Santa Reparata International School of Art Florence, Italy INDEX

FINE ARTS LIBERAL ARTS DESIGN

n About SRISA n Course Listing History 5 Fine Arts 32 Mission 7 Design 33 Board of Directors 9 Liberal Arts 34-35 Faculty and Staff 9 n Fine Arts n Campus Photography 36-37 Facilities 10-11 Book Arts 38-39 Gallery 14-15 Printmaking 38-39 Drawing 40-41 n Programs Painting 40-41 Study Abroad 17 3D and 4D 42-43 Internships 17 Post-Graduate 17 n Design Short-Term 17 Fashion Design 46-47 Customized 19 Jewelry Design 46-47 Communication Design 48-49 n Student Work Interior Architecture 48-49 Fine Arts 20-27 Fashion 40-41 n Liberal Arts Liberal Arts 50-51 n Student Life Italian Language 52-53 Services 28 Housing 28 n Admissions Activities 29 Academics 54 Field Trips 29 Transcripts and Credit 54 Application Process 54 n Why SRISA Memberships 54 Teaching Methodology 30 Contact SRISA 55 5 6

the HISTORY

Santa Reparata International School of Art was founded in 1970 as the Santa Reparata Graphic Art Centre by Dennis Olsen, Giuseppe Gattuso and Michael Schnorr; three artists who wished to provide a professional workshop for established printmakers and interested students. Within a year there were participants from various parts of Europe and North America; contract printing for local artists; and open studio space available for professionals in need of a specialized workspace for creating prints. Simultaneously, the workshop became a resource for several Amer- ican colleges that sent instructor-led groups to study during the summer months. Though modest in size by today’s standards, the Centre attracted an impressive array of artists, many of whom are nationally and internationally recognized. Over the years Santa Reparata provided workspace and contract printing for Antonio Zavier and Raffaele Bueno, Sandro Chia, Renato Ranaldi, Giovanni Ragusa, James McGarrell, and many others.

By the end of the 1990’s, the student population had outgrown the studio and the Graphic Art Centre was transformed into the Santa Reparata International School of Art (SRISA). The school has expanded with three campus locations, and continues to grow. Dennis Olsen, MA Founder of SRISA SRISA has increased its academic year and summer offerings to include the numerous programs that now comprise a much broader curriculum of Fine Arts (painting, drawing, photography, book arts, printmaking, 3D& 4D), Liberal Arts (art history, history, museum studies, cinema, literature, Italian language and culture), and Design (fashion, textiles, jewelry, interior, and communication design). SRISA since 1970 8 about SRISA

About SRISA: SRISA is a non-profit Research: SRISA encourages and fos- and collaborative environment for stu- higher education institution and a ters the idea that learning is an on go- dents. This united academic body is at leading international art and design ing process that continues throughout the heart of what makes SRISA excep- school in Italy. SRISA provides ac- one’s life. SRISA provides the platform tional. credited programs of study including: necessary for students to continue re- academic semester, year, summer, search and learning after formal educa- SRISA believes that a balanced curric- internships, as well as post-gradu- tion has ended. ulum of fine art and academic courses ate studies. Courses are accredited provides the most comprehensive ex- through Maryville University. Non- Critical Thinking: Critical thinking is perience for students who have cho- credit short-term courses and work- what draws the line between informa- sen Florence as their place of study. shops are also offered throughout the tion and knowledge. The foundation Course offerings in Liberal Arts and year. of each course is based on connecting Cultural Studies complement the stu- academic information to experiential dio disciplines to provide students with The Mission of SRISA is to provide a knowledge. an intellectual framework and historical rigorous and supportive learning en- context for their creative work. Within vironment that fosters in its students Rigor: SRISA is committed to creating each discipline, course activities pres- a desire to learn, explore, create and an environment that is both rigorous ent a combination of traditional ap- participate. and supportive. The faculty is dedicat- proaches and new technologies for the ed to offering a challenging curriculum pursuit of artistic ideas. SRISA is com- Srisa emphasizes: that aims for the highest standards at mitted to providing a well-trained pro- the university level. fessional faculty and modern facilities Skill Development: SRISA provides a to give students highly personalized in- solid foundation of the skills necessary Community: In an increasingly global struction that conforms to the expecta- for success within the arts, design, and world, the importance of community tions and requirements of an American liberal arts fields. has never been more important. SRISA university curriculum. staff and faculty create a supportive 9 10

the PEOPLE

n Board of Directors n Faculty Meredith Dean, MFA The SRISA Faculty team is comprised of an exceptional group Linnaus Orme (Chuck) Maurer, MS of full-time and adjunct instructors whose participation extends Cyrus Harmon beyond the classroom; creating a strong sense of community Benjamin Fairbank, Ph.D. and unity that makes the study abroad experience at SRISA unique. n Board of Advisors Peggy Badenhausen n Fine Arts Cynthia Crippin, MA Patricia Silva, MFA, Printmaking and Book Arts Gary Crippin, Ph.D. Andrew Smaldone, MA, Painting and Drawing Thomas Kelly, Ph.D. Dr. Gloria Marco Munuera, Ph.D., Photography John Nadas, Ph.D. Justin Randolph Thompson, MFA, 3-D and 4-D Sculpture Ruth Weisberg, MFA John Worsham, Ph.D. n Liberal Arts Dr. Tina Fallani, Italian Cinema and Food as Culture n Staff Dr. Lorenzo Pubblici, Ph.D., Italian History and Anthropology Executive Director, Rebecca Olsen Dr. Matilde Zampi, Ph.D., Italian Language, Literature and Culture Associate Director, Alexandra Rojas Dr. Pietro Gaglianò, Contemporary Art History and Criticism Academic Dean, Andrew Smaldone Dr. Martina Ghiandelli, Art History and Womens Studies Marketing Director, Erik Olsen Dr. Tiziana Landra, Art History University Relations Director, William Forber Alexandra Lawrence, MA, Creative and Travel Writing Registrar, Laelle Busch Studio Manager, Marta Pierazzuoli n Design Housing Coordinator, Ilaria Ceccarello Enrica Guidato, Fashion Design Activities Coordinator, Alessia Alessandri Sophie Springer, Fashion Design Administrative Assistant, Barbara Selvi Kathleen Knippel, MFA, Textile Design Admissions Officer, Emily Yancey Dr. Colomba Pecchioli, Interior Architecture Webmaster, Gleb Shtyrmer Dr. Ingrid Lamminpää, Communication Design I.T. Specialist, Sebastian Palumbo Facilities Maintenance, Brahim Ajelabi 11 12

the SRISA Campuses Main Campus Piazza Indipendenza 4 Located in the heart of Florence. The main campus houses the liberal arts classrooms, library, lounge and administrative offices.

San Gallo Campus Via San Gallo 53r A five minute walk from the main campus, the San Gallo Campus houses the painting and drawing studios, Printmaking and Photography Depart- ment and the Design Lab and Fashion Studios.

Studio 3D Campus Via Santa Reparata 19r Located accross the street from the San Gallo Campus, these large 3D and 4D studios house the SRISA Student Gallery, sculpture facilities, new media areas and individual student workspaces for advanced students.

Art Studio Fuji Via Guelfa 85 Art Studio Fuji is where SRISA students attend courses in jewelry making, textile design and silkscreen printmaking.

SRISA Gallery Via San Gallo 49r

The SRISA Gallery is located in the San Gallo campus and visible from the street. This 300 sq ft. space is used exclusively to house international exhibitions as well as the student exhibition at the end of each term. 15 16

SRISA Programs

n studio art residency

SRISA’s month-long courses provide independent students an opportunity to n fall-spring-summer study in Florence on a non-credit basis. programs (for credit) These courses are available year round in Painting, Fashion Design, Interior Study Abroad Semester Design and Photography. Courses are and Year Long Program taught by bilingual professors in English n and Italian to aid students who wish to post-baccalAUreate Fall and Spring semesters are 15 weeks immediately enrich their study abroad program long and students enroll in 13-16 credit experience through the use of the Ital- hours. Studying abroad for a semester ian language. The Post-Baccalaureate Certificate in or year gives students the opportunity Visual Arts Program runs for 15 weeks, to become settled in their Florentine during the Fall semester. environment and partake in cultural im- mersion opportunities. The Post-Baccalaureate Certificate in Visual Arts is an intensive program open n Internships to graduates and practicing artists. This Study Abroad - Summer Program four month long intensive program is SRISA’s internship program invites stu- for artists seeking to build and work The Summer Program at SRISA pro- dents to gain work experience in an on a professional portfolio. Candidates vides students with a brief but intense international environment. Areas of in- are guided through the transition from study abroad experience. The summer terest include Photography, Journalism, a structured academic curriculum to program is organized into two sessions: Communication Design, Marketing, Art, an established working practice. The the first session takes place from May Fashion, and Interior Design. Students program is specially designed for those to June and the second session runs are also advised on portfolio presenta- artists who wish to build their portfolio from June to July. Students can com- tion, CV development, and interviewing for admission to graduate school in vi- bine academic lecture courses with skills. sual arts and for working artists who are hands-on studio courses for an enrich- looking for a new perspective on their ing learning experience. Students may own work and would like creative feed- take a maximum of 1 studio art course back. per session. 17 18

the SRISA Gallery

The SRISA Gallery is a non-profit, non-commercial exhibition space located on the San Gallo campus. Working both independently and in conjunction with local and internationally known curators, the SRISA Gallery committee selects between 5-7 gallery exhibitions per year that run from one to two months each during the months of September through April. The gallery provides a forum for art produced within the Italian territory as well as internationally by established artists and shares a commitment to new and diverse forms of artistic practice, including exhibitions of performance and installation art.

The vision of the gallery is to curate and present contemporary art exhibitions and educational programs that support the ideals of the institution while enhancing the dialogue around diversity within contemporary cultural practice and supporting artists, professors, and students in their academic and professional development. In fact, during the summer months, SRISA invites members of the artistic community, visiting faculty and alumni to participate in both individual and group exhibitions in the various gallery spaces located in both studio art campuses. At the conclusion of each term SRISA students, under the tutelage of the faculty, are given the opportunity to show the work they have completed during their time in Florence. 19 20

FACULTY led & Customized Programs

Hosting over 30 universities and 50 faculty every year, SRISA is one of the leading host institutions in Florence for Customized and Faculty-Led Programs. Terms: Summer ¦ Winter Break ¦ Fall and Spring

n WHAT WE OFFER n FACULTY TESTIMONIAL Hosted Programs and Visiting faculty n HOW IT WORKS utilize the existing SRISA infrastruc- ture, studios, and services, Including: “Thanks to one of my students who Every year over fifty visiting profes- spent a fall semester at SRISA, the VCU Fashion in Florence Program sors bring their students abroad in a • classroom facilities purposeful intercultural college ex- was created. Our program has run perience. SRISA helps visiting faculty • studio art facilities uninterrupted since 2008. The fac- build their abroad program so that • housing for students and faculty ulty and staff at SRISA are incred- they may focus on teaching rather • field trip coordination ible to work with and eager to help in any way to make our programs than managing the logistical challeng- • program administration es of being abroad. Programs submit successful.” proposals one to two years in ad- • orientation and emergency vance. The competitive and flexibile assistance Kimberly Guthrie, Assistant Chair, pricing structure, excellent services, • cultural seminars and activities VCU Department of Fashion Design and years of experience make SRISA • SRISA course offerings to aug- and Merchandising a leader in customized programing. ment the program 29 30

STUDENT life Student’s well-being is of primary importance to SRISA

Services Orientation Week Housing Activities Language Exchange Field Trips SRISA seeks to provide each student Upon arrival in Florence, SRISA pro- Students are housed in residential The academic program at SRISA is Students have the opportunity to meet Each semester SRISA coordinates ex- with a collaborative and productive vides housing assistance and check-in, apartments located within a maximum enhanced with beyond-the-classroom other local Italian students by partici- cursions to numerous important desti- learning environment and appropriate health and safety overview, maps, ven- 20-minute walk from the main campus. learning, extra-curricular activities, pating in a city sponsored language ex- nations in Italy. Field trips that are typi- tools to reach their goals through study dor meetings for cellular phone and Apartments vary in size with a combi- field trips, museum visits, guest lectur- change. Students practice their Italian cally offered every year include: Venice, abroad. From the enrollment process, permit of stay, campus walk-through, nation of single and double bedrooms ers, welcome dinners, receptions, gal- language skills by conversing with local Rome, Naples, Pompeii, and Milan. our registrar and administrative staff and refreshments. Over the next five (4-6 people average per apartment). lery exhibits in the SRISA Gallery of Italian students. Naturally, students are SRISA sponsored optional trips are of- work hard to ensure that the transition days, students attend an Italian language All apartments are fully furnished with Contemporary Art, fashion shows, and encouraged to interact on a daily basis ten led by SRISA faculty with itineraries from home to Florence goes smoothly. workshop (semester programs) and Art the essential necessities for indepen- student art shows. These events cre- with SRISA Faculty and Staff and to take including guided visits to museums and SRISA provides pre-departure packets and Culture Seminar, which includes dent living. ate a dynamic interaction for students every opportunity to converse with the historically important sites as well as giv- and a Skype info session, study visa in- practical walking tours, culinary events, in their new Florentine environment. Italian community. ing students the opportunity to explore formation, emergency contact proce- and group events to help facilitate the the city on their own. Field trips include dures, and a comprehensive orientation integration of each student to the new transportation, hotel accommodations once students arrive in Florence. environment of Florence. Throughout on over-night excursions, museum en- the semester the Art and Culture Semi- trance fees, guided tours and group nar continues on a weekly basis. meals when possible. 31 32 why choose srisa? n Top Studio Art and Design Facilities n Teaching Methodology SRISA studio art and design facilties SRISA's team of professors encourage are considered one the best in Flor- students to learn beyond the syllabus. ence. The large workspace, commit- The syllabus sets the tone, but the fac- ment to safety and contemporary ulty also push students further with studio spaces make studying at SRISA their own ideas and creativity. One of one of the best choices for serious art the faculty's main goals is to show stu- and design students. dents how to become critical thinking individuals within the contemporary n Sense of Community environment that surrounds them. The Most students agree that what makes dedication shown by the professors at SRISA so unique is its strong sense of SRISA is second to none and is never “I really like the professors at SRISA. community. The faculty and staff are about teaching only during class time. They have a very different teaching committed to making the student ex- style from what I’m used to in Russia. perience enriching and personal, to n Student-Faculty Ratio Here, the professors treat you as an ensure that students feel that SRISA Class sizes average 8-12 students, al- individual and allow you to express is their home and safety net while in lowing for more individualized attention yourself independently. It has been Italy. Professors enhance learning be- and personal workspace, as well as the a great experience, and I have grown yond the classroom and connect with opportunity to attend special events professionally. Study Art and Design students in social and academic envi- and exclusive exhibits. in Florence!” ronments. Anna Markevich n Top Rate Instruction The excellent faculty includes Ameri- can, Italian and international instructors with terminal or equivalent degrees. Professors at SRISA are cur- rently active in their discipline. They inspire students and transmit passion for creating art and learning. All faculty are fluent in English and have worked for many years within the US academic system of instruction and the style “Studying abroad at SRISA was an of teaching and course organization amazing experience that I’ll forever meets and exceeds the expectations remember! I was able to build great re- of matriculating American university lationships with the people I’ve met at students. SRISA.” Mari Ramirez 33 34 the COURSES

FINE ARTS DEPARTMENT DESIGN DEPARTMENT n Photography Renaissance Painting Techniques Book Arts n Fashion Design Trends Forecasting n Communication Design Discovering Florence Through Photography Drawing I, II, III Advanced Book Arts Clothing and Society History of Italian Fashion Graphic Design Studio Digital Photography Figure Drawing The Artist Book Collection Development Fashion Merchandising Design and Social Movements in Introduction to Photography Drawing in the Expanded Field The History of the Book: A Hands-on Creative Accessories Design Fashion Research and History History Advanced Photography Drawing Florence Approach Fashion Illustration I, II Sustainable Fashion & Ethical Clothing Print and Media Design Experimental Photography Advanced Studio: Painting and Drawing Garment Construction I, II Interactive Media Design Florence by Night: Light Painting and Independent Project: Art and Design n 3D and 4D Fashion Design Studio: Illustration and n Textile Design Typography Stop Motion Digital Photography Sculpture: The Medium is the Message Construction Fabric Design: Batik The History of Photography: n Printmaking and Book Arts Fibers as Art History of Italian Fashion Fabric Design: Silkscreen n Interior Architecture A Hands-on Approach Printmaking I, II Installation Art Patternmaking Fabric Design: Weaving History of Interiors Printmaking: Expanding the Matrix Performance Art Topics in Fashion Design: The Italian Material, Light, and Surface n Painting and Drawing Monotype Printmaking Video and Sound as Art Fashion Industry n Jewelry Design Interior Design “Small Spaces” Studio Painting I, II, III Serigraphy New Genres: Video, Sound, Topics in Fashion Design: Italian Fash- Jewelry I, II, III Sketchbook Studies: Italian Architec- On-Site Painting Printmaking and Book Arts Performance, and Installation ion and Hollywood ture and Interiors 35 36 the COURSES

LIBERAL ARTS DEPARTMENT n Art History The History of the Book: A Hands-on n Literature and Writing n Gender Studies n Marketing and Business Approach Contemporary Italian Literature ITALIAN LANGUAGE Early Gothic to High Renaissance History of Interiors Creative Writing Feminisim in Art Brand Promotion in the Digital Italian I The Italian Renaissance Travel Writing Gender, Sexuality and Marriage Environment Italian II Michelangelo, Caravaggio and Bernini n History Dante’s Inferno in Renaissance Italy Marketing: The Italian Wine Industry Italian III The Quattrocento (15th Century) 14th Century Italian Literature: Dante, Important Women in Italian History, Introduction to Fashion Marketing Italian IV The Cinquecento (16th Century) History of Modern Italy Bocaccio, Petrarca Art and Society Qui Si Parla Italiano! Italian Florentine Mannerism History of Florence English Literature: Florence and the n Italian Studies Conversation Art in Tuscany: Romanesque to Gothic Ancient Roman History Grand Tour n Political Science and Economics Art Now: Contemporary Trends in Ancient Roman & Etruscan Civilizations History of Italian Opera Europe History of Medieval and Renaissance n Communications Contemporary Italy: Literature, Cin- Food as Culture: Italian Cooking History of Contemporary Art Italy ema, Politics and Culture and Culinary Tradition Feminism in Art History of Italian Mafia New Media: Marketing and Social Italian Politics and Government History of Italian Soccer Twentieth Century Italian Art Italians Abroad: History of Italian Mi- Media The European Union Italian Cinema: 1942 to Present The History of Photography: A Hands- gration, 1861 to the Present The Economic History of Europe History of Italian Fashion on Approach 37 38

Fine arts: Photography

n Course Structure n The Method n The Darkroom Facilities n The Digital Lab Utilizing both digital and analog photog- Students are encouraged to use pho- The SRISA Darkroom has 5 Durst and The SRISA Computer Lab is a fully raphy, students learn a wide range of tography as a creative tool to transmit 3 Omega enlargers, including large for- equipped Macintosh lab. The lab has skills to create unique images. While ideas and create interesting images. mat Omega D-2, full ventilation and air flatbed scanners, slide scanner, and courses introduce a considerable Students are introduced to traditional exchange unit, and an island developing projectors. Software includes the most amount of technical information nec- black and white darkroom techniques, sink. The production area is fully venti- up-to-date versions of Photoshop, Illus- essary for creating interesting photo- as well as experimental techniques such lated and has 6 film developing stations, trator, InDesign, Google Sketch-up, and graphs, students are challenged to con- as Cyanotype, Liquid Light, Polariod large tables, electric film dryer, electric Microsoft office. sider the ideas and content that each Transfer and digital media. RC paper dryer, light table, and paper photograph or series of photographs cutters. The critique and production will present. area is suitable for up to 14 students. “My teaching method stresses the importance of conceptual thinking. I Students and professionals regularly feel it is vital for any teacher to continue with their professional practice use Solarplates, Zac*ryl , and ImageOn both to update skills but also to continue to feed inspiration and elements Dr. Gloria Marco Munuera, Ph.D. films to create intaglio plates. of the changing practice to their students“ Professor of Photography 39 40

n Facilities Fine arts: Book Arts/ Etching/ Monoprinting/ Li- silhouette lazer cutter/printer. thography/ Relief Printing: Bendini Mo- Swiss made Letterpresses with motor- torized Press 100 cm bed, Bendini hand ized inking and press beds 40 cm x 60 press 70 cm press bed, Takach 70 cm cm. The school has a large number of Printmaking & Book Arts press bed, Conrad etching press 30 cm lead fonts and a valuable collection of pressbed, inking stations with hotplates, rare wooden type in very large sizes. exposure units, copy camera, plate Alternative process darkroom for pho- n The Department n Course Structure shear, print drying area, and storage of tomechanical printmaking. The SRISA Printmaking Department of- Many classes incorporate a wide variety Semester studio classes meet for two prints, PlexiGlas plates for monoprints, fers one of the best-equipped and most of mediums, and students can pursue three-hour sessions per week, and stu- broad-ranging print facilities in Italy. Stu- crossover techniques in which a num- dents have ample time outside of class dents have a full range of technical possi- ber of processes are used. Students at during the week and weekends. Classes bilities, including Relief Printing, Etching, SRISA are able to move back and forth consist of lectures, demonstrations, “In my teaching, I try to share with my students a broad vocabulary of techniques Stone Lithography, Photo-mechanical from letterpress to the computer, from and open studio. During summer ses- that they can then utilize to give voice to their imaginations. Through mutual ques- Processes, Oil and Water-based Mono- the computer to the press, and from sions classes meet four days per week tioning and exploration, I hope to facilitate and enliven my students’ search for Patricia Silva, MFA printing, Letterpress, Bookbinding, Pa- the press to the darkroom in a seamless four-hours each and students have the their individual artistic vision.” Professor of Printmaking & Book Arts permaking, and Digital Technology. fashion. same additional access as the semester students. 41 42

“My aim as an educator is to teach students how to technically conceive an artwork as a means to best understand conceptually what they want to create and why they are creating it. Ultimately, I feel my duty as an educator is to give students the tools necessary to succeed outside of the Andrew Smaldone, MA classroom.” Professor of Painting and Drawing

Fine arts: Painting & Drawing

n The Department n Facilities n Course Structure Drawing and Painting courses at SRISA Students taking painting and draw- The overall environment allows stu- offer students the opportunity to de- ing courses at SRISA have access to dents the opportunity to make art in a velop a technical, formal and intellectual a large, well-lit studio that has both place where quality painting and draw- understanding of painting and drawing natural light – owing to a skylight – and ing flourish thanks to the abundance of while having a wealth of historically im- controlled artificial lighting. The studio space giving students room to pursue portant masterpieces available to study is equipped with a full supply of easels, their art. Advanced students receive first-hand. Students are encouraged to student storage areas, sizeable boards their own area to complete project develop a strong understanding of the for big drawings, and large tables. Ad- based works and as the semester relationship between historical ideas vanced students are given individual progresses students of all levels will and modern and contemporary artistic workspace where they can create a witness the radical change that takes practice. small personal studio. place within this productive studio. Additionally, the space is outfitted for on-site courses, which include porta- ble easels and chairs. On-site painting takes advantage of the city of Florence and its environs. 43 44

Fine arts: 3D & 4D

n The Department poral and multisensory mediums. The SRISA 3D and 4D program is dedi- Engaging ethereal and technological cated to a contemporary vision of ma- approaches to new and old mediums, terials, a critical understanding of form students are challenged to develop a and space and a broad elaboration range of interconnected approaches across technical facilities not exclusive in the realm of performance, video, to art making. film, sound and computer as well as circuit based works. Conceptual and “I am interested in pushing students n 3D Course Structure experimental approaches to these me- to question the answers and see the These courses introduce students to dia comprise a complex understanding development of any given project a range of processes that embrace of the role of context and extensive as a journey with a site in mind but performative qualities of creation that knowledge around related theory. The the necessity of getting lost along question the role of formal aesthetics development of language both visual the way.” and embrace the elaboration of con- and textual accompanies our 4D stu- tent. Woodworking, Clay, Plaster, Metal dents in research based projects real- and Fiber facilities guide the students ized through numerous approaches to through a range of approaches to sculp- artistic representation and presenta- ture and installation rooted in a con- tion. ceptual investigation that engages the history of the medium while pushing its n boundaries and definitions. The projec- 3D and 4D courses are offered at the tion of ambitious works and the elabo- Studio 3D campus located across the ration of proposals further the vision of street from the San Gallo campus. the students beyond the immediate and These large studios house the sculp- foster the growth and articulation of the ture and media studios. Private work- student’s choices. spaces for advanced students, gallery areas and lounge. Equipment includes n 4D Course Structure kiln, welding equipment, and a wood The 4D courses are dedicated to the working workshop. Justin Randolph Thompson, MFA development of works rooted in tem- Professor of 3D & 4D Sculpture 47 48

n Facilities n Course Structure “I teach patternmaking and gar- fashion design The fashion lab features sewing ma- Lectures, video presentations, read- ment construction and love an ac- chines, dress forms, computers, projec- ings, and research projects introduce tive classroom. my aim in educat- tor, tables, and material. In addition to students to the theoretical concerns ing student designers is to help & Merchandising the classrooms and workspaces, fashion of the fashion industry, while practical them develop their conceptual and students have access to Art Studio Fuji, demonstrations and creative studio creative skills to allow them to be n The Department Fashion Merchandising introduces which has facilities for batik, silkscreen projects guide students in the devel- successful in the fashion industry.” Fashion design courses provide be- students to the nature of the fash- printing, sewing, and jewelry. Equipment opment of creative and technical skills. ginning and advanced fashion design ion industry as a business entity. The includes textile printing tables, ten sew- Frequent group critiques and class students the opportunity to have a be- course explores the numerous factors ing machines and two industrial sewing discussions further enrich students’ Enrica Guidato hind-the-scenes look into the world of that influence fashion production and machines, cutting tables, a darkroom knowledge of the subject by compar- Professor of Fashion Design Italian Fashion Design. Practical hands- buying, and analyzes the cyclical na- with enlargers and a vacuum screen ex- ing projects and opinions. Visits to on courses in fashion illustration are ture of fashion trends on a global basis posure unit, a compressor and washout museums, exhibitions, fairs, studios, complemented with information on how unit, large sinks for screen cleaning and and stores help students cultivate “Studying fashion is not simply the the industry functions in general and, n Jewelry Design dyeing processes, hundreds of metal aesthetic sensitivity and a first-hand study of clothing, it teaches us how more specifically, in Italy. Students are Through hands-on experience, stu- screens of various sizes, and a water knowledge of the fashion industry. to read society past and present. introduced to the industry in a very di- dents are introduced to the basic el- cleaning system to process and clean My aim as a professor is to provide rect way through field trips and site vis- ements of design and fabrication of the water used in the textile processes. my students with a global perspec- its. Hands-on courses in textile design, contemporary and traditional jewelry. tive on fashion as well as the tools garment construction, weaving, and With Florence as a home base, a solid necessary to contextualize stylistic fashion illustration complement the lec- foundation in workshop practices is Sophie Springer movements.” ture courses and give students an op- combined with an emphasis on quality Professor of Fashion Design portunity to hone their practical skills. of design and craftsmanship.

50 Communication Design & Interior Architecture

n The Communication Design tools needed to shape the space in Department which we live as well as develop a per- The Communication Design depart- sonal design concept. The program of- ment at SRISA offers a selection of be- fers students the opportunity to work ginning, intermediate, and advanced on hands-on design projects as well as design courses to students coming study the history and materials that It- from Graphic Design, Communication aly has to offer. Projects and research Design, and Illustration programs. The will focus on sustainable/ethical design selection of courses offer students the and students will have the opportunity opportunity to further develop their to visit the most relevant historical and technical skills as well as developing a contemporary design projects in Italy. Dr. Colomba Pecchioli personal style and vision. The program Professor of Interior Architecture focuses on offering courses that pro- n Facilities vide hands-on, real world design ex- Courses take place in SRISA’s design perience in the non-profit sector and studio equipped with Macintosh com- theoretical courses focusing on design puters and Adobe Photoshop, Illustra- in relation to society, social movements tor and InDesign software. Graphic and sustainable/ethical design. design students have excellent opportunities for internship and cooperative n The Interior Architecture education experiences with local Flo- Department rentine businesses or within the SRISA The Interior Architecture Department offices. at SRISA provides beginning, intermediate, and advanced Interior Archi- “As a professor I am interested in how tecture and Design students with an design reflects society and how soci- in-depth look into the world of interior ety is effected by design.“ architecture and design as it is prac- ticed in Italy and Europe. Focusing Dr. Ingrid Lamminpää on the architectural design process, Dr. Ingrid Lamminpää courses will equip students with the Professor of Communication Design 51 52 Liberal ARTS Department

n The Department n Course Structure n Facilities and Resources SRISA offers a rigorous Liberal Arts Liberal Arts courses are writing and Courses are taught in lecture class- program with a rich curriculum in var- reading intensive, most are a combina- rooms with slide and digital projectors, ied subjects. From Politics to History to tion of in class lectures, discussions, DVD, and computer resources; but Contemporary Italian Culture, students guest speakers, and on-site visits to the chief resource is the city of Flor- are immersed in various facets of Italian world-renowned museums and monu- ence itself, with its nearly unparalleled society. While SRISA was founded as ments of relevance to the course topic. concentration of historically important an art and design school, over the past SRISA offers students the opportunity works of art. The SRISA campus hous- decade the Liberal Arts program has to study Art History in a city that pos- es a library of books that students can grown both in size and prestige. Class sesses an extraordinarily rich cultural consult. Most classes will have required sizes are small, and all courses are taught heritage. History and Political Science readings, and the resources are avail- by accomplished and knowledgeable courses introduce students to the Ital- able in the library. faculty who have extensive experience ian political system and its history. Writ- as both teachers and professionals in ing and Literature classes explore the their fields. Given the extensive list of rich written masterpieces created at “The job of a history professor is not courses, SRISA is the perfect destina- the height of Italy’s artistic movement to teach students history but to teach tion for students from all majors. and inspires students’ critical thinking students to think historically.” and creative skills. Marketing and Com- Dr. Lorenzo Pubblici munication courses connect traditional methods to the ever-increasing digital world.

Dr. Lorenzo Pubblici, Ph.D. Dr. Tina Fallani Dr. Pietro Gagliano` Dr. Tiziana Landra Professor of Italian History Professor of Italian Cinema Professor of Contemporary Professor of Art History and Anthropology and Italian Culture Art History and Criticism

53 54

“Teaching a language is about more than communication; language encompasses history, culture, passion, and the understanding of different lifestyles and ways of thinking. Cultivating an open-minded passion for learning is what I aim to achieve. When I see the lights go on for my students, then I know that I Dr. Matilde Zampi, Ph.D. am making a difference, and that is something very Prof. and Coordinator of the Italian Language Dept. meaningful to me.”

ITALIAN Language n The Department n Course Structure n Course Work and Exams Learning Italian brings students closer The small class sizes at SRISA give stu- Students are given daily homework as- to the culture and the city where they dents ample opportunity to receive signments, quizzes, and both written are living. SRISA requires that students one-on-one attention from instructors. and oral examinations. Students can attending semester and year programs Classes are organized around grammar, also sign up for a language exchange take an Italian language course. A mini- vocabulary, and conversation topics. partner. The exchange is coordinated mal amount of language competency Readings and discussions focus on the by the language faculty and available to opens the door to Italian thought and introduction of Italian culture, including all students studying Italian. In addition, culture in a very direct way, which makes politics, history, art, traditions, social students who experience difficulties or the entire Italian experience richer and customs, literature, cinema and daily wish to go beyond the course curricu- more fulfilling. All instructors are native life. Many conversation topics are taken lum can meet with faculty during office Italian speakers who also speak fluent from local newspapers, television and hours for help on course work. English and thus, when necessary, are Italian magazines. able to give explanations in English. 55 56

Admissions & How to Apply www.srisa.org Florence, Italy Main Campus n NON-DISCRIMINATION POLICY Piazza Indipendenza 4 50129 Florence Tel. 011-39-055-4627374 n n admissions SRISA does not discriminate on the TRANSCRIPTS AND CREDIT basis of race, color, religion, ethnicity, San Antonio, Texas Admissions Office Students applying to SRISA should national origin, age, sex, sexual orienta- SRISA counts more than forty university 921 S. St. Mary’s Street meet the following requirements: tion, political beliefs, marital, veteran, partnerships with colleges and univer- San Antonio, TX 78205-3452 or disability status in administration of sities in the United States and Mexico. Tel. (210) 340-2675 • Have a high school diploma or its educational or admissions policies. Students may obtain a U.S. transcript equivalent for courses completed at SRISA and may opt for a SRISA transcript or for [email protected]

• Be at least 18 years of age a Maryville University transcript (fee- based). Maryville University is SRISA’s • Have a min cumulative GPA of 2.5 school of record. Students should check with their academic advisor at their n • Optional Portfolio for fine arts and HOW TO APPLY home institution for transferability of design SRISA and Maryville University credit. We invite you to visit our website for • Students applying to the Post-Bac- the most up-to-date information on n MEMBERSHIPS calaureate program must meet the programs, tuition, housing, activities, above requirements in addition to the internships, exhibits, and student prerequisites for the Post-Baccalaure- work: www.srisa.org Association of American Colleges and ate program University Programs in Italy (AACUPI) National Association of Foreign Stu- The most important criterion for admis- dent Advisors (NAFSA) sion to SRISA is the student's potential EDUITALIA Consortium (EDUITALIA) for success. The Admissions Commit- Forum on Education Abroad tee evaluates a number of factors for College Art Association (CAA) acceptance, including the application Southern Graphics Council Interna- essay, academic record, extra-curricu- tional (SGCI) lar activies, artistic achievements, and Institute of International Education portfolio. Generation Study Abroad Initiative