Center for Lifelong Learning, Emory University, 2009
• Four Artists Tell Their Stories (panel presentation), National Association of Community Colleges Humanities Conference, Cambridge, Massachusetts, 2005

"My engagement of the creative act has always been one of learning and discovery. I can only sustain my own interest in my studio work or research into the works of others if I feel that I have something to learn. My inspiration for teaching is to expose the artists and creatives of the future to the same passion for wonder and discovery that has served me well for most of my life."

• DRAW 100 Drawing I: Form and Space
• DRAW 101 Drawing II: Composition and Media
• DRAW 200 Life Drawing I

"I am often seduced by beauty. I am drawn in by the stimulating visual, the color, the light. My seduction is only sustained, however, if there is interest beyond the surface. I must have somewhere to go, something to think about after the impact of the first impression fades. This is the very same philosophy that I apply to my painting. The foundation of my work is beauty, in both subject and technique, but the choices that I make are motivated by my desire for deeper meaning and communication through visual means.

"My current work addresses the themes of family history, the functions (and fallacies) of memory and the importance of spirituality. All the elements of my paintings point to these themes, whether it be the use of beeswax as a preserver, wallpaper collage as a signifier of the domestic, or the various symbols or images that contain their own meanings and interpretations. These works are meant to be 'read' and interpreted instead of merely presenting a set of ideas that can be understood in only one way."

carllinstrum.com

2006

Adjunct professor in drawing, Atlanta College of Art, Atlanta, Georgia; art teacher, Druid Hills International Baccalaureate High School, Atlanta, Georgia; graduate teaching assistantship, Georgia State University, Atlanta, Georgia; adjunct professor in art education, Georgia State University; art teacher, Sweetwater Middle School, Lawrenceville, Georgia; art instructor, Clayton College and State University, Morrow, Georgia; art teacher, Centerville Elementary School, Snellville, Georgia; art teacher, Chamblee High School, Chamblee, Georgia

Hambidge Fellow, Fulton County grant recipient, Hambidge Artist Residency, Georgia; The Forward Arts Foundation's Emerging Artist Award Winner for 2006, Atlanta, Georgia; selected for Transatlantic 2006, Artist in Residence International, Berlin-Atlanta exchange, Gallery 24, Berlin, Germany; third place, 18th annual National Juried Exhibition, Cultural Arts Center, Douglasville, Georgia; second place, Dean Dreyer Juror's Award, presented at GSU's School of Art and Design Juried Student Art Exhibition; Creative Loafing: Best of Atlanta 2003, Critic's Pick, "Best Alternative Art Space: ArtSpot Gallery"

Advisory Board member, Burnaway.org; vArt Collective, founder and member, Golden Blizzard; Artist Resource Council member, Museum of Contemporary Art, Georgia; member, Visual Arts Network of Atlanta

Press

• "Noplaceness" book
• "Form," book of Atlanta artists by WE Design
• Creative Loafing, "Ann-Marie Manker paints bright fantasies of dark times," by Wyatt Williams, p. 28., Sept. 2, 2010
• TheStudioVisit.com, interview, September 2010
  
• Burnaway.org, "Ann-Marie Manker imagines birthday cakes covered in hot lava," by Jeremy Abernathy, September 2010
  
• The Atlantan, modernluxury.com, "Art Attack: Great Art This Weekend in ATL" by Felicia Feaster, Sept. 9, 2010
  
• Creative Loafing, "Preview: Sprout at Kibbee Gallery," by Wyatt Williams, April 27, 2010
  
• SCAN, SCAD Atlanta Magazine, "Pop goes Surrealism," by Maria Ah, Winter 2010
• The Atlantan, "Golden Blizzard," by Felicia Feaster, October post Nashville Scene, "Away Team: Jason Butcher and Ann-Marie Manker," by Joe Nolan Creative Loafing Tampa, "Art: Hotlanta," by Megan Voeller

"My students."

• DRAW 101 Drawing II: Composition and Media
• DRAW 102 Drawing III: Content and Interpretation
• PNTG 206 Water-based Media Exploration

The drawings and paintings of Ann-Marie Manker explore psychological narratives through the representation of figurative imagery within fantasy landscapes. Manker's new body of work , "Softcore War," highlights the recent trend of young female suicide bombers in the Middle East. The imagery supposes the loss of childhood innocence and the longing for an idealized afterlife with God, while remaining isolated and disconnected from the realities of war. Manker emasculates the war and chooses her own symbols for violence and destruction, including ammunition comprised of birthday candles and balloons, masks made of panties, dishcloths or fur, and destroyed cars that melt like ice cream cakes in pale pink or turquoise environments. It is the coming of age where the would-be sweet 16 turns salty or deadly. Manker also employs her use of animal imagery, portraying swans and lambs both metaphorically and symbolically in the dual role of victim and accomplice. Manker has created this series on braced wood panels ranging from 12"x12" to 30"x40" using graphite, colored lead, acrylic ink, Acryla gouache and acrylic paint.

mankerart.blogspot.com

2006

Atlanta College of Art, Atlanta, Georgia; Art Institute of Atlanta, Atlanta, Georgia; Georgia State University, Atlanta, Georgia; Georgia Perimeter Collge, Clarkston, Georgia; American College of Applied Art, Atlanta, Georgia; Callanwolde Fine Arts Center, Atlanta, Georgia; University of Florida, Gainesville, Florida; Brena University, Atlanta, Georgia; Morris Brown College, Atlanta, Georgia; Dumbarton Oaks, Center for Byzantine and Pre-Columbian Studies, Washington, D.C.

"To me, being able to keep developing the direction in my own work has been a satisfying achievement. My two solo gallery shows in 2008 and 2010 meant a lot to me. They each provided me with the opportunity to produce cohesive bodies of work that continues to provide new ideas and directions."

1994 President's Award, 12th Annual Juried Student Art Exhibition, University Gallery, University of Florida, Gainesville, Florida; 1993 President's Award, 11th Annual Juried Student Art Exhibition, University Gallery, University of Florida, Gainesville, Florida; 1983 Judge's Choice Award, Dekalb Arts '83, Atlanta, Georgia; 1980 Grant recipient, Piedmont Arts Festival, Atlanta, Georgia

Foundation for Art: Theory in Education, Museum of Contemporary Art of Georgia, High Museum of Art

• Deanna Sirlin, Creative Loafing, March 12, 2010; review
• Michael Mills, New Times, 2(10), January 7 - 13, 1999, 41; review
• Elisa Turner, Miami Herald, Sunday, November 22, 1998; review
• Leslie Schworm, Art Papers, 11(5); September/October 1987, 55-56; review
• "IBM Field Engineering Education", American Craft, 28-31, October/November 1984
• Contemporary Craft Art Collection, Field Engineering Education Center, Atlanta, Georgia; IBM Brochure. 1984
• Tom Ferguson, "Local Options: The Work of Laura Strand Mills and Jo Peterson", Fiber Arts, 69, June 1983
• Catherine Fox, Atlanta Journal Constitution, Sunday, January 16, 1983; review
• Karen Ermutlu, "Callanwolde Fine Arts Center," Art Craft 1 (1): 7-9, Dec 1979/ Jan 1980

"I began teaching almost accidentally but the longer I teach the more natural it seems. I believe the reason I even began teaching was because of my mother, who had been a teacher herself. Her amazing understanding, patience and tolerance are something I try to bring to my classroom. What has kept me teaching has been the joy and satisfaction I feel when a student finally 'gets it' and then keeps going further, realizing that they are capable of doing amazing things on their own."

• DSGN 101 Color: Theory and Application
• DSGN 115 Creative Thinking Strategies
• DRAW 100 Drawing I: Form and Space
• DRAW 101 Drawing II: Composition and Media
• DRAW 310 Landscape Drawing
• DRAW 312 Color Drawing
• PNTG 206 Water-based Media Exploration

"For me, the natural world is a place where I can both achieve relief and find inspiration. It is filled with irony in its balance of life and death that parallels our own lives. The contradictions of dark and light, weak and strong, small and large, near and far are all found in the natural world. But in both places, and equilibrium exists. The work that I am doing is based upon the juxtapositions of these coexisting realities."

sandlerhudson.com/artists/jo-peterson/

2008

Teacher assistant, California Institute of the Arts, Valencia, California; assistant exhibition registrar, Savannah College of Art and Design, Savannah, Georgia; assistant curator, Starland Center for Contemporary Arts, Savannah, Georgia

Fulton County Arts and Culture Public Art Program

"The Social Responsibility of Starbucks." Special Topics in Art and Politics: A Not So Simple Case for Torture, Nancy Buchanan, Sam Durant And Martha Rosler eds., Onestar Press, 2008.

"Ralph Nader's father once asked him, 'Ralph, what did you learn in school today? Did you learn how to believe or did you learn how to think?' This question asked to a young Nader is a basic principle to a strong foundation of teaching. It asks the student to understand and question for themselves, to be more than just a passive listener.

"Throughout my academic life, I have been privileged enough to be taught and influenced by some of the most profound and insightful artists and professors. My teaching can only be modeled after the many opportunities, experiences and realizations that have been shared with me."

• DRAW 100 Drawing I: Form and Space
• DRAW 101 Drawing II: Composition and Media
• DRAW 200 Life Drawing I
• PNTG 775 Advanced Painting Studio Analysis
• SFIN 431 Critique As Process

"My work is motivated by manipulation and injustice, and the way it shapes our understanding of war, human and civil rights, economics, religion and democracy. The medium and process of the work are left open and is used to help further the ideas, issues and the dialogue between the audience and the work."

2008

Woodshop manager, SCAD Atlanta; gallery manager, Atlanta Contemporary Art Center; visual manager, Anthropologie, Philadelphia, Pennsylvania

Recipient, Museum of Contemporary Art Georgia Working Artist Project, Atlanta, Georgia; solo show, Museum of Contemporary Art, Jacksonville, Florida; travel grant to Berlin, Germany, to represent Artists in Residence International, Atlanta, Georgia

Artist Project Grant, City of Atlanta Office of Cultural Affairs; Fulton County Arts Council Scholarship; Clio Award for Advertising Excellence; residency, Hambidge Center for Creative Arts and Science; Austin Green Project Award

College Art Association, Foundations in Art: Theory and Education

"Artists are, by nature, creative and sensitive. Fine artists must be skilled, independent thinkers and confident in their work. Creative, sensitive art students come to us at diverse levels of skill, conceptual ability, cultural orientation and personal history. Engaging students at their present level and leading them forward in their evolution presents a personal and professional challenge that I embrace with enthusiasm."

• DSGN 102 Design II: 3-D Form in Space
• PNTG 401 Alternative Media Exploration
• SFIN 745 Fine Art M.A. Self -promotion
• SCPT 717 Sculpture Studio: Concept and Content

"Using sculptural composition, I create quiet, reserved environments that are devoid of the distractions of the outside world but that speak of the outside world-of loss, of action, of turmoil transformed into order, of our own transitory nature. The composition arrives, is seen, and passes away, as impermanent and ephemeral as a clear thought in the midst of chaos. It is much like our fleeting society: we move into a space, we start to make our mark, and we move on. My underlying issues are sometimes environmental, sometimes acts of doing or movement, sometimes about randomness engaged with contemplation. Sometimes I intend to create a reminder of things that have been forgotten but that should not be lost. Sometimes I am trying to make sense of chaos."

marthawhittington.com

2011

As an illustrator, designer and model maker Javas' clients have included Revlon, Esteé Lauder, Prescriptives, Polo Ralph Lauren, Nautica, Avirex, Macmillan, Liz Claiborn, Desgrippes Gobé, The Coleman Group and Landor Associates.

National Council of Marketing and Public Relations, District 4, Silver Medallion Award, 2010; National Council of Marketing and Public Relations, National, Bronze Paragon Award, 2010; National Council of Marketing and Public Relations, District 4, Gold Medallion Award, 2009; National Council of Marketing and Public Relations, District 4, Gold Medallion Award, 2008

• College Art Association
• University and College Designers Association
• International Sculpture Center

"Innocence and Experience," Philadelphia City Paper, July 2000

• DSGN 100 Design I: Elements and Organization
• DSGN 101 Color: Theory and Application
• DSGN 102 Design II: 3-D Form in Space

2011

Professor, Northwestern University, University of Wisconsin, National Taiwan University

J. William Fulbright Awards: 2004, 2005

Wisconsin Regional Artist Association, 2010; Youth Service Award, 2010; The Alumnae Association of Northwestern University, research grant, 2007; Puffin Foundation, Ltd., performance grant, 2006

Exhibitions and/or presentations:

• "True Live," Gallery 450 at UW-Marshfield/Wood County, Marshfield, Wisconsin, 2010
• "The Pillowman," Hallie Flanagan Theatre, Grinnell College, Grinnell, Iowa, 2010
• "How to Build a Robot," Blue Highways Building, Richland Center, Wisconsin, 2010
• "Flowers of Evil," National Experimental Theatre, Taipei, Taiwan, 2010
• "Eat the Rich," Watermill Brooklyn Gallery, Byrd Hoffman Watermill Foundation, Brooklyn, New York, 2009
• "Merging Emerging-Art, Utopia, Virtual Reality," Museum of Contemporary Art (MoCA), Shanghai, China, 2009
• "Riz Souffle," Centre Culturel Robert Desnos, Ris-Orangis, France and the Theatre Moufftard, Paris, France, 2009
• "Riz Flambe," Centre Culturel Robert Desnos, Ris-Orangis, France, 2009
• "One Hundred Nights' Dreams," National Experimental Theatre, Taipei, Taiwan, 2009
• "Enemy of the People," The Struble Theatre, Northwestern University, Evanston, Illinois, 2008

Guest Lectures and Artist in Residence:

• Artist in Residence, Department of Theatre and Dance, Grinnell College, Grinnell, Iowa, 2010
• Artist in Residence, The Watermill Center's-International Summer Arts Program, 2009
• Painting-Performance: Between The Visual and Performing Arts, Shih Chien University, Taipei, Taiwan, 2008
• Contemporary Classical: Fine Arts in a Post-Modern World, The Central Academy of Drama, Beijing, China, 2007
• BGSU: Major Event, The Department of Theatre and Film, Bowling Green State University, Bowling Green, Ohio, 2007
• Painting - Performance, the Department of Fine Arts and The Department of Theatre, Loyola University, Chicago, Illinois, 2007
• Rethink-Remake: Issues of Creativity and Invention, The First Year Program, The School of the Art Institute of Chicago, Chicago, Illinois, 2006
• International Conference on Creativity and Innovation in Pop Culture, The Fashion Creativity Research Lab, Fu-Jen Catholic University, Taipei, Taiwan, 2005
• Theatre and Media-based Art, Department of Art and Art History, Yuan Ze University, Taipei, Taiwan, 2005
• Artistic Survival in the United States, The Foundation for Scholarly Exchange, Taipei, Taiwan, 2004

My teaching philosophy focuses on inspiring students to explore their own creative voice while maintaining a critical engagement with the artistic traditions that have shaped contemporary art theory and practice. I believe that in our increasingly trans-national and trans-cultural world that we should encourage students to expand the parameters of their artistic journey to include a more global perspective. During my years of teaching in Taiwan as a Fulbright instructor, as well as my experiences at Northwestern University and the University of Wisconsin I have studied the teaching practices of my colleagues while also examining the influence these teaching methods have had on the creative output of their students. As an instructor, I work to incorporate these diverse pedagogical approaches into my classroom, challenging students to reconsider their cultural assumptions about the definition and responsibilities of being an artist.

In 2004, my wife and I lived abroad and just had our first son. The political climate in the U.S. at that time was challenging at best, and I began to feel as if our world was spinning out of control. Perhaps it was being a new parent or away from home, but a feeling of uncertainty and concern for the future washed over me. As an artist I created a body of work heavily influenced by my surroundings, but nothing could compare to these emotions. I began to conflate the immediacy of my personal experiences with more global issues through a series of new figurative paintings. The first images I painted were of the three perpetrators of the bombings in Bali, Indonesia. These paintings used the emotive qualities of the figure and explored the visceral and metaphorical properties of the medium of paint. The tactile texture of these pieces resembles damaged skin.

I pushed myself into new areas with the use of color and its ability to communicate. I never set out to create a political body of work. I merely tried to filter these images, thoughts and emotions through my creative practice as an artist. I believe I create work in the visual arts because I am often trying to understand something that my verbal self cannot reach.

In my most recent work, I continue to explore the human figure in a series of image-based paintings while maintaining a process, started in 2005, of erasing―altering news periodicals such as Time and Newsweek by using chemicals that dissolve the ink from the page. These altered news periodicals became a vehicle for the development of imagery in my paintings as well as an autonomous body of conceptual work. One of a series of images that evolved from this unique practice are faceless, iconic white Western male figures in business suits. The current work became the vehicle through which I continue to examine aspects of the human condition in contemporary society and our impact on the environment in which we live.

I extended my work as a visual artist beyond the confines of a single medium by developing a body of work that includes sculpture, installation, theatre stage design and performance art. The syntheses of these unique disciplines has since spontaneously and organically generated a new visual language in my creative practice, work that blurs the boundaries between multiple disciplines―where the intersection of thought and emotion are amplified through the relationship of these unique visual elements.

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David Smith is an Irish artist based in Hong Kong. Smith graduated from the Galway-Mayo Institute of Technology in 1998, the Sligo Institute of Technology in 2001 and the University of Ulster in 2003 with a Masters of Fine Art. Although primarily a painter, Smith also works on photographic and music-based projects for video and short films, which have been shown in Ireland, Germany, the U.S., and recently at the Hong Kong-Shenzhen Biennale of Urbanism and Architecture. He has exhibited in juried shows and solo at Manifest Gallery in the U.S., Amelia Johnson Contemporary Gallery in Hong Kong and has been included in the first and second edition of INPA (International Painting Annual).