N E WS T U D I OP R A C T I C E :

F I N E A R T S

N E W S T U D I O P R A C T I C E

A R E V O L U T I O N I N F I N E A R T S

What are the essential experiences and preparation that 21st century artists need?

What will you do with your ideas? How will the world be shaped by your concepts, conversations and critique? What do you need as a 21st century artist in the face of a changing world?

Grounded in the tradition of rigorous and committed studio practices, and enhanced by innovative approaches to marrying skill and concept in the creative world, New Studio Practice is a venue for contemporary creative thinking and making. Interdisciplinary exploration and integrated learning of fine art media - disciplines in drawing, painting, photography, printmaking, and sculpture - are supported by an increased emphasis on professional preparation and practice under the guidance of outstanding faculty mentoring and advising.

New Studio Practice offers a context for the landscape you’ll enter the minute you graduate as a fine artist. Not just in conduct and discussion, but also what you make, your creative life. You’ll apply learned knowledge to the creative world as a responsible art citizen, and make visual work with a comprehensive understanding of how your creative identity relates to the world around you.

S T U D E N T P R O F I L E S

I transferred to MIAD because I had finally found a program that would allow me to easily focus on multiple fine art mediums. MIAD offered classes that I could only dream about at my previous college.

I was inspired by the fine art senior thesis projects. The work exhibited how a MIAD education helps students succeed in building their own identities within a flexible program. Since coming to MIAD, I have been challenged conceptually as well as technically and am much happier with the work I am producing.

J E N N Y C H E L C U N

THINKING OF YOU, cut strips of sheet steel, 300 welded nails, 2014

J U N I O R , F I N E A R T S

As a Foundations student, I met some very inspiring fine arts seniors who were creating awesome work. I was able to speak to them at MIAD DEFINE, a day where students meet and talk with upperclassmen and ask questions about their educational experiences. They helped me realize MIAD’s fine art program would always be ‘home’ for me.

I am glad to find that now, as a sophomore, I am able to talk to my faculty and discuss the progress of my portfolio. One of my faculty has been forcing me to think and rethink every artistic action I take. My ideas have evolved, and I am most excited to begin collaborative figure work with another student. This type of integration and intersection is a key feature of the fine arts philosophy.

A R I A N A V A E T H

THE PICNIC, oil, 2014

I learned in my three-dimensional classes freshman year that I liked to build space and create experiences. However, there was no major offered for creating experiences. Therefore, I began to build my own curriculum with the help and knowledge of professors that knew my goals. The fine arts program at MIAD gave me the opportunity to create a curriculum that best enhances my artistic interests, while still providing the correct amount of structure to find my own voice. MIAD has equipped me with the opportunity to think on many different platforms commonly driven by concept. The faculty create situation after situation where you reassess and reevaluate your work and have to rethink whole projects, sometimes even your voice as an artist, but through those moments you start to build and define that real “why” as an artist. That “why” is the thing that will fuel you to make work for a lifetime and in many ways make you a successful artist.

C O D Y P O W E R S

UNTITLED, video installation, 2014

S E N I O R , F I N E A R T S / I N D U S T R I A L D E S I G N

J U N I O R , F I N E A R T S

At the beginning of my senior year of high school I was determined to not go to a visual arts college. I thought going to a university was the only way I could study everything. Specifically, I was worried that if I dedicated my bachelors degree to fine arts I wouldn’t be able to study writing. Thinking back, I can’t believe I ever thought that choosing to study fine art meant that I had to give up something else.

The fine arts program at MIAD is really unique. It doesn’t limit you. I was able to study printmaking, painting, and sculpture alongside drawing, subsequently creating a practice that was all my own. While being at MIAD, I have grown to understand what I am truly passionate about and how to articulate that in my work and life.

Witnessing the senior thesis work before coming to MIAD, I had always been attracted to the work coming out of the fine arts program. I noticed the work had a lot of diversity of material. I was inspired by the idea of not being limited to a certain medium.Integrated senior thesis forces you to confront a new setting, new peers, and new faculty. It creates an environment where you decisively make an identity for yourself, very much like the real world.

A N N I E B U R N E T T

UNTITLED WORKS, various media, 2014

S E N I O R , F I N E A R T S

I originally learned of MIAD through a brochure sent to my high school and was instantly attracted to all the different forms of fine art available. I never sit still on one medium so the flexibility and openness of the fine arts program, how I could take a painting course while learning sculpture, is what really drew me in.

At MIAD, I can take my creative vision whichever direction I see fit. One semester I can take mostly printmaking classes, and the next sculpture while investigating a design program. This has been beneficial in providing opportunities to work in ways I wouldn’t have normally considered, and teaching me to incorporate everything I’ve learned into my expanding artistic vocabulary. MIAD has taught me how to take a small idea and grow it into something much larger, how to make something aesthetically and conceptually pleasing to a viewer while remaining true to myself. The fine arts program teaches me new ways of thinking and through various exploration, discussion, and a community of likeminded people, I grow and gain understanding daily.

K Y L E S I L V E RS O P H O M O R E , F I N E A R T S

PRISON SHANK, glass cast, 2014

COMPUTER, digital, 2014

N E W S T U D I O P R A C T I C E

C O U R S EO F F E R I N G S

“...art schools stand at the threshold of multidisciplinary art research and intradisciplinary art production – not as one more theoretical seminar or “multimedia” studio among stubbornly traditional course offerings, or one more state-of-the-arts degree, but as the next wave of cultural production. The artists of the twenty-first century may become in some sense Renaissance folk.”

Steven Henry Madoff, Art School (Propositions for the 21st Century)

Artists produce culture as an instrument of knowledge and learning. We invent ideas and expressions. We explore traditional methods and media as well as new technologies and hybrid art forms. We seek new tools and new materials and new ways to connect. Artists play a vital role in who we are, what we know, and how we create meaning.

MIAD faculty believe in the individuality in each of their students. Each student has a unique life experience and creative perspective from which to build strong artistic voices and solid artistic pursuits. Our goal is to foster graduates who are informed and compassionate global citizens. MIAD students locate themselves and their work in the context of contemporary art and creative cultural production, armed with the tools, knowledge and experience to pursue and reach their goals as creatives.

New Studio Practice is an experience steeped in contemporary practice and professional preparation. It is a program that prepares students to be successful 21st century artists who change the world through their thinking, their voice, and their work.

• SEMINARS:

• FINE ARTS CORE:

• STUDIO FOCUS:

Fine arts core is comprised of a steeped progression of courses designed to develop artistic and analytical vocabulary necessary to function in today’s contemporary art environment. These courses introduce students to critical foundational ideas and support learning throughout the program. They include Singularity + Multiplicity, Integration + Intersection and Standpoints + Circumstances.

Seminars are an opportunity to learn, together as a cohort, the professional practices and opportunities of and for fine artists working across the entire field of contemporary arts. Students focus on common experiences: building an e-portfolio; drafting proposals; conducting advising; learning how to construct themselves as practicing professionals; and embracing the role of artists engaged in the community.

Studio focus courses include Studio Principles, Open Studio, Approaches to Making and Multidisciplinary Thesis. Courses under these headings focus on learning the skills, tradition, tools and ideation unique to specific fields/disciplines of making, leading to advanced-level self-directed study in which students earn essential competency in making. These courses are the bedrock of successful interdisciplinary practice.

• THEORY:Theory coursework provides an introduction to the ideas, motivations and social contexts informing and commenting upon recent and current artistic practices.

ACADEMIC ADVISING:

New Studio Practice calls for students to participate thoughtfully and continually in a developmental advising process with their faculty based on their inquiry, their sense of professional pathways, and self-assessments. Students take responsibility for their curiosity and self-directed learning while continually identifying the questions and ideas guiding their thinking.

• PROFESSIONAL PREPARATION:In addition to the specific courses students take, New Studio Practice is comprised of four years of professional preparation, from annual participation in MIAD DEFINE and the It’s a Major Deal exhibitions, to the Professional Symposium and e-portfolio reviews by external artists and curators, to internships and developing a plan for continued growth after graduation. MIAD faculty ensure that students are prepared to enter the professional world well equipped with the skills and experiences for a rich, creative life and career.

• SELF-DIRECTED INQUIRY:At the start of each semester students craft their learning plans based on their questions and inquiry. At the end of every semester students complete self-assessments and demonstrate not only what they’ve learned but also what new directions, or depths, their inquiry will take next.

A L U M N I P R O F I L E S

B E A T A C H R Z A N O W S K A2 0 1 0 B F A I N T E G R A T E D S T U D I O A R T S , I L L U S T R A T I O N M I N O R

Over the past 40 years, MIAD’s fine arts programs have consistently excelled at educating artists who make their creative mark in the world as independent studio artists, instructors, arts advocates, critics, curators and more. Our alumni are selected for graduate study at recognized programs and universities including Rhode Island School of Design, Maryland Institute College of Art, Indiana University, School of the Art Institute of Chicago, University of Wisconsin-Madison, Washington University in St. Louis, Temple University, University of Chicago, Columbia College, and the University of Michigan among others. Furthermore, MIAD’s fine art alumni routinely place in the top tiers of the Mary L. Nohl Fellowship programs and are selected for prestigious residencies.

New Studio Practice not only promises to continue this tradition, but to enhance and expand the knowledge and reach of our students and alumni across the entire field of contemporary arts.

S t u d i o A r t i s t , N e w Y o r k , N e w Y o r k

My MIAD education constructed, deconstructed and reconstructed my journey to my professional career as an independent artist. I found that when I entered MIAD, I wanted great art in minutes. I lost the patience I used to have. I was making art at a speed I never had, but before I felt discouraged about a work, I was on to the next piece and the next piece. It was a great way to work past the failures and learn. By the time I graduated, I felt sure of my direction and was ready to go and face the real world.

From left to right: I Dream of Euphoria, oil, 2013; Island, acrylic, 2013; Diamonds, oil, 2013

D A N I E L L E R O S E N2 0 1 1 B F A I N T E G R A T E D S T U D I O A R T S , W R I T I N G M I N O RG r a d u a t e s t u d e n t , U n i v e r s i t y o f C h i c a g o , C h i c a g o , I l l i n o i s

My education at MIAD was integral to my development as an artist and thinker. MIAD’s fine arts program helped me to build a balanced practice that employs critical thinking skills and meticulous attention to craft. The generous faculty offered me ample time and provided continuous dialogue and support. That said, I was allowed enough freedom as an Integrated Studio Arts Major to structure a program for myself. This enabled me to manage my own research interests and time, a skill that is crucial to the sustainability of an artistic practice.

B O R I S O S T R E R O V2 0 0 8 B F A P A I N T I N G

S t u d i o A r t i s t / I n s t r u c t o r , C h i c a g o , I l l i n o i s

MIAD taught me to think critically and rigorously about the world and art, and exposed me to the possibilities of making. MIAD was very big on asking “why?” and looking back this challenged my assumptions about my art, and helped me understand my convictions and what I wanted to say in my work. MIAD inspired and nurtured possible ways I could express what I wanted to say visually. Understanding the lessons I learned at MIAD, and experiencing them in my practice, I am prepared to educate the next generation of artists.

2 0 1 3 M F A D R A W I N G + P A I N T I N G , S A I C

AN ENCYCLOPEDIA, photographic prints, chapbooks, sound works, and microfilm slides, 2011 – 2013

SHELF PAINTINGS, oil, 2013

E M I L Y J E A N U L L R I C H2 0 0 2 B F A P H O T O G R A P H Y, P R I N T M A K I N G M I N O RP r o f e s s i o n a l P h o t o g r a p h e r / S t u d i o M a n a g e r f o r A l e x i L u b o m i r s k i , N e w Y o r k , N e w Y o r k

At MIAD I had faculty that really had a huge impact on my life path as a photographer. They inspired me to believe in myself and push the limits as a creative. When I decided to move to New York City after graduation, they were in full support. MIAD taught me about showing my work as a fine artist in the real world.

A selection of photographic prints, 2014

J O R D A N W A R A K S A2 0 0 7 B F A S C U L P T U R EI n d e p e n d e n t s c u l p t o r , w o o d w o r k e r , d e s i g n e r a n d m u s i c i a n , M i l w a u k e e , W i s c o n s i n

MIAD’s exceptional facilities and insightful instructors allowed me the opportunity to learn many materials and processes. My education there illuminated and fostered an unknown passion for woodworking. This discovery has fulfilled many of my dreams and goals towards a life lived in the creative pursuit.

Selected works, wood, 2007 – 2014

F I N E A R T S G A L L E R Y

F A C U L T Y P R O F I L E S

Jason S. Yi works across multiple artistic disciplines: photography, video, sculpture, drawing, multimedia and interactive installations. A deep interest in culture, time and history are critical components to his research and work. Yi has been teaching Foundations and fine arts classes at MIAD since 1996. Prior to teaching, he worked as an architect for various architectural firms including Skidmore, Owings and Merrill in Washington, D.C. Yi has exhibited nationally and internationally in places such as New York, Philadelphia, Washington DC, Chicago, Los Angeles, Japan, China, Korea, Vietnam, Italy and Austria. His works are included in the permanent collections of the Milwaukee Art Museum, Kamiyama Museum of Art (Japan), Korean Cultural Center in Los Angeles and the Edward F. Albee Foundation in New York.

J A S O N S . Y I

JASON S. YI IS THE RECIPIENT OF NUMEROUS AWARDS, INCLUDING THE PRESTIGIOUS JOAN MITCHELL FOUNDATION 2014 PAINTERS & SCULPTORS GRANT, THE MARY L. NOHL FUND FELLOWSHIP IN THE ESTABLISHED ARTIST CATEGORY AND THE KAMIYAMA ARTIST IN RESIDENCE FELLOWSHIP SUPPORTED BY THE JAPAN FOUNDATION.

B A C H E L O R O F A R C H I T E C T U R E V I R I G I N A T E C HM F A U N I V E R S I T Y O F G E O R G I A - A T H E N S

learn more about MIAD’s fine arts faculty at miad.edu/faculty

Primarily a painter, Peter Barrickman’s work also spans film, performance, sculpture and installation. He works with images that refer to a limited circumstantial or emotional timeframe. Through repetition, change, assembly and destruction his work talks about positions of transition and simultaneity through a logic that’s informed by character acting, games and music.

The individual experiences of Barrickman’s students are important ingredients for making the classroom into a collaborative space. As a teacher, his role is to encourage an exploration of possibilities through research, practice and interaction with other people.

Barrickman’s work has been shown at numerous galleries and museums including Green Gallery, Milwaukee; Hyde Park Center for the Arts, Chicago; The Museum of Contemporary Art in Detroit; And/Or Gallery, Dallas; 47 Canal, New York; La Panaderia, Mexico City; Angstrom Gallery, Los Angeles; Karma International, Zurich; Tanzschuleprojects, Munich; Tate Modern, London; and Crisp Gallery, London.

P E T E R B A R R I C K M A N

PETER BARRICKMAN IS THE RECIPIENT OF TWO MARY L. NOHL FUND FELLOWSHIPS AS WELL AS A FELLOWSHIP AT SKOWHEGAN SCHOOL OF PAINTING AND SCULPTURE. HE WAS ARTIST IN RESIDENCE AT CENTRALTRAK IN DALLAS AND AT THE MILLAY COLONY IN AUSTERLITZ.

Kim Miller’s teaching philosophy is located within a critical pedagogy, in that she is interested in revealing and exploring a relationship among knowledge, authority and power. Questions around audience, evaluation and agency work to support or undermine these relationships, while also fueling inquiry into topics at hand.

Miller expects her students to become agents of their own subjectivity. She believes this approach closely aligns itself with MIAD’s mission to produce critical thinkers reaching towards their full potential. Critical distance and analysis are encouraged. The classroom is in some ways a democracy with a lively exchange of ideas and opinions; at other times, the role of the instructor becomes a moderator, director and executive.

As a video and performance artist Miller explores ideas around the subject, power and action. Employing forms borrowed from modern dance, theater, and public speaking, multiple forms of address and shifting subject articulations build and collapse. Mapping an intersection between public space and private, political and social, associative and didactic, Miller structures questions around a radical democratic model.

K I M M I L L E R

KIM MILLER HAS EXHIBITED VIDEOS, PERFORMED LIVE AND COMBINATIONS THEREOF ON NATIONAL TOURS AND INTERNATIONAL SHOWS, FROM CHINA TO MILWAUKEE. SHE HAS BEEN AWARDED THE MARY L. NOHL INDIVIDUAL ARTIST FELLOWSHIP, A PUFFIN FOUNDATION, LTD. GRANT, WAS ARTIST IN RESIDENCE AT COMPEUNG, DOI SAKET, THAILAND, AND ARTIST IN RESIDENCE AT LYNDEN SCULPTURE GARDEN.

B F A C O O P E R U N I O NM F A V E R M O N T C O L L E G E

B F A U N I V E R S I T Y O F W I S C O N S I N - M I L W A U K E EM F A B A R D C O L L E G E

Bob Smith is fascinated by the challenge of discovery. Whether that discovery is on an artistic level, on a personal level, or on an educational level, he finds it immensely engaging. Each person learns differently. Discovering the key to each person’s unique learning style drives his teaching.

Smith is a Professor of Photography at MIAD where he has been teaching for over 30 years. He practices as both a fine art photographer and a consultant to businesses using photography. His fine art projects have been widely exhibited both regionally and nationally including Benham Gallery, Seattle; Bucknell University, Lewisburg, Pennsylvania; the Haggerty Museum of Art, Milwaukee, Wisconsin; Hood Museum at Dartmouth College, Hanover, New Hampshire; Meridian House, Washington, D.C.; The Michael H. Lord Gallery, Milwaukee, Wisconsin; and the Milwaukee Art Museum. His work is included in the collection of the Milwaukee Art Museum as well as in numerous private collections.

B O B S M I T H

BOB SMITH IS THE RECIPIENT OF A WISCONSIN ARTS BOARD INDIVIDUAL ARTIST FELLOWSHIP GRANT.

B A H I S T O R Y / A R T H I S T O R Y W I L L I A M S C O L L E G EM S U R B A N E D U C A T I O N U N I V E R S I T Y O F W I S C O N S I N - M I L W A U K E E

Over the last 20 years, Rina Yoon has focused on non-traditional printmaking methods in her work. Yoon uses the printmaking process for its unique and visual characteristics, rather than producing multiple prints of the same image. Marks embedded into the paper by the pressure of the press, built up layers allowing time for reflection and meditation, and reconfigured multiple plates to change or alter images altogether are some of the processes and qualities she embraces in her large-scale prints, print installations, drawings, and mixed media works.

Yoon is currently represented by the Elaine Erickson Gallery, Milwaukee, Wisconsin and Seoshin Gallery, Jeonju, Korea. In 2013, she was co-chair of the annual SGCI conference, the nation’s largest association of professional printmakers.

R I N A Y O O N

RINA YOON IS THE RECIPIENT OF NUMEROUS MARY L. NOHL FUND SUITCASE EXPORT FUND AWARDS FOR INDIVIDUAL ARTISTS. SHE HAS ALSO RECEIVED RESIDENCY AWARDS AT THE CITE INTERNATIONALE, PARIS, FRANCE AND THE TAMARIND LITHOGRAPHY INSTITUTE IN NEW MEXICO, AND HAS PARTICIPATED IN THE FROGMAN PRESS SUMMER WORKSHOP IN VERMILLION, SOUTH DAKOTA.

B F A S O U T H E R N M E T H O D I S T U N I V E R S I T YM F A W A S H I N G T O N U N I V E R S I T Y I N S T . L O U I S

OFFICE OF ADMISSIONS MILWAUKEE INSTITUTE OF ART & DESIGN273 EAST ERIE STREET MILWAUKEE, WI 53202

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