Digital Collections at the University of the Arts

Home , 10 Years Hence, Glittering Images, Symphonica Tour

The Universit y of the Arts Non Profit Org 320 South Broad Street US Postage Philadelphia, PA 19102 p a i d www.UArts.edu Philadelphia, PA Permit No. 1103

t h e m a g a z i n e o f

The Universit y of the Arts edg e

e h t edge

e n i z a g a m

f o

T he U ie si niver t y

t he A r t s

r e t n i w w i n t e r 2013

2013 2013 o n . 9

Edge9_Cover_FINAL.crw4.indd 1 1/22/13 12:50 PM t h e

from p r e s i d e n t

A decade has passed since the publication In this issue of Edge, we examine the book’s of Richard Florida’s international bestseller theses and arguments a decade on, and The Rise of the Creative Class. This 10-year speak with a range of experts both on and of anniversary provides an opportunity to ex- the creative class, including Richard Florida amine the impact of that seminal work and himself. I think you will find their insights the accuracy of its predictions, some of them and perspectives quite interesting. bold. The book’s subtitle—“...And How It’s Transforming Work, Leisure, Community, Following on the theme of the power of and Everyday Life”—speaks to the profes- creatives, we also look at the creative econ- sor and urban-studies specialist’s vision of omy of the Philadelphia region and the far- the impact this creative sector can exert on reaching impact that University of the Arts virtually all aspects of our lives. alumni and faculty have on it. You will also find features on UArts students, alumni and Since its 2002 release, many of the ap- faculty who are forging innovative entrepre- proaches to urban regeneration proposed neurial paths of their own. ‘08

in Rise have been adopted in communities across the globe, and its author has become So please enjoy this issue of Edge. We wel- one of the most prominent consultants and come your thoughts on our lead story, and c h e n commentators on the economic and social on anything else in the magazine that inter- revitalization of cities. Close to home in ests you.

j a s o n Philadelphia, the mayor expanded the City’s Office of Arts and Culture to add “the Cre- ative Economy” to its title and its portfolio.

And while Rise has unquestionably had Warm regards, a major impact on the way cities on several continents have sought to renew their economies, and changed the way munici- pal governments view the creative assets in their communities, the reviews of Florida’s Sean T. Buffington theories and their results after a decade of President, the University of the Arts implementation and experimentation are not unanimous.

02 edge

UArts_EDGE9_Final_web.indd 2 1/22/13 1:02 PM Contents 06

‘The Rise of the Creative Class’ 10 Years After a l o o k b a c k — a n d a h e a d — a t a l a n d m a r k b o o k a n d i t s i m p a c t

12 ‘08

c h e n Moving the Region

Forward a l u m n i a n d f a c u l t y l e a d philadelphia s j a s o n ’ c r e a t i v e c o m m u n i t y

20 32 36 A Partnership Autism A New Paradigm Designed to Last Expressed for Emerging Artists

42 46 n e w s 22

Stitching Together Through the n e w s b r i e f s 26

a New Future Lens of Success f a c u l t y n o t e s 38 for Design a l u m n i e v e n t s 44

a l u m n i n o t e s 48

i n m e m o r i a m 63

f r o m t h e a r c h i v e s 66

UArts_EDGE9_Final_web.indd 3 1/22/13 1:02 PM S e a n T. B u f f i n g t o n p r e s i d e n t

L u c i ll e H u g h e s e d i t o r - i n - c h i e f v i c e p r e s i d e n t f o r advancement

P a u l F. H e a ly e d i t o r a s s o c i a t e v i c e p r e s i d e n t o f u n i v e r s i t y communications

E ly ss e R i c c i B FA ’ 0 8 a r t d i r e c t o r & d e s i g n e r

J a m e s M a u r e r p r o d u c t i o n m a n a g e r

D a n a R o dr i g u e z contributing e d i t o r

contributing contributing photographers w r i t e r s

J a r e d A n dr e w P a u l F. H e a ly J a s o n C h e n B FA ’ 0 8 S a r a M a c D o n a ld S h a n n o n C o ll i n s P h o e b e R e s n i c k C hr i s D a w s o n D a n a R o dr i g u e z H a r v e y F i n k l e J u l i a n a R o s a t i J a i m e H o g g e J o a n n a S u n g C hr i st y P e ss a g n o L a u r e n V i ll a n u e v a S e th S m o o t M i r a Z e r g a n i M a r c u s Y a m

c o v e r i m a g e M a tt R . P h i ll i ps B FA ’ 1 0 o f a n e l e va t o r , 2 0 1 0

p o s t m a s t e r : s e n d a d d r e s s c h a n g e s t o edge c/o University Communications, the University of the Arts, 320 S. Broad St., Philadelphia, PA 19102

edge, Volume 1, Number 9 Edge is the magazine of the University of the Arts. Readers are encouraged to submit ideas for original articles about University students, faculty and alumni; advancements in arts and arts education; and visual, performing and media arts. The submission of artwork for reproduction is also encouraged. Please include contact information when submitting art. Unless requested, artwork will not be returned.

Please send all comments, kudos and criticisms to edge c/o University Communications, Letters to the Editor, 320 South Broad Street, Philadelphia, PA 19102; or e-mail [email protected].

UArts_EDGE9_Final_web.indd 4 1/22/13 1:02 PM UArts_EDGE9_Final_web.indd 5 1/22/13 1:02 PM c h r i s t y p e s s a g n o f e a t u r e d a w s o n

c h r i s ‘The Rise of the Creative Class’ 10 Years After

a l o o k b a c k — a n d a h e a d — a t a l a n d m a r k b o o k a n d i t s i m p a c t

In 2002, a book by a professor of regional economic development at Carnegie Mellon University proposed an innovative idea: cities that attract, support and encourage what it termed the “Creative Class” have a much better chance of turning their ailing economies around than those that don’t. Already the dominant economic group, the book argued, this class was likely to continue to grow in size and importance as what it produces—ideas, information, technology—becomes an ever larger part of the nation’s economy.

06 edge

UArts_EDGE9_Final_web.indd 6 1/22/13 1:02 PM f e a t u r e

A decade after The Rise of the Creative Class hit the bestseller lists it and 80s thrived almost exclusively in vast suburban complexes— continues to have an impact. Its author, Richard Florida, now direc- ‘nerdistans’—in places like Silicon Valley, Research Triangle and tor of the Martin Prosperity Institute and professor of Business and along Boston’s Route 128 corridor, has taken on a distinctly urban Creativity at the University of Toronto’s Rotman School of Man- cast—in New York’s Silicon Alley, London’s Silicon Roundabout, agement, has become one of the world’s most sought-after experts LA’s Silicon Beach, Seattle’s South Lake Union District and in San on economic competitiveness, demographic trends, and cultural and Francisco,” he says. technological innovation. The theories in The Rise of the Creative Class have been implemented in cities ranging from San Diego to c h a n g i n g t h e g a m e Seoul, Denver to Dublin, and Brisbane to Barcelona. Gary Steuer, head of the City of Philadelphia’s Office of Arts, Cul- ture and the Creative Economy, cites The Rise of the Creative Class “The Creative Class, which comprised less than 10 percent of the for “legitimizing the idea of a creative economy. The institution- workforce in the late 19th century and no more than 15 percent al arts sector had become mired in the perception of the sector as for much of the 20th, began to surge in the 1980s,” according to simply one of nonprofit arts organizations,” he says. “But Florida Florida. “Since that time, more than 20 million new Creative Class was right that it’s a larger ecosystem—entrepreneurial creative busi- jobs were created in the United States. This epoch-defining class now nesses often share the same customer base and workforce with the numbers more than 40 million workers…and it generates more than traditional organizations. It’s a much larger economic sector than $2 trillion in wages and salaries—more than two-thirds of the total was previously perceived.” U.S. payroll.” Florida estimates that the Creative Class accounts for nearly 30 percent of the workforce, comprising artists, musicians, Christopher Sharrock, dean of UArts’ College of Art, Media & De- technology workers, doctors, lawyers, engineers, entrepreneurs, and sign (CAMD) believes that Florida’s definition of “creative” jobs was what he calls “high bohemians.” too broad. “In the U.K., much was made of the economic contribution of the creative economy, but its definition included just about everyone,” he says. “It also failed to discriminate between the likes “ Creativity has come to of Sir Terence Conran, the Saatchis and James Dyson—who make millions—and the vast majority of the workers in the creative econo- be valued because new my, often freelance, who make very little. ‘Creative’ and ‘creativity’ are overused words and often used incorrectly, as ‘designer’ was in technologies, new industries, the 1980s. This is not helpful to us who are nurturing a generation new wealth and all other of creative people.” good economic things l i e s , d a m n e d l i e s a n d s t a t i s t i c s A recent study by the Greater Philadelphia Cultural Alliance found flow from it.” the nonprofit arts sector to have a $3.3 billion dollar annual impact on the region, generating nearly $170 million in state and local taxes each year and supporting 44,000 jobs within the city and its four In The Rise of the Creative Class, Florida’s argument was an os- suburban Pennsylvania counties. tensibly simple one: “Creativity has come to be valued because new technologies, new industries, new wealth and all other good eco- Nationally, the organization Americans for the Arts (AFA) released nomic things flow from it.’’ He maintained—with reams of data as “Arts & Economic Prosperity IV” in May 2012, a broad study of backup—that the Creative Class fosters an open, dynamic, personal America’s nonprofit arts and culture industry. The research found and professional urban environment, which, in turn, attracts more that the industry generates $135.2 billion in economic activity every creative people, as well as businesses and capital. year—$61.1 billion in spending by organizations and $74.1 billion in event-related spending by audiences. The industry supports 4.1 Edge asked Florida to analyze the changes, achievements and misses million jobs and generates $22.3 billion in government revenue, ac- during the decade since Rise appeared, and his confidence in the cording to AFA. “creative economy” hasn’t wavered. “I have long maintained that communities that invest massive sums of public money in mega- But Steuer argues that the picture painted by such studies is incom- projects like sports arenas, convention centers and arts centers are plete (since it only measures nonprofit arts activity). “Those num- making a big mistake if they expect them to translate seamlessly bers aren’t a measure of the creative economy at all,” he says. “As a into economic growth. The same goes for cities that build amenities result, the employment numbers you see for the creative sector are to attract high-human-capital young people without also fostering actually deceptively low.” business-friendly infrastructure like incubator and coworking space, start-up technical support and the like.” So he decided that Philadelphia needed to engage in some “creative vitality” research, based on the Creative Vitality Index, a national And he says that, even in the face of the economic crisis that struck data set similar to a consumer confidence index, which measures in 2007, cities have continued to boom, in large part due to the Cre- nonprofit arts activity, nonprofit-related arts activity, for-profit ative Class living and working there. “Even tech, which in the 70s creative activity and creative employment. “Philadelphia came out

UArts_EDGE9_Final_web.indd 7 1/22/13 1:02 PM f e a t u r e

with a Creative Vitality Index of 1.7 on a scale in which the average critical to the success of the University of the Arts’ mission, accord- score is 1, which is 70 percent higher than the national index,” says ing to K W i ll i a m s , dean of the College of Performing Arts (CPA). Steuer. “We also did a data scan on occupation codes and standard “The University recognizes that we must continue forward motion individual classification codes to try to get a more accurate picture and progressive evolution in training our next generations of leaders, of creative-economy employment in the city.” The study identified entrepreneurs and innovators,” says Williams. 50,000 creative sector jobs in Philadelphia, a growth of more than 6 percent over the past decade, even as the number of jobs in the city To do that, she says that administrators, faculty and staff need to be declined overall. both like-minded and fully committed to helping develop students to thrive in the creative economy—a dramatically different economic Florida echoes Steuer’s picture of the resilience of the creative sector and social environment than that facing previous generations of as a workforce in the face of the economic tsunami that hit glob- young artists. ally in 2007. “The Creative Class weathered the crisis spectacularly well—unemployment in its ranks never According to Williams, that means being open to— surpassed 5 percent and it continued to add jobs,” he even enthusiastic about—exploring new approaches tells Edge. and methods for preparing those students for a creative life after UArts. “We all must be strong enough a l l o f t h e ingredients b u t n o s o u p to ‘get with the program’ for the ultimate good of the student, which is our primary reason for existence.” N e i l K l e i n m a n , senior fellow of the University of the Arts’ Corzo Center for the Creative Economy, In fact, the University began this past year to imple- agrees with Florida on the impact of the economic ment an innovative new approach to educating artists crisis on the sector. “There’s great energy and inno- and designers that takes into account the changing vative thinking in the entrepreneurial and technol- landscape of the creative economy. In the plan’s vi- ogy communities,” Kleinman says. “And that’s born sion statement, it foresees UArts graduates being in large part from necessity, from scarcity—creative highly trained and highly adaptable, “masters of solutions driven by the lack of sufficient resources. their disciplines, and consummate professionals who Creative people are driven to create, whether they’re can communicate and collaborate effectively with compensated or not: without resources, they’ll still other kinds of creative people and professionals. In find a way.” the future we imagine for them, our graduates will take on roles of leadership and innovation. They will But that doesn’t mean he believes that’s an ideal para- be prepared to live and work in a world in which art, creativity and digm. “A lot of the nonprofit arts and culture institutions that are imagination are the engines for social and economic change.” dependent on traditional government funding find themselves with far fewer of those dollars,” he says, “And unlike technology start- And UArts’ CAMD D e a n S h a rr o c k believes that it’s imperative ups that attract investment with the hope of profits, they can be left that the University—and all creatively-focused organizations—con- to rot. Some of the large nonprofits are often considered ‘too big tinue “to make a convincing case, and not simply a PR campaign, for to fail,’ and they suck out creative venture money that could go to the role that creativity does play in everyone’s lives, and therefore smaller, more nimble, exciting startups.” make people aware that they have the potential to be creative,” he says. And Kleinman believes that too many cities have interpreted Flori- da’s approach to mean that by simply assembling the various pieces of a creative economy, one will appear almost magically. “These b r i n g i n g t h e a r t i s t i n t o t h e c e n t e r o f t h i n g s are only ingredients, and too many places think if they have the Mark Campbell is envisioning how talented artists in the more tradi- right mix of them they’ll have the soup. It doesn’t work that way. tional fine-arts disciplines can best position themselves to thrive in Too many cities pat themselves on the back because the elements this brave new world. The interim director of the University’s School are present, rather than creating an economic framework that can of Art says there are growing pressures to “expand what it means actually make things work. Meanwhile, their economies have gone to monetize an arts education and what it means to be an artist in south, with a heavy impact on creative businesses, especially emerg- the world. And that’s a very new thing. Just bringing up the word ing ones.” ‘monetize’ can be uncomfortable for some artists.

Florida rejects that criticism. “Creative placemaking is an impor- “Thinking in economic terms, the art world is developing a more tant advance and should not be trivialized,” Florida says. “It’s easy complex ecology,” he says. “I think it is fair to say that the entrepre- to create straw men and poke fun at them,” he says. “What I have neurial model is relevant to the contemporary artist. And interesting said is that places that are open to new ideas and new people get an things are happening, such as cloud funding that enables artists to additional economic advantage to those that come from technology pursue capital support through different channels and more infor- and talent.” mal sources, but it will take some time and more experimentation before we know what is viable and what is not. I suppose we could y o u n g c r e a t i v e s i n a b r a v e n e w w o r l d have anticipated this, but there are issues of accountability with things like cloud funding. Developing artists and designers who will create those new ideas is

UArts_EDGE9_Final_web.indd 8 1/22/13 1:02 PM f e a t u r e ‘08

c h e n

j a s o n

“And while pop-up galleries and co-ops may be able to carry artists “It doesn’t have to be this way,” he continues, “but to change it, we through this initial economic phase, many are operating with smoke desperately need a new social compact—one that will expand par- and mirrors,” according to Campbell, “and eventually will need to ticipation in the creative economy to industrial and service workers transition to something more sustainable or they will disappear.” by leveraging new investment—both public and private—in human infrastructure.” Campbell says some of the more traditional arts disciplines—such as crafts and photography—have a long history of both studio and ap- CPA Dean Williams sees such change emerging slowly. “I’m not so plied models, and the School of Art is looking hard at new curricular certain that we’ll be looking back at the creative economy and the paradigms that honor studio art practice while also “bringing the Creative Class 10 years hence, but rather still looking from the mid- artist into the center of things socially and economically,” he says. dle of the cultural shift,” she says. “Having only been 10 years since “The artist as outsider, as social critic, still holds power, but younger the concept had a ‘coining’ in Richard Florida’s book, I would sug- artists are looking now for alternative ways to shape culture from a gest a comparison to Rachel Carson’s Silent Spring and the timeline solutions-based approach. In that sense, we’re looking to the world of conservation and global non-self-destruction that we still have of design. And this is coming from me, a 60-year-old trained in the not fully realized.” old ways. This really is a transitional moment.” In the long run, Florida believes the Creative Class will be the driv- c h a n g e w i t h n o l i m i t s ing force in economic and cultural life for a very long time to come. “Most people aren’t wealthy or powerful, but all human beings are On that point, Florida is in strong agreement. He says that politi- creative,” he says. “The great challenge will be to unleash the cre- cians, pundits and planners have yet to recognize the systemic na- ativity of every single human being. I don’t think this will happen in ture of the changes in our economy and society. “The old Fordist the next 10 years, but when it does, the sky will be the limit.” economic order is gone—and as vibrant as the creative economy is, its rewards are very unevenly distributed. The majority of Ameri- cans now work in dead-end service jobs; for far too many of us, the American Dream is dead.

// Above: Professor M a r k C a m pb e ll and his Sculpture 1 class critiquing student work for project: The Body and Relational Form edge 09

UArts_EDGE9_Final_web.indd 9 1/22/13 1:02 PM f e a t u r e

Florida on Philadelphia

Dr. Richard Florida, the scholar and author of The Rise of the Creative Class, takes a look at the City of Brotherly Love.

I’ve long been a fan of Philadelphia. As for the distressed state of the Phila- R i c h a rd F l o r i d a , P h .D. , is a pro- I grew up in New Jersey and went to delphia Symphony Orchestra and some fessor at the University of Toronto and Rutgers. A lot of my friends came from of its other flagship cultural institutions, at New York University, and a senior the greater Philadelphia metro area, so I this is a phenomenon I wrote about in editor at The Atlantic magazine. witnessed the city’s transformation first- the first edition of Rise; the trend has hand from the late 1970s on. Philadel- been apparent for a while. The Creative phia had an incredible music scene back Class has a highly developed aesthetic then—not just Philadelphia Soul (the sense, but its members aren’t generally songwriters Gamble & Huff, the O’Jays, drawn to big institutional venues like the the Delphonics and Hall & Oates, among traditional symphony, opera and ballet, many others), but rock & roll’s Todd which I called the SOBs. The culture they Rundgren. gravitate toward is more street-level and organic—pop-up galleries, clubs, lofts The Philadelphia area has nearly a million and other scenes. Museums and orches- Creative Class workers today—904,360 tras are big, hierarchical organizations, of them—more than a third of its work- much like the big corporations (or the force. It ranks 50th out of 331 metros charitable trusts that their founders cre- for our composite Creative Index, which ated) that are their most important un- is based on our 3Ts of economic devel- derwriters. The Creative Class, for bet- opment: Technology, Talent and Toler- ter or for worse, is more individualistic. ance. Philadelphia has lost some 25,000 These high-culture institutions have to Creative Class workers since the first edi- adapt if they want to thrive. tion of Rise came out, but the region as a whole has lost population too. Philadel- phia’s Creative Class share (34.6 percent) is actually higher today than it was back then (32.4 percent).

10 edge

UArts_EDGE9_Final_web.indd 10 1/22/13 1:02 PM f e a t u r e h o g g e

j a i m e

// Above: Scholar and author R i c h a rd F l o r i d a 11

UArts_EDGE9_Final_web.indd 11 1/22/13 1:02 PM f e a t u r e d a w s o n

c h r i s Moving the Region Forward

a l u m n i a n d f a c u l t y l e a d philadelphia ’ s c r e a t i v e c o m m u n i t y

Today, 10 years after Richard Florida first identified creativity as a driving force of the economy, University of the Arts alumni and faculty continue to lead the Philadelphia region’s creative community. In dynamic roles that connect the arts and business, cross traditional boundaries and break new ground, these leaders are fueling the city’s vibrant arts scene, enhancing the local community and environment, developing citizens’ creative capabilities through education, fostering diversity and more. Through their pioneering work, they not only advance many of the priorities Florida identified in his best-selling book The Rise of the Creative Class, they also place the University at the heart and soul of the region’s creative community.

12 // Above: Philadelphia’s innovative coworking space Independents Hall, co-founded by G e o f f D i M a s i ’ 9 7

UArts_EDGE9_Final_web.indd 12 1/22/13 1:02 PM f e a t u r e

b r i d g i n g t h e g a p An industrial designer for 16 years before taking on her cur- A thriving creative economy depends on strong links between rent roles, Copeland credits her UArts training with preparing the arts and business worlds. Members of the UArts commu- her for the business world. “I love collaboration and I love nity are playing key roles in cultivating those connections in change and I always have, and I think that that’s part of my the Philadelphia region. training as an industrial designer—that I had learned how to do that very early on, to be an observer of people and how As executive director of the Arts and Business Council of they work together,” says Copeland, who in her previous ca- Greater Philadelphia, K a r i n C o p e l a n d B S ’ 8 3 ( I n d u s - reer worked with teams to design everything from furniture to tr i a l D e s i g n ) brings together professionals in the arts, bicycles to cosmetics. business, law and technology through events and volunteer- matching, playing a unique role in the region. a r t i s t s a s entrepreneurs “We’re the only arts organization that is directly connected While Copeland connects the arts and business communities to the business community,” says Copeland, who is also vice throughout the region, UArts P rofessor N e i l K l e i n m a n president of strategic alliances for the Greater Philadelphia is enhancing the University’s ties to those communities. As Chamber of Commerce, of which the Council is an affiliate. managing senior fellow of the University’s Corzo Center for “We’re looking to strengthen the creative sector, including the Creative Economy, Kleinman works to equip students, arts, culture and the for-profit creative businesses.” alumni and regional artists with economic savvy.

Operating throughout the 11-county Greater Philadelphia “The Corzo Center starts as a way to help students and alums region, the Council places business and legal volunteers with in the University become more in control of their economic arts and cultural organizations to serve as consultants and futures,” says Kleinman. He notes that increasingly, the Cen- board members. “We feel that by volunteering with an arts ter’s mission has also reached beyond University members “to and culture organization, professionals are exposed to cre- provide the same kind of resource to the larger creative com- ativity, innovation and collaboration,” Copeland says. munity.”

The Center’s programming, launched in 2010, includes a lecture and workshop series on entrepreneurial topics, a “ We feel that by volunteering six-Saturday entrepreneur boot camp, and free one-on-one business advising from a slate of local professionals. Many of with an arts and culture these opportunities are open to the public. Through pre-seed organization, professionals grants of up to $10,000, the Corzo Center Creative Incubator/ Wells Fargo Fellowship Program provides funding each year to are exposed to creativity, UArts seniors, graduate students and alumni to develop new ideas, launch creative businesses and establish social enterprises. innovation and collaboration.” The Center also co-sponsors events by outside organizations relevant to its mission, waiving rental fees for the University’s The Council also trains business professionals and arts man- facilities in exchange for free or discounted admission for stu- agers in nonprofit board governance, partners with tech- dents and faculty. Thanks to a $120,000 grant from the John nology professionals to offer resources to arts and cultural S. and James L. Knight Foundation in the spring of 2012, the organizations, and provides networking and enrichment Center is set to expand its offerings. events for arts and business professionals. A recent sold-out workshop at the Barnes Foundation featured bestselling au- The programs aim to help students and alumni explore ways thor Dan Roam, who taught attendees how to combine their of developing their talents into sustainable businesses, wheth- verbal and visual minds in order to think and learn more er within their fields of study or beyond. Another aim is to quickly. Council events have also featured UArts P resident position the University of the Arts as an important partner S e a n T. B u f f i n g t o n , who serves on the organization’s in the future development of the city and its economy. “I re- advisory board. ally believe that a university like ours has to be seen as an extraordinarily important resource to the larger community,” According to Copeland, the Council’s efforts to foster collabo- Kleinman says. ration between the arts and business worlds are particularly welcome today as organizations strive to do more with less His belief in the importance of empowering artists with due to the global economic downturn. “There have been more business knowledge grows out of a teaching career that has and more collaborative work environments with organizations spanned law, literature, writing, technology, graphic and in- that historically had never done that,” she says. During the dustrial design, the digital economy and marketing, as well 2011 fiscal year, the Council served more than 600 arts and as a longtime commitment to bringing together people from cultural organizations and individual artists. different disciplines.

edge 13

UArts_EDGE9_Final_web.indd 13 1/22/13 1:02 PM f e a t u r e

“Many of us believe that being a creative is not necessarily to When DiMasi co-founded Independents Hall—better known do what you were trained to do,” Kleinman says. “The pur- as Indy Hall—with Alex Hillman, purpose again came to the pose of educating our students should be to empower them forefront. “We didn’t focus on the desks and the logistics of and give them that sense of possibility.” the physical space,” says DiMasi. “We said, ‘We want to put Philadelphia on the map,’ so that meant we wanted people to f u e l i n g c u l t u r e a n d c o m m u n i t y realize that something was happening here in Philadelphia, something bigger was happening, and we’ve achieved that.” A strong creative economy arises not only from interconnect- ed arts and business worlds, but also from a vibrant culture Made up of freelancers in a range of creative fields who and community. Applying their talents to originate innovative pay for membership to work together in a 4,400-square- new enterprises, UArts graduates are shaping Philadelphia’s foot loft, Indy Hall has become known for its emphasis on identity, generating the kind of energy and activity that spurs openness, collaboration, community, sustainability and economic growth. accessibility. In 2012, the Arts and Business Council awarded G e o f f D i M a s i m f a ’ 9 7 Indy Hall the Creative Econ- (B o o k A rts /P r i n t m a k - omy Award for Distinction in i n g ) , who taught for more a For-Profit Creative Field, than six years in the Univer- recognizing the venture as sity’s Multimedia department, “the first company of its kind admits he initially had no in Philadelphia and emer- intention of staying in Phila- gent as a national model for delphia beyond his time at co-working.” DiMasi notes, UArts. But the love he soon “If you go to any co-working felt for the city propelled him space anywhere in the world to put down roots and initi- and you say you’re from Indy ate a host of business and Hall, people know what you community efforts—found- mean.” That phenomenon in ing web design agency P’unk turn has increased awareness Avenue and collaborating of Philadelphia among people with its neighbors to form the in creative fields. “There’s this Passyunk Square Civic Asso- great ripple effect,” DiMasi ciation (PSCA); co-founding reports. “When we’re at con- Independents Hall, the city’s ferences, Alex and I, people first co-working space; co- are excited to meet us, and founding community lecture they’re excited about what’s forum Ignite Philly; and more. happening in Philadelphia.”

“I started to understand what it meant to be a citizen and what it meant to be part of a community when I moved to c o n n e c t i n g t h r o u g h c o m e d y Philadelphia,” says DiMasi, whose P’unk Avenue bio describes Another graduate whose work sets a national standard while him as an “all-around community rabble-rouser.” He points building the region’s culture and community is former UArts to his experience revitalizing the Passyunk Square neighbor- faculty member J e n C h i lds B f a ’ 9 0 ( T h e a t e r ) . As hood through the PSCA and its success building community founder and artistic director of 1812 Productions—the only through large-scale volunteer tree plantings as an early in- professional theater in the country dedicated to comedy— spiration that taught him the power of purposeful action. “I Childs offers laughter as a powerful connective force, cre- think in Philadelphia, you just realize at some point, if you ating a sense of community where differences and divisions want something to happen, if you care about something, then might otherwise prevail. The company’s most popular show, you just get involved,” he says. “This Is The Week That Is,” annually offers political humor in a format described as “a stylistic marriage between ‘The Carol DiMasi has sought to bring that sense of purpose to his sub- Burnett Show’ and ‘The Daily Show with Jon Stewart.’” sequent endeavors. “Where we are matters,” he says of P’unk Avenue, which derives its name from its East Passyunk Avenue “There is nothing else like it in the city,” says Childs. While location and tends to focus on web projects involving urban- election season may bring contentiousness and division, the ism, wellness and knowledge creation. “People move to the show offers something else—an occasion, in Childs’s words, neighborhood to be near it, to be part of it, to sort of experi- “where 200 people sit together and it doesn’t matter what po- ence that whole life of what it means to care about things in litical party you are, you’re laughing about the same thing.” that way.”

14 // Above: G e o f f D i M a s i ’ 9 7

UArts_EDGE9_Final_web.indd 14 1/22/13 1:02 PM f e a t u r e

The company’s brochures often highlight this comedic mis- Now one of the established and respected figures in the Phila- sion through images of two audience members, who are very delphia theater community, O’Brien gives credit to her advi- clearly from different walks of life, but who are nonetheless sor at UArts—none other than 1812 Production’s Jen Childs. caught in very similar fits of laughter. It’s a sight Childs saw “I transferred in to UArts and wanted to focus on directing,” firsthand one night while sitting in 1812’s audience. “In the says O’Brien. “Jen was very supportive and she helped me front row, there was a 20-year-old kid with a mohawk sitting tailor my education to suit my needs after graduation. She next to this probably 90-year-old lady,” Childs recalls. “They helped me learn how to fight for what I want. were both laughing hysterically and I thought, ‘For me, that’s what comedy is about.’ In times of division, it’s something that “A lot of the teachers at UArts are well-known working pro- unites us and it’s a place of common ground.” fessionals, and their recommendations held a lot more weight when I was going for jobs. UArts is really connected to the That belief in comedy prompted Childs to found the compa- community and it’s a great thing.” ny in 1997 with longtime friend P e t e r P r y o r B f a ’ 9 0 (T h e a t e r ) , who has since moved on to another company. O’Brien says that sometimes she’s taken aback by an award At that time, according to Childs, Philadelphia was not an or by praise that cites 11th Hour as one of the city’s leading obvious place to stay after graduation. Due to the transfor- theater lights. “It takes someone else to bring home whatever mation of the city’s arts scene level of status we may have attained in through companies like 1812, the theater community,” she says. “We which in 2010 was one of only 10 still see ourselves as ‘the little company theaters in the country to receive a that could.’ The root of what 11th Hour National Theatre Company grant is about never changes—it’s always from the American Theatre Wing, about challenging ourselves and others, Philadelphia today is a very differ- about where the next best thing we cre- ent place. ate is going to come from.”

“The community has kind of ex- The economic downturn has created ploded,” says Childs. “Companies another kind of challenge for 11th Hour,

can really pick holes and prosper. g a r v i n as it has for all theater companies. “A lot There’s an audience that’s inter- of companies that were starting to flour- ested not just in the traditional ish got hit by drops in funding,” O’Brien theater, but in trying things that m a r k says. “It forces you to make certain deci- are new.” Part of that shift, Childs sions, such as choosing a more commer- explains, involved mentoring be- cial show to give you enough ticket sales tween theater companies. The Walnut Street Theatre fostered to ride through to the next season. You want to stick with your the Arden Theatre Company, which in turn fostered 1812. artistic integrity, and it forces you to be creative, to grow and Today, 1812 offers similar support to newcomers in the the- push yourself. Limitations can also be a blessing.” ater community. And she does her best to pay those blessings forward. “I think p i c k i n g u p t h e t o r c h a n d r u n n i n g we have certain obligations to young artists, to give back, to recognize and encourage up-and-coming talent,” she says. Less than a decade ago, one of those novitiates to professional “I think we’ve had one or more UArts students or young alum- theater was M e g a n N i c o l e O ’B r i e n B f a ’ 0 5 ( A p - ni in every 11th Hour production. It’s great to see young art- pl i e d T h e a t e r A rts ) . Today, the co-founder and resident ists making some sort of stamp. director of the acclaimed 11th Hour Theatre Company is one of the “next wave” of leaders in the Philadelphia theater scene, “The Philadelphia theater community is so special,” she adds. with three Barrymore Award nominations (the top theater “Everybody really respects each other, and they respect and honor in the region), boatloads of rave reviews, and newcom- accept it when you think of new ways to do things. I don’t ers in turn seeking her out for advice and assistance. know if we could have done what we’ve done with 11th Hour anywhere else.” Since co-founding 11th Hour with her brother and a friend while she was still a senior at UArts, O’Brien has seen the company and its reputation grow by leaps and bounds. Since its inception, 11th Hour’s productions have taken home six Barrymore Awards and garnered 30 nominations.

“We had a baptism by fire in producing our first show,” O’Brien says. “None of us had done this before. I remember that a lot of friends and family came. But it was exciting. There wasn’t much small, intimate musical theater being done at that time.”

// Above: Tony Braithwaite and J e n C h i lds ’ 9 7 edge 15 in ‘Let’s Pretend We’re Famous’

UArts_EDGE9_Final_web.indd 15 1/22/13 1:02 PM f e a t u r e

Change &

Challenge t h e c r e a t i v e e c o n o m y a d e c a d e l a t e r

Gary Steuer, the head of the City of Phila- delphia’s Office of Arts, Culture and the Creative Economy, talks to Edge about where we are and where we’re headed.

o n t h e c r e a t i v e together. Examples include organiza- the creative economy. It has challenged e c o n o m y ’ s b r o a d r e a c h tions such as TedX, NextFab and Code many businesses, and often larger orga- for America. It’s a bubbling cauldron nizations are impacted more than smaller a n d b l u r r e d l i n e s : that mixes things up, and it’s exciting for ones that tend to be more nimble and In the creative economy today, the lines Philadelphia’s future. responsive. between nonprofit and for-profit arts and cultural experiences are blurred to the Unfortunately, one of the challenges The Millennial generation of creatives point of near-invisibility. created by The Rise of the Creative Class isn’t looking to their future with big, and the concept of a creative economy is overblown ideas—they’re creative and You don’t say ‘Let’s go out and have that it can be—and has been—latched entrepreneurial, establishing artisanal a nonprofit music experience.’ You might onto as a panacea by any town, city or businesses. They don’t look to outsource go to the Kimmel Center, a nonprofit county in the country. In some of these work, they want to make things locally. venue, to see an artist, or that same art- places it makes great sense, as when the ist might be playing at the Tin Angel, creative sector is a core asset, as it is in We’re in an important transitional a for-profit venue. Or Live Nation could Philadelphia. But in other communities moment right now with legacy institu- be producing an event at the Kimmel that don’t have that kind of structure, the tions struggling and smaller businesses Center. process can end up with disappointment. establishing themselves. As I said, it’s bubbling up, it’s entrepreneurial and ex- g r o w t h o f t h e n e c e s s i t y a s t h e citing—it’s almost a new model. c r e a t i v e s e c t o r : m o t h e r o f e v o l u t i o n : Here in Philadelphia, there is an incred- Another major challenge faced by the ibly near-seamless intersection of arts, creative sector is obviously the economy. science, technology and civic transforma- But I see this economic downturn as tion, and these areas are eager to work part of a sea change in the structure of

16 edge

UArts_EDGE9_Final_web.indd 16 1/22/13 1:02 PM UArts_EDGE9_Final_web.indd 17 // Above: Chief Cultural Officer of the City of Philadelphia, Philadelphia, of City the of Officer Cultural Chief Above: s h a n n o n c o l l i n s G a r y S t e u e r , at Philadelphia’s Magic Gardens. Magic Philadelphia’s , at e r u t a e f 1/22/13 1:02 PM a l u m n i w o r k

UArts_EDGE9_Final_web.indd 18 1/22/13 1:02 PM m a d a m a b u t t e r f l y Andy Rementer ’ 0 4

B F A ( G r a p h i c D e s i g n )

edge 19

UArts_EDGE9_Final_web.indd 19 1/22/13 1:02 PM s m o o t

s e t h

UArts_EDGE9_Final_web.indd 20 1/22/13 1:02 PM s p o t l i g h t A Partnership Designed to Last

k e n c a r b o n e B FA ’ 7 3 l e s l i e s m o l a n B FA ’ 7 5

How do two talented, creative, ambitious people partner together professionally day in and day out for 35 exceptionally successful years and live to tell the tale?

“Trust and aligned ambition, shared values and life focus.”

That’s the recipe, according to K e n C a rb o n e B f a ’ 7 3 ( G r a ph i c D e s i g n ) , who with L e sl i e S m o l a n B f a ’ 7 5 ( G r a ph i c D e s i g n ) , are partners in the leading international design and branding firm Carbone Smolan Agency. And it’s worked: their client list includes such international brands and cultural icons as the Louvre Museum, Christie’s, W Hotels, Sesame Workshop, Herman Miller, San Francisco International Airport and the Chicago Symphony Orchestra. They’ve won just about every major design and branding award there is to win. And how they’ve done all of that is the subject of their new book Dialog: What Makes a Great Design Partnership (Pointed Leaf Press).

The book pays tribute to their partnership and provides a fascinating catalog of their huge branding portfolio—35 of the agency’s most celebrated design projects are highlighted, illustrating the power of their collaborative process.

“Our partnership is based on our mutual love of art and design, combined with our trust in each other’s diverse perspectives,” says Smolan.

Carbone describes Smolan as “all about nuance and detail; she’s deliberate and deep, while I’m about fast— I’m not patient, I like the momentum of moving ahead quickly. The combination minimizes redundancies.”

“And again, trust is key,” adds Smolan. “The creative friction gives us the opportunity to argue out different ideas and perspectives; we egg each other on and play off each other. Eventually one of us takes the ball and runs with it, because if we both run with it, we’ll run into each other. We call our model ‘being in violent agreement.’”

Dialog is divided into four sections—Fame, Fortune, Fun and Freedom—each with samples of their work and commentary about each project and how they collaborated to accomplish it. Fame and fortune they have certainly found, and fun as well, according to Smolan, pointing to graphic design work they did for the iconic glass pyramid entrance to the Louvre.

“Standing where the pyramid would be with (architect) I.M. Pei’s staff, I thought, ‘There’s nothing here now, but eventually millions of people will be here.’ And I’ve been flown by helicopter onto exotic, deserted islands where new hotels would stand. We’ve gotten to work for the White House and for the Dalai Lama.”

Smolan says when she was at UArts, she thought she’d be a fine artist or illustrator, but someone suggested graphic design would best fulfill the promise of her talent. In hindsight, that shift could be termed—with considerable understatement—a good decision.

“After 35 years, we have the freedom to choose what we want to do,” says Carbone. “And if the day comes when it doesn’t work for us, we can shut it down, say we accomplished something and declare victory.”

// Top left: K e n C a rb o n e ’ 7 3 Bottom left: L e sl i e S m o l a n ’ 7 5 edge 21

UArts_EDGE9_Final_web.indd 21 1/22/13 1:02 PM n e w s

Glittering

Images a q & a w i t h u n i v e r s i t y p r o f e s s o r o f h u m a n i t i e s a n d m e d i a s t u d i e s c a m i l l e p a g l i a a b o u t h e r provocative n e w b o o k

UArts_EDGE9_Final_web.indd 22 1/22/13 1:02 PM n e w s

e d g e : Why did you decide to write Glittering Images: All you need is a book with a gorgeously printed image. It invites an A Journey Through Art from Egypt to Star Wars, your first intense relationship of personal discovery. book to focus entirely on visual art? e d g e : You’ve cited George Lucas as “the greatest artist of p a g l i a : About 15 years ago, I was thinking about creating our time.” That description might not sit well with traditional a seminar called “Style in Art,” where University of the Arts students art historians and aficionados. What do you mean by that? from different majors could exchange information and experiences and hopefully foster future interdisciplinary collaborations. By the My chapters following Andy Warhol and pop art are on conceptual time the course was first offered in 1999, I had still not found an ad- art, land art and performance art. The illustrative artists I chose for equate textbook. I was looking for a concise, affordable introduction those chapters are Eleanor Antin, Walter DeMaria and Renée Cox, to the history of major styles in Western art. But amazingly, there ending in the 1990s. But when I tried to find strong examples of cur- was nothing—only big, heavy, unwieldy compendiums like Gard- rent or recent art with which to end the book, I hit a wall. I was hor- ner’s Art Through the Ages, which was first published in 1926, or rified—it was as if the fine arts have flatlined. There is certainly good H.W. Janson’s History of Art, which became a campus classic after it work being done, but everything I saw simply reminded me of 10 was released in 1962. Janson’s book is wonderfully other things from the last 200 years. There is a sys- erudite, but it moves very fast over the centuries and temic derivativeness, a lack of ambition and a cote- goes into little depth about individual works. Plus it rie insularity within received political opinion that weighs seven and a half pounds! There was no way has too often led to a detachment from or snobbery I was going to impose those expensive tomes on my toward mainstream Americans. The creatively student dancers or jazz musicians, who are often on strongest fields right now are, in my view, indus- limited budgets. So I decided to write my own book trial design, architecture, animation and crafts. I to fill that gap in the market. Glittering Images is felt very frustrated in my search, because the last intended as an inviting, accessible handbook to the chapter of the book had to hold up to the master- great procession of styles in Western art. There are pieces from antiquity to modernism that precede 29 short chapters (with full-page color illustrations) it. While channel surfing to relax, I kept stumbling crossing 3,000 years from Egypt to digital art. De- on the Star Wars movies being shown back to back spite how slim it is, the book took five long years to on Spike TV, which presents itself as a man’s chan- write. Simplicity isn’t easy! nel. I gradually became fixated on the long finale of Revenge of the Sith, which George Lucas directed e d g e : You’ve said that because it is bombarded and released in 2005. It’s like apocalyptic nature by the minute by images, the public today needs painting combined with dance theater and grand to essentially relearn how to see. Can you explain, opera—a duel on a lava river on a volcano planet, and how does viewing great art help? with themes of collapsing industry and politics followed by the tortured robotic construction of Darth Vader and the tragic birth of the twins Luke p a g l i a : The professional class in Western so- and Leia, who lose their mother and are separated to distant planets. ciety, tied to computers and cell phones, is swamped with images, The episode is absolutely phenomenal in its emotional impact as well which assault us from every direction—flashing, fragmented and as its spectacular visualization—a combination of live action, com- chaotic. I’m very concerned about the effect of this random visual puter animation and ingenious model making. Nothing in any genre clutter on children’s developing brains. We are all stultified by it. The of the fine arts of the past 30 years approaches what Lucas achieved brain surely reacts by protectively shutting down whole areas of per- in the finale of Sith. ception. You can’t get away from the intrusive madness—there are now pulsating video screens as you pump gas or shop in malls or eat in restaurants. They’re even embedded at eye level in airplane seats— e d g e : What’s next in your literary march to world domination? with no turn-off switch. Social media and major news websites are in general poorly designed, and current cinematography as well as p a g l i a : My next project is about Native American art and editing of commercials is restless, choppy and erratic. Young people archaeology. Over the past several years, I slowly worked my way have few opportunities to see and admire the kind of superb pho- through the Native American collection at the University Museum tography that was everywhere in my youth—in glossy, large-format Library at the University of Pennsylvania. There are splendid books magazines like Life and Look, in sophisticated fashion magazines by anthropologists about the many tribes of North America. But of the Diana Vreeland period, or in slow-paced European art films. I feel that the work on Native American art is relatively weak because After a lifetime of studying art, I believe that contemplation of great the field has rarely been approached from the direction of world art. art images focuses and stabilizes the eye and produces a magical I am particularly interested in the artifacts of our region here in the sense of serenity. You don’t have to go to a museum for that—on Northeast, where Native Americans were living and hunting by the the contrary, today’s museums have turned into noisy circuses where end of the Ice Age over 10,000 years ago. It’s an epic story that needs people with audio headphones are knocking into you like zombies. to be more widely told!

// Left: University Professor C a m i ll e P a g l i a at the Metropolitan Museum of Art in New York City edge 23

UArts_EDGE9_Final_web.indd 23 1/22/13 1:02 PM n e w s

I s a B a r n e tt D I P L ’4 3 ( I ll u str a t i o n ) was a man of He created works for the 1964 New York World’s Fair, Val- many talents—a superb artist and illustrator, a University of ley Forge National Historical Park, the Gettysburg Museum the Arts alumnus and faculty member, and a riveting story- and the Franklin Mint, as well as art stamps for the Museum teller. But the first thing those who knew him will tell you is Council of the United Nations. After a trip to the Southwest, that he was “larger than life.” Isa fell in love with the unique beauty of the region and with the pageantry of the Pueblo Indians of northern New Mexico; A unique exhibition in tribute to the late Philadelphia/Santa both greatly influenced his work, which often featured rich Fe artist (1923-2001) was on display in the President’s suite colors that reflected the grandeur of the landscape. in Hamilton Hall at UArts from October 17 to November 26, 2012. Titled “Generation to Generation,” the exhibit was Isa approached life with endless curiosity and appreciation for presented by Isa’s artist son and fellow UArts alumnus I v a n the world around him—from World War II to Vietnam to the B a r n e tt B f a ’ 6 9 ( I ll u str a t i o n ) . Examples of Ivan’s Philadelphia suburbs, from commercial work in advertising own work were also on display. to historical illustration, brilliant landscapes and beribboned Native American Matachines dancers. “My father saw beauty “Generation to Generation” featured a wide range of works and stories in everything around him,” says Ivan. “He loved by Isa Barnett—including paintings, drawings, American history and especially the Native historical illustrations and photography—as American peoples of the Southwest. He took well as contemporary mixed media by Ivan. me as a child to New Mexico and was fond of Archival photos and writings gathered by Ivan saying, ‘The dust never left my boots or the helped to tell their intimate father-son story. hood of my car.’ All works in the exhibition were on loan from private collections. To tell Isa’s story, the ex- “He taught me and his many students to al- hibition was divided into discrete sections: ways strive to go beyond, to push for the A Passion for History, Making a Living, The ‘more,’” Ivan continues. “Several of his for- West, Teaching Us to See and Family Life. mer students, now in their 60s and 70s, Ivan’s work was presented in its own section: approached me at the opening and said that Isa Ivan Barnett—Artist and Gallery Owner. simply changed their lives, forever. The artist C h a rl e s S a n t o r e B f a ’ 5 6 ( I ll u str a - At the same time, more than 75 artworks by Isa t i o n ) , for example, said to me that Isa Bar- were offered for sale in partnership with Phila- nett taught him more in art school than any delphia’s Newman Galleries, with a portion of other teacher.” the proceeds benefiting UArts student scholarships. Ranging from large framed paintings to At age 16, Isa was granted the prestigious small drawings in a wide range of media, all Thornton Oakley four-year scholarship to the were from the Barnett family collection. Many Philadelphia Museum School of Art, now the had never before been seen in public. University of the Arts. Throughout his more than 60 years as an artist, he produced works in all media, including oil, An educator and mentor, for two decades Isa Barnett served as charcoal, pen and ink, acrylic, bronze, watercolor, marble, an esteemed, influential and inspirational faculty member at calligraphy, lithography and photography. In later years, he the University of the Arts. During the exhibition, many letters became fascinated with the medium of pastel, his “vehicle for of tribute to Isa arrived from former colleagues and students spontaneity” in painting both landscape and still life, in the who remembered him as “amazing.” Perhaps most indicative East and in New Mexico. of the esteem and personal connections he engendered were the many former students of Isa’s who came to the exhibition’s Ivan Barnett works in many capacities, including artist, advi- opening reception, along with many of his friends and family sor, writer and gallery director. As director of Patina Gallery members. in Santa Fe, N.M., he partners with his wife, Allison Buchs- baum-Barnett, also an artist. The two have established Patina Isa’s illustrations appeared on the covers and inside pages of as an important venue for the exhibition of fine art jewelry the Saturday Evening Post, National Geographic, Reader’s and craft, and a destination for an international clientele of Digest, Life and American Heritage. He also produced illus- collectors. trations for Random House and a series for Bantam Books.

// Above: I v a n B a r n e tt ’ 6 9 24 Right: I s a B a r n e tt ’4 3 and a young Ivan Barnett.

UArts_EDGE9_Final_web.indd 24 1/22/13 1:02 PM n e w s

Generation

to Generation a n a r t i s t ’ s s o n h o n o r s h i s f a t h e r ’ s extraordinary l i f e

edge 25

UArts_EDGE9_Final_web.indd 25 1/22/13 1:02 PM n e w s b r i e f s

School of Music Students Find Business at The Bellevue ‘08

c h e n

j a s o n

It’s noon, and hundreds of Center City business people are packed into the food court at the upscale Bellevue at Broad and Walnut Streets in Philadelphia, sitting at polished-wood tables and eating their lunches. Smiles of recognition spread across faces as the first notes of “Take the ‘A’ Train” drift over the room, and heads turn to look at two young musicians—a guitarist and a bass player—standing near the base of the main escalator from the building’s first floor. A deep-red banner with a white University of the Arts logo stands next to them.

“We play every other Friday,” says A n th o n y D e C a rl o ’ 1 3 ( I n str u m e n t a l P e r f o r m a n c e ) , the guitarist and a School of Music senior who acts as the coordinator of the project. “We get different responses depending on the specific music we play, but the crowd always gives us nice compliments. There are a lot of regulars there and they like it when we play.”

The Bellevue, a Philadelphia landmark built in 1904 in the French Renaissance style, is home to offices, restaurants, the Hyatt Hotel and its popular food court. The students’ regular gig there stems from a phone call from The Bellevue, according to School of Music Director and alumnus M a r c D i c c i a n i B M ’ 7 5 (P e r c u ss i o n ) . “Joseph Coradino, CEO of Pennsylvania Real Estate Investment Trust, which owns the building, is on the UArts Board of Trustees, and he thought it would be a nice opportunity for the students and enjoyable for the lunch crowd,” he says. “It’s worked out really well.”

DeCarlo says the musicians get more than just an hour’s worth of pay from the gigs; the young entrepreneurs get great exposure. “We make sure we bring business cards with us. Most days someone will pick up a card, and I’ve gotten a number of wedding and corporate-event bookings across the city from playing at The Bellevue. It’s a great opportunity to get outside work.”

UArts_EDGE9_Final_web.indd 26 1/22/13 1:02 PM n e w s b r i e f s

The food court engagements rotate between DeCarlo and five other musicians, each of whom is responsible for arranging for his or her own side player. “It’s been a great lesson in the music business for me—organizing, finding people I trust to be there on time and to act professionally, learning how to com- Anthony Padilla municate and how to expect the unexpected,” he says. “And you have to find players who fit the location; you can’t just go Named New Dean Of down to the food court and rock out.” Admissions

The Bellevue’s Mary Dougherty says the relationship has been great for all involved. “We love having the students fill the A n th o n y P a d i ll a has been named the new dean of Admis- air with beautiful music,” she says. “Innovative collabora- sions at the University of the Arts. Padilla, who joined the staff in tions like this are important on so many levels, not only for October 2012, came to UArts with a wealth of experience in arts the students, but for the retail businesses. We look forward to college admissions, having served as the chief admissions officer at building on our relationship with the University of the Arts, Laguna College of Art & Design, Parsons The New School for De- bringing as much music as we can to The Bellevue property.” sign and Chester College of New England. Prior to that, he worked in admissions at Pacific Oaks College and Otis School of Art & Design. He holds a BFA in Illustration from Art Center College of Design in California and excelled as a freelance illustrator in New York City for 10 years, assembling an impressive portfolio of work for such clients as American Express, Nikon, Hilton International, Nike and Esquire magazine.

UArts Hosts ‘Conversations & Connections’ Writing Conference

The University’s Terra Hall was the site for “Conversations and Connections: Practical Advice on Writing,” a one-day writing conference held September 22, 2012, sponsored by online fiction and poetry magazine Barrelhouse. Panelists included faculty member UArts Honors Irvin and author E l i s e J u s k a , director of the newly launched BFA in Creative Writing program at the University of the Arts, one of Borowsky, Laurie Wagman only a handful of colleges and universities in the country to offer such a degree. The conference’s keynote speech was delivered by for $500,000 Gift noted author Stewart O’Nan, winner of the prestigious Drue Heinz Literature Prize and one of Granta magazine’s original Best Young Dozens of their friends and family members gathered at the Uni- American Novelists. versity of the Arts on September 19, 2012, to honor UArts Trustee Emeritus Irvin J. Borowsky and his wife, Laurie Wagman, whose $500,000 gift will enable the University to significantly expand and enhance its Glass Arts programs and the art form itself. The gift will be used to establish the Irvin Borowsky Center for Glass Arts and the Irvin Borowsky Prize in Glass Arts. An innovator and leader in the publishing industry and a generous patron of the arts, Borowsky has been a member of the University’s Board of Trustees since 1981.

// Above: UArts’ School of Music students T i m S c h i ll i n g ‘ 1 3 edge 27 and C hr i s L i n d e n ‘ 1 5 perform at The Bellevue

UArts_EDGE9_Final_web.indd 27 1/22/13 1:02 PM n e w s b r i e f s

Graphic Design Grad UArts, Partner Volunteers At Olympics for 8th Annual Festival

V u o n g T o n g B f a ’ 0 8 ( G r a ph i c D e s i g n ), a Phila- DesignPhiladelphia, the city-wide celebration of all things design delphia native who is currently studying for his master’s degree in presented in partnership with the University of the Arts, kicked off Innovation Management at Central St. Martins College in London, its eighth year with over 100 events and more than 400 participat- responded to a call for volunteers at the 2012 Summer Olympics ing designers. Held in October, DesignPhiladelphia is one of the and ended up having the experience of a lifetime. In addition to largest events of its kind in the country. The festival showcases the being a catering staffer at rehearsals, he also served as a marshal role that design has played historically in the region and celebrates for the opening and closing ceremonies, ushering in athletes from Philadelphia’s contemporary significance as a center for creative the U.S., North Korea and Micronesia. His role involved “corral- advancement. Organized by Programming Coordinator J a c k i e ling” the athletes and organizing them into parade formation after S t a r k e r B S ’ 1 0 ( I n d u str i a l D e s i g n ) , DesignPhiladel- they arrived at the staging area ungrouped and out of order. While phia includes a dynamic mix of open studios, exhibitions, lectures, volunteering, Tong got to meet U.S. athletes Misty May-Treanor runway shows, tours and workshops that take place in boutiques, and Kerri Walsh Jennings, the multiple gold medal-winning beach galleries, museums, universities, warehouses and city streets. volleyball stars, shot-putter Michelle Carter and others, and had A vast majority of events are free and open to the public. a very close-up meeting with the U.S. men’s basketball team. “I can’t believe how blessed and lucky I am. I didn’t plan this, it just happened,” he said. “If we were paid and not volunteers, it wouldn’t feel as exciting, and this way everything feels like a bonus. It’s absolutely priceless.” School Of Film Grads, Faculty Are Film Fest Winners

Work by alumni and faculty in the School of Film topped the winners’ lists at two 2012 film festivals: the Bucks Fever FilmFest and the Ottawa International Animation Festival (OIAF). Winners at Bucks Fever included R e i d C a rr e s c i a B f a ’ 1 2 ( F i l m / V i d e o ) , whose short Harvest won both the Best College Narra- tive and Best of the Fest awards; “Earth Emergency” by S u Y e o n L i m B f a ’ 1 2 ( A n i m a t i o n ), which earned the top prize in the College Animation category; and Associate Professor/Anima- tion Coordinator K a rl S t a v e n , whose “From Point A to Point Z” was named the Emerging Animation winner. R o b S h a w B f a ’ 9 7 ( A n i m a t i o n ) took home the award for Best Televi- sion Animation for Adults at OIAF for his “Zero Rats” segment from the comedy series “Portlandia.”

UArts_EDGE9_Final_web.indd 28 1/22/13 1:02 PM n e w s b r i e f s

Work by Illustration Grad Alumni Turn Urban Waste Included in NPR Calendar Into Artist Studio

According to alumni A n d y W a l k e r m f a ’ 1 0 ( P a i n t - i n g ) and A n d y H e i s e y m f a ’ 1 0 ( C e r a m i c s ) , the urban environment is in desperate need of rejuvenation. Their answer to raising awareness of such issues as pollution and abandoned buildings was to construct Renewed Urban Stu- dio Tent (RUST), a temporary artist studio built entirely out of found, reclaimed and recycled materials. RUST was built on the vacant lot at 313 South Broad Street, across from the University’s Hamilton Hall, and was used as a self-contained, stand-alone studio space for artists last summer. To continue the idea of recycling, Walker and Heisey created RUST2, separating the structure into the bones (the arches) and the skin (the collages) and displaying them on the two platforms in front of Hamilton Hall through the early fall. Their third version, RUST3, featured an exhibit of the work created inside the original RUST that ran through December 8 at the Mt. Airy Art Garage in suburban Philadelphia.

CD By Grad Ensemble Praised in ‘All About Jazz’

“Mars Apes,” the whimsically titled recording by the School of Music Graduate Ensemble, received a glowing review in the August 31, 2012, issue of All About Jazz. Produced by D o n G l a n d e n , head of the MM in Jazz Studies program at UArts, the CD features original music by M a r k A ll e n B M ’ 1 0 ( M u s i c ) , m m “Connecting Cultures Through Public Radio,” an illustration cre- ’ 1 1 ( J a z z S t u d i e s ) on saxophone, D a v e B o z e n h a rd ated by University of the Arts alumnus D a n i e l F i sh e l B f a m m ’ 1 2 ( J a z z S t u d i e s ) on guitar, R i h a rds F e d o - ’ 0 9 ( I ll u str a t i o n ) , is included in National Public Radio’s t o v s m m ’ 1 2 ( J a z z S t u d i e s ) on drums and S a n d y (NPR) 2013 wall calendar. Each year, NPR asks prominent artists E ldr e d B M ’ 1 2 ( M u s i c ) , m m ’ 1 3 ( J a z z S t u d i e s ) who are also avid listeners to answer the question, “What does on bass. Raves All About Jazz: “The inherent talent of these four NPR look like to you?” The NPR calendar adds to Fishel’s already young men, combined with the phenomenal education they have impressive portfolio that includes work for The New York Times, received, has resulted in a uniquely creative work.” The Washington Post, Sundance Film Festival, The Los Angeles Times, Lands End, NBC Universal, Arizona Iced Tea, The Boston Globe and many others.

edge 29

UArts_EDGE9_Final_web.indd 29 1/22/13 1:02 PM n e w s b r i e f s

Photo Student Work on MoMA Showcases Work Display at Philadelphia of Alumni Animators History Museum The Quay Brothers

Work by Photography students from last year’s Professional Prac- tices classes was featured in the “Face to Facebook” exhibition at the recently reopened Philadelphia History Museum. Included in the exhibit were photos of everyday Philadelphians illustrating the informal nature of today’s portraits taken by UArts senior L e o n S y f r i t ’ 1 3 ( P h o t o g r a ph y ) and recent graduates N a th a n N o v a k B f a ’ 1 2 ( P h o t o g r a ph y ) , A m a n - d a H a g e n b u c h B f a ’ 1 2 ( P h o t o g r a ph y ) , C a i tl i n L o rd B f a ’ 1 2 ( P h o t o g r a ph y ) , T a r a R o b e rts o n B f a ’ 1 2 ( P h o t o g r a ph y ) , N e ll S l a u g ht e r B f a ’ 1 2 ( P h o t o g r a ph y ) , E l i z a b e th K r e i ts c h m a n n B f a ’ 1 2 ( P h o t o g r a ph y ) , F e l i c i a P u f f B f a ’ 1 2 (P h o t o g r a ph y ) , C h e ls e a A . D e J e s u s B f a ’ 1 2 (P h o t o g r a ph y ) , C i e rr a B u tl e r B f a ’ 1 2 ( P h o - t o g r a ph y ) a n d M i c h a e l G a i l M a ll o y B f a ’ 1 2 (P h o t o g r a ph y ) . “Face to Facebook,” which also included work by such artists as Charles Willson Peale and Thomas Sully, ran through the end of 2012 in PHM’s second floor main gallery. Work by T i m o th y Q u a y B f a ’ 6 9 ( I ll u str a t i o n ) and S t e v e n Q u a y B f a ’ 6 9 ( F i l m ) , the identical twin experimental animators better known as the Quay Brothers, was on display from August 2012 through January 2013 at the Mu- seum of Modern Art (MoMA) in New York City. “Quay Broth- ers: On Deciphering the Pharmacist’s Prescription for Lip-Reading Puppets” featured more than 300 works—including handcrafted School of Music Faculty, marionettes, sets, drawings, installations, animated and live-action Students Participate in films, commercials and music videos—spanning a half century. Praised in the August 10, 2012, issue of The New York Times, the Jazz Ed Conference exhibition unfolded in a maze that took you through the Quays’ evolution from student artists to commercial illustrators in the 1970s to filmmakers specializing in hand-manipulated animation. School of Music faculty members Justin Binek and Trineice Robinson-Martin and the UArts “Z” Big Band participated in the 4th Annual Jazz Education Network (JEN) Conference, held Janu- ary 2–5, 2013, in Atlanta. Binek and Robinson-Martin presented individual clinics, while the “Z” Big Band—the University’s premier large jazz-ensemble, directed by faculty member M a tt G a ll a g h e r m m ’ 0 1 ( J a z z )—performed in concert. The JEN Conference is the largest jazz education conference in the country.

30 edge

UArts_EDGE9_Final_web.indd 30 1/22/13 1:02 PM Weiss & Mandell Scholarship Challenge

The University of the Arts is raising the bar on fundraising for its scholarship programs. Nearly 90 percent of our students rely on financial aid and scholarship assistance, and the University is committed to making sure that qualified, talented students are not turned away because of their financial circumstances. The University is excited to announce that two longstanding trustees have issued a challenge to our community of donors, alumni and friends to shore up the University’s scholarship resources.

Trustee H a rr i e t W e i ss and her husband L a rr y have pledged $200,000 to establish the Weiss Endowed Scholar- ship Challenge. The minimum requirement for the establish- ment of an endowed scholarship at UArts is $25,000. With a dollar-for-dollar match, the Weiss Challenge will ensure that any alumni pledging $12,500 or more in the next 24 months will be able to create a named scholarship benefitting students in any University discipline of their choosing.

The Weisses have long been committed to the scholarship program at the University of the Arts, and this challenge is their most strategic effort yet to directly involve our alumni community in an endowed scholarship drive.

In addition to its portfolio of endowed scholarship funds, the University also relies on annual support for its scholarship program. Last year, $1,000,000 raised through the Annual Fund provided direct tuition support to students in every department across the University. The University must continue to expand and strengthen its base of Annual Fund supporters in order to grow its ability to provide scholarship dollars to its most needy students. For this very purpose, UArts Trustee S e y m o u r “ S o n n y ” M a n d e ll has challenged our alumni and friends to make new or increased gifts to the Annual Fund; each of these gifts will be matched one to one up to a total of $50,000.

We are thrilled to be able to offer these opportunities to our alumni and friends and are grateful to our trustees for their generosity and foresight. The combined value of these two trustee-issued challenges will help us to raise more than half a million dollars in support of scholarships.

Double the value of your scholarship contributions by making a gift today! Please contact Anisa Haidary, director of Major Gifts and Special Projects, at 215-717-6147 for more information.

// Above left: H a rr i e t & L a rr y W e i ss 31 // Above right: S e y m o u r “ S o n n y ” M a n d e ll

UArts_EDGE9_Final_web.indd 31 1/22/13 1:02 PM UArts_EDGE9_Final_web.indd 32

32 32 s p o t l i g h t 1/22/13 1:02 PM Autism Expressed

m i c h e l e m c k e o n e B S ’ 0 5

In today’s world, Internet skills are often taken for granted, learned through everyday interactions or self- teaching.

For students with autism, however, that’s not always the case, as M i c h e l e M c K e o n e B S ’ 0 5 ( C o m - m u n i c a t i o n s ) found while teaching in learning-support classes in the School District of Philadelphia as part of the Philadelphia Teaching Fellowship program.

“Despite what these students were capable of, they were being pigeonholed into janitorial or maintenance jobs that didn’t require computer skills,” says McKeone, who holds a master’s degree in Special Education from Chestnut Hill College. “No one was teaching them how to use the Internet or sign up for an e-mail account, today’s life skills. I realized there was a widespread need for this type of education.”

In response, McKeone developed Autism Expressed, an online platform that allows students with autism to learn basic Internet-literacy skills, as well as online safety and etiquette, in an independent or classroom setting.

“With Autism Expressed, students engage in a fun, interactive learning environment,” she says. “They watch a video teaching a lesson about a basic Internet skill, and then do an activity applying the concepts they’ve learned to earn a badge. It’s set up in such a way to engage the students in the learning process.”

Such skills are crucial in the 21st century, McKeone says. “What’s needed in education has shifted because of the way technology has changed. Information can be garnered anywhere. It’s how you synthesize and work with it that has the impact, and that’s what these students need to learn.”

McKeone started using the Autism Expressed program in her learning support classroom at South Philadel- phia High School, but soon wanted to make it available for use by other schools and organizations.

“I had this idea, but I didn’t necessarily have the tools and understanding needed to grow it,” she says.

Encouraged by her former professor, Neil Kleinman, senior fellow at the University’s Corzo Center for the Creative Economy, McKeone applied for the Corzo Center Creative Incubator/Wells Fargo Fellowship. Her time in the Creative Incubator program helped her refine the idea and gain business insight, and she received a $10,000 grant to put her new knowledge to use.

“The Corzo Center was, for me personally, the catalyst and the bridge,” McKeone says. “I learned how to translate design experience into a viable business. Without that, I would not have gotten to this place. The grant allowed me to transfer what I was doing in my classroom to a larger scale.”

The public platform of Autism Expressed launched in October 2012, and has been signing up schools and individual subscribers since then. Despite the growing success, McKeone isn’t quite ready to leave the classroom behind.

“My job is where this came from,” she says. “I get my inspiration in the classroom because I’m right there, f i n k l e seeing how things take effect and what is needed. So for me, even though it can be challenging, it’s also a benefit.” h a r v e y

// Left: M i c h e l e M c K e o n e ’ 0 5 edge 33

UArts_EDGE9_Final_web.indd 33 1/22/13 1:02 PM a l u m n i w o r k

UArts_EDGE9_Final_web.indd 34 1/22/13 1:02 PM a r t e d i t i o n : n a k e d c a b i n e t a collaboration f o r m i o c u l t u r e Jaime Salm ’ 0 1

B F A ( I n d u s t r i a l D e s i g n ) & Jonathan Bartlett ’ 0 8

B F A ( I l l u s t r a t i o n )

edge 35

UArts_EDGE9_Final_web.indd 35 1/22/13 1:02 PM 36

UArts_EDGE9_Final_web.indd 36 1/22/13 1:02 PM A New Paradigm for Emerging Artists

j a s o n c h e n B FA ’ 0 8

J a s o n C h e n B f a ’ 0 8 ( A n i m a t i o n ) claims to have plenty of free time; his resume says otherwise. Chen is co-owner of Paradigm Gallery + Studio, one-third of the film/animation team Juggling Wolf, and a commercial and fine art photographer, all while holding a full-time job in the Office of Technology and Information Services at UArts.

He sees this non-stop, jack-of-all-artistic-trades lifestyle as essential to his mission of making art an accessible and vital part of people’s everyday lives.

“Art should not be on a pedestal in a museum,” says Chen. “Art should be shared for everyone to be involved with.”

That notion is one of the guiding principles of Paradigm Gallery + Studio, which he co-founded in 2010 with S a r a M c C o rr i st o n B f a ’ 0 9 ( T h e a t e r D e s i g n & T e c h n o l o g y ).

“Our goal with Paradigm is to change the definition of what people think is art,” Chen says. “We want them to see that art is everywhere, that art is an investment. We want to create a platform for emerging artists to showcase their work. We want Paradigm to be a landmark in the community, so that when people talk about the Philly arts scene, they mention Paradigm.”

That mission helped Paradigm secure a place in the Creative Incubator/Wells Fargo Fellowship Program’s class of 2012 offered by the University’s Corzo Center for the Creative Economy. Since moving to a new location in Queen Village last year, Paradigm has regularly featured exhibitions by local artists and hosted interactive workshops for the public. Last summer, Paradigm collaborated with online arts and culture magazine HAHA MAG on “Before I Die,” part of a nationwide project that gave people the chance to write their bucket-list wishes on a giant chalkboard poster, creating public artwork on Broad Street in Center City.

“Within 15 minutes of us putting it up, it was full,” says Chen. “Everyone has creativity in them, everyone wants to be an artist. This project gave people a chance to do that in a way that wasn’t intimidating.”

Beyond giving the general public a chance to appreciate and create art, Chen wants to establish opportunities for fellow artists. Juggling Wolf, which also includes fellow Animation alumni I a n F o st e r B f a ’ 0 8 ( A n i m a t i o n ) and M a r i n a G v o z d e v a B f a ’ 0 8 ( A n i m a t i o n ) , could be the key to such opportunities.

“Our focus is stop-motion animation incorporating video and experimental filmmaking,” says Chen. “Right now we’re one of the few studios on the East Coast focusing on stop-motion animation. Our hope is that eventually we can help open up the job market for Philadelphia-based animators.”

That helping-hand attitude is one of the reasons Chen chose to build his career in Philadelphia.

“Philadelphia is much more about collaboration and helping each other than other cities are,” he says. “I love ‘08 working with other people because collaboration is all about learning. I’m so lucky to have these friends who are so talented, who can teach me so much and also hopefully learn something from me.” c h e n

When it’s time to unwind, Philadelphia’s accessible-art champion turns to his other passion.

j a s o n “Photography is what keeps me sane,” he says. “Photoshop is like my Zen garden. I start a project and before I know it, hours have passed.”

// Left: J a s o n C h e n ’ 0 8 in his Philadelphia gallery, Paradigm edge 37

UArts_EDGE9_Final_web.indd 37 1/22/13 1:03 PM f a c u l t y n o t e s Faculty Grant Takes Art Ed Professor to West Africa

D r . T e r e s a U n s e ld , Associate Professor of Art & Design Education at the University of the Arts, spent four weeks in Ghana, West Africa, working on a project funded by a Fac- ulty Development grant. The project included developing and implementing a summer visual arts program for children at local orphanage In My Father’s House. A final “quilt” featured each student’s work on seven poster boards that were displayed in the library.

Faculty Member & Alumna is ‘Friday Arts’ Featured Artist

Liberal Arts Senior Lecturer and alumna J u st y n a B a d a c h B f a ’ 9 4 ( P h o t o g r a ph y ) was the featured artist for the

b a d a c h September 2012 episode of WHYY-TV’s “Friday Arts” program. The show, which focused on Badach’s award-winning “Bachelor Portraits” series, was also screened as part of WHYY’s second annual Connections Festival, held September j u s t y n a 6 – 9, 2012, on the Delaware riverfront.

Crafts Professor Featured in American Craft Mag

Crafts Professor and renowned jewelry artist S h a r o n C h u r c h was featured in the October/November 2012 issue of American Craft magazine for being named a Fellow of the American Craft Council. The Council’s prestigious College of Fellows honors those who have demonstrated outstanding artistic achievement and leadership in the craft field. c a s t a l d i

j a r e d

38 edge // Top left: Professor J u st y n a B a d a c h // Bottom left: Professor S h a r o n C h u r c h

UArts_EDGE9_Final_web.indd 38 1/22/13 1:03 PM f a c u l t y n o t e s

Professor Presents Paper Vox Populi Hosts on Eye-Tracking at Faculty Member/Alumna’s London Conference Solo Exhibit

University of the Arts Professor S l a v k o M i l e k i c presented a paper titled “Using Eye- and Gaze-Tracking to Interact with a Visual Display” at the Electronic Visualisation and the Arts (EVA 2012) conference held in London. The paper is an overview of his research on potential uses of eye-tracking technologies and features student work by UArts alumni. Dr. Milekic holds a U.S. patent for an original way of using eye-tracking to interact with visual displays, with UArts as a patent license holder, making it the University’s first research

patent. f o s t e r

j u l i a n n a Installations by Sculpture Professor Featured “Swell,” the fourth solo exhibition by faculty member and alumna J u l i a n n a F o st e r m f a ’ 0 6 ( B o o k A rts / at Two Exhibits P r i n t m a k i n g ) , was on display in September 2012 at artist collective Vox Populi in Philadelphia, where Foster has been a member since 2006. The exhibit was based on a fantastic Sculpture Professor J e a n n e J a f f e had two exhibitions event that allegedly occurred in a small coastal town. As the open in September 2012. “Four Quartets,” an exhibition of story goes, a nor’easter was forming in the Atlantic Ocean new work informed by T.S. Eliot’s book of poetry of the same from the remnants of a hurricane when several residents re- name, ran through October 21 at Marginal Utility in Phila- ported seeing something they had never witnessed before— delphia. The interactive installation was based on a sense of and have never seen since. Foster teaches in the University’s the rhythm, time and musicality found within Eliot’s poems. Photography and MFA in Book Arts/Printmaking programs. Using the story of Snow White and themes of vanity, envy and competition, Jaffe’s “Fairy Tales Revisited: Mirror, Mirror” examines the darker side of fairy tales and explores the ways that they are relevant to contemporary life. The installation is on display in the Abington (Pa.) Art Center’s Sculpture Park through November 30, 2013. Brind School Faculty Win 2012 Barrymore Awards

Lecturers J a c q u e l i n e G o ld f i n g e r and F o rr e st Philadelphia Inquirer M c C l e n d o n from the Ira Brind School of Theater Arts were among the winners of the 2012 Barrymore Awards for Spotlights Music Lecturer’s Excellence in Theatre, announced September 25, 2012, by the Theatre Alliance of Philadelphia. Goldfinger’s Flashpoint One-Man Band Theatre Company production “Slip/Shot” was named Out- standing New Play, while McClendon took home the award

Faculty member M i c h a e l J o h n s o n , a lecturer and music for Outstanding Supporting Actor in a Musical for his Tony- technology supervisor in the School of Music, was featured in nominated role in “The Scottsboro Boys.” the August 17, 2012, issue of The Philadelphia Inquirer. The article highlights how Johnson’s one-man band Ape School records with the University’s Moog synthesizer, one of the first four analog synthesizers designed by Dr. Robert Moog in 1965.

UArts_EDGE9_Final_web.indd 39 1/22/13 1:03 PM f a c u l t y n o t e s

Head Of Music Education Illustration Publishes First Book Professor/Alumnus

E l i z a b e th S o k o l o w s k i , head of Music Education at Speaks at Oral Cancer the University of the Arts, has published her first book titled Making Musical Meaning: Unlocking the Value of Music Edu- Awareness Walk cation in the Age of Innovation (GIA Publications). Sokolows- ki defines the strong connection between rigorous educational teaching and the relevance of music in education. Other topics covered include a professional framework for teaching, leadership and advocacy, creativity and self-expression, lesson plan design, and inspiration.

Exhibit By Painting Professor/Alumna at Bridgette Mayer Gallery

“Three or Four Clouds,” a solo exhibition of photographs by UArts Adjunct Professor and alumna E i l e e n N e f f B f a hr i st i a n a t c h a t c h ’ 7 2 ( P a i n t i n g ) , was on display through October 27, 2012, Illustration Senior Lecturer C “ P ” P - at the Bridgette Mayer Gallery in Philadelphia. As an expres- e ll B f a ’ 9 5 ( I ll u str a t i o n ) , an oral cancer survivor, sion of her interest in both the landscape and interiors as spoke at the David Nasto Memorial Walk for Oral Cancer sites for her deeper investigations of presence and perception, Awareness in Andover, N.J. The fifth annual event took place Neff’s “Three or Four Clouds” brought focus to the conflating September 22, 2012, to benefit the Oral Cancer Foundation. of her experiences in the studio with those conditions at work Diagnosed in 2007 with stage IV squamous cell carcinoma in the gallery. of the lateral tongue and now cancer-free, Patchell shared his personal battle with oral cancer and how the deadly disease inspired his book I Put the Can in Cancer: A Journey Through Pictures, which features 25 sketches created during his radia- tion and chemotherapy treatments.

Video by Film Professor Featured at Michener Art Museum Book By Faculty

Film Professor P e t e r R o s e had a two-channel video instal- Member/Alumnus Earns lation at the Michener Art Museum in Doylestown, Pa., as Kirkus Starred Review part of the “Creative Hand, Discerning Heart: Story, Sym- bol, Self” exhibit, a show of regional art that ran through De- cember 30, 2012. The installation, “The Indeserian Tablets,” Electric Ben: The Amazing Life and Times of Benjamin presented a fictive portrait of an imaginary civilization using Franklin, written and illustrated by UArts faculty member transfaluminal lighting strategies. Rose also presented a talk and alumnus R o b e rt B y rd B f a ’ 6 6 ( I ll u str a t i o n ) , on his work in October. received a starred review in Kirkus Reviews, which called it “a beautifully realized labor of love and affection...” and “a work of breadth and energy, just like its subject; engaging and brimming with appeal for a wide audience.”

UArts_EDGE9_Final_web.indd 40 1/22/13 1:03 PM f a c u l t y n o t e s

Professor’s Video Screened Installation by at Int’l Film Fest Faculty Member/Alumna in Group Exhibit Players, an eight-minute video by Professor T h o m a s P o r e tt , was shown at the Lucca Film Festival 2012 in Luc- ca, Italy. “Players” is an impressionistic work derived from video footage that was purposefully captured out of focus. The imagery is accompanied by an original soundtrack com- posed by Porett. The 8th edition of the Lucca Film Festival took place October 1 – 6, 2012, at the Cinema Centrale in the center of Lucca.

Photos by Faculty Member Featured in GQ

Photos by faculty member and alumnus D a v i d G r a h a m B f a ’ 7 6 ( P h o t o g r a ph y ) were featured in the September 2012 issue of GQ magazine in an article about the gun culture in Arizona titled “Guns ‘R Us: Buying Guns in America.” Gra- ham also narrated a slideshow video included with the story called “Where America Gun Shops.” Liberal Arts Adjunct Assistant Professor and alumna M i c h e l e K i sh i t a B f a ’ 9 7 ( P a i n t i n g ) , m f a ’ 1 0 (P a i n t i n g ) exhibited her installation “Jacquard Falls” as well as six paintings in the group exhibition “Water, Water Everywhere,” on view through October 17, 2012, at Flinn Film by Associate Gallery in Greenwich, Conn. The inspiration for Kishita’s installation was derived from weavers’ looms and Hokusai’s Professor Steven Saylor paintings and prints of waterfalls. Screened at UArts

Bodies, a film by Writing for Film & Television Associate Professor S t e v e n S a y l o r featuring Media Resources Manager/alum A d a m C a rr i g a n B S ’ 0 9 ( C o m m u n i c a - t i o n s ) and Theater Associate Professor J o h n n i e H o bbs , J r . , was screened at the University of the Arts on October 28, 2012. Bodies is the story of a young writer who becomes curious, then intrigued, and finally obsessed with the strange behavior of the woman in an adjacent apartment.

edge 41

UArts_EDGE9_Final_web.indd 41 1/22/13 1:03 PM s p o t l i g h t

42 edge

UArts_EDGE9_Final_web.indd 42 1/22/13 1:03 PM Stitching Together a New Future for Design

a n d r e w d a h l g r e n m i D ’ 0 7

It all started with a broken knitting machine.

“My friend had this old, broken, industrial knitting machine. I started tinkering around with it and was instantly fascinated,” says A n dr e w D a hl g r e n m i D ’ 0 7 ( I n d u str i a l D e s i g n ) .

He spent the next two years researching knitting machines and the textile industry, connecting with designers and supporters, and going through the Corzo Center’s Creative Incubator/Wells Fargo Fellowship program. That process culminated in the birth of ADMK (Andrew Dahlgren Machine Knitting), a project dedicated to exploring new uses for knitting techniques using industrial equipment and to educating the public about the benefits of knitting.

“I want to show people that knitting is not just about a scarf or a sweater,” says Dahlgren, who also has a bachelor’s degree in Industrial Design from North Carolina State University and is a senior lecturer in the Master of Industrial Design program at UArts. “Using knitting techniques in a design makes it more sustainable. You can use those techniques in architecture to build structures. My goal is to get knitting techniques widely used, because of their sustainability and flexibility.”

Dahlgren started spreading his gospel of knitting last summer with the Knit Lab, a weeklong installation at the Philadelphia Art Alliance.

“It was like an open house studio,” Dahlgren says of the Knit Lab, which featured three automated knitting machines. “People could come in off the street and see a demonstration, try out the machines. There were actually two people who came in over the course of the week and created a whole project. Another woman, who has an interest in the history of Philadelphia and its textile industry, came in, and now we’re talking about putting together a mobile knit lab to be taken around to different parts of the city.”

The continued existence of the Knit Lab is key to the future of ADMK. In early 2013, Dahlgren plans to open a permanent home for ADMK, possibly near Philadelphia’s Fabric Row, featuring classrooms with knitting machines and a design house where he and local designers can develop ideas and products using knitting techniques.

“Eventually I want to have a product line hosting several different designers under one label,” Dahlgren says. “The idea behind the classroom is that people can come in and take classes, start off by learning the basics, and then go on to the second level to learn more advanced techniques. Also, there are a lot of people out there who can operate this equipment, but can’t invest in their own machine, so I’d like to offer a sort-of membership structure where people can come in to use the studio.”

Education and accessibility are important to Dahlgren. “Anyone can be creative,” he says. “You just need the underlying infrastructure. When it comes to the principles of design, they’re applicable in so many different ways. I want to show people that they can use design to improve their surroundings—their street, neighborhood, city. Really, it’s about empowering people to design their own world.”

// Left: Knit Lab, the studio of A n dr e w D a hl g r e n ’ 0 7 43

UArts_EDGE9_Final_web.indd 43 1/22/13 1:03 PM a l u m n i e v e n t s Industrial Design Class of 1992 Reunion

Industrial Design alumni from the class of 1992 gathered in October for a 20th Reunion celebration to reconnect with each other and their former faculty members. Organized by R o b e rt Z e i g l e r B S ’ 9 2 ( I n d u str i a l D e s i g n ), the event included a tour of the ID studios, discussions with current students about their projects, alumni presentations on career paths after graduation and a reception and dinner to cap off the evening.

‘Making IT’: Recent Alumni Works 2002 to 2012

“Making IT: Alumni Works ’02–’12,” a juried exhibition fea- // Above: Rusted Amusement, J o a n n a J i n s e ll i B f a ’ 0 9 turing recent alumni, was on display October 2–29, 2012, in ( ph o t o g r a ph y ) Hamilton Hall and Solmssen Court. More than 150 works were submitted by UArts alumni from the classes of 2002 through 2012, including undergraduate and graduate alumni. Fifty-seven were selected for the show, creating a coherent and innovative exhibit that showcased the excellence and artistic diversity of our recent alumni. The “Making IT” jury included B a rb a r a H a rb e r g e r B f a ’ 7 6 ( P a i n t i n g ) , director of arts and collections/artistic director at Marguerite Rodg- ers Ltd.; alumni C hr i st y B l a n c a G o n z a l e z B f a ’ 0 1 (P a i n t i n g ) , m a ’ 0 9 ( M u s e u m C o m m u n i c a t i o n s ) and J o rd a n R o c k f o rd B f a ’ 0 0 ( P h o t o g r a ph y ), who is also an academic advisor and Photography lecturer at UArts; Rick and Ruth Snyderman of Snyderman Gallery; DesignPhiladelphia’s Hilary Jay; and Christopher Sharrock, dean of the College of Art, Media & Design at the University of the Arts.

// Above: 2: Above and Below, T a n i a O ’D o n n e ll m a T ’ 0 3 ( V i s u a l A rts )

UArts_EDGE9_Final_web.indd 44 1/22/13 1:03 PM a l u m n i e v e n t s

Family & Alumni Weekend UArts Parent’s Council

The newly created UArts Parent’s Council met for the first time on October 19, 2012, in conjunction with Family and Alumni Weekend. In partnership with the Office of Alumni and Parent Relations, the Council will provide University leaders with insight into the student experience, host events for current and new parents, and promote the University to others. Parent’s Council members will also support UArts financially through gifts to the University’s Annual Fund or other designation, and will encourage others to do the same. The University, for its part, will offer Council members opportunities to spend time with faculty and our outstanding alumni, to look behind the scenes at UArts, and to learn about the contemporary arts fields that our students and alumni are helping to shape. Seats are still available on the Council. If you are interested in getting involved, please contact Lauren Villanueva in the Office of Alumni and Parent Relations at 215-717-6139 or [email protected].

// Above: Parents and families participate in the Movement Exploration workshop with School of Dance students and faculty.

Family and Alumni Weekend was held in late October and // Above: Parent’s Council members, back row (left to right): Seth provided an opportunity for alumni, parents and families Rosen, father of D a n i e l R o s e n ’ 1 6 ( A c t i n g ) ; John Woodrum, to connect—or reconnect—with the UArts community. The father of H a n n a h W o o dr u m ’ 1 5 ( M u s i c a l T h e a t e r ) ; Maria weekend was filled with special events, including the Presi- Marfuggi, mother of R o s a l i e M a r f u g g i ’ 1 3 ( V o c a l P e r - dent’s Reception, Young Alumni and Golden Arts reunions, f o r m a n c e ) ; Lizann Leusner, mother of C a r o l i n e L e u s n e r ’ 1 4 student performances, faculty workshops, and the opening (P h o t o g r a ph y ) ; Front row (left to right): Dr. Melinda Wagner, receptions for the “Making IT” and “Isa Barnett ’43 and Ivan mother of D a n i e l R o s e n ’ 1 6 ( A c t i n g ) ; Karen Fisco, mother Barnett ’69: Generation to Generation” exhibitions. of W i ll i a m F i s c o ’ 1 5 ( J a z z P e r f o r m a n c e ) ; E. Carolan Berkley, mother of M a rt e l B i rd ’ 1 3 ( W r i t i n g f o r F i l m & T e l e v i s i o n ) ; Catherine Marich, mother of A i m e e M a r i c h ’ 1 5 (D a n c e ) ; and Leanne Probst, mother of M a d i s o n P r o bst ’ 1 5 ( M u s i c a l T h e a t e r ) .

edge 45

UArts_EDGE9_Final_web.indd 45 1/22/13 1:03 PM 46

UArts_EDGE9_Final_web.indd 46 1/22/13 1:03 PM s p o t l i g h t 47 1/22/13 1:03 PM

e edg - - ’ 8 5 FA B

e d e l m a n

took the plunge and opened ) y ph a r o g t c a t h e r i n e o h ’ 8 5 ( P f a B m a n l e d E

in her Chicago gallery. i n e ’ 8 5

r e m a n th l a e C d E

i n e r e th a C Left: a gallery exclusively devoted to the art of photography on West Superior Street in Chicago’s gallerydistrict. “I always ‘Only say, you know and what know,’ you don’t back then, I knew I didn’t know anything,” she says. A quarter-centurylater, learned she’s plenty:Catherine Edelman Gallery (CEG)is celebrating its 25than niversary as one of the Midwest’s leading photography galleries, she serves as president of the Chicago Art Dealers Association, and she was recently elected president of the Association of International Photography Art Dealers. From its inception, the goal of the gallery was to exhibit prominent contemporary photographers alongside newand young talent, showcasing broada range of subject matter and photographic techniques. Debuting with “The Ballad of Sexual Dependency” by Nan Goldin, CEG has shown work ranging from street photog raphy to fashion photography, traditional landscape images to socially conscious work and images created as a springboard for storytelling. Artists have included such luminaries as Annie Leibovitz, SusanHerb Meiselas, Ritts, Michael Kenna, Richard Misrach, Joel-Peter Witkin and others. But it wasn’t always so. “The first five years were very, very difficult,” she says. “I had just signed the lease when the stock market crashed—at that time, we thought that was as bad as it could get—and right after that, the first Gulf War started.” Edelman went around Chicago introducing herself to other gallery owners, asking their advice on packing, shipping and all kinds of other practical issues a new gallery operator needed “I to know. ended up with a key mentorwho taught me about the business,” Edelman says. “I learned from people admired—II sought them out. I still do that today, but the questions are more philosophical. There’s no weakness in saying you don’t know; the weakness is in not asking for help.” And young photographers and others now seek her guidance. used “We to call it mentoring, now I guess ‘payingit’s it forward,’” she laughs. “I think my duty it’s to teach and help others. That’s what I try to do.” Engaged as she is in the daily job of running a business, she says it took her a long time tostop and celebrate her gallery reaching the 25-year mark. “I realized, really it’s hey, pretty cool,” she says. “I have a great job to come toevery own I day. a business with a productI completely love.It’s a gift tobe able to helpyoung artists get their careers started and to work with established artists. “The gallery’s very busy, which is great these days,” she adds. “I even forgot to take the extended vacation I was planning.” Then she chuckles. “But after 25 years, I no longer feel the need to get to work at 8 a.m.” // In 1987, 25-year-oldIn 1987, Lens of Success of Lens Through the UArts_EDGE9_Final_web.indd 47 a l u m n i than 100 children’s books, including the 2010 Caldecott Medal winner The Lion & the Mouse, had a solo retrospective n o t e s show at the Hudson River Museum in Yonkers, N.Y. “Witness: The Art of Jerry Pinkney” was on view from September 29, 2012, to January 13, 2013. The show, which included 150 of Pinkney’s images 1 9 4 0 s from the 1960s, featured not just children’s book illustrations, but also projects from the 1980s that included water- M a r i o n F e tt e r o l f D I PL ’42 a n d color and pencil-on-paper pictures, with J a m e s M c F a rl a n e B f a ’ 61 ( I l - // Above: Liberty Trot© by W i ll i a m subjects like the Underground Railroad l u str a t i o n ) had their work featured R e ssl e r ’ 5 1 for American Cancer Society and the Booker T. Washington Nation- in “Watermedia: Two Artists – Two 2012 Holiday Card. al Monument. In addition to wildlife, Views” at Montgomery County Commu- African-American history is a recurring nity College in Pennsylvania from Sep- E d C h a ll e n g e r B S ’ 5 8 ( I n - theme in Pinkney’s work. Pinkney and tember to October 2012. d u str i a l D e s i g n ) was profiled in his wife, Gloria Jean, have four grown Coastal Style magazine. He is an award- children and have lived in Croton-on- winning artist and a recipient of the Hudson in New York since 1970; they Rottler Award for Excellence from the met in high school in Philadelphia. York Art Association and the Award of Pinkney has five Caldecott Honors, five Excellence at the National Juried Exhibi- Coretta Scott King Awards and 30 one- tion at the Art Institute and Gallery at man exhibitions to his name. He recently Salisbury University. He lives in Bishop- finished a new adaptation of Puss in 1 9 5 0 s ville, Md., with his wife, Emmy. They Boots, which was released in November moved from Pennsylvania over 10 years 2012 by Dial. In addition to receiving the ago to be closer to their children and Caldecott Medal, Pinkney was inducted W i ll i a m R e ssl e r c e R T ’ 5 1 ( I l - grandchildren. Challenger celebrated his into the American Academy of Arts & l u str a t i o n ) was a featured artist 80th birthday last summer and traveled Sciences, where he joined Hillary Clin- in the 2012 Holiday Card Program of to Tuscany last fall. His career has been ton, Clint Eastwood and others at a gala the Women’s Board of the American varied, working for ad agencies and art ceremony held in October. Founded in Cancer Society, East Central Division institutions while continuing to be self- 1780, the American Academy is one of (acsholidaycards.org). His work— employed as a sculptor and artist. His the nation’s oldest and most prestigious “Winter Skyline,” “Liberty Trot,” “Boat- work and mediums are varied from egg learned societies. house Glow” and “Betsy’s House”— tempera painting to plein air work to depicts Philadelphia sites in winter. A monotype prints. F r a n k S t e ph e n s c e R T ’ 61 ( A d - professional artist for more than 60 v e rt i s i n g D e s i g n ) has had an il- years, Ressler has had a love of art since lustrious career. He has retired from childhood. After graduation, he worked his position of library arts and graph- for 40 years from a Philadelphia studio ics administrator at the Free Library of as a freelance illustrator. Since 1990, Philadelphia. He wrote that “black his- he’s worked from the Merion Avenue tory in graphic arts is a story yet to be home where he’s lived for 57 years with told to the public.” During his 34-year his wife, Signe, whom he met in art 1 9 6 0 s career at the Free Library, he designed school. Married since 1953, they have and supervised the production of thou- three children, seven grandchildren and sands of publications including bro- one great-grandchild. A member of the J e rr y P i n k n e y D I P L ’ 6 0 ( A d v e r - chures, booklets, annual reports, posters American Watercolor Society and life t i s i n g D e s i g n ) , illustrator of more and logos, and was the principle creator member of the Philadelphia Watercolor of over 300 exhibitions. He is the recipi- Society, Ressler’s paintings and draw- ent of over 45 graphic, community and ings are in several private, corporate and civic awards, including five gold medals university collections. More info at and four graphic arts and illustration williamressler.com. awards by the Graphic Arts Associa- tion of Delaware Valley. In 1970, he was named Employee of the Year by the City of Philadelphia and received a National Civil Service League Award. He is also the recipient of the 1992 Jerry Pinkney

48 // Above: J e rr y P i n k n e y ’ 6 0

UArts_EDGE9_Final_web.indd 48 1/22/13 1:03 PM a l u m n i n o t e s

Award of Artistic Excellence. Early in his for the talented chef representing the was among only six artists nationwide to career, he served as an illustrator and a U.S. at the 2013 Bocuse d’Or, the world be selected by Easter Seals for its 1999 noncommissioned officer in charge of the chef championship. Four of his illumi- stamps. His work has also been included Graphic Arts Unit at Harlingen Air Force nated sculptures are at the World Trade on note cards for the Christopher Reeve Base in Texas. Afterward, he attended Center in New York as part of a rotating Foundation and on Northwest Airlines’ PCA and was employed at the Naval exhibition space of works by contempo- World Class Travel Club menu cover. Supply Depot in Philadelphia before be- rary artists. ginning his career at the Free Library of B a rb a r a S o ss o n B f a ’ 7 1 ( P a i n t - Philadelphia. Stephens recently donated L y d i a H u n n B f a ’ 6 9 ( P r i n t m a k - i n g ) is the designer of Painted Poetry: a collection of his graphic works to the i n g ) did a sound piece for the Philadel- The Art of Mary Page Evans, an ex- Charles L. Blockson Afro-American Col- phia Academy of Natural Sciences, in- hibition booklet for the Delaware Art lection at Temple University. He donated stalled in July 2012 in North American Museum that was the winner of 2012 437 items of program flyers, folders, in- Hall. Her work was a featured story on American Graphic Design Award. Sosson vitations, bookmarks, booksides, book Philadelphia public radio. Hunn, a pro- Design celebrated its seventh Graphic sets and booklists by and about African- fessor at Drexel University’s College of Design USA Award for Exhibition Cata- Americans, designed and produced with Media Arts & Design, wanted to give logue Designs. his art direction. In 1964, Stephens was voice to the beauti- the first African-American to hold the ful “dead things” in G e r a ld K o pl a n position of chief exhibitor and designer the North American B f a ’ 74 ( I ll u str a - for a major culture institution in Amer- Hall. The sound piece t i o n ) is celebrating ica. He has mentored and trained many she created includes the publication of his students since. the noises of a ruffled second book, Magic grouse’s wings and Words (Pegasus Books/ J i m m y A m a d i e B M ’ 6 6 ( M u s i c the chirps of baby W.W. Norton). The his- E d u c a t i o n ) , famed jazz pianist, was minks. At the request torical novel tells the featured on Philadelphia public televi- of academy experts, story of two real-life sion’s “On Canvas” program. The epi- Hunn took no artis- figures: a Jewish im- sode chronicled Amadie’s journey as a tic license with the migrant, who came to North Philadelphia native who discov- animal sounds. Hunn the U.S. after the Civil ered jazz piano in his early 20s, touring says, “The piece War and became a Na- with the Woody Herman Band and ac- moves from very small tive American inter- companying Mel Torme. His performing sounds—like little preter, and his cousin, career was brought to an abrupt halt by rustlings and scruf- who was a famous severe tendonitis in both hands. Playing flings, little hoots and magician in the world the piano suddenly became sheer agony, hollers, the calling of before Houdini. The and Amadie was reduced to improvising birds—and then a lay- book, which is a follow- only in his head for the next 35 years. A ering in the middle of the piece.” up to his critically acclaimed Etta, has music educator and author of two inter- received rave reviews from Publisher’s national textbooks, Amadie performed Weekly, Library Journal, Kirkus Re- an incredible comeback concert in 2011 views, The Philadelphia Inquirer and at the Philadelphia Museum of Art, de- Booklist, among others. More info at lighting many. geraldkolpan.com.

V i c t o r i a P e n dr a g o n B f a ’ 6 8 J e f f r e y 1 9 7 0 s ( F a br i c D e s i g n ) was delighted to S t e r n B f a have two solo exhibitions of her work in ’ 7 5 ( F i l m ) 2012, the first at Phoenix and Dragon works as a S a l P a n a s c i B f a ’ 7 1 ( G r a ph i c Gallery in Atlanta, Ga., through Sep- professor for D e s i g n ) had his work on display at the tember 2012. The second was in York, the Univer- Newtown Public Library in Pennsylva- Pa., at the Lotus Root Yoga Gallery from sity of Mi- nia. His watercolors, oils, acrylics and December 2012 to January 2013. The ami in Coral photographs were displayed and for sale exhibits featured her mixed-media series Gables, Fla. during October 2012. After graduation, “The Lovers, Goddesses, and Yogis and Stern was the Panasci’s work earned many national Yoginis.” s up e r v i s i n g design awards over a 25-year advertis- sound editor ing career. Unfortunately, his occupation D a n D a i l e y B f a ’ 6 9 ( C r a f ts ) and an Emmy came to an end in 1995 when Panasci was recently named professor emeritus nominee for Outstanding Sound Editing suffered an accident that left him with a at Massachusetts College of Art after 39 for “Boardwalk Empire.” More info at traumatic brain injury. During rehabili- years as a professor at the college. He was Jeffrey-Stern.com. tation, he was encouraged to paint. He also recently asked to design a glass piece

// Top right: Magic Words (Pegasus books/W.W. Norton) by G e r a ld K o pl a n ’ 74 edge 49 // Bottom right: Sound editing for Boardwalk Empire by J e f f r e y S t e r n ’ 7 5

UArts_EDGE9_Final_web.indd 49 1/22/13 1:03 PM a l u m n i n o t e s

A n n i e G r e e n b e r g L o n g B f a ’ 7 7 J e a n P e tt e n g i ll B f a ’ 7 8 ( P a i n t - M i c h a e l T r i n s e y B f a ’ 8 0 ( I l - ( I ll u str a t i o n ) , writing as Anna i n g ) writes, “I am a decorative painter l u str a t i o n ) writes, “I am an art di- Brentwood, has published a novel about who for the last 25 years has been work- rector for Wolters Kluwer. I design maga- the 1920s titled The Songbird with Sap- ing with interior designers and individual zines for print and then create them as phire Eyes. The e-book was released in clients creating custom-painted finishes apps to download on iTunes. I also still September 2012. The novel begins when for a variety of applications, mostly fur- do many illustrations for the magazines a young woman flees rural farm life to go niture. I specialize in glazing, gilding and in Wolters Kluwer. I’ve been married to Kansas City. Brentwood’s tale is laced antiquing in the tradition of European for 32 years to my wonderful Donna. I with real people and historical events as antiques. I am married to fellow PCA have three grown children (Lisa, Diane her doomed heroine basks in the glamor- alumnus J o h n F i sh m a n B f a ’ 7 6 and Jason) and currently live in Red Hill, ous shadow world of gangsters and their (P a i n t i n g ) and we have a son, a senior Pa. I also hope to show the paintings that gals—a world of freedom with its own at NYU. We live on Cape Cod with six I’ve created for the past few years in art rules and seemingly endless good times. chickens and 60,000 honeybees.” More shows and/or a gallery.” Brentwood is a PRO member of RWA, info at jeanpettengill.com. Rose City Romance Writers and Wil- J a c k F o rr e st e l B f a ’ 8 1 ( P r i n t - lamette Writers, and won second place D e br a R o s e n bl u m B f a ’ 7 8 m a k i n g ) was awarded an Emmy for for Women’s Fiction in the 2006 Tara (P a i n t i n g ) had her work in the Cen- Outstanding Achievement in Art Direc- Awards. More info at annabrentwood. tennial Juried Exhibition at the Dela- tion/Set Decoration/Scenic Design for a com. ware Art Museum in Wilmington, Del., Drama Series at the 39th Creative Arts from October 2012 to January 2013. Emmy Awards held June 17, 2012, in S a u l F i n e m a n B f a ’ 7 8 ( I ll u s - Rosenblum’s work was also featured at Los Angeles. This is Forrestel’s sixth win tr a t i o n ) writes, “I recently designed B Square Gallery in Philadelphia Novem- in this category for “The Bold and the and executed the graphics, signage, post- ber 3 through December 8, 2012. Her Beautiful” and his first win as producers and program for the GREENGOV work is described as unusual combination designer. On five previous wins in 2012 Symposium for the White House tions of antique materials and found ob- 1988, 1991, 1992, 1993 and 1994, For- Council on Environmental Quality jects that create gestures both innocent restel was credited as art director. and the Association of Climate Control and threatening. The past meets the pres- Officers.” ent through juxtaposition. More info at bsquaregallery.com. M i t c h e ll G e rsh e n f e ld B M ’ 7 8 (T u b a ) became president and CEO of the McCallum Theatre after serving for 12 years as director of Presentations and Theater Operations. Gershenfeld served as president and CEO of the East County Performing Arts Center in the San Diego area, executive director of the Paramount 1 9 8 0 s Theater in Denver and was director // Above: Emmy Award Winning Art A n n a F i n e F o e r Direction/Set Direction/Scenic Design of pops concerts B f a ’ 8 0 ( F i b e rs ) for “The Bold and the Beautiful” by for the Atlanta had her work included J a c k F o rr e st e l ’ 8 1 Symphony. He in “Re: purpose” at the also served as the Community College of C h e r y l H i n e s B S ’ 8 1 ( I n d u str i - music producer Baltimore County. The a l D e s i g n ) is on her fourth career. She for the Cultural work of the artists re- moved to California after graduation, Olympiad at the used seemingly obsolete earned her architecture license there and 1996 Olympic paper-based products practiced architecture for several years. Games. Gersh- such as maps, books She became interested in real estate de- enfeld received a and newspapers and velopment as an architect representing Master of Music breathed new life into clients and went back to school at USC degree from the them, highlighting their and earned a master’s degree in Real Es- University of Wis- beauty in the shape and tate Development (MRED) in 1990. Dur- consin-Madison, texture. Her work was ing the recession in 1990, she took a job where he later also in “Strange Glue: in Michigan for the Taubman Company, served on the fac- Traditional & Avant- a regional shopping center developer. ulty. He has also Garde Collage” at the She stayed in the real estate development taught music and music business at the Thompson Gallery of the Cambridge field until a couple of years ago. Hines University of Denver, the University of School of Weston, Mass. has worked for General Motors Real Colorado at Denver and Goucher Col- Estate in Detroit, Westfield and Mac- lege.

// Above Left: A n n a F i n e F o e r ’ 8 0 , 50 edge Tower of Babble, 2011, collage, watercolor on Arches, 24 x 20 in.

UArts_EDGE9_Final_web.indd 50 1/22/13 1:03 PM Save the Date Generously Printed by Great Atlantic Graphics Art Unleashed 2013 4.10—4.13 – This extraordinary event helps raise money to support the University of the Arts’ Sam S. McKeel Promising Young Artists Scholarship Fund, with an exhibition and sale of artwork from talented students, faculty and alumni. From cutting-edge contemporary jewelry to ceramics, photography to crafts, furniture, painting, sculpture and illustration, Art Unleashed showcases the ﬁnest work from established and emerging artists. – Preview the work online uarts.edu/artunleashed

Preview Party Wednesday April 10 5 —8pm Valet Parking Admission Charge – Public Sale Thursday April 11— Saturday April 13 12 —5pm Free Admission – Dorrance Hamilton Hall 320 South Broad Street Philadelphia PA

UArts_EDGE9_Final_web.indd 51 1/22/13 1:03 PM a l u m n i n o t e s

erich, Michigan and then moved back to Cibachrome color printer for galleries, reau, funded in part by the City of San California eight years ago. After being museums, ad agencies and New England Diego Commission for Arts & Culture. downsized in the current recession, Hines artists throughout much of the 1980s. In Since 2009, the PGK Dance Project has decided to re-tool. She now owns a lan- the 1990s, he transitioned his art prac- partnered with businesses that provide guage services company called Keylingo tice to mainly drawing, painting and their space for professional performances Translations, which provides profession- installation using letterforms and visual as a way to innovate, contemporize and al translation, interpretation and other language as his subject matter. He was relate to audiences in ways that support, language services to businesses world- a member of Vox Populi Gallery in Phila- represent and promote our community. wide. She currently lives in Manhattan delphia and had solo and group shows More info at ThePGKDanceProject.org. Beach, Calif., with her two sons and two there before returning to New England. cats. She loves having her own business. V a l e r i e G a y B M ’ 8 9 ( V o i c e ) is W i ll i a m T h o m a s C a i n B f a ’ 8 7 the executive director of Art Sanctuary, M a r i a M a rt i n e z - C a ñ a s B f a ’ 8 2 ( I ll u str a t i o n ) was a judge in the (P h o t o g r a ph y ) had a solo exhibition 2012 Pacific Area Newspaper Publish- at the Julie Saul Gallery in New York City ers’ Association Newspaper of the Year from September 6 to October 20, 2012. Awards in the Photography Category held in Australia. Cain is an award- winning photojournalist and specializes in editorial photography in the Philadel- phia region.

T i m o th y W o rr e ll B f a ’ 8 7 ( I l - l u str a t i o n ) recently celebrated the opening of a third location of Timothy Paul in the Mosaic District of Fairfax, Philadelphia’s leading African-American Va. The new showroom focuses on hand- arts and letters organization. Gay is the made rugs and textiles, bedding, furni- former assistant dean for Institutional ture, and antique and vintage pieces. Advancement for the College of Educa- Worrell and his wife, Mia, also own tion at Temple University and an ac- Timothy Paul Carpet + Textiles and complished singer. She has performed in // Above: M a r i a M a rt i n e z C a ñ a s ‘ 8 4 , Untitled 009 [GM], 2012 Timothy Paul Home in Washington, D.C. operas, musical theater and solo concert recitals, and has conducted ensembles P e t e r K a l i v a s B f a ’ 8 8 ( D a n c e ) in special events across the region and M a r a S z a l a jd a B f a ’ 8 2 ( P a i n t - is the artistic and executive director of nationally. Art Sanctuary was founded i n g ) exhibited her works on paper at the Graphic Eye Gallery in Port Washington, the PGK Dance Project, a contemporary in 1998 with the purpose of bringing N.Y., October 4–28, 2012. dance company in California. Kalivas African-American artists to speak, lec- was named a finalist in ture and perform in a venue within the the “Business Unusu- African-American community. Art Sanc- S t e v i e B l a c k B f a al” Contest presented tuary has continued to use the power ’ 8 4 ( P h o t o g r a - by EmcArts/NYC. of black art to transform individuals, ph y ) is an artist of digital photographic Judged by a panel of unite groups of people, and enrich and collages, and his solo dance innovators, the draw inspiration from the inner city exhibition “Articula- contest accepted pro- with innovative programming, creative tions” was on display posals from executive partnerships, and the support of the at the Rocky Neck and artistic directors local and national arts communities. Gallery Summer Artist throughout the U.S. Series show from Au- for transformative pro- gust 30 to September grams in the arts and 11. “Articulations” is a cultural field. PGK collection of works on Dance Project put on paper that confronts “San Diego Dances” our fractured sense using the Grand Lobby of the Spreckels The- of things, of world 1 9 9 0 s events, of political and social concepts, ater as the stage for of science and art, our own humanness. seven dances by four award-winning Built from many photos, from many choreographers on October 26 and 27, P e t e r P r y o r B f a ’ 9 0 ( T h e a t e r ) 2012. The dance was sponsored by the places and times of day, the works serve was nominated for a Barrymore Award in Spreckels Theater, Fall for the Arts and as a metaphor for our state of inunda- the category of Outstanding Direction of the San Diego Convention & Visitors Bu- tion. Black worked commercially as a a Musical for his work on “Treasure Is-

52 // Above left: Isabella Court by S t e v i e B l a c k ‘ 8 4 , digital inkjet // Above right: V a l e r i e G a y ‘ 8 9

UArts_EDGE9_Final_web.indd 52 1/22/13 1:03 PM a l u m n i n o t e s

land” at People’s Light Theatre Company. the surface of the Red Planet. He also M a r i e S i v a k B f a ’ 9 4 ( S c u lp - The Barrymore Awards for Excellence successfully drove the previous Mars t u r e ) had a solo show at A.I.R. in Theatre have been the Greater Phila- rovers Spirit and Opportunity for eight Gallery in Brooklyn, N.Y., September delphia region’s only comprehensive years. Hartman has been featured in The 6–30, 2012, as part of the D.U.M.B.O theater awards program, recognizing art- Los Angeles Times and The Philadelphia Arts Festival. The show titled “Smoke- ists for excellence and innovation while Inquirer. See the next issue of Edge for screen” was an exhibition exploring the serving to increase awareness of the a feature story on Hartman. use of language as psychological warfare. richness of the local theater community. This body of work continued the artist’s interest in combining traditional stone carving and video projections. Video imagery projected from inside the sculptures through the atmospheric quality of the stone. As the imagery played on the surface of the sculptures, the ob- jects became specters of human dramas. Further exploring ideas of language and deception, the exhibition also included a collection of thickly layered, slate-like graphite drawings. Language became visual and visceral in these vignettes suggesting fragments of a complex be- // Above: P e t e r P r y o r ‘ 9 0 // Above: F r a n k H a rt m a n ’ 9 2 helps program the movements of the rover, seen trayal and the void between language here at NASA’s Jet Propulsion Laboratory in and experience. The exhibition was E l i z a b e th H o a k -D o e r i n g m a T Pasadena, California (from Philly Metro). accompanied by a full-color catalog with ’ 9 1 ( A rt E d u c a t i o n ) is living and an essay by Charlotta Kotik, curator working in Cyprus and was invited to emerita of Contemporary Art at the exhibit work in the Venice Biennale last P a sq u a l e ( P a t ) M o n t e n e g r o B M Brooklyn Museum. “Smokescreen” was year. ’ 9 4 ( P i a n o ) is the new music director of A Cappella Pops, an a cappella ensem- made possible by grants from the Ford ble in the Delaware Valley, Pa. Montene- Family Foundation and the Oregon Arts M i c h e ll e L . D e a n B f a ’ 9 2 ( I l - gro is a busy conductor, music director Commission. Sivak’s work was also in- l u str a t i o n a n d A rt T h e r a p y ) cluded in “Selections from Portland 2012: was recently bestowed the Delaware and pianist in the Delaware Valley, as A Biennial of Contemporary Art” at the Valley Art Therapy Association’s most well as a lecturer, conductor, vocal coach Schneider Museum of Art in Ashland, prestigious honor: the Honorary Life and accompanist for the School of Music Ore., September 27–December 15, 2012. Member Award. Additionally, she was and the Ira Brind School of Theater Arts invited to speak as a keynote plenary at UArts. In addition to his new role at S h e ll e y S p e c t o r B f a ’ 9 4 ( S c u l - panelist at the 2012 American Art Ther- A Cappella Pops, Montenegro conducts pt u r e ) had a solo exhibition titled apy Association Conference in Savannah, both the Roxborough Male Chorus and “Dreck Groove” at the Esther Klein Ga. Her contribution was titled “Eat- the Kelly Street Chorus in Philadelphia. Gallery in Philadelphia as part of her ing Disorder Symptoms and Symbolic He is currently music director at Mas- artist residency at NextFab Studio. Al- Expression.” She and her husband, art terworks Chorale, a mixed chorus based though Spector is mostly known for her therapist Mark Dean, MFA, MA, ATR- in Springfield, Pa. He also makes guest wood-based sculptures, this exhibition BC, LPC, have expanded their Center conducting appearances with the Wilm- featured textile work she created using for Psyche & the Arts practice to two lo- ington Community Orchestra (Del.) the studio’s computer-guided embroidery cations in Lansdowne and Berwyn, Pa., and the Gloria Dei Youth Orchestra machine. The Huffington Post describes in order to provide retreats and contin of Cherry Hill, N.J. Montenegro is an Spector’s work as “repurposed from old -uing education workshops incorporating accomplished piano accompanist and garments and scraps salvaged in Next- the arts and healing opportunities. The organist, and has performed with the Fab’s woodshop, these intimately scaled Center for Psyche & the Arts, LLC Philly Pops Festival Chorus, the Phila- works referencing disaster have a tactile, provides art therapy and counseling for delphia Boys Choir, the Southeastern even homespun quality, defying the so- individuals, families and groups. Dean’s Pennsylvania Symphony in Lansdale, Pa., phisticated technology that made them expertise includes working with individu- and the Jump City Jazz Band in Trooper, possible. The technology is more appar- als and their families who are affected by Pa. As an organist, he has been featured ent in the large work that rounded out eating disorders, traumatic experiences alongside the Philadelphia Chorus, the her residency project, an intricate ‘wall- and relationship issues. More info at Temple University Concert Choir and the paper’ of laser-cut cardboard taken from psychearts.org. Choristers of Upper Dublin. Montenegro and his wife, Lauren, currently reside in commercial packages, with logo rem- Marlton, N.J., and are the proud parents nants and graphics laid out in a vibrant, F r a n k H a rt m a n B f a ’ 9 2 ( S c u lp - of three girls, Mia Nicoletta, Sofia Anna almost dizzying array.” t u r e ) is a driver for NASA’s Curiosity Mars rover, which is currently exploring and Olivia Rose.

edge 53

UArts_EDGE9_Final_web.indd 53 1/22/13 1:03 PM a l u m n i n o t e s

M a r i a P i s a n o m f a ’ 9 5 ( B o o k Pagus Gallery Norristown, Pa. She then 13 years. As OXO’s creative director, A rts /P r i n t m a k i n g ) curated “Book had her work featured in “Water, Wa- I manage their in-house art department as Witness: The Artist’s Response” at ter Everywhere” at the Flinn Gallery in as well as a team in China.” the Center for Book Arts in NYC. The Greenwich, Conn., September 6—Octo- exhibition presents artists who are con- ber 16, 2012. Her studio was then part of M i c a h Z e n d e r B f a ’ 9 9 ( G r a ph - tinuing the tradition of creating book the Philadelphia Open Studio Tours held i c D e s i g n ) is the senior creative direc- works to express their interpretive and/ October 20—21, 2012. tor of Kaleidoscope, an innovation and or personal memory stories dealing with design consultancy with global head- difficult aspects of life. In a workshop R e b e c c a M i n o r B f a ’ 9 7 ( A n i - quarters in Cincinnati. Zender has served led by Pisano, participants were asked to m a t i o n ) successfully used Kickstarter as IxD/UX/graphics manager at Kaleido- collect memories, personal 2-D and 3-D to fund marketing events related to the scope and was previously chief creative items, photos, writings, prints, drawings, launch of her newest fantasy novel, Curse officer at both Triplefin and Baker Street and items from travels to incorporate into Bearer. There was a release party on Labs. After he attended UArts, he be- a unique bound book. October 14, 2012, at the Pennsylva- came a professor of digital design at the nia Renaissance Faire. Another UArts University of Cincinnati. M a r y S m u ll B f a ’ 9 5 ( F i b e rs ) is alumna, C hr i st i n a H e ss B f a ’ 9 8 the founder of SPUN (Society for Un- ( I ll u str a t i o n ) , provided the cover finished Needlepoint) and was featured illustration. at the Philadelphia Museum of Art for a summer workshop. Two rule-based “Zero Rats” by R o b S h a w B f a ’ 9 7 needlepoint projects by the former UArts ( A n i m a t i o n ) won the prize for Best lecturer were recently on display in the Television Animation for Adults at the exhibit “Manual Autonomy,” curated by 2012 Ottawa International Animation 2 0 0 0 s S a r a h H u ls e y ’ 1 3 ( B o o k A rts / Festival (OIAF). The animated segment, P r i n t m a k i n g ) and E r i n P a u ls o n from the Peabody Award-winning com- T i f f a n y G o rd o n B f a ’ 0 0 ( B a l - ’ 1 3 ( B o o k A rts /P r i n t m a k i n g ) . edy series “Portlandia,” featured J e n l e t ) writes, “I got married on June The show ran October 29–November P r o k o p o w i c z B f a ’ 0 7 ( A n i m a - 16, 2012, and returned to work after 16, 2012, in the University’s 6th Floor t i o n ) as the lead animator. Shaw’s a wonderful honeymoon. I am currently Gallery at Anderson Hall. More info at “Koodo (Skydiving)” commercial was the vice president of Print/Interactive unfinishedneedlepoint.org. also screened at OAIF in the Sponsored at an entertainment advertising agency. Film category. Every Tuesday, I have dinner with my N i c o l a D i x o n B f a ’ 9 7 ( T h e a t e r ) college roommate and best friend, fel- recently won Best Comedy Screenplay at R o b e rt R e i n h a rdt m a T ’ 9 8 low alumna C a rr i e K o st B f a ’ 0 0 the 2012 West Field Screenwriting ( V i s u a l A rts ) had a solo photography ( A n i m a t i o n ) . This dinner date has Awards, placed as a quarter finalist in show open overseas in the Edinburgh been going on for 12 years now!” the 2012 Page International Screen- Central Library titled “Sleep: Historic writing Awards, and as a quarter final- Cemeteries of Scotland.” A collection J o sh L e v i t a s B f a ’ 0 0 ( I ll u str a - ist in the Academy of Motion Picture of Scottish cemetery photographs, these t i o n ) is the illustrator of Ulysses Seen, Arts and Sciences Nicholl Fellowship in images put a face to these sites and an illustrated reader’s guide for James Screenwriting awards. a more personal meaning to the markers Joyce’s Ulysses novel. It was featured erected in their honor. in the June 16, 2012, (Bloomsday) Irish M i c h e l e K i sh i t a This multimedia ex- Times as part of the 23rd International B f a ’ 9 7 ( P a i n t - hibit included original James Joyce Symposium in Dublin. i n g ) , m f a ’ 1 0 photographic prints, (P a i n t i n g ) a n d large-scale vinyl ima- M o r g a n M i ll e r B f a ’ 0 0 ( F i l m ) R y a n C o b o u r n ges, continuous plasma was the interviewer for a one-on-one B f a ’ 9 9 ( P a i n t - slideshows, a collection session during the Ottawa International i n g ) had their work of seven books, a dis- Animation Festival with legendary ani- in “RSVP 3—An In- play case filled with mation director Ralph Bakshi. vitational” at the posters and photos, LG Tripp Gallery in and a lecture series. B r u c e G a rr i t y m f a ’ 0 1 ( P a i n t - Philadelphia from July i n g ) had work exhibited in an invita- through August 2012. S t a c i e W o l f e B f a tional exhibition September 7–October In September 2012, ’ 9 8 ( G r a ph i c D e - 7, 2012, at the Medford Arts Center in Kishita showed her s i g n ) writes, “I N.J. The artists had served as jurors at work in “Maps” at currently work in New earlier arts center shows and were hon- York for a company ored for their devotion to promoting art called OXO. I have and artists in their careers at major New been with OXO for Jersey art museums and centers. Garrity

54 edge // Above: M i c h e l e K i sh i t a ‘ 9 7, “Jacquard Falls” an installation included in the group exhibition “Water, Water Everywhere”

UArts_EDGE9_Final_web.indd 54 1/22/13 1:03 PM a l u m n i n o t e s

is a painter and draftsman, has taught panels. The gowns are hand-pleated and three very different girls who form a se- as an adjunct professor at Rutgers Uni- draped making each individual garment cret alliance to get revenge on the peo- versity since 1997, and was the 2010 much like a fingerprint. Dreams serve as ple who’ve hurt them. Han and Vivian recipient of the Sybil S. Cohen Award the primary inspiration, creating a story went on a national book tour September for Excellence in Teaching. He has also that becomes the visual prose for all col- through November 2012 to support the taught at the University of Delaware, lections. The Heartless Revival design book. Stockton State College and Rowan Uni- house is also inspired by dreams, the versity. He is the independent curator at inherent dark nature of the label: pale, M a tth e w W a t i e r B f a ’ 0 1 ( I l - Hopkins House Gallery of Contemporary beautiful, cold and quiet, with shades of l u str a t i o n ) was featured in the Art in Cooper River Park in Haddon darkness and light while incorporating Bangor Daily News for his illustrated Township, N.J. a historic silhouette and a desire to con- children’s book The Secret Magicks of nect with the Victorian era. Maine. According to the article, “His C e l e st e G u i l i a n o B f a ’ 0 1 (P h o - detailed scenes, awash with color and t o g r a ph y ) was featured in the July W i - M o t o N y o k a B f a ’ 0 1 ( M u s i - light, have incredible depth and texture 2012 issue of Rangefinder magazine in c a l T h e a t e r ) is currently performing variation,” and he “has created a set of an article on pinup photography. More abroad and working on a project with entirely new stories out of the magical el- info at lunarlightstudios.com. another UArts alum called “The Last ements of his home state, and he penned Days of Kartika.” They have shot a pi- these modern myths with seemingly ef- lot season for the web series in Budapest, fortless imagination and wit.” Watier, Hungary, and finished the script for the a native of Union, Maine, now resides staged motion comic. It has received sup- in D.C., where he designs web pages for port from the Puffin Foundation and Razoo.com and works on his multiple some serious consideration for the next book projects. season at Flashpoint Theater in Phila- delphia. There are tentative dates for J e ss e B r o d y m i D ’ 0 2 ( I n d u str i - a staged reading in Budapest this com- a l D e s i g n ) is the owner of Circle Art ing spring. All animation and web work at Home in Miami Beach. Brody studied is handled by Noir World Wide, a Phil- jewelry and metalsmithing at the Uni- adelphia-based and UArts alumni-run versity of South Carolina and taught at company, and illustration is also done by Art Studio Fuji in the renaissance city a local artist, Nick Suders. Their Indi- of Florence, Italy, before attending egogo campaign is to help with post pro- UArts. Brody used this worldly inspi- duction costs for webisode four. More ration to create drawings, sculptures, info at indiegogo.com/lastdaysofkartika. jewelry, furniture and lighting. He also A u t u m n K i e tp o n g l e rt B f a ’ 0 1 began purchasing Deco and Mid- ( C r a f ts ) is an award-winning Philadel- R h e a P a tt e rs o n B f a ’ 0 1 Century Modern lamps and furniture, phia-based independent fashion designer (D a n c e ) , currently performing in restoring them and selling them to whose work has been shown across the “Wicked” on Broadway, admiring friends and col- world. She was a designer-in-residence was a featured dancer of leagues. Seeing opportu- for the 2012 Philadelphia Fashion Incu- Broadway.com’s Gotta nity among the inspira- bator. Kietponglert has shown her work Dance! Watch the self-pro- tion, Jesse opened Circle at major fashion events around the world, claimed “late bloomer” Art at Home in 2002 to including Philadelphia Fashion Week, talk about realizing that bring contemporary and Couture Fashion Week (NYC), Mercedes- she wanted to be a profes- modern furnishings and Benz Fashion Week (NYC) and the San sional dancer when she home accessories to an Francisco Museum of Modern Art. She won a performance award international clientele has also shown in Los Angeles, Dallas as a kid in Virginia at seeking unusual and in- and Chicago, and has had art exhibitions bcove.me/8s7expha. novative design. A decade in Florence and Philadelphia. Editorials and a new location later, featuring her designs, styling and writ- S i o bh a n V i v i a n B f a Circle Art at Home of- ing have been published internationally ’ 0 1 ( W r i t i n g f o r fers upscale contemporary in France, Germany and the U.K. She has F i l m & T e l e v i s i o n ) furniture, home acces- studied in Florence, New York and Paris. launched a new book se- sories and lighting to a Kietponglert currently runs two design ries in September 2012. clientele that is both lo- houses, Autumnlin Atelier and Heartless She co-wrote it with Jenny Han, author cal and international. Circle Art’s lines Revival. Autumnlin Atelier creates one- of the New York Times best-selling Sum- include Herman Miller, Vitra, Kartell, of-a-kind and limited-edition haute cou- mer I Turned Pretty series. The first ture using hand-pleated silk, sculpted ex- book is called Burn for Burn, and there otic leather and undulating zipper-tooth are three books in the series. It is about

// Above left: C e l e st e G u i l i a n o ‘ 0 1 55 // Above right: R h e a P a tt e rs o n ‘ 0 1

UArts_EDGE9_Final_web.indd 55 1/22/13 1:03 PM a l u m n i n o t e s

Emeco, Louis Poulsen, Artemide, Flos, Vignettes,” ran in Trenton, N.J., from in separate activities for K-12 students. Blu Dot, Magis and many more. Brody September 7 through October 13, 2012. Smyrski says it’s seeking impact, not continues to travel the world attending Another two exhibits are “Treasure: fame, “challenging the way people live shows and exhibitions from New York to Dirt and Stars,” a solo exhibition and and their relationships to their environ- Milan in order to provide the best designs gallery talk at the Birke Art Gallery ments and the people around them.” and quality the world has to offer. at Marshall University in Huntington, W.V., and “Shine,” a solo exhibition S a r a h B o lt B f a ’ 0 3 ( M u s i c a l located at 110 Church Gallery in Phila- T h e a t e r ) and David John Crowell delphia. More info at rebeccaprint.com. were married on October 22, 2012, at St. John Nepomuk Church in St. Louis. Bolt J a m e s S i n g e w a ld B f a ’ 0 2 ( P h o - is an actress who starred on Broadway as t o g r a ph y ) had work in “House Show” Sister Mary Patrick in “Sister Act” at the at the Urbanite @ Case[werks] Gallery in Broadway Theater. She also performed Maryland from September 21 to October in the ensemble and was an understudy 24, 2012. On October 20, he participated for Madame Morrible in “Wicked” at the in the School 33 Open Studio Tour 2012. Gershwin Theater from 2008 to 2010. He recently moved out to the Franklin She is the voice behind Jemima Puddle- Square/Sowebo section of West Balti- Duck in the “Peter Rabbit” cartoon se- more and to a studio space large enough ries that is to begin on Nick Jr. in Spring // Above: Jesse Brody, right, with his brother to host visits and possibly small shows. 2013. Crowell works in New York as and parents at a 10th anniversary party at Circle Art at Home. His studio opening displayed work for a lawyer focusing on technology and out- sale and showcased current projects. sourcing transactions at a management consulting and outsourcing firm. He M i c a h C h a m b e rs - G o ldb e r g B f a A n th o n y S m y rs k i B f a ’ 0 2 graduated from American University and ’ 0 2 ( A n i m a t i o n ) created an 18-minute film titled Who Stole the Mona Lisa ( G r a ph i c D e s i g n ) was featured in received a law degree from the University that was commissioned by Astral Artists. The Philadelphia Inquirer as a winner of Texas. Their wedding was announced The film was shown at Philadelphia’s of the Pew Fellowship in the Arts. He is in The New York Times. Kimmel Center at the Astral Artists’ the co-founder of Megawords, a long- Gala. running experimental media project M i r i a m H y m a n B f a ’ 0 3 ( T h e - established in 2005 that focuses on art a t e r ) graduated from Yale’s School of installations, projects and events. Mega- Drama, receiving her MFA in Theater in R e b e c c a G i lb e rt m f a ’ 0 2 ( B o o k words co-founder Dan Murphy told the May 2012. She was featured on the front A rts /P r i n t m a k i n g ) has exhibited locally, nationally and internationally. Inquirer, “It’s meant to blur boundaries cover of the Yale School of Drama’s Fall and experiment with the tensions between 2012 recruitment brochure. fine art and everyday life.” Smyrski says Megawords, “…wants to tell the stories J o sh L a m o n ’ 0 3 ( M u s i c a l T h e - about life in cities around the world… a t e r ) a n d R o r y D o n o v a n B f a art is not just in a museum.” A recent ’ 1 1 ( M u s i c a l T h e a t e r ) appeared Megawords program took place at the in the ensemble of the Broadway holiday Philadelphia Museum of Art, where they musical “Elf.” Donovan was also a swing transformed a room into a living space (understudy) covering the lead role of to invite visitors to sit on couches, write Buddy the Elf. on a chalkboard and flip through the latest edition of their magazine. “Arts institutions are always fun for us because Her newest works are in “Clip, Cut; then we get to push against the space, Paper Thin” at the Noyes Museum in see what we can or can’t do,” Smyrski Hammonton, N.J. Her works are sym- said. “A museum or institution has dif- bols of history, science and literature. In ferent ideas, so there’s some friction—in addition, she recently had work in an a positive way.” At an exhibition at the exhibition in Seoul, South Korea, as part Maine College of Art (MECA) Institute of an international book conference. of Contemporary Art (ICA) in Portland, Gilbert also had two solo exhibitions Megawords will distribute copies of and participated in several group shows, a new issue, play experimental film a print exchange and Philadelphia Open recorded in the early days of the project and invite visitors to write and draw Studio Tours around the same time. // Above: J o sh L a m o n ‘ 0 3 and R o r y on a wall that bears the legend MEGA- Her first exhibition, “Printivale,” was D o n o v a n ‘ 1 1 performed in the Broadway on display at the Sharon Arts Center in WORDS in chalkboard paint. As part Holiday Musical “Elf” N.H., from September 7 to October 27, of the ICA exhibit, Murphy and Smyr- 2012. Her second exhibition, “Visions & ski will participate in workshops with MECA students and faculty, as well as

56 // Above: R e b e c c a G i lb e rt ‘ 0 2 , “Jacquard Falls” an installation included

UArts_EDGE9_Final_web.indd 56 1/22/13 1:03 PM a l u m n i n o t e s

E r i k M i ll e r B f a ’ 0 3 ( W r i t i n g J u st i n J a i n B f a ’ 0 4 ( A c t i n g ) I lead the design team in developing f o r F i l m & T e l e v i s i o n ) writes, “I was nominated for an F. Otto Haas a wide variety of promotional materials, graduated from Jeff Ryder’s Writing for Award for an Emerging Philadelphia from event branding to rich media units Film & TV program in 2003. I’ve used Theater Artist from the Philadelphia to in-book advertorials.” my writing skills in the field of security. Theatre Alliance. Since 2009, I’ve written and produced S t e v e T i rp a k B M ’ 0 4 ( C o m p o s i - regular intelligence briefings and threat M i a M o f f e tt B f a ’ 0 4 ( P h o t o g - t i o n ) had the privilege of writing for an assessments for Fortune 500 companies r a ph y ) is living in Brooklyn, N.Y., and orchestra that featured George Michael and governmental agencies. However, I currently works as the digital imaging on his Symphonica Tour. He writes, “It still hope one day to break into Holly- archivist for the Museum of the City of was a thrill to enhance George’s mu- wood!” New York. She is working with high-end sic with the richness of the strings and photography equipment in a specially power of the brass.” Shortly after that, T e r e s a B o n a dd i o B f a ’ 0 4 designed studio on a long-term project he wrote arrangements for full orchestra (P r i n t m a k i n g ) was a featured artist to digitize the collection and make it featuring Jay-Z for two sold-out shows in a Philadelphia Inquirer article on duct available online to the general public at at Carnegie Hall, where tickets for the tape art. Bonaddio is the author of Stick collections.mcny.org. event were $2,500 each. It: 99 DIY Duct Tape Projects, which will come out in paperback this fall from L a u r e n P e d e rs e n B f a ’ 0 4 M i r a n d a C l a r k -B i n d e r m a ’ 0 5 Philly-based publisher Running Press. (P h o t o g r a ph y ) is currently working ( M u s e u m E d u c a t i o n ) writes, “I am The first edition was released in 2009. as a marketing associate at Medical Mod- an alum of the MA in Museum Education She was interviewed about how the hobby eling Inc., a unique company taking program and am currently the curator of is turning mainstream. medical images such as CAT scans and education at the La Salle University Art creating 3D im- Museum. I have been here for about five M a rt i n B r o w n ages of them years and am in charge of designing and B M ’ 0 4 ( T r u m - followed by phys- implementing the museum’s first educa- p e t ) , m a T ’ 0 5 ical 3D models tion program for K-12 audiences. I am ( M u s i c E d u c a - used by surgeons also in charge of the museum’s outreach t i o n ) is a co- to plan difficult activities and community partnerships.” founder of Little surgeries. She is Baby’s Ice Cream. currently organ- J e ss i c a H a rd e n m f a ’ 0 5 ( M u - The business was izing trade shows s e u m E x h i b i t i o n P l a n n i n g a n d founded in May that she attends, D e s i g n ) was promoted to the position 2011 and added working on new of director of Exhibition Design at the a flagship location designs for bro- Dallas Museum of Art. She oversees the on Frankford Av- chures and re- design of all exhibitions and installations enue in Philadelphia. Little Baby’s Ice searching web design companies in or- within the museum. Harden has been Cream began as a freezer box on a tricycle der to get a new website underway. with the museum since 2008 and since with unique ice cream flavors. After suc- She feels it is a great place to work and that time, has overseen the design of cess at various outdoor fairs and events, feels great that she touches the lives of nearly 50 exhibitions and installations. Little Baby’s increased its fleet to four so many people each and every day! Her most recent design extravaganza was tricycles that appear regularly at week- the Jean Paul Gaultier exhibition. end markets, block parties, street festi- M i c h a e l R i c h a rds B f a ’ 0 4 vals, outdoor concerts, private corporate ( M u lt i m e d i a ) is currently managing J o n a th a n H a u pt m a n B f a ’ 0 5 luncheons and semi-permanent spots at the U.S. western region for a technol- (P a i n t i n g /D r a w i n g ) started a busi- bars and concert venues. Maryland Bar- ogy company based out of Plano, Texas. ness making holsters called PHLster. His becue is a recent flavor that Brown came His office is located in Los Angeles. work was featured in a Philadelphia pa- up with for the shop’s debut, combining The company specializes in technology per because of his unconventional busi- Old Bay and barbecue sauce. More info deployments for large nationwide retail ness approach of uploading videos of his at littlebabysicecream.com. and administrative organizations. He creation process on YouTube and asking wrote, “I’m excited to take a more active people to make their own as well. This M a n u e l D o m i n g u e z , J r . B f a ’ 0 4 role in the alumni association. My expe- approach built support for his brand and (P h o t o g r a ph y ) writes, “I recently rience at UArts has deeply influenced my his product. More info at PHLster.com. left a full-time photographer gig at An- professional career.” thropologie.com, where I was their head S a l v a d o r O r a r a B f a ’ 0 5 e-commerce photographer for about two J i r i S e g e r B f a ’ 0 4 ( G r a ph i c ( G r a ph i c D e s i g n ) received an MFA and a half years. Now I am just a free- D e s i g n ) writes, “I’ve been working as in Media Design from the Media Design lance photographer for Urban Outfitters a senior designer at Rodale Inc. for Men’s Practices (MDP) program at Art Center and other local companies.” More info at Health and Women’s Health magazines College of Design in California in April mdominguezjr.com. since September 2010. In June 2012, I was promoted to art director of Wom- en’s Health Integrated Marketing, where

// Above: Little Baby’s Ice Cream co-founders (left to right) P e t e A n g e v i n e , J e f f edge 57 Z i g a and M a rt i n B r o w n ‘ 0 2

UArts_EDGE9_Final_web.indd 57 1/22/13 1:03 PM a l u m n i n o t e s

2012. Immediately upon graduation, pieces. In 2012, J i ll V a l e n t i n e Orara partnered with two fellow MDP they began retail B f a ’ 0 6 ( A c t - graduates and officially created the Rare debuts and started i n g ) works at “An- Studio, LLC, a studio for design and reproduction and nie the Musical” as search within graphic design, interaction sales to small bou- a child actor guard- and architecture. Rare Studio works in tiques and luxury ian. She has become a broad range of media, including printed department stores. a child actor guard- matter, web applications, spatial media, Maléombho was ian on Broadway, physical interaction and design research. a specialist for Mi- with three Broad- Rare is currently based in downtown Los chael Kors for two way, one national Angeles. More info at therarestudio.com. years before fo- tour and several cusing on her own Off-Broadway and D a n i e l R o b a i r e B f a ’ 0 5 ( A c t i n g ) label. She was a fea- regional credits to signed with New Wave Entertainment tured young artist her name. She re- at the beginning of 2012. From there, in Vogue (Italy) in cently participated he booked co-starring roles on the new May 2012. More in negotiations with CBS drama “Vegas” opposite Michael info at lozamaleombho.com. the Broadway League of Theaters and Chicklis, as well as on NBC’s Producers and helped secure the first “Parenthood” opposite Ray Romano F a i th B r o d y P a t a n e B f a ’ 0 6 contract ever for Broadway Guardians. and Lauren Graham. More info at ( W r i t i n g f o r F i l m & T e l e v i s i o n ) danielrobaire.com. wrote a script, Scarlett Sunshine, that A m a n d a D ’A m i c o m f a ’ 0 7 recently placed in the top 25 of the New (B o o k A rts /P r i n t m a k i n g ) wrote, J e a n e tt e B e rr y B M ’ 0 6 ( V o i c e ) Hampshire Film Festival’s Screenwrit- “Myself and many other alumni of the wrote, “I am a senior lecturer at the ing Competition. The same screenplay MFA Book Arts program have been University of the Arts. I am work- won 1st Prize at the Philadelphia Writ- featured in a recent publication entitled ing on my first full-length album with ers’ Conference in the Writing for New 1,000 Artists’ Books: Exploring the my band Jeanette Berry and the Soul Media category in June. Calendar Book as Art. The book is available now Nerds. We already have an EP out called Girl, another film written by Patane, on Amazon.com and features the work of ‘Peace, Love and Music.’ The band is just earned distribution through Kevin alums R a c h e ll e W. C h u a n g m f a made up of five UArts alumni and one Smith’s distribution company SModcast ’ 0 6 ( B o o k A rts /P r i n t m a k i n g ), Temple alum. I am also building inde- Pictures and Phase 4 Films, and will be D o n n a G l o b u s m f a ’ 1 0 pendent music history workshops for available to purchase or rent starting (B o o k A rts /P r i n t m a k i n g ) , L i s a schools and communities.” More info at in November under the new title Miss H a s e g a w a m f a ’ 0 3 ( B o o k A rts / JeanetteBerry.bandcamp.com. December. P r i n t m a k i n g ) , T u r n e r H i ll i k e r m f a ’ 1 1 ( B o o k A rts /P r i n t m a k - J e n n i f e r D e v o r B S ’ 0 6 ( C o m m u - W a lt e r P l o t n i c k m f a ’ 0 6 i n g ) , A n dr e w H u o t m f a ’ 0 9 n i c a t i o n s ) began her new position as (P a i n t i n g ) had his photo-based art- (B o o k A rts /P r i n t m a k i n g ) , S u n manager of Corporate Sponsorships and work video featured on Lenscratch, Y o u n g K a n g m f a ’ 0 7 ( B o o k College Programs at Campus Philly in a blogzine that explores contemporary A rts /P r i n t m a k i n g ) , M a r i a G . July 2012. photography. Plotnick’s artwork titled P i s a n o m f a ’ 9 5 ( B o o k A rts / “Form & Function” was included in the P r i n t m a k i n g ) , A m e e J . P o ll a c k J u l i a n n a F o st e r m f a ’ 0 6 F1st Choice Art Exhibition in Breda, m f a ’ 9 4 ( B o o k A rts /P r i n t m a k - (P r i n t m a k i n g /B o o k A rts ) works Netherlands. As a senior lecturer in the i n g ) , E r i n S w e e n e y m f a ’ 0 9 in Philadelphia and teaches in the Uni- Fine Art department at Montgomery (B o o k A rts /P r i n t m a k i n g ) , E r - versity’s Photography and MFA in Book County Community College (MCCC), i k o T a k a h a sh i m f a ’ 9 7 ( B o o k Arts/Printmaking programs. She has Plotnick developed and launched a cross- A rts /P r i n t m a k i n g ) , M a r y T a - a variety of works that include book disciplinary team-teaching project titled s i ll o m f a ’ 0 6 ( B o o k A rts / arts and photography. In July 2012, she the MCCC Photosynthesis Project. Plot- P r i n t m a k i n g ) , M i c h e ll e W i ls o n was listed by CBS Philly as an up-and- nick, who is also a minority male mentor, m f a ’ 0 7 ( B o o k A rts /P r i n t m a k - coming artist. Her fourth solo exhibit, invited his mentee to compose an aca- i n g ) a n d R u th e r f o rd W i tth u s “Swell,” ran September 7–30, 2012, at demic paper on photosynthesis, which m f a ’ 0 6 ( B o o k A rts /P r i n t m a k - artist collective Vox Populi, where she’s was then distributed to his digital pho- i n g ) , and the work of faculty member been a member since 2006. More info tography students and a creative writing H e d i K y l e .” at juliannafoster.com. class where the science was interpreted visually and through photography and S t e ph a n i e F a g e n U rb i n a B f a ’ 0 7 L o z a M a l é o m bh o B f a ’ 0 6 ( A n i - creative writing. The finished book fea- (D a n c e ) recently opened a new studio m a t i o n ) is the owner/creative director turing the student’s work is available on called the Dance Gallery in Tuckahoe, at Loza Maléombho, a label that official- Blurb.com. Plotnick was also nominated N.Y. Urbina started her first ballet school ly launched in 2009. It is a brand exclu- for the Montgomery County Community at the age of 10, where she instructed all sive to private clients with custom-made College Innovation Award 2012.

58 edge // Above: L o z a M a l é o m bh o ‘ 0 6

UArts_EDGE9_Final_web.indd 58 1/22/13 1:03 PM a l u m n i n o t e s

of the neighborhood girls in her parent’s in the Short Films for Children category P h i l J a c k s o n B f a ’ 0 8 ( P h o t o g - house. In high school and college, she at the Ottawa International Animation r a ph y ) is the author of FDR Skatepark: organized a company to perform at vari- Festival. A Visual History. The subject of a Phila- ous retirement homes and raised thou- delphia Inquirer article, FDR Skatepark sands of dollars for Hurricane Katrina D a n i e l D e l a n e y B f a ’ 0 8 ( M u l - is compiled by three longtime skate- victims. Later t i m e d i a ) is a boarders and includes over 100 photos on, she went on food entrepre- that capture life at the skatepark. All to study with the neur who be- profits from the book go toward main- Joffrey Ballet, gan his journey taining and upgrading the skatepark. Alvin Ailey with VendrT V, Interviews of park regulars are included, Dance Theater, a combination but the focus of the book is the images. Gelsey Kirk- blog and video “It’s such a visually striking place that land and Elisa channel that he that just seemed the way to go about it,” Monte. Urbina founded after said Jackson. “We wanted to just let the has performed graduation. His photos tell the story and keep it clean throughout New latest venture, and simple.” The book includes photos York City (Carn- BrisketLab, was from dozens of people, including profes- egie Hall, Teatro recently fea- sionals like Jackson and amateurs who La Tea, Steps tured in The used throwaway cameras and Polaroids. NYC), abroad in Prague, and in Philadel- Washington Post and The New York Landscape shots illustrate the sheer size phia (Merriam Theater, Drake Theater). Times. His love of barbeque began of the park and its odd placement. There in 2010 at the Roadfood Festival in are also pictures that capture the mo- T J W a lsh B f a ’ 0 7 ( G r a ph i c D e - New Orleans where he tried beef bris- ment a skateboarder hits a trick. For park s i g n ) was recently featured on Flying- ket from the legendary Louie Mueller regulars, it’s filled with memories, and Kite, a weekly online magazine focused Barbecue. Delaney sampled the brisket for anyone else, it’s a peek into a place on ideas and developments that are cur- and was hooked. “I realized I didn’t want that remains untouched by the concerns rently defining the future of Philadelphia. to talk about food, I wanted to make it,” for safety and security that have changed He describes his work as depicting “the he told The Washington Post. He has playgrounds and nearly every aspect of hidden conversations that course through won accolades by slow smoking bris- recreational life. the undercurrent of our minds, uncon- kets in an all-wood pit. Before long, he sciously giving form to who we are as expanded his experiments from dinner human beings.” He is a designer working parties in Brooklyn to live-music feasts in marketing/communications and brand for the general public at bars and aban- development for a major not-for-profit doned factories. He sold tickets online at organization with headquarters in Man- $25 per pound of brisket and called the hattan. events BrisketLab. The first Lab sold out in 48 hours and he sold 2,500 pounds in N a th a n i e l B u tl e r B f a ’ 0 8 advance orders to his events. His popu- (S c u lpt u r e ) and J e n n y W e lsh larity and success has grown so much B f a ’ 0 8 ( S c u lpt u r e ) were in a that he has expanded into BrisketTown, group show at the Philadelphia Sculpture a pop-up eatery that opened in Fall 2012 Gym in November 2012. Welsh was re- in Brooklyn that included seasonal side cently hired as the programs manager of dishes and pie. More info at delaneybbq. the Philadelphia Sculpture Gym. More com. info at philadelphiasculpturegym.com. M i c h e ll e D u v a ll B f a ’ 0 8 J a s o n C h e n B f a ’ 0 8 ( A n i m a - ( M o d e r n D a n c e ) writes, “I currently t i o n ) , I a n F o st e r B f a ’ 0 8 ( A n i - dance and perform in NYC. I am m a t i o n ) , M a r i n a G v o z d e v a B f a a Pilates instructor and co-creator of the ’ 0 8 ( A n i m a t i o n ) , D a n A l f a r o nationally recognized barre fitness pro- B f a ’ 1 0 ( A n i m a t i o n ) and C hr i s - gram called BeyondBarre.” More info at t i n e K o e b e r n i k B f a ’ 1 1 ( A n i - beyondbarre.com. m a t i o n ) participated in front of and behind the camera in the Bucks Fever K a y H e a l y m f a ’ 0 8 ( B o o k A rts / J a m e s L i n c k e B f a ’ 0 8 ( I ll u s - FilmFest-winning short “From Point A P r i n t m a k i n g ) had a solo show titled tr a t i o n ) has created a new comic strip to Point Z.” Created by UArts Anima- “Starter Home” at the Paradigm Gallery called “Guards” with his partner Russell tion Coordinator Karl Staven, “From in Philadelphia from June 22 to July 20, Cera. “Guards” is about the experiences Point A to Point B” was also submitted 2012. and encounters of a troop of teenaged lifeguards, who all work at a dilapidated

// Above left: D a n i e l D e l a n e y ‘ 0 8 59 // Above right: P h i l J a c k s o n ‘ 0 8

UArts_EDGE9_Final_web.indd 59 1/22/13 1:03 PM a l u m n i n o t e s

private swim club named Rupadega Park B e n t o n m f a ’ 0 9 ( B o o k A rts / S a m a n th a G u rr y B f a ’ 1 1 ( A n i - Swim Club. He has based his work on his P r i n t m a k i n g ) , A m a n d a D ’A m i c o m a t i o n ) writes, “I’m finally finishing up real-life experiences as a lifeguard at Rid- m f a ’ 0 7 ( B o o k A rts /P r i n t m a k - my film festival run for my thesis film Red- ley Park Swim Club. Lincke and his part- i n g ) , R e b e c c a G i lb e rt m f a ’ 0 2 dish Brown and Bluish Green. It has played ner Cera plan on presenting “Guards” to (B o o k A rts /P r i n t m a k i n g ) , B o b - at the Philadelphia Film Festival, Ottawa publishers and studios. b y R o s e n st o c k m f a ’ 0 9 ( B o o k International Animation Festival 2011, Syd- A rts /P r i n t m a k i n g ) and C a r o - ney Underground Film Festival 2011, Flori- N i c o l e T r a n q u i ll o B M ’ 0 8 l i n e G a r c i a Z i e g l e r m f a ’ 0 8 da Film Festival 2012, SXSW Film Festival ( V o i c e ) writes, “I recently signed a (B o o k A rts /P r i n t m a k i n g ) . The 2012, Melbourne International Animation publishing deal with SONGS Publishing exhibit ran through October 27 and fea- Festival 2012 and Extremely Short Film Fes- and had a hit song in Japan released in tured a panel discussion and demonstra- tival 2012.” April 2012 called ‘Beat Generation,’ sung tion by Benton, D’Amico, Sweeney and by the Fairies and produced by Chad Ziegler. More info at sharonarts.org. V i n c e n t H a rd y B f a ’ 1 1 ( B a l - Royce and Scott Mann. Also just had l e t ) is currently an MFA student at UC a song released in May 2012 for an animé D u o n g T r a n B f a ’ 0 9 ( A n i m a - Irvine and was featured in the university’s film that I wrote called ‘If I Jump Now.’ t i o n ) is currently working on visual paper, where he shared his story about his Also have been doing demo work for the development and an iPad app/advertise- dance journey. Hardy started dancing in hit NBC show ‘Smash,’ as well as for Dis- ment for Mercedes-Benz USA. eighth grade because he didn’t want to do ney. I am currently living in New York P.E. and got permission to do dance instead. working with producers and songwriting N e r i ss a T u t i v e n B f a ’ 0 9 ( I l - He weighed 315 pounds and started to grow and pitching songs for Kelly Clarkson, l u str a t i o n ) is currently a product a passion for dance. He described his teach- Christina Aguilera and Shakira.” designer in the New York area. She de- ers as supportive, who didn’t judge or treat signs toys, apparel, activity kits and him differently because of his weight. By S a ll y E c k h o f f m f a ’ 0 9 ( P a i n t - stationery for the gifting industry. Her senior year, Hardy had lost 100 pounds, i n g ) writes, “I am a writer who’s pub- clients include Toys“R”Us, Target, Wal- but he still didn’t think of dance as a career. lished extensively in newspapers and Mart and Michael’s craft stores nation- However, at a teacher’s urging, he audi- online (from the Village Voice to Salon. wide. She is also the co-founder of Gir- tioned for UArts and won a full scholarship. com). I was almost, but not quite, the lometry, an artist collective that creates That is when his dance journey began and commencement speaker for our gradua- and curates shows in the Northern New was no longer a hobby, but a goal. Hardy tion exercises. After painting in the East Jersey area. Her work is currently repre- auditioned for Complexions Contemporary Village for 17 years and then living in the sented by Deborah Wolfe. More info at Ballet, an internationally renowned com- woods in the Hudson Valley, I came back Printandpattern.blogspot.com. pany based in New York, his senior year. to school. My appearance in Philadelphia Hardy says, “Two days after Christmas, was actually a triumphant return of sorts: I got the contract. I had a conference call I was at PCA in 1975, but couldn’t stay. I love UArts as a great institution and also as the instrument of my regeneration. My memoir of painting in the East Vil- lage is coming out in 2013.” More info at sallyeckhoff.com. 2 0 1 0 s

N o r a S c h a e f e r B f a ’ 0 9 ( I ll u s - K e v i n D o ss a n t o s B f a ’ 1 1 ( A n i - tr a t i o n ) writes, “After graduating m a t i o n ) has been doing freelance work from UArts, I received my MAT in Art at a public relations company in North Education from Tufts University and am Jersey as well as working on whiteboard now teaching high school photography animation videos available on YouTube. and drawing within Montgomery County He continues his search for his dream job Public Schools in Maryland.” of becoming a 2D animator at an animation studio. In the meantime, he has been E r i n S w e e n e y m f a ’ 0 9 ( B o o k doing his own freelance work of creat- A rts /P r i n t m a k i n g ) organized an ing portraits and caricatures for his cli- exhibition of traditional, contemporary ents. He hopes to get a studio job sooner and “installation” printmaking titled than later. In his spare time, he picked “Printivale!” at the Sharon Arts Center up foosball as a hobby. More info at in Peterborough, N.H., featuring works kevindossantos.com. by several alumni, including A m a n d a

// Above: V i n c e n t H a rd y ‘ 1 1

UArts_EDGE9_Final_web.indd 60 1/22/13 1:03 PM a l u m n i n o t e s

with Desmond Richardson; it was surreal. I various watch forms, faces and straps. This C hr i st i n a C e l e n z a B f a ’ 1 2 was the only one they chose from that audi- project involved material explorations, form (P h o t o g r a ph y ) wrote, “I have just tion. I was with them for one season. I got studies, product development and brand started my own photography business fo- to tour Israel, Italy and 12 cities in the U.S. identity building.” The collection of watches cusing on weddings, engagements and por- I had to learn their entire repertoire in less is “made from various wood veneers, Ital- traits. But I am also doing some aerial and than two weeks. It was life-changing. I went ian leather, mechanical watch movements, architectural photography as well.” More from a student to a professional in less than watch crystals and gold and silver hard- info at christinacelenza.com. two weeks.” After budget cuts forced Hardy ware.” More info at lorenzobuffa.com. to leave, he went on to teach and dance in Los Angeles. A UArts faculty member encouraged Hardy to look at UC Irvine’s graduate program, and he began his studies in January 2012 on a full scholarship. Hardy says, “I’m interested in getting dancers to dance without insecurities. The mirror is so destructive. I want them to find themselves and express themselves with freedom and joy that can inspire people. It’s more than being a perfect technician. Our generation is full of perfect technique and tricks, fancy jumps, // Above: C hr i st i n a C e l e n z a ‘ 1 2 , Aerial Photography a dozen pirouettes. It’s plastic; it’s soulless // Above: L o r e n z o B u f f a ‘ 1 2 , dancing. How do we get the soul back in?” “Analog Wooden Watches” E l y s e L e n o r e L e y e n b e r g e r B f a See the full article at newuniversity.org. ’ 1 2 (P h o t o g r a ph y ) is currently R e i d C a rr e s c i a B f a ’ 1 2 ( F i l m ) working as an assistant and retoucher at W a d e J o h n st o n B f a ’ 1 1 ( M u s i - has won prizes and screened his senior the- Rick Davis Photographic and the partner c a l T h e a t e r ) moved to Ho Chi Minh sis film Harvest in a number of festivals company Springhouse Films. City, Vietnam, to teach guitar. across the country. The film tells the story of a world-weary farmhand who encoun- C hr i st i n e O l i v e r B f a ’ 1 2 ( A n i - S o ph i e X u B f a ’ 1 1 ( G r a ph i c ters a supernatural event that causes him to m a t i o n ) became a social media intern for D e s i g n ) writes, “I am launching Phila- question his outlook and his destiny. It was How to Be A Redhead, a fashion and beauty delphia’s first fashion magazine with my one of the “Best Film” award winners in the community that empowers every redhead partner, Justin-Julius Santos. Stardust University’s 2012 Senior Film and Anima- to feel confident, look amazing and rock magazine’s premiere issue launch party tion Show, and won both the “Best College their natural beauty. They are currently was held on October 5 at Curated Goods in Narrative” and “Best of the Fest” awards at organizing the world’s first-ever fashion Philadelphia. Designed to inspire a younger the 2012 Bucks Fever FilmFest in Pennsylva- and beauty event for redheads on March generation while encouraging a more mature nia. Harvest also won “Best Student Film” 16, 2013, in New York City. More info at audience to tap into its essence, Stardust will at the New York Los Angeles International howtobearedhead.com. feature undiscovered local and international Film Festival and was screened at the Cape talent from the worlds of fashion, art, mu- May Film Festival, Pan Pacific Film Festival N i c k P o r c a r o B f a ’ 1 2 ( G r a ph i c sic, photography, home, design and culture.” in Arcadia, Calif., JP2 International Film D e s i g n ) writes, “I’m currently working More info at stardust-mag.com. Festival in Miami, the San Diego Christian as a designer/developer at Sawyer Studios Film Festival, Beverly (Mass.) Film Festival in New York, where I design posters, adver- A n dr e w C a m e r o n Z a h n B f a ’ 1 1 and Black Bear Film Festival in Milford, Pa. tising, websites and digital banners for film ( M u lt i m e d i a ) performed live on July Carrescia also received an “Award of Merit” and television campaigns. In my spare time, 19, 2012, at the Fluid Night Club in Phila- in the Best Shorts Competition (La Jolla, I freelance for a growing base of clientele delphia with electronic music made with Calif.). Since graduating, Carrescia has and, if I get a chance, play guitar. Recently, built-from-scratch instruments. been freelancing with a small video/photo I worked on the websites for Robot & Frank production company in the Lehigh Valley, and the Oranges, as well as the poster for L o r e n z o B u f f a B S ’ 1 2 ( I n d u s - where he has had the opportunity to travel Barbara and advertising for 2 Days in New tr i a l D e s i g n ) was featured in design extensively, shooting and editing for compa- York! I also designed next season’s brochure magazine Core77 for his “Analog” wooden nies such as Olympus, Johnson & Johnson for the Wilma Theater in Philadelphia.” watches. Buffa says, “For my senior thesis, and Mack Trucks. Carrescia reports that, I wanted to design a wooden watch brand “It was a blast hanging out of the back of a featuring a unique flexible soft strap. My car going 70mph filming a huge truck bar- goal was to create a gender-neutral form reling towards you. Got a lot of great foot- that accentuates the material. I prototyped age.” Carrescia is scheduled to do another Mack Truck shoot in Vegas, and perhaps Peru, in the near future.

edge 61

UArts_EDGE9_Final_web.indd 61 1/22/13 1:03 PM a l u m n i n o t e s

N a th a n S c hl e g e l B f a ’ 1 2 (T h e - a t e r D e s i g n & T e c h n o l o g y ) writes, “Since graduating college in May, I have continued to work for my own business, Dynamic Video Lighting and Sound LLC, which I started four years ago while still at UArts.”

J o h n P a tr i c k T h o m a s B f a ’ 1 2 ( I ll u str a t i o n ) was featured in CMYK, an art and design magazine. The article calls Thomas a “talented young illustrator and designer who first came to atten- tion of CMYK this year when his design was chosen for the promotional material of the Words and Pictures event at UArts. Thom- as’s work blurs the line between illustration and topography, while layering details and using scale to compose imaginative worlds that seem to come to life. The Society of Il- lustrators recently recognized his work and before long, this exceptional ‘kid’ will make his mark on the industry.”

// Above: J o h n P a tr i c k T h o m a s ‘ 1 2 , S h a r e y o u r n e w s w i th u s Call for Entries for CMYK Magazine 53 f o r th e n e x t i ss u e o f E d g e ! AD: Ron Cala II Send a short note about your recent projects, upcoming exhibitions and performances and accomplishments to [email protected]. High-res images can also be included and will be printed as space allows.

62 edge

UArts_EDGE9_Final_web.indd 62 1/22/13 1:03 PM In Memoriam

H o w a rd A lb e r ’ 3 3 ( A d v e rt i s i n g D e s i g n ) of Haver- nizations, including the Plastic Club, the Philadelphia Sketch ford, Pa., passed away on October 17, 2012. He was an artist, Club and the Acrylic Society of New York. He was past presi- educator, graphic designer and arts advocate who died at the dent of the Artist Guild of Philadelphia. He continued to paint age of 101. Born Howard Albert Rosenstein, he was a gradu- and drive his car into his 90s. In 2009, Campbell donated the ate of Northeast High School in 1929. He won a scholarship to use of his winter scene of Mount Pleasant, a mansion in Fair- the Philadelphia School of lndustrial Art, now the University mount Park, to the Philadelphia Committee to End Homeless- of the Arts, and was one of the only graduates to obtain a job ness for a fund-raising greeting card. Campbell is survived by in the middle of the Great Depression. He served in World War a granddaughter. II in the Marine Corps as an artist for the Eastern Headquar- ters. A graphic designer for more than 45 years with different I r m a D o m k e L e b i n g ’4 0 ( A rt E d u c a t i o n ) was a firms, he was also the founding art director of Weightman public school art teacher in Elkins Park, Pa. She passed away Advertising, one of the first large advertising firms in Phila- on August 15, 2012, in Roslyn, Pa. Lebing graduated from delphia. An activist and community organizer at heart, he was Frankford High School in 1935 and went on to attend the a founding member of the Artists Guild of Delaware Valley, Philadelphia Museum School of Industrial Arts (PMSIA), served as an art advisor for the Graphic Arts Association and now the University of the Arts, with an art scholarship. She taught graphic design at three local commercial art schools. earned a bachelor’s degree in education at Temple University In the 1960s, he opened Alber Galleries in downtown Phila- in 1941. Lebing began as an art teacher, teaching at Camden delphia, which he ran for over 30 years. His last three wives High School from 1955 to 1958. In 1961, she earned a Mas- preceded him in death, as did his two brothers. He is survived ter of Fine Arts degree at Temple University’s Tyler School of by his four grandsons, two step-daughters, many nieces and Art. From 1964 to 1980, she taught art and developed cos- nephews, great nieces, a great nephew, great-great nephews, tumes and scenery for student plays at what was then Elkins and a great-great niece. Park Junior High School. Lebing taught evening classes for adult art students at the Fleisher Art Memorial, the Chelten- W i ll i a m H . C a m pb e ll ’ 3 7 ( A d v e rt i s i n g D e s i g n ) ham Center for the Arts and what is now the Markeim Art passed away on October 31, 2012. He was an illustrator, Center in Haddonfield, N.J. She produced clay sculptures and painter and cofounder of the Main Point, a former cabaret paintings in oils, watercolor and tempera, her daughter said. in Bryn Mawr, Pa. Campbell had 47 solo exhibits and shared In 1976, she organized the Woodmere Art Gallery exhibition space at numerous shows with other artists over a career span- of the Tyler School of Art Alumni Association. Besides be- ning more than 70 years. After graduation, he worked as an il- ing exhibited at galleries in the Philadelphia region, her work lustrator, teacher and art director for years to earn a living. In was displayed in shows at the University of Delaware and the the mid-1950s, Campbell was art director for the Pennsylvania Trenton Art Museum, both in 1966. She was also in a show at Railroad, producing a magazine for the company’s employees the Kosciuszko Foundation in New York City in 1968 and at and shareholders. He then worked as a freelance commercial the annual exhibit of the American Watercolor Society at the artist and taught at University of the Arts, Moore College of National Academy Museum and School in New York City in Art and Design, and the Philadelphia Sketch Club. In 1964, 1969. Lebing won best in show at the 1958 Camden Art Fair, Campbell and his wife decided the area needed a place for folk first prize for an oil portrait at the 1960 Camden Art Fair and music and with pooled money, they opened the Main Point first prize for sculpture at the 1967 Cheltenham Art Show. in Bryn Mawr. The club welcomed then-obscure performers She retired to Florida in 1980, moved to Virginia in 1996 and such as Joni Mitchell and Arlo Guthrie and hosted a Bruce returned to the Philadelphia region in 2007. Lebing is survived Springsteen show in 1975. He moved to Spring Garden in 1970 by four children and four grandchildren. after his divorce to a home with studio space for his large can- vases. For several years, he served on the board of the Spring R o b e rt D . D a rr a c h B f a ’4 7 ( P a i n t i n g ) , an art Garden Civic Association. By the late 1980s, he stopped doing director in the 1960s for national magazines published in Phil- commercial work to concentrate on painting and that same adelphia, passed away on September 13, 2012, in Lebanon, year, his work was displayed at Provident National Bank in N.H. Born in Philadelphia, Darrach attended La Salle College Philadelphia. Campbell received art awards from several orga- High School and served in the Army Air Force from 1944 to

UArts_EDGE9_Final_web.indd 63 1/22/13 1:03 PM i n m e m o r i a m

1946, photographing, among other work, the sites of plane DeMartin, Marona, Cranston & Downes Associates in Wilm- crashes and bombings in Japan in the year after World War ington. He was a member of the Toastmasters chapter in Val- II. After earning his degree, Darrach taught and lectured on ley Forge, Pa., for 50 years. He volunteered at the Wilming- drawing at his alma mater. In the early 1960s, he was assis- ton Library and Winterthur Museum. He was famous among tant art director for Farm Journal on the south side of Wash- his family and friends for his intricate hand-made Christmas ington Square and then the art director of promotions at the cards. He was a longtime subscriber to the Philadelphia Or- Saturday Evening Post on the north side of the square. He chestra, the Opera Company of Philadelphia and the Pennsyl- then led the creative division for Goodway, a printing firm in vania Ballet and attended the theater regularly. In his work, Philadelphia. In 1970, Darrach founded Mandala, a graphics he was a great draftsman and technician. He is survived by his design firm in Philadelphia, and served as its president until he sister-in-law, uncle, great-niece and extended family of great retired in 1977. Darrach received several awards for his work nieces, nephews and cousins. at meetings of the Art Directors’ Club of Philadelphia, including a 1961 event at which he won five gold medals. Before R i c h a rd C . L a y t o n ’ 5 4 ( I ll u str a t i o n ) of Wilm- and after retirement, he produced large paintings and sculp- ington, Del., passed away on October 14, 2012. Layton served tures in bronze and in wood, as well as many commissioned in the U.S. Army in Japan during the Korean War and, using oil portraits. Darrach is survived by his wife, six children, 12 the G.I. bill, attended the Philadelphia College of Art, now grandchildren, eight great-grandchildren and his former wife. the University of the Arts. Layton was the first curator of the Brandywine River Museum in Chadds Ford, Pa., and co P a u l S o n st e i n c e R T ’4 7 ( I ll u str a t i o n ) passed founder of the Brandywine Arts Festival and the Greenville away on August 19, 2012. He was described by his family as Arts Festival. His works are widely owned by individuals and an individualist, a creative man, an artist, a connoisseur of corporations. He designed the 1973 American Bicentennial beauty, a storyteller, a survivor, a businessman, a hustler, a coin issued by the U.S. Mint. He was an emeritus board mem- veteran, a teacher, a giver, an adventurer, a risk-taker and a ber of the Christian C. Sanderson Museum in Chadds Ford comedian. He is survived by his wife, Miriam, of 64 years, and was honored by the City of Wilmington in 2008 with the three children and four grandchildren. Jefferson Award for Public Service to the Arts. He is survived by his wife, two children, five grandchildren, two sisters and C a ll i o p e G e o r g e V a rl a n B f a ’4 7 ( I n t e r i o r D e - one brother. s i g n ) of Chester, Pa., passed away on October 8, 2012. Var- lan was a graduate of Chester High School and the University M i c h a e l F . M o r e k e n a a ’ 5 6 ( I n t e r i o r D e s i g n ) of the Arts in Philadelphia. A professional interior designer at of Drexel Hill, Pa., passed away on May 25, 2012. He was Miller Brothers Furniture for over 50 years, she was a member a longtime resident of Drexel Hill. Moreken attended the of the American Society of Interior Designers (ASID), which University of the Arts on a scholarship, where he majored in was very proud of her designs for the Methodist Country Design. He then worked as a designer for Cuneen Co. and House and other businesses, as well as her many private cli- later for ARAMARK, where he was manager of the Design ents. Varlan was active for many years in the Daughters of department. He retired in 1991 and later did consulting work Penelope; she was a founding member of its local chapter and for ARAMARK Moreken was an avid gardener, who enjoyed served as District Governor of Pennsylvania. She always en- playing the organ and piano and listening to classical music. joyed spending time with family and friends and loved playing He was a member of St. Andrew the Apostle Church. He is games, reading and travelling. She is survived by her sister, survived by his niece, nephew and grand-niece. sister-in-law, nieces, caregivers, great-nephews, great-great- nieces and cousins. H a rr y L . M a d o l e m a ’ 6 5 ( M u s i c ) of Tafton, Pa., passed away on September 1, 2012, in Honesdale, Pa. Mad- E d w a rd V a g n o n i ’ 5 2 ( I ll u str a t i o n ) passed away ole attended Trenton public schools and then the Philadelphia on July 28, 2012, in Norristown, Pa. He lived in Wilmington, Musical Academy, now the University of the Arts. Graduat- Del., since 1954 until his recent return to Norristown to be ing from Trenton State College in 1957, he then attained a with his family. After serving in the Army in Japan during the Master of Arts degree in Conducting and Composition. Mad- Korean War and receiving a commendation medal, he attend- ole taught first in Tinton Falls schools in New Jersey for nine ed the Philadelphia College of Art, now the University of the years, developing an 80-voice choir, an 85-piece band and a Arts, and took classes at the Fleisher Art Memorial, where he string program. In addition, he taught as an adjunct professor studied Drawing and Sculpture. In 2007, he showed his draw- at Trenton State and founded the Shore Intermediate Band and ings at the Dupree Gallery in Philadelphia. Vagnoni worked Orchestra Association. He directed numerous musical groups at Reese & Thomas, Terry Casey and Associates and finally and dramatic productions while active as a professional

UArts_EDGE9_Final_web.indd 64 1/22/13 1:03 PM i n m e m o r i a m

musician himself. The highlight of his career came when he covers and limited-edition lithographs to accompany issues of became director of Music at Point Pleasant Beach High School UN postage stamps. He exhibited in Los Angeles, London, in New Jersey, where he remained until his retirement in 1991. Paris, Milan and Tokyo, and regularly in New York City. Wie- He started a jazz program there, which from 1969 to 1990 ner published and was editor-in-chief of the online magazine placed among the top in New Jersey each year and won state Resolve40, which seeks to integrate artists in the New York and regional recognition. Performances at many concerts, art community with frequent gallery news and reviews and by footballs games, parades and community functions won ac- encouraging artists to participate in writing. “Street Mark- claim from area leaders, every principal under whom he served, ings,” an exhibition of selections from Wiener’s eponymous community members and music teachers in other areas. He unfinished series and related works, was on view at Dorian was selected to conduct the All South Jersey Region Band, the Grey Gallery November 3–25, 2012. All State Jazz Ensemble and at the Garden State Arts Center. He founded the Greater Point Pleasant Area Community Sym- L a u r a R o ss J a f f e B f a ’ 8 2 ( P h o t o g r a ph y ) passed phonic Band, which combined the talents of high school stu- away September 16, 2012. Jaffe was first employed in the re- dents, adults and alumni. At the First Presbyterian Church of tail area of photography. However, her love of dance as a vo- Manasquan and locally, he and his wife combined talents for cation soon became the main focus of her many talents. The many vocal, instrumental and dramatic productions. Madole result of that switch in emphasis was the development of a has been recognized by many of his previous students, who long and very successful career as a dance instructor, but pho- credit him for contributions as a teacher, friend and mentor in tography remained an avid interest. Jaffe was an expert skier their lives. He is survived by his wife of 57 years, two sons, six and she captured on film many beautiful scenes as she and grandchildren and three great-grandchildren. her beloved husband, Steve, skied in New England and the far West. Jaffe’s indomitable spirit and her captivating sense of D u n c a n G . S t e a r n s B M ’ 7 3 ( M u s i c ) passed away humor will be remembered by all. on May 29, 2012. His connection and love of music began when he was 4 years old and remained the core of his interest throughout his life. In addition to the University of the Arts, Stearns’ education included the Aspen Music Festival and the Peabody Institute of Johns Hopkins University. He was an ex- cellent musician and a Steinway Artist. Stearns recorded for the Musical Heritage Society and performed extensively in the U.S. and abroad. His works have been published by Willis Music Company and the Lyon and Healy Company. He was a longtime church musician, serving as music director and organist at Old Pine Street Presbyterian Church in Philadelphia; Bethany Collegiate Presbyterian Church in Havertown, Pa.; St. Matthew Lutheran Church in Springfield, Pa.; and Refor- mation Evangelical Lutheran Church in Media, Pa. From 1995 on, Stearns also served on the faculty at Eastern University in St. Davids, Pa., in piano and harp.

M a r k W i e n e r B f a ’ 7 3 ( P h o t o g r a ph y ) passed away on September 29, 2012. Wiener was an abstract painter who focused on painting and photography, working as a professional photographer, illustrator and web designer before turning to full-time painting. His commercial work appeared in The Wall Street Journal, Esquire, New York Magazine, and others. In 2006, he exhibited his gestural paintings at the Montblanc Manhattan flagship store and participated in the Felissimo Design House “Tribute 21” program, which featured work reproduced on ceramic plates and sold for the benefit of UNESCO. He received commissions from the World Federation of United Nations Associations to create first-day

edge 65

UArts_EDGE9_Final_web.indd 65 1/22/13 1:03 PM From The Archives t h i n g s t h a t a r e n ’ t h e r e a n y m o r e : t h e philadelphia t e x t i l e s c h o o l

Jacquard looms. Chemistry labs. Dye vats. Do you know that what is now Philadelphia University began as part of the Pennsylvania Museum and School of Industrial Art, and that it was in Hamilton Hall until 1949?

66 edge // Above: Students of the Philadelphia Textile School Student Army Training Corps (SATC) are on their way to an Army training camp. (Courtesy of Philadelphia University.)

UArts_EDGE9_Final_web.indd 66 1/22/13 1:03 PM f r o m t h e a r c h i v e s

The school of the Pennsylvania Museum, and School of In- dustrial Art is now the University of the Arts College of Art, Media & Design, and the museum is the Philadelphia Museum of Art. Philadelphia University has had its own set of name changes: Philadelphia Textile School, Philadelphia Tex- tile Institute, Philadelphia College of Textiles and Science and finally, Philadelphia University.

At the end of the 19th century, Philadelphia was one of the world’s largest manufacturers of textiles. The neighborhoods of Manayunk, Frankford and Kensington were centered around textile mills, dye works and chemical companies. The Philadelphia Association of Textile Manufacturers, formed in 1882, had the support and promotion of technical education in textiles among its goals. Unable to raise enough funds to start their own school, they approached the already-extant Pennsylvania Museum and School of Industrial Art (PMSIA, founded in 1876), who freely allowed them the use of several rooms in their building at 1709 Chestnut Street (PMSIA did not move to Broad and Pine until 1893). As the textile school grew, it became part of PMSIA.

Upon PMSIA’s move to the Broad and Pine streets location in 1893, the textile school occupied the south side of the Frank Furness-designed east-to-west addition, and the art school occupied the north side. Although one of the intentions had been for the art school students to create textile designs that the textile students would then weave, this never seemed to happen to the degree that was hoped for.

The textile school students, who appear to have been almost exclusively men from the photographs we see in the catalogs, were very congenial and clubby: they had a baseball team, produced a yearbook every year starting in 1917 (there are no known yearbooks for the art school until 1965), and had pool tournaments in their club room in the basement of Hamilton Hall. During World War I, a Student Army Training Corps was formed in the textile school so that students could train as soldiers while also remaining in their studies at the school. The textile school students were considered to be invaluable textile inspectors for the armed services’ huge need of fabric for uniforms at the time.

Following the boom in the number of students after World War II had ended, Hamilton Hall was overcrowded. The textile school separated amicably from the art school, moving to its current location on Henry Avenue in Philadelphia for the Fall 1949 semester. With them went the Jacquard looms, chemistry labs, dye vats and a piece of UArts history.

// Top right: The caption for this photo of a textile design class states that “the great value of drawing becomes apparent to the student, as the commercial value of his production is increased by artistic method.” (Courtesy of Philadelphia University.) // Bottom right: “Tie-Up for Silk Brocade” on a Jacquard machine shows the complexity of planning and designing for such items, not to mention the need for all students to learn technical drawing skills. The drawing is signed by A. S. Howard and appears in the 1895-96 catalog.

// Above: Students of the Philadelphia Textile School Student Army Training Corps (SATC) are on their way to an Army training camp. 67 (Courtesy of Philadelphia University.)

UArts_EDGE9_Final_web.indd 67 1/22/13 1:03 PM The Universit y of the Arts Non Profit Org 320 South Broad Street US Postage Philadelphia, PA 19102 p a i d www.UArts.edu Philadelphia, PA Permit No. 1103