Dill CV 41

Desert Music Pictures Production Assistant to Executive Producer

Fullmoon Entertainment Production Office Assistant Brian Ades, UPM Created Vendor Data Bank Casting Assistant in Film Actors Division

Moonstone Records Executive Assistant to Vice-President Film Soundtrack Division

RELEVANT ADVERTISING COMMERCIALS AND MUSIC VIDEOS:

Johns + Gorman Research / Art Department Sylvia Kahn. Producer “Spageddies” Commercial

Scene III Productions Set Design

Dill CV 40

1991 Writer / Producer / Director / Editor / Cinematographer / Negative Cutter “Light,” Mississippi Blue Productions Dancer performing with a Dance-Drum-Painting Awarded James Irvine Foundation Grant and Kodak Project Grant

1992 Actress: “Seven Lucky Charms” Lisa Mann, Director, Lisa Mann Productions Experimental Short Film,16mm Film received Student Academy Award

RELEVANT INDUSTRY EMPLOYMENT: FILM AND TELEVISION:

Sony Pictures Television, Animation Timing Director Columbia TriStar/Adelaid Productions “Dilbert” Animated TV Series

Philomath Films, Associate Producer, Jilann Spitzmiller, Producer “Bless Me With A Good Life” Hank Rogerson, Producer Documentary Film

Hannah Barbera Studios Production Team for Animated Feature Barry Weise, Producer “Pagemaster”

Film Factory Assistant Art Director / Set Dresser Mark Mormar, Producer “Born Mime”

Disney Feature Film Set Production Assistant David Permut, Producer “Love Led the Way”

Propaganda Films Production Accounting Assistant Jalee Lind, Production Accountant

Angel Productions Assistant to Producer / Provided Script Coverage Jamie Beardsley, Producer

Filmforum, Los Angeles Project Development Director Jon Stout, Executive Director Research Assistant Assistant to Executive Director

Filmforum, Los Angeles Judy Irola, Chair of Advisory Council Assistant to Board of Directors’ Advisory Council

Dill CV 39

1995 Survivors of the Shoah Visual History Foundation to 1997 Researcher, Historical Cataloguer and Interviewer for Video documentaries, Universal Studio Lot, Universal City, California

Steven Spielberg’s Foundation recruited me for a staff position when serving as interviewer of survivors for video archive.

Duties: historically catalogued video testimonies into a robotic interactive database that became a Visual History Archive of world-wide testimonies of the Survivors of the Holocaust reserved for research via holocaust museums. My specific research arena: Persecution of the Cultural Artists During the Third Reich.

I was one of the twelve founding members of the Shoah Foundation’s Historical Cataloguing Department. Initially, I interviewed survivors as a Cataloguer. I assisted in Community Outreach to the Southern Region of the U.S. and initiated relationships with prominent Jewish leaders in the Jewish Communities of the American South. I designed interview questions and strategies particular to Southern Jews immigrating to the USA.

1993 Getty Center of the History of the Arts and Humanities / Filmforum L.A. to 1994 Project Development Director: “Scratching the Belly of the Beast Film Festival” Festival funded by Andy Warhol Foundation to screen films created as art expression in Hollywood (i.e., Belly of the Beast). Jon Stout, Executive Director

1993 Ivar Theater Stage Manager/Director for Performers Division Inner City Cultural Program: High School/Teen Talent Festival Los Angeles, California

1993 Executive Producer: “Our Bodies, Our Cels” Theater II, Interdisciplinary Performance Works Experimental Animation – Dance/Choreography California Institute of the Arts, Valencia, CA

1993 Artist and Filmmaker: Time-Based Art Gallery Installation Alias/Wavefront 3-D Digital Images projected onto paintings Gallery A-402 California Institute of the Arts Valencia, California

1992 Artist / Producer / Director / Editor: “Transformation” (Video) Collaboration, Interschool Productions, Animated film/video “performed live” with choreographer, Tomas Tomayo

1992 Artist and Filmmaker: Time-based Art Gallery Installation, Gallery D-300: paintings and 16mm film installation California Institute of the Arts Valencia, California

Dill CV 38

Vanderbilt University, James Sandlin, Dean of Student Affairs, Nashville, TN Director of Exhibitions and Curator, Sarratt Fine Arts Gallery:

Selected, scheduled, promoted, designed and installed over thirty (30) exhibitions during my tenure, including an exhibition of monumental sculptures on campus grounds University-wide to incite the boundaries of academic disciplines and to re-contextualize the notion of “the gallery.”

Director, Arts Administrator, and Manger of Classes and Teachers at Sarratt Art Center:

Created, administered, programmed and scheduled Sarratt Art Center Studio Workspaces and Classes in photography and crafts. Duties included designing, equipping, and staffing all crafts and photography labs, purchasing equipment and supplies, including by not limited to, in clay, sculpture, weaving, jewelry, dyed and printed fabric and darkroom supplies; created a tuition-based budget to sustain faculty salaries; and promoted classes which were attended in overflowing numbers with waiting lists.

Arts Administrator and Manager, Sarratt Art Center, Vanderbilt Dance Group:

Founded the Sarratt Art Center Studio Dance Group; duties included purchasing all dance equipment and supplies for classical ballet, jazz, modern, belly-dance, and African dance classes; created a tuition-based budget to sustain faculty salaries; and promoted classes which were attended in overflowing numbers.

As a young Founding Director and Arts Administrator for the Sarratt Art Center at Vanderbilt University, it is gratifying that the original arts programming with its foundational creative principles remain active and flourishing some years later.

Relevant Media Experience / Film and Animation Industry Employment and Production Development

2012 Social Media Campaign, audience building and fund-raising http://www.jules-engel.com

2003 Film Writer / Director / Producer / Editor: “Jules Engel: An Artist for All Seasons” to 2009 Short-form documentary film on Early California Modernist, Jules Engel (1909-2003), Founding Director of Experimental Animation Program at California Institute of the Arts, Valencia, California

1994-1999 16mm Film Production: Writer-Director-Producer-Special Effects Artist: “Paris Is A Woman” A short, black and white, experimental film with optical effects and animated still photography. Partially funded by the Annenberg Foundation, the Ahmanson Foundation, Foundation for Creativity, Filmforum (Los Angeles), and the Mexican Endowment for the Arts and Culture.

Film Composer: for “Paris Is A Woman”: Bernardo Feldman, Ph.D., MFA. Composed original soundtrack and designed sound effects to fulfill his Doctoral Studies and Dissertation in Musicology, University of California Los Angeles (UCLA).

1998 to 1999 Animation Timing Director, Network Television Animated Series, “Dilbert.” Sony Pictures/Columbia Tri Star, Adelaid Productions, Burbank, California

Dill CV 37

Administration

2017-2018 Founding Editor In Chief, The Research Unit in Experimental Animation Society http://theresearchunit.com (On hiatus while seeking institutional support)

2008-2018 Founder and Founding Institute Director, Think Tank

The Institute for Interdisciplinary Art and Creative Intelligence is a virtual Think Tank, arts studio, colloquium, and global concept explicitly committed to a twenty-first century vision of the artist, the scientist, and the technologist as creative thinkers who animate a conscious decision to engage the intuitive and the intellectual in simultaneity. The Institute's mission is to support research strategies that lead to a sustainable Ecology of Creative Intelligence in higher education, mentorship, creativity and internship in the arts across the disciplines.

IIACI Founder:

Oversee development of expansive critical studies research and creative output in parallel to university faculty appointments – in many ways, function as an academic officer who fosters innovative thinking, animation research, global leadership and creative programming: Chair national and international academic panels, present animation research within international conference settings, leadership in student research and creativity (undergraduates and graduate students) through mentorships, curriculum development, and internships. IIACI Academic Internships were in International Business: Cannes, Venice, Toronto) and in the Creative Arts (Seminar In Creativity) with the outcome of exhibition and Undergraduate Research Competition: Oral + Poster Presentations)

http://thecreativityseminar.com/GALLERY_Final_Projects.html

IIACI Founding Institute Director:

Managed the daily functioning of The Institute: budgeting, scheduling, internet presence, press coverage, management and supervision on-site forAcademic Internships. Undergraduate students gain academic research and creative output credits for study abroad at International Film Festivals: CANNES, VENICE, TORONTO (International Entertainment Business & Film Production).

Leadership Role in Production Offices: Supervise and Direct IIACI Interns within a professional boot camp setting for film production and development, fund raising, audience building, distribution, and social media.

Sarratt Art Center, Gallery Exhibitions Director, Workshop Coordinator, Dance Group Founder Sarratt Student Center at Vanderbilt University:

1974 Founding Director: Arts Administrator: Budgeting, Scheduling, Hiring Faculty, Managing. to 1977 Equip and Maintain Media Labs and Gallery. Gallery: Organize and Curate Exhibitions. Sarratt Student Art Center, Vanderbilt University: Sarratt Fine Arts Gallery Sarratt Photography Center Sarratt Crafts Studios The Vanderbilt Dance Group Dill CV 36

Honors College, Cannes Film Festival Internship, Academic Internships and International Business Program Internships

New College (Interdisciplinary Studies), Cannes, Venice, and Toronto Film Festivals Internships and International Business Program Internships

Seminar In the Art of Experimental Animation Seminar In Creativity Seminar In Interdisciplinary Art Seminar In Contemporary Animation Studies Seminar In Time-Image-Sound

Fine Arts Practice and Art History

Introduction to Modern and Contemporary Art History Introduction to Contemporary Arts, Video and Installation Studio Painting Studio Drawing Studio Critique Directed Studio Practice and Portfolio Review

Film Production: Analogue and Digital Arts Cinema

Producing, Directing, Writing, Visual Effects 16mm Camera: BluRay, Arriflex and Bolex 16mm/35mm Master Series Oxberry Animation Camera Stand

Digital Editing: Final Cut Pro, Avid, Premiere Film Graphics: Hybrid analogue and digital Frame Capture Sync Sound Production and Experimental Sound Design Video (Digital Cinema) camera (From Flip & 3-chip to Blu-Ray and HD)

Experimental Animation techniques: From Hand-Drawn CELS to FlipBook, Painting On Glass, Drawing under camera, Zoetrope and Electronic frame capture

Animation CEL Drawing (Character and Abstract Animation/Visual Music) Drawing In Motion Drawings for Projection-Installation

Concept Design and Development for Film Installation Art – Experimental Installation Performance Set Design/Production Design Talent/Acting for Narrative Film, Experimental Film, Experimental Animation Experimental Documentary/Biography/Autobiography, Experimental Animated Documentary Crew/Production Departments: Set, Costume, Talent, Location, etc.

Virginia Commonwealth University: Served on Undergraduate Arts Curriculum Committee with Assistant Chair of Department to design new coursework for Departmental Animation and Arts Courses. New Course: Experimental Animation III (Senior Thesis Project: Animation Film)

University of Alabama: New Curriculum Design: Fine Arts 200 (Interdisciplinary Art, Film, Animation, Art History). Dean of College of Arts and Sciences wanted to create a new offering for Humanities credit across the university; two Teaching Assistants to supervise.

Virginia Commonwealth University: Designed curriculum for History of Graphic Design and Media (Large Lecture Course: 130 arts students with two Teaching Assistants to supervise).

Dill CV 35

University of Cambridge, Graduate Application – Sample: Undergraduate Writing

History: “the aggregate of past events in general; the course of events or human affairs (OED).” Documentation: “the accumulation, classification, and dissemination of information (OED).” Two definitions worded in the most deceptive of ways. Apparently clear and concise, they would appear to suggest no meanings of the words they describe unknown to the masses: no meanings that conflict with the uses of these words made by what James Joyce referred to as “the marketplace.” Yet it should be noted that Joyce put no trust in this “marketplace” for its irresistible tendency to take language at face value; and indeed, the above definitions—these two sets of words seeking to explain other words—are only non-threatening when they are accepted without analysis. A closer look at both would soon reveal that even such “safe” descriptions of two terms quite commonly occurring in the English language conceal more than a few unsettling elements. “The aggregate of past events,” for example, would appear to mesh well and unremarkably with the common use of the word “history” to mean “a record of the past.” However, problems arise when it is additionally noted that in the marketplace sense of the word, this “record of the past” is qualified as a “true” record: a record of events that “actually happened.” Yet “the aggregate of past events” is a phrase that allows for the inclusion of many incidents well outside the marketplace concept of “true.” Similarly, the term “documentation” deals by its definition with “information,” which in turn is formally defined as “knowledge communicated concerning some particular fact, subject, or event (OED):” a definition that in no way qualifies or limits “information” to the realms of tangible existence, truth, or “fact,” by the common value of the final term. …

Teaching: Statement of Philosophy / Courses Taught / Technical Expertise

As I understand my role as faculty, I intend to teach students to reach across imposed boundaries to not only access their creative intelligence but to facilitate its refinement in relationship to an “intuitive” response. Thinking intelligently is an interdisciplinary process that takes risk and courage. I can only hope that in response to those urgings, a students’ curiosity is enlivened by the act of reaching beyond what is already “known.” As an arts educator who creates and as an artist/thinker who educates, implicit in this direction is the very texture of my own relationship to finding courage in acts of creativity. A pedagogy that demands a type of visceral, in-the-bones commitment to artistic research, this impulse to forge new intellectual and creative territory is multifaceted and rippling. The classroom is a critical site where idea is developed as thought. As an educator, I bear witness to those acts of creative intelligence through my students as much as through my own thinking when the opportunity to ‘discover’ reverberates with an impelling force ‘to give form.’

Coursework Taught:

Animation History and Theory Introduction to Film: Hollywood and the Experimental (History) History of Experimental Animation Media Presentation: Scriptwriting and Storyboarding Critical Issues in Film and Media Principles of Animation: Experimental Animation I Experimental Animation II and III Senior Portfolio: Preparation and Critique Senior Thesis Film and Exhibition supervision (extensively supervised) Graduate Thesis supervision (Installation Design) Research Strategies for Creative and Critical Studies Arts Education and Mentorship Practices

IIACI Internships: Professional Book Camp: Developing Funding Strategies for Production

Seminars / all curriculum below are “W” Designation (arts writing, research and practice components):

Dill CV 34

______

______

______

______

My final annotation cites supervision and direction for student research with Laura Godorecci. A seventeen-year-old freshman in my Seminar In Creativity, Laura discovered ‘film’ and subsequently engaged in numerous Directed Research and Independent Studies with me and/or enrolled in my Interdisciplinary Art Seminars every semester thereafter, with one exception, a spring semester’s Study-Abroad in Milan. Akin to the style of mentorship I experienced with Valerie LaPointe (mentioned as introduction), I served as Referee, Advisor and Director for Laura’s various applications for Fellowships, Scholarships, and Graduate Schools, only to happy to foster her academic and creative output in experimental filmmaking and critical studies during her undergraduate studies with me.

Notes: Laura’s graduate school applications received acceptance to the M.F.A. Program (with scholarship) in Directing Film, Video, and Theater Department at California Institute of the Arts (CalArts), Los Angeles; to Columbia University, M.F.A. Program in the School of Film, N.Y.C.; and, to the M.Phil. Program, Department of Screen Studies at the Queen’s College, Cambridge University (U.K.). It was the paper she wrote for this Directed Research Study that lead her to her successful acceptance when she submitted it as example of her undergraduate writing. Laura was awarded her M.Phil. in Screen Studies and graduated from Law School specializing in Intellectual Properties. Laura lives in New York City and founded a virtual reality production company with two other partners.

“What Is History?: A Concept Study and Its Link to Animation”

Laura Godorecci Dill CV 33

RORO THE PUPPET AND WETLAND ECOLOGY

Carri Burgjohann, Awarded Second Place Poster Presentation and Creative Project (Puppetry and Ecology: When Art and Science Meet) University-wide Undergraduate Research Competition, Fine Arts and Humanities Dr. Janeann Dill, Faculty Mentor (Independent Research Study: Art Education) Dr. Julia Cherry, Faculty Mentor (Wetland Ecology Studies) Bachelor’s Degree Undergraduate Studies (University of Alabama): Second Place Poster - Master’s Degree Graduate Studies (University of Kentucky): First Place Poster - Graduate

After experiential research in the Louisiana coastal wetlands, a puppetry series and accompanying teaching curriculum were designed and developed. The seed of this project was begun as a seminar in creativity project with expansive research in animation and puppetry. Through a continued collaboration of research study with previous undergraduate faculty when attending University of Alabama and graduate faculty at University of Kentucky, a reassessment of the series, fabrication methods, purpose and application has taken place. Two puppets in the series undergoing redevelopment and their original counterparts will be presented along with research and findings on wetland ecosystems, visual literacy and learning, and methods of fabrication. By reaching across the disciplines and providing tangible learning experiences through contemporary materials, we have an opportunity to education a generation of young people who are engaged in the world around them.

Notes: Carri Burgjohann is now an experienced classroom teacher in Middle School and Early Childhood Education in the city school system of Indianapolis, Indiana, and is on track to serve as a Supervisor in public education for teachers in Art Education and Science Education. She continues to search for Ph.D. program that is in alignment with this core research, philosophically and pedagogically. ______

______

______Dill CV 32

“The creative act is not performed by the artist alone; the spectator brings the work in contact with the external world by deciphering and interpreting its inner qualifications and thus adds his contribution to the creative act.” – Marcel Duchamp

“Rez was definitely dedicated to Kandinsky, but it was a personal dedication. I understand his concepts, and not only him, but also artists at the beginning of the twentieth century. Not only painters, but actors or musicians too, and they always discuss in a café about what is the future style of expressing yourself. At the time they had no technology at all, only a canvas. But I think they had a big dream, and the concept and dream is not getting old, and it's always the same. So my first impression and inspiration was if those artists lived now, with all these tools, what kind of things would they make, in entertainment or art?” – Tetsuya Mizuguchi

The human body and mind is capable of responding to a multiplicity of sensory stimulation while it is being generated simultaneously. There is, of course, the usual litany of basic human sensory modes: sight, sound, smell, touch, taste. To simply list the five most generalized categories of response to the world around us is to draw a failing analogy between the activity of sensory processes to the passivity of singular input jacks waiting for a source to be plugged into them. In reality we have the ability to parallel processes in massive proportions. Likewise, to reduce the interplay of rhythms, tonal and atonal melodies, ambient silence, conversation and countless other stimuli into the catchall word “hearing” masks the complexity of each individual form. The beauty with which the individual parts merge themselves into any sort of cohesive whole is what makes the experience worth having. Even with the massive amount of information taken in by any one sense, human beings most usually exhibit a desire to combine the experience of multiple senses; whether by a music video or something as simple as markers with designated odors. Indicating this urge, there exists beyond a basic aesthetic desire for multi-sensory stimulus a physical / psychological condition know as “synaesthesia.” With this condition, the stimulus of any one sense leads to an automatic and involuntary stimulation of a separate sensory response or cognitive recognition …

Notes: Brian Hubble came to me as a painfully shy Freshman, Honors Student, and Presidential Scholar – essentially speaking, the university paid Brian to come to this University because he tested out of the first two years of computer programming alongside perfect SAT scores (USA entrance exam). His directed independent research study and first place award for oral presentation in competition were outgrowths of two seminars in creativity and an animation production class. Brian went on to receive an M.F.A. Degree in Game Design from a technological institute in the heart of Silicon Valley; the research reflected above was the core of his application for graduate study and today remains at the core of his game designs. Brian is a successful Game Producer and Designer within the film industry in Los Angeles today. ______

CONCEPTUAL AND THEORETICAL EVALUATION OF WALTER MURCH & EXPERIMENTAL ANIMATION

Cody Head, Awarded First Place Oral Presentation and Creative Project (Experimental Animation) University-wide Undergraduate Research Competition, Fine Arts and Humanities Dr. Janeann Dill, Faculty Mentor (Independent Research: Critical Studies and Animation)

______

DIGITAL PIN-HOLE PHOTOGRAPHY

Ali Clark, Awarded Third Place Oral Presentation and Creative Project (Digital Pin-Hole Photography) University-wide Undergraduate Research Competition, Fine Arts and Humanities Dr. Janeann Dill, Faculty Mentor (Independent Research Study: Experimental Photography)

Dill CV 31 that she has given me during my tenure at the University of Alabama. If it were not for her and her creativity seminar, I never would have taken on an independent study. And without that, I never would have had the courage to start my own line of research. Dr. Dill has been so inspiring to me over the years. I cannot thank her enough for all the work she has done with/for me as well as all of the lessons she has taught me. I will truly value my time and experiences working with her for many years to come.”

--- Amanda M. Kimbrough

______

Raising the Triangle: An Argument For the Inclusion of African American Women Artists in the Mainstream Trajectory of Art History. Amanda Reyes Mentor/Faculty Sponsor for Undergraduate 2009 McWane Fellowship (Screenplay), “IZZY” for research initiated in my 4.0 credit ‘W’ designation course: NEW 212: Seminar In Creativity

It’s Her Turn to Say “No”: Melodramatic Manipulations in Pedro Almodóvar’s “Women on the Verge of a Nervous Breakdown” Amanda R. Reyes

This paper examines a narrative manipulation of the melodramatic mode, as defined by Linda Williams, enacted by the female main character, Pepa, of Pedro Almodóvar's film Women on the Verge of a Nervous Breakdown [Mujeres al borde de un ataque de nervios]. It defines these manipulations according to José Esteban Muñoz's concept of disidentification--a process whereby one operates within the structure of the dominant ideology to expose the ideology's contradictions and works to create change from within. Pepa is able to transcend the object-status of women characters in melodrama by taking control of narrative language, effectively translating her emotions into actions that progress the narrative and help solve her narrative goals, and discarding the symbols of normative femininity …

Amanda wrote the following bio for inclusion on her curriculum vitae:

Amanda Reyes graduated from the University of Alabama with a Master’s Degree from the Women’s Studies Department in 2013 and is a Doctoral Candidate at the University of California Santa Cruz in the History of Consciousness Department as of Fall, 2013. She received her Bachelor of Arts in Philosophical Studies in Literature, Art, and Film and minors in Pure Mathematics and Women's Studies. She created her major with the help of Drs. Janeann Dill and Marysia Galbraith in the New College ( Interdisciplinary Studies). Amanda’s major focuses on using philosophy and feminist theory as lenses to investigate literature, art, and film and connecting this research to creative practices in filmmaking, playwriting, and fiction writing. Amanda hopes to continue her research and creative work by pursuing a Master's degree in Women's Studies at the University of Alabama.

Notes: Amanda was an ongoing Directed Research Studies student with me during her undergraduate education, From Seminar In Creativity to sponsoring her for a McWane Research and Screenwriting Grant from the Honors College for a screenplay in progress. A Latina Scholar who entered university as a Math major, Amanda earned extra money as an undergrad by tutoring students in math for their Graduate Record Entrance Exams. As of 2018 Amanda completed her Master’s in Gender Students and her Ph.D. (abd) at University of Santa Barbara, Department of History of Consciousness, Santa Barbara, CA.

______

DIGITAL DREAMS

Brian Hubble, Awarded First Place Oral Presentation and Creative Project (Designed Abstract Video Game) University-wide Undergraduate Research Competition, Fine Arts and Humanities Dr. Janeann Dill, Faculty Mentor (Academic Independent Study Research: Interdisciplinary Art)

http://brianhubble.org/papers/digital-dreams/

[ABSTRACTION, DESIGN, AND SPECTATORSHIP FOR ANIMATED GAMING]

"Color is the keyboard, the eyes are the hammer, the soul is the piano with the strings." – Wassily Kandinsky

Dill CV 30

Pedagogical Statement about Directing Student Research

Leadership in fostering student research in higher education took on a formal trajectory in 2000 when I supervised an Advisee and Honors Student’s research for production of an experimental animation film. She had lost a friend in a car accident and wanted to honor his life by creating a hand-drawn animation film with watercolor as her medium. To afford her purchase of supplies and large amounts of watercolor paper needed for her film, I sponsored her application for an Undergraduate Research Grant. She won the grant and her film, “Night Light,” went on to win the prestigious U.S. Department of Education’s Jacob Javits Fellowship for Graduate Studies (MFA) and, thusly, allowed her to financial acceptance into two thriving MFA graduate programs in animation. This first research student, Valerie La Pointe, is now a Story Artist at PIXAR, standing side by side to John Lasseter while drawing concept boards for his feature films. All of my students’ research projects cited below were ever as gratifying to mentor as my first. Each of these project abstracts grew out of my Seminar In Creativity.

• Served as Mentor/Faculty Sponsor to New College Students for Undergraduate Research Grant Nominees, College of Arts and Sciences, University of Alabama:

2012: Honorable Mention: Amanda Kimbrough, Social Sciences Category, Oral Presentation

2008: First Place Awarded: Brian Hubble, Fine Arts and Humanities Category Oral Presentation Second Place Awarded: Carri Burgjohann, Fine Arts and Humanities, Poster Presentation Nominated: Twelve (12) students from Creativity, Independent Studies, InterArts Seminars

2007: First Place Awarded: Cody Head, Fine Arts and Humanities, Oral Presentation Third Place Awarded: Ali Clark, Fine Arts and Humanities, Oral Presentation Nominated: Jenna Hastreiter and Stephen Spikes, Poster Presentations

2006: Second Place Awarded: Laura Godorecci, Social Sciences Category, Oral Presentation Third Place Awarded: Ali Clark, Poster Presentation

______

Gender Differences in Technology Use: Women Connect More than Men Amanda M. Kimbrough (University of Alabama, Undergraduate, Lead Researcher) Rosanna E. Guadagno, Ph.D. (Assistant Professor, University of Alabama) Nicole L. Muscanell (Researcher, University of Alabama) Janeann Dill, Ph.D., MFA, MA (Scholar-Academic Researcher-Founder IIACI)

We took a contemporary look at these gender differences in Internet use. Participants discussed their experiences with many forms of technology. Contrary to prior research, our results indicated that women, not men are more frequent technology users. These results suggest that social norms for online interaction may be changing. … The concept for this publication has been building for years, and believe it or not, it started with an art project for a creativity class. In this project, I attempted to visually display, in an almost puzzle- like way, the interaction of experiences common to almost all members of my peer group. It ended up being less of a commentary on society, and more of a self-portrait about how I perceived the social interactions and environment of those around me. From this early project in 2010, I was encouraged by Dr. Janeann Dill to take independent study hours to further my research on social interaction and creative experience. Since my first project was written from a personal perspective, my aim in this second project was to incorporate more research and gain insight into how others viewed their social environment. These questions spawned another set of independent study hours to research in-depth the role that time and technology play in social interaction. For this study, the topic was more specific, and I wanted my data pool to be larger. So I drafted a survey asking participants about six types of technology mediated communication: phone calls, text messages, e-mail, social networking sites, video calls, and instant messaging. Questions pertained to use, preference, perception of control, stress, ability for creativity, number of accounts (if applicable) …

Research study was accepted for presentation to the 2012 American Psychological Science Convention, Chicago.

Abstract published by Institute for Interdisciplinary Art & Creative Intelligence (ThinkTank), March 21, 2012

Full research study published by ELSEVIER PRESS, Computers in Human Behavior. www.elsevier.com/locate/comphubeh

“I may have never found what I loved and where my passion lies if it had not been for Dr. Janeann Dill coming into my life as a professor and mentor while lending me her ever-vigilant encouragement. I have to thank her for this and all the countless instruction Dill CV 29

1992 California Institute of the Arts, George and Mary Lou Boone Grant, Interschool Grant for Performance in Experimental Animation and Choreography. Grant Director and Writer.

1992 Eastman Kodak, Project Film Grant, Los Angeles, CA.

1992 California Institute of the Arts, Mary Lou Von Hagen Academic Fellowship

1991 California Institute of the Arts, James Irvine Foundation Film Grant

1991 California Institute of the Arts, Institute Scholarship, Experimental Animation Department, School of Film. Valencia, CA.

1989-1991 American Center In Paris, Artist In Residence (awarded one of five American studios a two- year residency), Henry Pillsbury, American Center Director, Cité Internationale des Arts, Paris, France.

1990 Apple Computers France, Internship Award, Computer Graphics Studio, Paris, France

1988 Hauppage Corporate Center, M. Stumer Architects, Awarded $24K Commission for Monumental Painting, Long Island, N.Y.

1988 British Airways London, Travel Grant, Solo Laureate Retrospective Exhibition, Chatêau-Musée de Grimaldi, Cagnes-sur-Mer, France

1987 PRIX Palette D’Or, International Jury Award, XIXeme Festival International de la Peinture, Chateau-Museé de Grimaldi, Cagnes-sur-Mer, France

1987 American Embassy In Paris. Selected: Ambassador Joe Rodgers and Minister of Culture, Artist selected to represent United States (one of two), XIXeme Festival International de la Peinture, Cagnes-sur-Mer, France

1986 Tennessee Valley Authority, Awarded Commission: Painting, Washington, D.C.

1984 Landmark Center, Awarded Commission for three paintings: Monumental Paintings, Life and Casualty Corporate Headquarters, Chamber of Commerce, Nashville, TN.

1982 Tennessee Arts Commission, Purchase Award: Painting, Nashville, TN

1979 National Endowment For The Arts, Artist In the Schools Program, Awarded Residencies In Public Schools, Tennessee Arts Commission.

1980 Metropolitan Arts Commission, Purchase Award, Nashville, Tennessee

1978 St. Mary’s Villa, Commissioned three Murals, Nashville, Tennessee

1975 Brooks Memorial Museum, Exhibition Prize, Memphis, Tennessee

1974 University of Tennessee, Arrowmont School, Awarded Graduate Assistantship, Knoxville, Tennessee

1974 Brooks Memorial Museum, Exhibition Prize, Memphis, Tennessee

Research Supervision / Directed Research / Independent Studies / University Research Competitions

Dill CV 28

Please note two Research Grants from Emerson College and film production grant for ‘Visualizing Art History Project’ from United Plankton Charitable Trust.

2018 Emerson College, Office of Research and Creative Scholarship, Affiliated Faculty Fund, Research Travel Grant, Boston, MA. Travel to Paris and Hungary for research on early life of Jules Engel (1909-2003).

2017 Emerson College, Office of Research and Creative Scholarship, Affiliated Faculty Fund, Research Travel Grant, Boston, MA. Keynote Address to Society for Animation Studies, Padua, Italy

2012 United Plankton Charitable Trust, Production Grant, ‘Visualizing Art History: Jules Engel Film Essay Film Project,” Los Angeles, CA. In-progress.

2012 Inanimate Enterprises, Production Assistance, ‘Visualizing Art History: Jules Engel Film Essay Film Project,” Los Angeles, CA. Tim Finn, Associate Producer.

2012 Roy W. Dean Grant, In-Kind Production Grant, Honorable Mention, New York, N.Y.

2008 Center for Public Television In-Kind Production Grant and Dean of Arts and Sciences, New College, Creative Campus, University of Alabama, Tuscaloosa, AL.

2004 College Art Association, Travel Grant, Annual Conference, Seattle, WA.

2003 “Experimental Animation Is A Visual Art.” Southeastern College Art Association Conference, Gulnar Bosch Travel Grant (Ph.D.), Mobile, AL.

2003 New York Independent Film and Video Festival: “Paris Is A Woman,” 16mm film, Best Experimental Short Film and Best Directorial Debut In Short Film. New York

2000 Europäische Universität für Interdisziplinare Studien (EGS), Saas-Fee, Switzerland Doctoral Research Assistant to Professor Yve-Alain Bois, “Art and Film” Seminar.

1998 iotaCenter, Research Grant (Nominated: Dr. William Moritz), Los Angeles, CA. Artist’s Monograph: Jules Engel (1909-2003)

1996 Annenberg Foundation, Independent Media Grant (Nominated by Jon Stout, Executive Director of Film Forum, One of Ten Awarded). Los Angeles, California

1994 National Film Board of Canada and Society for Animation Studies Nominee, Evelyn Lambart and Norman McLaren Award, Best Scholarly Article on Animation. “Jules Engel: Master Film Artist, A Painterly Aesthetic.” Publisher: Animation Journal (Peer Review), Spring 1993.

1994 Ahmanson Foundation, Film Grant (completion funds): “Paris Is A Woman,” Los Angeles, CA.

1994 Studio Film and Tape, Inc., Carole Dean, President and CEO, Los Angeles, CA. Awarded 16mm Film Footage (Nominated: Jody Issak, Production Associates)

1993 Ecole Nationale Supérieure des Arts et Decoratifs, Awarded International Exchange Fellowship ( Nominated: Myron Emery, Assistant Dean, Cal Arts), Film and Video Department, Paris, France.

1993 California Institute of the Arts, Graduate Research Assistantship, Community Arts Partnership Program (CAP), Glenna Avila, Director. “Race and Representation in the Visual Arts,“ Joe Lewis, Faculty, Valencia, CA

1993 California Institute of the Arts, Awarded Technicolor Fellowship, Valencia, CA Dill CV 27

Tennessee State Museum Nashville, Tennessee

Hospital Corporation of America Corporate Headquarters Nashville, Tennessee

Maryville College Fine Arts Museum Maryville, Tennessee

Northern Telecommunications, Corporate Collection Nashville, Tennessee Earl Swensson Architects Nashville, Tennessee

Farris, Warfield and Kanaday, Attorneys Nashville, Tennessee

Tennessee Valley Authority Sequoyah Nuclear Plant Soddy Daisy, Tennessee

Third National Bank Financial Center Nashville, Tennessee

Landmark Insurance Corporate Center Chamber of Commerce Nashville, Tennessee

Metropolitan Arts Commission Nashville, Tennessee

University of Tennessee Arrowmont School Knoxville, Tennessee

First National Bank of Columbia Columbia, Tennessee

First National Bank of Tullahoma Tullahoma, Tennessee

Grants, Honors, and Awards

Summarily, I have received two Emerson College, Research and Creative Scholarship Grants, iotaCenter Fund Research Grant to commission author an Artist Monograph on Jules Engel; a National Film Board of Canada and Society for Animation Studies Nomination for Norman McLaren Award for “Best Scholarly Article on Animation,” an Annenberg Foundation Independent Media Grant award to ten nominees, an Ahmanson Foundation Grant, a George and Mary Lou Boone Grant for Experimental Animation and Choreography, a James Irvine Foundation Grant, a Kodak Film Grant, an Artist Residency at the American Center In Paris, the Creative Alliance at the Patterson Theater, and three NEA Artist-In- The-Schools Residency Grants.

Dill CV 26

Red Grooms Retrospective Exhibition Organized first retrospective exhibition of Red Grooms’ paintings and drawings. Several of the artworks I selected as Curator for this exhibition were later curated into the retrospective exhibitions of Red Grooms by the Philadelphia Museum of Art, Los Angeles County Museum of Art, and Whitney Museum of Art, New York.

Black History Exhibition Women In Art Exhibition Wichita Falls Fine Arts Museum Contemporary Art Collection Touring Exhibition Wichita Falls, Texas

George Eastman Museum and Visual Studies Workshop Touring Exhibition Rochester, New York

Public Output from Research and Scholarly Activity:

Fine Arts: Commissions and Museum, Private, Corporate, and Public Art Collections

Entergy Houston, Texas

Skytel TeleCommunications Jackson, Mississippi

Banque Pallas Paris, France

Racanelli Associates Corporate Headquarters Hauppauge Long Island, New York

Bridgestone USA Corporate Art Collection Murfreesboro, Tennessee Menton Museum of Fine Art Museé de Ville Menton, France

British Airways Bermuda Island, Atlantic Ocean

Tennessee Arts Commission Nashville, Tennessee

Vanderbilt University, Sarratt Art Center Nashville, Tennessee

Dill CV 25

Nashville, Tennessee

1976 Vanderbilt University Sarratt Fine Arts Gallery Nashville, Tennessee

1975 Brooks Memorial Museum Memphis, Tennessee

1975 University of Texas National Art Competition Arlington, Texas Juror: Brian O’Doherty

1975 Cohen Memorial Museum Vanderbilt University, George Peabody College Graduate Thesis Exhibition Nashville, Tennessee

1974 University of Tennessee Arrowmont School of Art Gallery Knoxville, Tennessee

1974 Brooks Memorial Museum Memphis, Tennessee

1973 Tennessee State Museum, Nashville, Tennessee

1973 Centennial Art Gallery Nashville, Tennessee

1970 Cheekwood Fine Arts Museum Nashville, Tennessee

1970 Cohen Memorial Museum, George Peabody College Vanderbilt University, Senior Thesis Exhibition Nashville, Tennessee

Public Output from Research and Scholarly Activity:

Director of Exhibitions

1974 Vanderbilt University, Sarratt Fine Arts Gallery, Founding Director, Nashville, Tennessee To 1977

Curator of Exhibitions

United Nations Delegation Art Exhibition Tennessee State Museum Collection Nashville, Tennessee Dill CV 24

1986 IVeme Recontre d’Art Contemporain Palais des Festivals, Cannes France

1986 Palais de l’Europe Museum of Fine Arts Menton, France

1985 Zimmerman Saturn Gallery Nashville, Tennessee

1982 Tennessee State Museum Nashville, Tennessee

1980 Byck Gallery, Paintings Louisville, Kentucky

1980 Lauren Rodgers Museum “Six Tennessee Artists” Laurel, Mississippi

1980 Century III Exhibition (Juried) Parthenon Museum Nashville, Tennessee

1980 Harpeth Hall Academy Preparatory School “Homage” National Endowment for Arts Grant Artist In Residence Exhibition Nashville, Tennessee

1980 Montgomery Bell Academy Preparatory School “Homage” National Endowment for the Arts Grant Artist In Residence Exhibition Nashville, Tennesee

1979 Southeastern Center for Contemporary Art “Art Patron Art” (Invitational) Winston-Salem, North Carolina

1977 Martin-Wiley Gallery Nashville, Tennessee

1977 Sarratt Fine Arts Gallery Vanderbilt University Nashville, Tennessee

1977 Tennessee Valley Authority Washington, D.C.

1976 Vanderbilt University Fine Arts Department Gallery Nashville, Tennessee

1976 Martin-Wiley Gallery Dill CV 23

1992 Mississippi Museum of Art “Six Tennessee Artists” Jackson, Mississippi

1990 Cité Internationale des Arts, International Artists’ Exhibition Paris, France

1990 American Center In Paris Cité Internationale des Arts Galerie Sandoz Paris, France

1990 American Chamber of Commerce in France The Gallery: Paintings and Works on Paper Paris, France

1989 Gallery 630B New Orleans, Louisiana

1989 Franco-American Bicentennial Exhibition “Bleu, Blanc, Rouge: Les Couleurs de la Liberté” Marie du XVIe Arrondissement, Paris, France

1989 Cité Internationale des Arts Paris, France

1988 Galerie de Francony Paris, France

1988 New Works Forum Studio Space: Exhibited 10’x30’ Corporate Commission for installation in New York Nashville, Tennessee

1988 Ninety Eight Fourth Avenue “Exhibition Two-Hundred” Franklin, Tennessee

1987 Raleigh City Gallery, “Southern Abstraction” Raleigh, North Carolina Guest Curator: Peter Frank

1987 XIXeme Festival International de la Peinture Chateau-Museé de Cagnes-sur-Mer, Cagnes-sur-Mer, France

1987 Palais de l’Europe Museum of Fine Arts Menton, France

1987 Galerie Atelier de la Conque Flayosc, France

Dill CV 22

Projection Installation (40’) of two experimental films: “Thought and Timing” and “Moving Around Heidegger: YELLOW.” Singular American selected to exhibit.

2017 “All Together Now: CalArts Alums of Boston, Gallery at Spencer Lofts, Chelsea, MA Curator: Rachel Youdelman

2016 “Views from the Past,” Creative Alliance Exhibition Main Gallery, Baltimore, MD

2016 Open Studios, Miller Street Artists, Somerville (Boston Metro Area), MA

2014 Open Studios, Miller Street Artists, Somerville (Boston Metro Area), MA

2007 Ignition Gallery Monumental Drawings: "Time After Time" Tuscaloosa, AL

2004 Amalie Rothschild Gallery Artists In Residence Exhibition: Janeann Dill Curator: “Jules Engel: An Artist For All Seasons” Creative Alliance Baltimore, Maryland

2003 Oxford University-Cambridge Museum of Art “The Sublime Metaphor Oxford University, United Kingdom Curator: Dr. Jan White, New Zealand

2000 Urban Light Works Faculty, Virginia Commonwealth University, School of the Arts Animated Projections: I-95 Freeway Structure, Richmond, VA

1998 Concord Art Association Elizabeth Roberts Contemporary Gallery Concord, Massachusetts

1993 California Institute of the Arts Gallery Installation: Time-based Art Computer-generated Images, Single channel Video Projection on Painted Canvases Valencia, California

1992 Lauren Rodgers Museum of Art “A Native Daughter,” Monumental Paintings and Drawings Laurel, Mississippi

1992 California Institute of the Arts Gallery Installation: Time-based Art Looped 16mm film as it projected onto sculpted painting Valencia, California

1992 California Institute of the Arts Faculty Exhibition, California Summer School for the Arts L-Shaped Gallery Valencia, California Dill CV 21

Panelist, “The Art of Single-Frame Filmmaking,” presented at Southeastern College Art Association, University of Southern Alabama, 2002, Mobile, AL. Conference Panel: “Artists and Filmmakers: Creative Affinities.” Session Chair: Norman Magden, University of Tennessee Knoxville, TN. http://www.secollegeart.org/assets/documents/secac/conference-history/2002_conference_program.pdf

SECAC (Southeastern College Art Conference) is a non-profit organization that promotes the study and practice of the visual arts in higher education on a national basis. SECAC facilitates cooperation and fosters on-going dialog about pertinent creative, scholarly and educational issues among teachers and administrators in universities, colleges, community colleges, professional art schools, and museums; and among independent artists and scholars. SECAC is an affiliated organization of the national College Art Association and participates in its annual conferences.

Speaker, “The Art of the Single-Frame: A Journey in Art History and Animation Theory,” Society for Animation Studies, 2002, Glendale, CA. http://www.awn.com/sas/schedule/schedule14.html

Panelist, ”Jules Engel: Early California Modernist and Experimental Filmmaker,” presented at Southeastern College Art Association, 2001, Clemson University, S.C. Session: “The Influence of Art Movements on American Filmmakers and their Films” Session Chair: Professor Norman Magden, Chair of Art Department, University of Tennessee, TN. http://www.secollegeart.org/assets/documents/secac/conference-history/2001_conference_program.pdf

SECAC is an affiliated organization of the national College Art Association and participates in its annual conferences. (http://www.secollegeart.org/about)

Poster Presentation, “Creation on a uniVERSE: A Vision” presented at INSAP III: Inspiration of Astronomical Phenomena, National Science Foundation and Leonardo International Conference of Scientists, Artists and Technologists, 2001, Palermo, Sicily. http://www.astropa.unipa.it/INSAPIII/tent_progr_new1.html

The INSAP Conferences are a series of international meetings, held every three years or so, that explore the effect on humanity and human culture of the glorious spectacles we see in the sky by night and by day. To measure the power that our ever-changing sky has on us, try to imagine the poverty of our lives were we to live on a perpetually cloudy planet. But since we often take the sky and its effects for granted, bringing these effects out explicitly has been particularly productive. Although each presentation at the meetings usually lies within one discipline, the overall range of disciplines represented has made the meetings truly interdisciplinary in nature. Attendees come from a broad range of studies and activities: astronomy, art and art history, social and political history, literature, music, mythology and religion.

Speaker, “Jules Engel: Film Artist,” Society for Animation Studies, Los Angeles Conference, California Institute of the Arts, Experimental Animation Department, School of Film and Video, 1992, Valencia, CA. http://ww2.animationstudies.org/index.php/past-conferences/194-list-of-annual-sas-conference- papers-1989-2000#fourth

Public Output from Research, Praxis and Scholarly Activity:

Fine Art / Exhibitions / Paintings, Drawings, Installations

2019 Museum of Contemporary Art, Tianjin Binhai Museum, China.

2018-2019 Curated Exhibition of Experimental Animation Artists (Lei Lei, Tianran Duan, Birgitta Hosea, et. al.), “Metamorphosis.” The Red Cube, Museum of Science and Technology, Longgang District, Shenzhen, China.

Paintings and Works on Paper Dill CV 20

Rooted in the art historical trajectories of experimental animation, experimental film, digital art and expanded cinema, this panel links the critical histories of art, film, and philosophy as one. This session serves not only to excavate its panelists’ individual research, but, collectively, to engender a critical authority previously languishing.

Chair of Panel, “Thought and Timing In the Round: Muybridge, Engel and Deleuze,” presented at College Art Association, Session Panel: Thinking Experimental Animation Before William Kentridge: An Art Historical U- Turn, February 25-28, 2009, Los Angeles. http://www.collegeart.org/pdf/Conferencesessions2009.pdf

Abstract: Along with Rosalind Krauss, Gilles Deleuze perceives animation at the level of single-frame technology and names all animation “cartoon.” For Deleuze, there are conditions that determine cinema. His critique involving films previously positioned within the terrain of experimental animation is excavated in this paper and put forward as compelling critical thought to place experimental animation outside cinema. Deleuze is alert to the implications of Muybridge’s “horse’s gallop” as an historical change of status in movement in painting, dance, ballet and mime to release values that are not posed. Jules Engel’s Accident (1973) is a two-fold work of lithography and experimental animation to equally assert this awareness in the history of art, cinema, and experimental animation. Aside from a surface language of animal locomotion, the primacy of the frame as a principle of timing acceleration, deceleration and variation is fulfilled in the collective Muybridge, Engel and Deleuze.

Chair of Panel, “The Question of Cinema In A Fine Art Discipline,” Keynote Speaker. Danish Animation Studies International Conference, Film and Media Institute, August 2006, University of Copenhagen, Department of Cognition, Film and Media, Copenhagen, Denmark.

Abstract: A long-neglected strand of art history, Modernist artists experimented with painting as a cinematographic language that clearly defined experimental animation a fine art discipline. The core of consideration in this keynote lecture is the position that experimental animation is inherently interdisciplinary and the discipline to usher an epoch of pictorial thought for creative intelligence in the twenty-first century. Dill unfolds the histories of art, cinema, and philosophy as one consideration to present a dense terrain for inquiry precisely because it has been marginalized and invisible for a century.

Invited Panelist, “Not Just Funny Bunnies: Animation, An Interdisciplinary Opportunity for New Scholarship,” Society for Cinema and Media Studies, Panelist 2006, Vancouver, Canada. Session Chair: Dr. Susanne Buchan, Creative Arts University, U.K. http://www.cmstudies.org/resource/resmgr/conference_program_pdfs/scms_2006-website.pdf

Conference: The Society’s annual conference provides a forum for scholars and teachers of film and media studies to present and hear new research; to provide a supportive environment for networking, mentoring, and collaboration among scholars otherwise separated by distance, language, or disciplinary boundaries; and to promote the field of cinema and media studies among its practitioners, to other disciplines, and to the public at large, in part through public recognition of award worthy achievements and other significant milestones within the field.

Chair of Panel, “Fine Art and Experimental Animation: Creative and Theoretical Affinities,” College Art Association, Chair of Panel that was the historically first session dedicated to academic scholarship in Animation convened at CAA, 2004, Seattle, WA. http://www.collegeart.org/pdf/Conferencesessions2004.pdf

Abstract: Within the history of experimental animation lies a vast cornucopia of knowledge and precedent for founding animation on fine art and linking fine art to animation in the works of Apollonaire, Man Ray, Hans Richter, Fernand Léger, Oskar Fischinger, Jules Engel, et. al.. While experimental animation (visual music/absolute film/digital arts) has historically walked the tight rope between the genres of film and fine arts, it has been critically embraced by art history with the advent of contemporary artist and animator, William Kentridge. This session focuses on those in-between spaces exciting fine arts and animation in their creative, theoretical and historical affinities. This panel was the historically first panel to present Experimental Animation as a scholarly field of study at the College Art Association. Dill CV 19

at once. Accepting Eisenstein’s distinctions that cartoon differs from live-action in its absolute freedom for expression, specifically using as his example the early Disney cartoons, how then might we draw further distinctions within the whole of contemporary animation as a field of study, in this instance, the pertinence of experimental animation, a mode of fine art. Taking a cue from Gilles Deleuze, I ask the question, is experimental animation a mode considered outside cinema?

Keynote Speaker, Title of Address, “Philosophy of Experimental Animation: Drawing An Art Historical Line,” 2017 Society for Animation Studies Conference, University of Padua, Italy. Professor Marco Bellano, Conference Chair.

Invited Moderator, “Colombian Avant-Garde Animation,” Moderator and Co-Translator, Conference Panel, Visions and Voices Arts and Humanities Initiative, February 4, 2011, University of Southern California, George Lucas School of Cinematic Arts, Los Angeles, CA.

Served as co-translator of Spanish dialogue to English for sub-titling voice-over narration of feature-length experimental animation film by Colombian artist, Carlos Santa. The film premiered in USA at this conference.

Abstract: Visions and Voices is a university-wide arts and humanities initiative at the University of Southern California that seeks to emphasize the university’s commitment to interdisciplinary approaches. This Visions & Voices event featured rarely-seen animation by Colombia’s foremost experimental animation pioneers, Carlos Santa and Cecilia Traslaviña, and two of their students, Diana Menestry and Juan Camilo González. The panel discussion that followed the screening featured filmmakers Santa, Traslaviña and their former student and USC- MFA student at the time, Juan Camilo González; international media scholar, Dr. Cristina Venegas; and international scholar and moderator, Dr. Janeann Dill. The conversation investigated artistic practice within the context of war and the role of the artist in politics.

“Insisting on Animation: An Eclipsed Birth Meets and Eclipsed Death,” presented at Society for Animation Studies Conference, Animation Evolution, July 9-11, 2010, Edinburg. Panel, At Death’s Insistence: Theorizing Animation and Death, Session Chair: Dr. Alan Cholodenko, University of Sydney, Department of Art History and Film Studies, Australia. http://animation-evolution.blogspot.com/2010/05/sunday-11th-july_05.html

The Society for Animation Studies (SAS) is an international organization dedicated to the study of animation history and theory. SAS holds an annual conference at locations throughout the world, where members present their recent research. I have been a member since 1992 when an MFA graduate student at CalArts when William Moritz (d.2004) was SAS President. (http://ww2.animationstudies.org/a)

Abstract: Taking inspiration from George Bataille’s statement, “A dictionary begins when it no longer gives the meaning of words, but their tasks,” this paper is a questioning look at the early birth and seeming death of critical histories for experimental film and experimental animation. Insisting upon the persistence of experimental animation as a singular aesthetic, this scholar distinguishes the art form while simultaneously reaching across the disciplines of art history, cinema history and philosophical inquiry. Chair of Panel, “Thinking Experimental Animation Before William Kentridge: An Art Historical U-Turn.” College Art Association, February 25-28, 2009, Los Angeles. http://www.awn.com/events/animation/thinking- experimental-animation-william-kentridge-art-historical-u-turn

Abstract: Experimental animation was presented as fine art by its creators long before the art world acknowledged William Kentridge's work, the widely-accepted marker to distinguish animation a "legitimate" language in fine art. Looking beyond the constraining nomenclature of cartoon forwarded by art historian and October author, Rosalind Krauss, this panel visits an earlier history of art practice and critical thinking in experimental animation that was passed over by art history and then relegated to film history, where it was equally ignored. Considered neither art nor film, experimental animation dropped out of critical consideration entirely from its 1921 origins in the first completed experimental animation film, Opus I by Walter Ruttmann; until the early 1970's with the writings of Louise O'Konor (on Vikking Eggeling), Standish Lawder (on Cubist Cinema), William Moritz (on Oskar Fischinger), and Jeanpaul Goergen (on Walter Ruttman) picked up the mantle to forge a nascent canon of literature in the mode. With seminal texts by P. Adams Sitney, Visionary Film: The American Avant-Garde (1974), and Cecile Starr and Robert Russett’s Experimental Animation: An Illustrated Anthology (1976), a nascent canon of critical art history in experimental animation was initiated. Dill CV 18

Abstract: Dill’s critical essay was published as exhibition notes for Jules Engel’s art exhibit, “Spatial Concerns,” at the Tobey C. Moss Gallery. Critically evaluating Engel as an early California Modernist, Dr. Dill identifies Engel’s use of an abstracted language to express visual movement and rhythm while crossing the formal boundaries of painting, printmaking, film and sculpture.

“Jules Engel: Film Is A Visual Art,” Artist’s Monograph, iotaCenter, Research Grant, Study Center, Los Angeles, CA. Stored in Box 3 of the Jules Engel Collection at CalArts Library’s Department of Special Collections as “Jules Engel: A Master Artist.” California Institute for the Arts, Valencia, CA. http://calarts.edu/library/whatwehave/collections/sc/engel.html

Abstract: Art historically, this is the first Artist’s Monograph on the work of Jules Engel was authored by Janeann Dill and granted by the iotaCenter Study Center, Los Angeles, CA.

Print Publications (Review)

“SPLINTER CEL: Was He a Revolutionary Fine Artist or a Rogue Cartoonist? Artist Janeann Dill Sets Out to Chronicle the Life and Work of Animator, Jules Engel.” The Arts, Cover Feature, Baltimore City Paper, March 17, 2004 (Print), Times-Shamrock Communications, Scranton, Pa. http://www.citypaper.com/arts/story.asp?id=5325

Abstract: This article in the Baltimore City Paper addresses Dr. Dill’s work as a Biographer for Jules Engel. After a brief overview of Engel’s biographical history accumulates to his arrival as the Founder of CalArt’s Experimental Animation Program, the article focuses on Engel’s students, specifically addressing Dill’s biographical project on Engel and Baltimore as a location for the project’s exhibition.

Public Output from Research and Scholarly Activity:

Presentations / Invited, Plenary, Keynote

Invited Address, “Experimental Animation: Unfolding Memory, Monads, Memoria Subtitled: Making Distinctions, Asserting Nostalgia, and Breaking Apart the Collective. 3rd Annual Academic Animation Research Conference, Animation and Memory, Chengdu University, China. November 2018

Abstract: Tipping a hat to Paul Klee, Viking Eggeling and Vassily Kandinsky, European avant-garde artists and theorists of the 20th Century, this paper will present experimental animation as a singular, neo- aesthetic discipline. Experimental animation is a mode of fine art and philosophy that points to the always already. Conjoining its art historical roots with its experimental cinema roots, my research queries and proposes dimensional links that bind the past (memory) to the present (spatial visual arts) to temporal experimentalism as a future tense to ask, does ‘more than one reality’ implicate (re)collection? With this question in mind, we will look more closely at work by American artists who directly engage “memory” in experimental animation.

Academic Panelist, “Experimentalism in Animation and The Always Already,” Pre-constituted Panel, Society for Cinema and Media Studies Conference, Toronto, Dimensions of Animation: Redefining and Reconceptualizing Animation Aesthetic, Chair: Dr. Eric Herhuth, Tulane University. March. 2018

Abstract: We know that the dominion of form in animation carries paradoxical characteristics of plasmaticism and metamorphosis when represented by a line drawing whose attraction Eisenstein describes as the unstable stability of form in a constant state of motion that fulfills its potential through self-dissolution. From this perspective, to animate is a circuitous event that gives life to and gives death to, Dill CV 17

Abstract: In this tribute article to Jules Engel, the Eulogy I delivered at Engel’s funeral initiates a collection of remembrances from Engel’s students and colleagues at CalArts.

“Jules Engel: The Mentor.” Animation World Magazine, Issue 4.2, Animation World Magazine, May 1, 1999, Los Angeles, CA. Editor: Heather Kenyon. http://www.awn.com/mag/issue4.02/4.02pages/dillengel.php3

Abstract: Dr. Dill interviews Jules Engel, Founding Director of the Animation Program at Cal Arts, on his experience teaching experimental animation. Having been a student of Engel herself, the article focuses on the significance of Engel’s pedagogy and his students’ classroom experiences.

"Jules Engel: Image In Motion." Magazine ANIMAC (Festival Journal of Writings in Animation, trans. Catalan), Festival de Cine de Animación de Lleida, #2, 2003, editorial Milenio, Lleida, Spain.

Abstract: Dill’s role as Biographer is emphasized in this article in which she commits to writing a detailed biographical overview of Jules Engel’s life and the art historical significance of his art, films, and teaching philosophies. The article opens with the caption: “An Artist For All Seasons.”

Introduction of article translated from English to Catalan, the native language of Lleida, Spain:

Un artista per a totes les estacions

Jules Engel va néixer a Budapest el 15 de març de 1918. Fill d’un joier, Engel va emigrar als Estats Units quan tenia onze anys. La seva tia vivia a Evanston, Illinois (a la vora de Chicago), així que ell, la seva mare, Rose Engel, i les seves dues germanes petites, Edith i Judith, van arribar a Illinois, després de pujar a un vaixell a Trieste. Quan se li pregunta quin és el seu primer record “artístic” de quan era nen a Budapest abans de venir a Estats Units, la seva resposta és:

“Anava caminant per un carrer de Budapest. Debia tenir nou o deu anys. Vaig girar una cantonada i gairebé xoco contra un Citröen amb un perfecte tros de cromo a la seva part davantera. Aquest tros de cromo em va cridar l’atenció com a peça de disseny, i no m’ho vaig poder treure del cap. ¿No és curiós com ens queden a vegades certes coses al cap?”1

És fàcil veure en aquest exemple la consciència d’Engel com a jove artista, despertant ja a una edat tan curta. Resulta particularment interessant que la seva sensibilitat despertés a causa d’un disseny de caràcter industrial. No és la típica associació amb l’herència artística dels vells mestres europeus, ja que el que sol venir-li a un al cap, quan parla d’aquella època, són els quadres de paisatges que tant abundaven aleshores.

Estèticament i artísticament, als seus nou o deu anys Engel ja estava desenvolupant alguna cosa digna d’un moviment modernista. Sense que ell ho sabés, aleshores el moviment dadaista expressava a l’Escola de París el mateix que l’interès d’Engel per aquell tros de cromo. Penseu ara en la insistència dels dadaistes i de tots els moviments dels anys vint a redefinir els objectes industrials i utilitaris per convertir- los en objectes d’art no utilitaris col·locant-los en el context d’un museu o d’una galeria. Fixem-nos específicament en Man Ray, a qui Engel coneixeria i de qui es faria bon amic quan va viure a París durant els seixanta.

Man Ray considerava el seu art com una rebel·lió directa contra els vells mestres. Una de les contribucions més interessants dels dadaistes va ser el pensament no linial i l’èmfasi que li donaven a l’element de l’“atzar” a la creació artística. Consideraven l’atzar com un concepte al qual només s’hi podia accedir mitjançant actes com la escriptura automàtica i altres fenòmens intuïtius. Centrem-nos ara per un moment en els “Ray-ògrafs” de Man Ray, les composicions fotogràfiques realitzades sense càmera en exposar objectes directament al paper fotosensible. Aquesta innovació tecnològica va tenir un enorme impacte en el món de l’animació. Per animació entenem, en aquest cas, l’art del temps, el ritme i la llum, és a dir, el color.

“Spatial Concerns” Jules Engel Exhibition, Critical Essay (single author). Tobey C. Moss Gallery, April 1999, Los Angeles, CA Dill CV 16

Print Publications – Invited by Editor:

“What is Great Animation? Alternative Points of View,” Animation World Magazine, August 20, 2012, Los Angeles, CA. Editor: Karl Cohen. http://www.awn.com/articles/people/what-great- animation/page/4,1

Abstract: This article is in response to Karl Cohen’s question, “what is great animation?” Beyond identifying the qualities that make an animation compelling, Dill also explores the relevance of Cohen’s initial question, considering whether the role of “greatness” is actually important in animation.

“Visualizing Art History: Experimental Animation and Its Mentor, Jules Engel,” THE PUBLIC HUMANIST, Massachusetts Humanities Council, April 2012. Editor: Hayley Wood http://www.valleyadvocate.com/blogs/home.cfm?aid=14783

Abstract: Dr. Dill’s article in the Public Humanist addresses the early history of experimental animation linked to Modernist artists such as Walter Ruttman and Viking Eggeling, and calls for a greater recognition of experimental animation in the context of art history. The article then connects to Dill’s biographical project on Jules Engel, recognizing the importance of the student-mentor relationship in experimental art.

“Meeting Movie Icons at Dar Al-Hekma [Woman’s] College,” Jeddah, Saudi Arabia, What’s Up KSA, Interview. http://whatsupksa.net/v3/index.php/art/meeting-movie-icons-at-dar-al-hekma-college

Abstract: Dr. Dill and Philippe Jalladeau, two important figures in the movie and animation industry, are interviewed at Dar Al-Hekma College (Woman’s College) profiling their views on animation and film and their experiences teaching at Dar Al-Hekma College, Saudi Arabia. See also: http://blog.interdisciplinaryartinstitute.com/2010/03/21/iiaci-travels-to-saudi-arabia.aspx

“Immersed in Domes, Falling Bodies and Stereo Vision: Where’s the Gravity?” Fps Magazine, Canadian Animation Magazine, September 2005, Montreal, Canada. Editor: Tamu Townsend. http://www.fpsmagazine.com/mag/fps200509lo.pdf

Abstract: In this review of SIGGRAPH 2005, International Conference on Computer Graphics and Interactive Techniques, Dr. Dill paraphrases keynote speaker George Lucas ‘s comment on film director Akira Kurosawa explaining that “the secret” of artistic innovation as “a quest for immaculate reality.” Taking this high standard into consideration, Dr. Dill awakens the reader to the process of an artistic quest per se, to its language of forms and content, and to the innovations evinced (or not) in the juried films screened in SIGGRAPH’s Computer Animation Festival. Acknowledging the conference’s unique setting in a Full-Dome Animation Theater, this review also addresses the beneficial consequences and potential for creative freedom that result from screening animations in the immersive environment of a vast digital dome.

“Marcy Page In Paradise.” Fps Magazine. Canadian Animation Magazine, July 2005, Montreal, Canada. Editor: Tamu Townsend. http://www.fpsmagazine.com/mag/fps200507lo.pdf

Abstract: Dill profiles an Executive Producer at the National Film Board of Canada, how the process works to support animated projects, and the interesting story of how this producer found a home in Canada just out of graduate school in San Francisco.

“Tribute: Dr. William Moritz (1941-2004) Legendary Animation Educator Passes Away,” Animation World Magazine Book, March 2004, Los Angeles, CA. Editor: Dan Sarto. http://www.awn.com/print/news/passing/legendary-animation-educator-moritz-passes-away

Abstract: Featuring a tribute letter written by Dr. Dill, this article regards the passing of the animation expert and educator Dr. William Moritz. Moritz was Dr. Dill’s writing mentor at CalArts, and responsible for her nomination as Jules Engel’s Biographer.

“Jules Engel: Tribute,” Animation World Magazine: September, 2003, Los Angeles, CA. Editor: Dan Sarto. .http://mag.awn.com/index.php?ltype=pageone&article_no=1873

Dill CV 15

2019: “Philosophy of Experimental Animation: Drawing An Art Historical Line” CINIT Publishing, Sicily, Italy. Bilingual, English – Italian. Author: Janeann Dill. Translation by Marco Bellano, University of Padua.

• 2019: Jules Engel (1909-2003) Artist Monograph: Fine Art and Experimental Animation (working title) Author: Janeann Dill, Authorized Biographer.

• 2020: Visualizing Art History: Experimental Animation and Its Mentor, Jules Engel (1909-2003), (working title), Artist’s Series, Bloomsbury, U.K. Author: Janeann Dill, Authorized Biographer.

The publication of these critical texts hopes to contribute to refining an interdisciplinary canon of literature in experimental animation and to give form to a pictorial language on behalf of this young discipline and cinematic medium as a creative praxis and philosophy. A significant fissure, the void of a canon of literature in the field is evinced at the foundational level of discourse and rigorous scholarship. The idea of addressing experimental animation in a philosophical context, not merely because these texts are aimed at analyzing and justifying the philosophical significance of a relatively new, and, to date, largely disregarded art form, but because that art form, experimental animation, is presented as employing aesthetically the specifications of a relatively new mode and medium, one only as old as it is. Thought and timing are concepts that pervade and underscore this research and, thusly, my argument.

Chapter in Books

• CARTOONS II: NEW WORLD HISTORY OF CINEMA ANIMATION, Giannalberto Bendazzi, Italy. Chapter, “Jules Engel (1909-2003): Fine Art Animation.” Taylor & Francis Publishing.

Scholarly Journal Publications - Peer-Review

“Jules Engel: Master Film Artist, A Painterly Aesthetic.” Animation Journal Anthology, Trans. Korean, 2004

“Creation on a uniVERSE: A Vision” INSAP III: “Inspiration of Astronomical Phenomena III, ” Memorie della Società Astronomica Italiana (Journal of the Italian Astronomical Society), vol. 73, Special Number 1 (2002), Palermo, SICILY. Conference Paper catalogued at Harvard University Astronomy Department, Trans. Italian. Exhibited still images for Experimental Animation at INSAP conference, http://adsabs.harvard.edu/abs/2002MmSAI..73S.263D

“Jules Engel: Master Film Artist, A Painterly Aesthetic.” Reprint. Harvard University Film Archive, Exhibition Program Notes, “Masters of Animation: Jules Engel and Christian Boustani”, November 2000, Cambridge, MA.

“Jules Engel: Master Film Artist, A Painterly Aesthetic.” Reprint. FPS, Canadian Animation Magazine, 1998, Montreal, CANADA

“Jules Engel: Master Film Artist, A Painterly Aesthetic.” Animation Journal, AJ Press, Spring 1993 Issue, Tustin, CA. http://www.animationjournal.com/abstracts/abstracts.html

Abstract: This article is an exploration of a particular creative process by a master of film art, Jules Engel, recipient of the 1992 Norman McLaren Lifetime Achievement Award. Dill explores the thinking processes underlying the creation of two seemingly different works of film art, Coaraze (1965), a partially-animated experimental film, and Rumble (1975), an experimental animation film, both works created by Engel. Article nominated to inaugurate the 1992-93 “Best Scholarly Article Award” awarded by Society of Animation Studies and the National Film Board of Canada. Article translated into Korean.

Dill CV 14

1999 Exhibition Screening, “Paris Is A Woman,” Bernardo Feldman, Composer, SCREAM, New Music Event, California Institute of the Arts Theater, Valencia, CA.

1999 University of the Arts, Visiting Artist and Lecturer Artist Talk: Paintings, Film, Animation History, School of Communications, Philadelphia, PA

1999 The Ross School, Visiting Artist and Lecturer Artist Talk: Paintings, Film, Animation History, Arts and Media Department South Hampton, Long Island, NY

1998 Mission College, Visiting Media Artist Artist Talk: Paintings, Film, Animation History, Art Department, New Media Division Los Angeles, CA

1998 Los Angeles Art Institute, Visiting Filmmaker and Critic Artist Talk: Scripting and Storyboarding, Animation History Computer Animation, Graphic Design and Video Production Departments, Santa Monica, CA

1992 Exhibition Screening and Live Performance, “Transformation,” California Institute of the Arts, Theater II, Experimental Animation and Choreography, George and Mary Lou Boone Grant, Valencia, CA.

1991 Screening, “Light,” California Institute of the Arts, Bijou Theater, Valencia, CA.

1988 Exhibition and Live Performance, “Laureate Artist Retrospective.” XXe Festival International de la Peinture, Chateau-Museé de Grimaldi: Paintings, Poetry, Tribal Dance/Choreography (Ivory Coast), Cagnes-sur-Mer, France

1988 Live Performance, Interspace, Université de Nice, Faculté des Lettres et Sciences Humanies, Association for Study of Etymology of Creativity. Artist Performance: Poetry Reading (Dill) with Classical Harp, Nice, France.

1987 Solo Exhibition with Live Performance, Palais de l’Europe. Monumental Paintings on Canvas, Poetry Reading (Dill) with Classical Harp. Menton, France.

1987 Exhibition and Lecture, Guest Scholar and Artist Artist Talk: Paintings, Poetry, and Music Faculté des Lettres, Université de Nice, Nice, France

1985 Solo Exhibition with Live Performance, Zimmerman Saturn Gallery. Paintings and Poetry Reading (Dill) and Electronic Music composed for soundtrack of monumental painting, “The Night the Moon Touched the Earth,” Nashville, TN

1979 Exhibition and Lecture, “Visual Art, Music, and Popular Culture” Humanities Association, Gadsden State College, Gadsden, AL.

Public Output from Research and Scholarly Activity:

PUBLISHING

Forthcoming Books (In-Progress)

• Creative Intelligence, Two Hawks and An Eagle, What is a concept and how do you have one? Author: Janeann Dill. Includes essays authored by former students (work in progress) Dill CV 13

2003 Exhibition Screening, “Paris Is A Woman,” New York International Independent Film and Video Festival, Laemmle Fairfax Theater, Los Angeles, CA.

2003 Exhibition Screening, “Paris Is A Woman,” New York International Independent Film and Video Festival, Mercury Theater, Los Vegas, NV

2002 Exhibition and Screening, “Paris Is A Woman,” Agnes Scott Gallery: No Agenda But Their Own. Curator: Richard Gess, Atlanta, GA.

2002 Exhibition and Screening, “Paris Is A Woman,” Bass Museum of Art, International Experimental Filmmakers. Curator: Elizabeth Hall, Miami, FL.

2002 Exhibition and Screening, Visiting Artist and Critic: Film and History of Animation Rocky Mountain School of Art and Design, Denver, CO.

2002 Exhibition and Screening, Visiting Artist Artist Talk: Paintings, Film, Animation History and Theory Graduate School of Art, University of Texas at Dallas, Dallas, TX.

2001 Exhibition and Screening, Visiting Artist and Critic Artist Talk: Paintings, Film, Animation History School of Imaging Arts, Rochester Institute of Technology (RIT), Rochester, New York

2000 Exhibition and Screening, Visiting Artist Artist Talk: Paintings, Film, Animation History, Department of Digital Arts and Music, Rensellear Polytechnic Institute (RPI), Troy, New York

2000 Exhibition and Screening, Visiting Artist Artist Talk: Paintings, Film, Experimental Animation History and Theory School of the Arts, Kinetic Imaging Department, Virginia Commonwealth University, Richmond, VA.

2001 Exhibition and Screening, “Paris Is A Woman” with Jean Cocteau’s “Blood of A Poet,” James River Film Festival. Curator: James Fry, Co-Director of Festival, Richmond, VA

2001 Curator and Opening Night Festival Lecture, “Joanna Priestley, A Retrospective Exhibition” James River Film Festival, Richmond, VA

2001 Guest Curator for Opening Night Event and Screenings: “Art In Motion,” Virginia Museum of Art, Experimental Animation Video Installation/Screening. John Ravenal, Curator of Contemporary Art, Richmond, VA.

2001 Screening and Lecture, “Contemporary American Experimental Animation,” The National School of Fine Arts, International Study Abroad, Cuzco, Peru

2001 Exhibition Screening and Installation, “Paris Is A Woman,” Urban Light Works: Celebrate Illuminate. Installation: 140’ projection onto exterior wall of urban building, Richmond, VA.

2001 Exhibition and Presentation with Installation, “Creation on a uniVERSE: A Vision” Time-Based Paintings, INSAP III: Inspiration of Astronomical Phenomena Conference Palermo, Sicily

2000 Exhibition Screening, “Paris Is A Woman.” European Graduate School, Saas-Fee, Switzerland.

Dill CV 12

2008 Exhibition and World Tour: Museum and Gallery Installations, “MAH_Meditate,” to 2010 GlobalScreen, Schloss Ringenberg, Hamminkeln, Germany. Curator: Judith Nothnagel

• Museum Kunst Palast, Duesseldorf, Germany • Goethe Institute Senegal, Dakar, Senegal • Verbands-Sparkasse, Wesel, Germany • ISFF, Detmold, Germany • Videoart Festival Miden, Kalamata, Greece • DUPLEX/10m2, Sarajevo, Bosna i Hercegovina • Luigi Pecci Museum, Centro per l'arte contemporanea, Prato (Florence), Italy • Arts on Main, Johannesburg, South Africa • Luigi Pecci Museum for Contemporary Art, Florence-Prato, Italy, Videominuto Festival • PAN Kunstforum, Emmerich, Germany • WL-Project, Berlin- Hong Kong- Malaysia

2009 Exhibition Screening and Speaker, “Jules Engel: An Artist For All Seasons,” Jules Engel Centennial Celebration, California Institute for the Arts. REDCAT THEATER, Los Angeles, CA. Presented opening remarks to set the context for art historical and pedagogical influences of Engel that posited the interdisciplinary nature of his teachings.

2009 Production and distribution of DVD, “Jules Engel Selected Works, Volume 1,” DVD, Kinetic Video Library, iotaCenter, Los Angeles. Bonus feature on DVD.

2009 “Jules Engel: An Artist For All Seasons,” Biographical short film. Established Advisory Board for Engel Biographical Project: Henry Selick, Stephen Hillenburg, and Mark Osborne.

2005 Exhibition Screening and Lecture, “Paris Is A Woman,” University of Alabama, New College (Interdisciplinary), Blount Initiative and Honors Program, Tuscaloosa, AL

2004 Exhibition Screening and Lecture, American Film Institute (AFI), Silver Theater, Mid-Atlantic Showcase. “Paris Is A Woman and The Progeny of Experimental Animation, ”Silver Springs, Maryland.

2004 Exhibition Screening and Lecture, Visiting Critic: “Paris Is A Woman,” Maryland Institute College of Art (MICA). Post Baccalaureate Program in Painting and Sculpture, Baltimore, MD.

2004 Exhibition Screening and Lecture, Premiere of “Jules Engel: An Artist for All Seasons,” Creative Alliance at The Patterson Theater, Artist In Resident, Baltimore, MD.

2004 Curator and Biographer, “Jules Engel, 1909 – 2003,” Amalie Rothschild Gallery, Art Retrospective Exhibition of Drawings, Photographs, Lithographs and Sculpture by Engel from Engel’s Experimental Animation Films from 1963-2003, Creative Alliance, Baltimore, MD.

2003 Exhibition Screening, Lecture in Festival, and Broadcast on Italian Television, RAI TRADE: “Jules Engel.” Cartoons On the Bay Animation Festival, Amalfi Coast, Positano, Italy. Festival Director: Alfie Bastianch. Presented lecture on Engel’s Lifetime of Achievement Award for Festival presentation of the Puchinella Award to Engel.

2003 Exhibition Screening, Lecture, and Publication, “Jules Engel: Image In Motion,” Festival de Cine de Animación de Lleida (ANIMAC), Festival Director: Isabel Huegerra, Lleida, Spain.

2003 Exhibition Screening, “Paris Is A Woman,” New York International Independent Film and Video Festival, Village East Cinemas, New York City, NY Film awarded Best Experimental Short Film, and Best Directorial Debut Short Film Dill CV 11

Public Output from Research and Scholarly Activity:

Exhibitions: Praxis, Scholarship, Philosophy

2019 Curated Exhibition of Experimental Animation Artists, Museum of Fine Art, Tianjin Binhai, China. December 2019.

2018-2019 2018-2019 Curated Exhibition of Experimental Animation Artists (Lei Lei, Tianran Duan, Birgitta Hosea, et. al.), Metamorphosis. The Red Cube, Museum of Science and Technology, Longgang District, Shenzhen, China. Invited as only American to install experimental animation and experimental film installations alongside my paintings. Projections (40 foot wall): “Thought and Timing,” direct experimental animation on 16mm film; and “Moving Around Heidegger: YELLOW,” experimental film. December 29, 2018 – February 17, 2019.

2016-2019 Film Installations, Curated Screenings, Festivals, Exhibitions: • London Experimental Film Festival, Official Selection, 2018 • Los Angeles Experimental Film Forum, 2018 Honorable Mention on behalf of my contributions to experimental film • Film Installation: Temporal Currents II, “Painting In Time” Boston, Waterworks Museum, 2017 • Curated Exhibition, Sleeping Giant Film Festival, North Carolina, USA 2017 • Curated Exhibition, Bright Lights Theater, Emerson College, Boston, MA. 2016

2013 Guest Scholar for Dissertation Topic Review, Doctoral Program, University of Maryland Baltimore County (UMBC), Department of Language, Literacy, Culture, Baltimore, MD

2013 Exhibition Screening and Artist-Scholar Lecture, “Visualizing Art History: Experimental Animation and Its Mentor, Jules Engel.” Lesley University, College of Art and Design, Animation and Motion Media Department, Boston, MA

2013 Exhibition Screening and Lecture, “Jules Engel and Experimental Animation: The Power of an Artist-Mentor, Fantasia to SpongeBob SquarePants.” The Cambridge Center, Cambridge, MA

2012 Exhibition Screening and Visiting Critic Lecture, “A Peek At Salon Toys, Paintings In Time, and the Experimental in an Animated Art History.” Massachusetts College of Art and Design (MassArt), Boston, MA

2012 Exhibition Screening and Visiting Animation Artist Lecture, “Visualizing Art History: Experimental Animation and Its Mentor, Jules Engel.” School of Museum of Fine Arts, Boston, MA

2012 Biographical Project, Screening and Presentation, “Jules Engel: An Artist For All Seasons,” New England Animators, Boston, MA

2011 Exhibition Screening, Kecskemet Animation Film Festival (KAFF), “An Artist For All Seasons: Jules Engel, 1909-2003,” Back to the Homeland, Budapest, Hungary.

2011 Panelist and Moderator, Visions and Voices Initiative in Arts and Humanities, University of Southern California, “Colombian Avant-Garde Animation.” Invitation and conference organized by Associate Professor Sheila Sofian, Digital Arts and Animation Department, George Lucas School of Cinematic Arts, Los Angeles.

2010 Exhibition Screening, “MAH_Meditate.” Cuator, Eric Leister. Anthology Film Archives, Manhattan, N.Y Dill CV 10

From the perspective of Authorized Biographer of the Early California Modernist and pioneer in experimental animation, Jules Engel (1909-2003), experimental animation as a discipline is overlooked as meaningful for the whole of art history. The greatest misappropriation for any historical discipline, but especially in the history of experimental animation, is an inflicted imprisonment to ‘genre.’ The film artists mentioned above defy such a confinement and lend inspiration for my personal art work. Embracing an academic and creative practice for a visual language in time, electronic and otherwise, I bring philosophical thinking to the visual languages of experimental animation art as one would bring to painting, drawing, sculpting, choreography, poetry, music, installations or performances. Historically elevating the praxis of visual art to a critical language of idea and form is the thinking needed to advance a time-based mode. That said, it seems essential to reinstate a singular art history, praxis and philosophy to a mode of cinematic art, most especially, to the art of experimental animation as an inherently interdisciplinary fine art mode that frames the in-between.

Filmography

“Thought and Timing” Direct Animation painted and drawn on 16mm film with pen and ink. 02:35 2018.

“Moving Around Heidegger: YELLOW” Experimental film installation, digital cinema. 01:35 2017

“Visualizing American Art History: Experimental Animation and Its Mentor, Jules Engel,” Producer/Director/Writer/Animation-Artist/Scholar-Biographer. (In Progress) Non-Fiction Essay Feature Film partially funded by United Plankton Charitable Trust, Inanimate Enterprises, iotaCenter Research Fund, and Institute for Interdisciplinary Art and Creative Intelligence with Fiscal Sponsorship, From The Heart Productions (501c3), Los Angeles.

“Visualizing American Art History: Experimental Animation and Its Mentor, Jules Engel,” Digital Video Book/Biography, Interactive Portable App, Interactive Archive and Art History (In Progress). Producer/Director/Scholar-Author. Collaborating Scholar, Professor Victor Vitanza, Founding Director, Doctoral Program in Rhetorics, Commnication, and Information Design, School of Architecture and Digital Humanities, Clemson University, S.C., and Fiscal Sponsorship, Studio7Arts (501c3), Robert Gardner, Cambridge, MA. http://jules-engel.com

“MAH: Moving Around Heidegger,” Producer/Director/Animation Artist. (In Progress) 00:26:40, digital arts installation. Interdisciplinary collaboration with Hank Lazer, Poet and Pulitzer Prize Nominee. Alabama Center for Public Television, College of Arts and Sciences Dean’s Office, New College, and Creative Campus Grants and In-Kind Services. First iteration, “MAH_Meditate” HD 00:1:58 (2008)

“Elegy for Engel,” 00:04:42, experimental animation for mobile platform/cell phones (2006)

“Rhythm, Rhythm, Rhythm,” 00:01:00, experimental, hand-drawn animation (2003).

“Jules Engel: An Artist for All Seasons,” 00:06:54 Excerpts. Sound composed by Paul Leavitt (2002)

“Paris Is A Woman,” 00:12:44, 16mm, black & white, experimental film. Composer and Sound Designer: Bernardo Feldman. Awarded Best Experimental Short Film and Best Directorial Debut In Short Film category. Awarded Annenberg Foundation, Ahmanson Foundation, Mexican Endowment for Arts and Crafts, Foundation for Creativity and Filmforum Grants. (1999)

“Transformation,” 00:05:00, Video (Vas IV and 3/4”), color, experimental animation, set design, choreography for dance performance. (1992)

“Light,” 00:00: 30, 16mm, color, experimental film: painting and choreography. African dancer with soundtrack of live African drums filmed in sync(1991), James Irvine Foundation Grant Dill CV 9

Professional Service for Training Art Teachers Metropolitan Teachers’ In-Service, TN. Founding Director of Exhibitions and Faculty Vanderbilt University’s Sarratt Art Center, Vanderbilt University, June 1974 -1977 , Nashville, Tennessee Guest Lecturer St. Aquinas Junior College, June 1976 Fine Arts Department, TN Guest Teacher Metropolitan Nashville Department of Education, 1975 Professional Service for Training Art Teachers, TN Guest Lecturer Vanderbilt University, 1974 Women’s Studies Department, Nashville, TN. Guest Lecturer Columbia State Community College, 1973 Fine Arts Department, ‘Mural Painting’, TN High School Art Teacher Crockett Academy, Adolescent Psychiatric Care Unit Metropolitan Special Education, Aug. 1972 - June 1974

Areas of Interest:

Concept Development and Creative Intelligence; History and Theory of Cinematic Animation (Pre-Cinema, Early Modern, Modern, Postmodern); Aesthetics; Contemporary Studies in American Experimental Animation: Praxis, History and Theory; Philosophy of Art, Aesthetic Theories and Pedagogies; Stimulating Critical Discourse at the Intersections of Poetry, Dance, Visual, and Digital Arts; Critical Studies and Creative Practice in Simultaneity; Animation Film, Cartoon, and the Graphic Novel; Drawing Motion; Seminar In Time, Image, Sound; Seminar In Creativity; Seminar In Interdisciplinary Art; Painting In Time: How can it be said that a painter thinks?; History and Philosophies of Abstract Animation Cinema and Its Gestalt; Color, Space and Dimension: Scientific Visualization and its relationship to Art and Physics; Exhibition as Argument; The Scroll; Thinking Thought, Timing Time; Kandinsky, Synaesthesia and Visual Music: A Mode of Fine Art; Digital Video Books; The Question of Cinema in a Fine Art Discipline and The Question of Fine Art in a Cinema Discipline; The Science of Animation: Immersive Technologies; Discourse and Praxis Across the Choreographed and Narrated; Cultural Criticisms and Cybercultures; collaborative research and praxis of multimodal production, authorship, and publication.

Public Output from Research and Scholarly Activity:

Artist Statement

Essentially speaking, I am a creative intellectual who generates interdisciplinary work across the fine and cinematic arts. On the axis, I am a creative artist who generates interdisciplinary ideas. To paraphrase Sol LeWitt, it is the idea that drives the machine. Evinced in my paintings as drawings, drawings as paintings, installations as performance and experimental animation as drawing-painting-in-time, the thinking in which I am engaged is steeped in the American Art History of Black Mountain College and FLUXUS (New York School Art Movement), while I look to source inspiration from the School of Paris and DADA, the Bauhaus, the Futurists, and the Blue Rider Group (Arnold Schoenberg and Vassily Kandinsky and Paul Klee). I am keenly interested in the ideas and collaborations of John Cage, Robert Rauschenberg and Merce Cunningham and thoroughly engaged by the language of experimental animation as a mode of fine art founded upon the European avant-garde as it migrated to America through the influences of Walter Ruttmann, Vikking Eggeling and Oskar Fischinger; all the while, noting the importance of John and James Whitney and my Mentor, Jules Engel (1909-2003). Engel’s artistic and pedagogical legacy advanced the study of experimental animation throughout four generations of arts mentorship in education as the Founding Director of the first academic institution in America to study animation in higher education at California Institute for the Arts (CalArts).

From an American Art perspective, my Research, Praxis, and Authorship in Cinematic Arts are dynamic areas of academic focus when teaching concept development, research strategies and creative intelligence seminars. Dill CV 8

School of Film: Aesthetic Theory of Experimental Animation (Writing)

Graduate Teaching Assistant Aesthetic Theory of Computer Animation (Seminar) Faculty: Vibeke Sorensen

Gallery Assistant Vanderbilt University, Peabody College Art Gallery, 1975-1976 Curatorial Assistant, Documented Permanent Art Collection

Research Appointments:

Historical Cataloguer Survivors of the Shoah Visual History Foundation (Holocaust) Steven Spielberg, Staff Historical Cataloguer, 1995 -1997 “Persecution of Cultural Artists During the Third Reich”

Graduate Research Assistant Community Arts Partnership, California Institute of the Arts “Race and Representation in the Visual Arts“

Additional Faculty Appointments, Curriculum Development, and Consultations:

Painting California State Summer School for the Arts (High School) June 1992 – July 1992 Art Teacher Highland Elementary School, September 1991 – June 1992 English Teacher Serlang Language School, Sept. 1989 - January 1990 English as Foreign Language, Paris, France English Teacher Rue Tiquetonne Elementary-Middle School, Sept. 1989 English as Foreign Language, Paris, France International Lecturer Université de Nice, Faculty of Letters, Sept. 1988 - June 1989 Nice, France Adjunct Faculty O’More School of Art and Design, August 1983 – June 1984 Drawing, Fashion Department, Franklin, Tennessee Adjunct Faculty Gadsden State College, Assumed Temporary, 1982 English Department, Alabama Adjunct Faculty Volunteer State College, August – December 1981 Lebanon, TN. In-Service Art Teacher Sumner County Department of Education, Tennessee, Sept. 1981 Directed Teachers’ Professional Training: Art Teachers Artist In the Schools National Endowment for the Arts, Tennessee Arts Commission *Montgomery Bell Academy Preparatory School, Jan.-June 1979 *Harpeth Hall Academy Preparatory School, Jan.-June 1979 *Walton Ferry Elementary School, August 1979- June 1980 *Clarksville High School, Guest Workshop, July 1980 Guest Lecturer Gadsden State College, Feb. 1979 “Visual Art, Music, and Popular Culture,” Alabama Guest Lecturer Vanderbilt University, Fine Arts Department, Feb. 1978 “Importance of Art Theory in Studio Practice,” TN. Art Teacher University School, Aug. 1977 - June 1978 Elementary to Middle School Art/Demonstration School Vanderbilt University, George Peabody College, TN Painting/Drawing Teacher Cheekwood Fine Arts Museum, Sept. 1977-June 1978 Art Faculty, Education Department, TN Guest Teacher Cheekwood Fine Arts Center, June 1977 Professional Service for High School Art Teachers “Art Is . . .” Program, TN. Guest Teacher Metropolitan Nashville Department of Education 1976 Dill CV 7

Graduate Directed Studies Massachusetts College of Art and Design (Jan.2012-June 2012) Research Advisor/Mentor Directed Research Studies on Animation Sound

Visiting Scholar and Faculty University of Alabama, Tuscaloosa, AL New College of Interdisciplinary Studies and Honors College August 2005 – December 2010

Visiting Artist and Scholar Dar Al Hekma Woman’s College, Jeddah, Saudi Arabia Taught extended workshop on History of Experimental Animation and its role in animation industry. Honored for my contributions to the historical theories of animation and achievements in fine art and experimental film praxis.

Adjunct Professor Gadsden State College, Gadsden, AL Designed and Developed the curriculum: Art History Survey Language and Fine Arts Division. January 2005 – June 2006

Adjunct Professor Stevenson University, MD Film, Video, Theater Department; History of Animation August 2004 – December 2004

Life Drawing Teacher Belvior Terrace: Girls Fine and Performing Arts Summer School Junior and Senior High School, Lenox, Massachusetts June 2004 – July 2004

Assistant Professor of Experimental Animation and Theory Virginia Commonwealth University, Richmond, VA Kinetic Imaging Department, School of the Arts, 2000 – 2002

Designed and Developed curriculum for Experimental Animation Production I, II, III

Taught History of Art and Design – survey lecture course

Invited by Curator of Contemporary Art to install projections of student animations for opening event, Virginia Museum of Fine Art

Doctoral Research Assistant Europäische Universität für Interdisziplinare Studien (European Graduate School), Saas-Fee, Switzerland, August, 2000 Professor Yve-Alain Bois, “Art and Film,” Princeton Research Faculty

Adjunct Professor L.A. Mission College Art Department, New Media Division – set up Animation Labs January 1998 – December 1998

Graduate Teaching Assistant California Institute of the Arts, January 1992 School of Art: Super 8 Film/Installation. MFA Faculty: Sarah Diamond

Graduate Teaching Assistant California Institute of the Arts, Sept. 1992 – June 1993 School of Film: Concept Design. MFA Faculty: Christine Panushka

Graduate Teaching Assistant California Institute of the Arts, Sept. 1992 – June 1993 Dill CV 6

• Founding President (1973), Tennessee Artists Association, Cumberland Valley Chapter, State Arts Commission, Nashville, TN

• Professional Bodies:

• AgX Film Collective, Waltham, Boston Metro Area, MA USA (since 2016 – founded in 2015) • New England Animators (since 2011) • ASIFA EAST (New York/New England (since 2011) • Women In Film and Video, New England Chapter (since 2011) • Society for Animation Studies (since 1992) • College Art Association (since 1985) • Society for Media and Cinema Studies, Animated Media Group • University Film and Video Association • Women In Animation • Association of Art Historians

Biographical Listings:

• Archive of Artists, Smithsonian Institution, Library of Congress, Washington, D.C. • American Artists of Renown (1988), Nominated, Marquis Publications, Chicago, IL • Women Artists in America (1987), Nominated, Marquis Publications, Chicago, IL • Who’s Who in Personalities of the South (1985), Nominated, Marquis, Chicago, IL

Faculty Appointments - Curriculum Design and Development:

Visiting Assistant Professor of Film Studies Wesleyan University, College of Film Studies. 2019 to Present Designed curriculum for History of Animation Studies Developed Experimental Animation production workshop: Direct Animation on 16mm film Public Lecture: Abstraction, Cinema, Animation and the Liberal Arts

Affiliated Faculty Emerson College, Visual and Media Arts, School of Art, Boston, MA Designed and developed curriculum for 400 level Advanced Seminar in Animation Histories: Research, Critical Thinking and Critical Writing culminating in 15+ page Research Paper + Oral Presentation Advanced Topics vary from Histories of Pre-Cinematic Toys, Cartoon, Auteur Animation, and Animated Documentary to Experimental Animation modes. 2013 to Present

Visiting Artist-Scholar School of Museum of Fine Arts (SMFA), Boston, MA Bachelor of Fine Arts, Film and Animation Department Designed History of Animation for Studio Production

Adjunct Faculty Lesley University, College of Art and Design, Cambridge, MA Bachelor of Fine Arts, Animation & Motion Media Department Designed and Developed Business of Animation Curriculum

Dill CV 5

• Reviewer (2006-2007), U.S. Department of Education, Jacob K. Javits Fellowship for Graduate Studies, Studio Arts, Washington, D.C. (The Jacob Javits Fellowship is awarded to one recipient in each of the arts disciplines: studio arts, film/animation, poetry, theater, dance and music each year. The Jurors are sequestered for a week to select from large body of candidates in each discipline. The Javits is a full fellowship with living stipend awarded to graduate studies seeking the MFA or PhD Degree.)

• External Reviewer (2006), U.S. Department of Education, FIPSE: Fund for the Improvement of Post- Secondary Education, Digital Arts, Performing Arts, and Arts Education, Comprehensive Education Program Grants, Washington, D.C. (The FIPSE Grants are extensive grant applications asking to fund anywhere from a half-million to a million and a half dollars to colleges, universities, and school districts for computer labs, digital studio equipment, and digital arts library access online for entire school districts throughout the USA. The Grant applications were extensive descriptions of need, budget, and justification (philosophical and statistical). The Reviewer’s job was to read the entirety of the grant and assign a ‘grade’ from a point system to evaluate each of the sections of the application. Feedback in tandem with the points assigned required to evaluate quality of authorship of grant application.

• External Tenure Reviewer and Evaluator (2006), Associate Professorship (Sheila Sofian), Digital Arts and Animation Department, University of Southern California, Los Angeles, CA.

• Board of Directors (2003-2006), Alumni Association, Mid-Atlantic Representative, California Institute of the Arts, Valencia, CA.

• Chair of Conference Panel (2004), “Fine Art and Experimental Animation: Creative and Theoretical Affinities,” College Art Association, Seattle, WA. (This panel was the historical-first session at the College Art Association conference organized and focused on praxis and theory in experimental animation.)

• Museum Docent (2004), Department of Education, Museum of Industry, Baltimore, MD.

• Professional Reference (2004), Mark Osborne, Guggenheim Foundation Fellow, Animation Film Grant (Osborne subsequently directed The Little Prince Movie and Kung Fu Panda. Presently a Director- Producer in the Netflix animated feature division.)

• Coordinator and Sponsor (2002), Student Film submissions to Hunter College Student Film Festival, ‘Making Waves,’ New York. Two of my students awarded Honorable Mention.

• Developed and Organized Residency Program (2002), Visiting Animation Artist: Joanna Priestley, James River Film Festival, Richmond, Virginia.

• Coordinator and Programmer (2000), Experimental Animation Screenings, James River Film Festival, Richmond, Virginia.

• Organizer and Director (2000), Installation of Student Animations, Opening Night Event, Virginia Museum of Art, Richmond, Virginia.

• Chair (1974-1975), Board of Directors, Tennessee Artists Association, State Arts Commission, Nashville, TN

• Chair and Juror (1974-1975), Board of Standards of Excellence, Tennessee State Crafts Fair, Tennessee Artists Association, State Arts Commission, Nashville, TN

• Executive Committee (1973-1975), Tennessee Artists Association, State Arts Commission, Nashville, TN

Dill CV 4

• Juror (2012), “School of Museum of Fine Arts Annual Film Festival,” School of Museum of Fine Arts, Boston, MA. (Short Film Competition: Animation, Live-Action, Time-Based Installations.)

• Reader and Juror (2011), “Best Scholarly Book on Animation,” Norman McLaren and Evelyn Lambert Award, Society for Animation Studies and National Film Board of Canada. (This is an international bi- annual competition juried rotating animation scholars who select the outstanding academic/scholarly book published on animation during the previous year, usually four to six books authored in any language.)

• Curator and Researcher, Retrospective Screening (2011), “Jules Engel, 1909-2003,” Back to the Homeland, Kecskemet Animation Film Festival (KAFF), Budapest, Hungary.

• Moderator of Panel (2011), “Colombian Avant-Garde Animation,” Visions and Voices Humanities Initiative, Digital Arts and Animation Department, University of Southern California, Los Angeles, CA. (Co-translated Spanish dialogue for sub-titling voice-over narration of feature-length experimental animation film by Colombian artist, Carlos Santa. The film premiered in USA at this conference. I spent several weeks in discussion with co-translator, Juan Gonzales, and Carlos Santa via SKYPE prior to the conference).

• Founding Director (2006-2011), IIACI Cannes, Toronto, and Venice Film Festival Program, International Study Abroad, Institute for Interdisciplinary Art and Creative Intelligence, France, Italy, Canada. (IIACI International Film Festival Internship Program focused on connecting academic research with creative practice, and/or academic study with international entertainment business. The IIACI Institute created, organized for academic credit, and launched this innovative academic internship program in tandem with The American Pavilion and University of Alabama, Honors College.)

• External Tenure Reviewer and Evaluator (2009), Associate Professorship in Animation (Doug Hudson), Director of Animation and Design Department, Kansas City Art Institute, Kansas City, MO.

• External Tenure Reviewer and Evaluator (2009), Assistant Professor (Kenneth Feinstein), Third-Year Review, Media Department, School of Art, Media and Design, Nanyang Technological Institute, Singapore.

• Chair of Conference Panel (2009), “Thinking Experimental Animation Before William Kentridge: An Art-Historical U-Turn,” College Art Association, Los Angeles, CA. (Experimental animation was presented as a fine art mode long before the art world acknowledged William Kentridge's work, the widely accepted marker to distinguish animation a "legitimate" language in fine art. Looking beyond the constraining nomenclature of cartoon inherited from Sergei Eisenstein and forwarded by Gilles Deleuze and Rosalind Krauss, this panel visits an earlier history of art practice and critical thinking in experimental animation that was passed over by art history and then relegated to film history, where it was equally ignored. Considered neither art nor film, experimental animation dropped out of critical consideration entirely from its 1921 origins in the first experimental animation film, Opus I by Walter Ruttmann, until the early 1970's with the writings of Louise O'Konor (on Viking Eggeling), Standish Lawder (on experimental film), William Moritz (on Oskar Fischinger), and Jeanpaul Goergen (on Walter Ruttman). With seminal texts by P. Adams Sitney, Visionary Film: The American Avant-Garde (1974), and Cecile Starr and Robert Russett’s Experimental Animation: An Illustrated Anthology (1976), a nascent canon of critical art history in experimental animation was formed. Rooted in the art historical trajectories of experimental animation, experimental film, digital art and expanded cinema, this panel links the critical histories of art, film, and philosophy as one. This session serves not only to excavate its panelists’ individual research, but, collectively, to engender a critical authority previously languishing.)

• On-Site Juror (2008), Art Gallery Exhibition: Slow Art, SIGGRAPH, Annual Conference, Los Angeles, CA. Jury deliberations held in Chicago.

• Stage-One Reader and Online Juror (2007), Art Gallery Exhibition: Global Eyes, SIGGRAPH, Annual Conference, San Diego, CA.

Dill CV 3

University of California Los Angeles (UCLA Professional and Continuing Education), Directing and Editing Live-Action), Los Angeles, California, 1996

M.F.A., in Experimental Animation (Praxis, History, Theory), School of Film and Video, California Institute of the Arts (CalArts), Valencia, California (Los Angeles County). 1994

Experimental Animation MFA Thesis Film, Advisor and Mentor: Jules Engel (1909-2003)

Master of Fine Art Thesis Film: “Paris Is A Woman,” Producer, Director, Writer, Effects Animator, 16mm, Black/White, 00:12:44.

Awarded Annenberg Independent Film Grant (one of ten awarded) and Ahmanson Grant. Film received curatorial recognition and screening as installation at Bass Museum of Art, Miami USA; and “Best Experimental Short Film” and “Best Directorial Debut” from New York International Film and Video Festival, NYC USA

History and Theory of Experimental Animation Research Paper: “Jules Engel: Master Artist, A Painterly Aesthetic.” Writing Mentor: Dr. William Moritz, PhD. Paper subsequently published by Animation Journal and nominated by National Film Board of Canada and Society for Animation Studies first Norman McLaren-Evelyn Lambart Award for 1992-93 Best Scholarly Article on Animation.

Graduate Studies Exchange Fellowship, L’Ecole Nationale Supérieure des Arts Décoratifs, Film and Video Department, Paris, France. Director of New Media: Don Foresta. Filmed 16mm location footage for thesis film, “Paris Is A Woman.”

M.A., Painting and Drawing (Liberal Arts), George Peabody College, Vanderbilt University.

Thesis Painting Exhibition and Paper: “The Pre-requisite of Music is Silence: Etienne Gilson and the Ontology of Painting.” Thesis Exhibition Advisor, Barry Buxkamper. Thesis Committee: Walter Rutkowski and Lucius DuBose. Oral Defense and Graduation, August 16, 1975

B.A., Painting, Printmaking, Drawing (Liberal Arts), George Peabody College, Vanderbilt University, 1968. Senior Exhibition and Painting Advisor: Arthur Orr

Professional and Community Offices:

• Head of Research, Liaison, Manager: Jules Engel Film Archive and Collection entrusted to iotaCenter and housed at the Academy of Motion Picture Arts and Sciences Archive, Los Angeles, CA

• Ambassador, Alumni Association, California Institute for the Arts, Valencia, CA.

• Scholar, Consultant: Museum of Science Boston, USA. MOS originated and designed touring exhibition of “Behind the Science of PIXAR,” Lecturer on Animation, Education Department, Interactive Traveling Exhibition to 2021

• Chair of Jury (2013-Present), “Best Scholarly Article in Animation,” Norman McLaren and Evelyn Lambert Award, Society for Animation Studies and National Film Board of Canada. (This is an international, bi-annual award selected by an international jury of scholars invited to select the outstanding scholarly article on animation published the previous year. The Chair selects the jury members, serves and administrates the awarding process.)

Dill CV 2

Janeann Dill, D.Phil, M.F.A., M.A. 11 Miller Street, Artist Studio Four Somerville, MA 02143 USA (310) 779-7850 Eastern Time Zone USA

Email: [email protected] http://millerstreetstudios.net/artists/Janeann-Dill http://www.Jules-Engel.com/Bio

Emerson College, Visual & Media Arts, Boston USA Faculty, Animation Histories: Critical Research, Thinking & Writing + Animation Film Production Wesleyan University, College of Film Studies, CT USA Visiting Professor of Film Studies , Animation Histories

A defining moment for my fine art praxis took place while an Artist-In-Resident at The American Center In Paris. “Peter Greenaway dubbed this my Road to Damascus experience. I was walking from the Pompidou Center to Les Halles and feeling a great sense of personal loss at the recent death of my mother. On the plaza of the Fountain des Innocents monument to mothers and children killed in the French revolution I imagined what is best described as a conceptual ‘vision’ for my paintings. In that moment, my mind’s eye saw my paintings moving in time. Caught by surprise, I thought, ‘is this called film? Or is this called animation’?” ---- Janeann Dill

Now, I generate research strategies to link the fine and cinematic arts on behalf of a sustainable Ecology of Creative Intelligence in my praxis, higher eduation mentorship, and critical discourse; most especially on behalf of abstraction, cinema, animation, and the liberal arts as these studies reach across disciplinary boundaries in the sciences, technologies, and philosophies of aesthetics. My academic research continues to explicate my Doctoral Dissertation/Thesis, “Philosophy of Experimental Animation: Towards a Neo- Aesthetic Discipline.” Taking my cues in praxis and theory from the continental philosophers, Modernist Art History and the art of the sublime in my paintings, films, and drawings, I am without restraint when it comes to a personal commitment to the fine art of experimentalism in thought, timing, rhythm and pacing … whether or not the inherent expectation for any given mode asserts stasis or movement.

Education:

Doktor der Philosophie, D.Phil. (Habilitation), Philosophy, Art, and Critical Thought, Europäische Universität für Interdisziplinare Studien (European Graduate School), Switzerland.

Dissertation: “Philosophy of Experimental Animation: Towards A Neo-Aesthetic Discipline” Dissertation Advisor: Professor Dr. Wolfgang Schirmacher, German Philosopher (Schopenhauer) Dissertation Committee: Dr. Laurence Arthur Rickles, Berlin and Dr. Diane Davis, USA. Doctoral Viva/Defense: Conferred with Honours, August 11, 2006. Magna Cum Laude

Seminars in Saas-Fee with philosophers Avital Ronell, Jean-Luc Nancy, Wolfgang Schirmacher, Peter Greenaway, John Waters, Yve-Alain Bois, Greg Ulmer. Friedrich Ulfers, Allucquere Rosanne Stone, and others. Lectures in Saas-Fee by Donna Haraway, Greg Ulmer, Peter Greenaway, Yve-Alain Bois, Slavoj Zizek, Avital Ronell, Diane Davis, and others.

Post-Habilitation Seminar on “Forgiveness” with Jacques Derrida, New York University, Sept. 2001

Certificate in Entertainment Studies: Film, Television, Video and New Media

Dr. Janeann Dill, D.Phil, M.F.A. M.A. [email protected]

ACADEMIC CURRICULUM VITAE

TABLE OF CONTENTS

Page 1 – 3: NAME and Photo Introductory Comment Education and Qualifications Page 3 – 6: Professional and Community Offices Page 6 – 9: Professional Bodies Biographical Listings Faculty Appointments (Career Details) Page 9: Research and Scholarly Areas of Interest Page 9 – 11: Public Output from Research and Scholarly Activity: Artist Statement and Filmography Page 11– 15: Public Output from Research and Scholarly Activity: Exhibition: Praxis, Scholarship, Philosophy Page 15 – 18: Public Output from Research and Scholarly Activity: Publishing Page 18 – 21: Public Output from Research and Scholarly Activity: Presentation: Invited, Plenary, Keynote Page 22 – 25: Public Output from Research and Scholarly Activity: Fine Art: Select Exhibitions of Paintings, Drawings, Performances, Installations Page 26: Public Output from Research and Scholarly Activity: Director of Exhibitions and Curatorial Practices Page 26 – 27: Public Output from Research and Scholarly Activity: Fine Art: Commissions, Museum, Private, Corporate, Public Art Collections Page 28 – 30: Grants, Honors, and Awards Page 30 – 35: Student Research Supervision: Graduate and Undergraduate Directed Research Studies, Student Independent Studies University-wide Student Research Competitions Page 35 – 37: Teaching Statement and Pedagogical Philosophy, Courses Developed and Other Expertise Page 37 – 38: Relevant Experience in Administration Page 38 – 41: Relevant Media Experience: Animation Industry, Film Industry and Production Development