Leadership Profile

Total Page:16

File Type:pdf, Size:1020Kb

Load more

Leadership Profile

Dean, VCU School of the Arts and Special Assistant to the Provost for the VCU School of the Arts in Qatar

1 Photo by Steven Casanova (BFA ’15)

1

The Opportunity

The Virginia Commonwealth University School of the Arts (VCUarts) seeks a deeply experienced and visionary leader. The next dean of the VCU School of the Arts will also serve as the special assistant to the provost for the School of the Arts in Qatar and will have the opportunity to join a highly energetic, engaged and talented faculty, staff and student population. The school, with a graduate arts program that has the highest U.S. News & World Report ranking ever achieved by a public university arts and design school, has established itself as a creative force, locally, nationally and internationally. The school encompasses a wide spectrum of disciplines whose distinctiveness fosters opportunities for premier collaborations and synergies within the school, across the university and around the globe. The next dean must embrace the opportunity to provide leadership for the caliber of creative work within the school. The faculty, students, staff and community set high aspirations for themselves, individually and as a school, and will expect the same from their next dean.

The School of the Arts educates approximately 3,000 undergraduates and more than 140 graduate students through programs both in Richmond and in Doha, Qatar. In Richmond, students are taught by over 175 fulltime teaching and research faculty members and more than 200 others who bring direct artistic experience into the classroom on a part-time basis, as well as 39 staff members that assist in in daily processes. The school is organized into 16 departments and programs, offering 18 bachelor’s degrees, six master’s

2 Photo by Steven Casanova (BFA ’15)

degrees and one doctoral degree. The School of the Arts has an annual budget of $38 million and an endowment of more than $13.5 million.

The School of the Arts is a catalyst for innovative collaborations across campus and the community. VCU is one of only 54 universities and only 19 public universities nationwide to achieve both “Community Engaged” and “Highest Research Activity” designations by the Carnegie Foundation. It is the recipient of the prestigious Peter McGrath Award for UniversityCommunity Partnerships from the Association of Public & Land-grant Universities. Within this dynamic university, the School of the Arts adds significantly to, and is supported by, the vitality of Richmond — a thriving capital city marked by innovative expression in art, theatre, design, dance, film, architecture and more. Ultimately, the work of the School of the Arts extends globally with partnerships throughout the world and across fields as diverse as the humanities, health care and business.

2

Key Responsibilities

The dean will be responsible for the overall implementation of the mission and day-to-day operations of the School of Arts. Reporting to and working with the provost, and in coordination with the deans from other colleges, the dean will have responsibility for the strategic, programmatic, financial, fundraising and management operations that support the mission and vision of the School of Arts and its role within VCU. Additionally, the dean will have oversight for the School of the Arts in Qatar. In collaboration with the school’s leadership team, the dean will lead in shaping the future of the school, articulating a vision that defines its standard of excellence, the directions of its growth and the new and multidisciplinary connections that are possible not only across the university but throughout the world. Internally, the dean will be expected to create space for excellence and collaborations, while reducing obstacles that inhibit such goals, and actively foster a diverse, equitable and inclusive environment. The next Dean will be visible and accessible to the broad community of the School of Arts.

The dean will:
• Provide intellectual and artistic leadership by inspiring faculty, students, staff, donor partners and professional colleagues

• Identify and leverage opportunities that will capture the imaginations of a strategic and broad range of leaders on campus and in the community

• Extend partnerships with the public sector, expanding connections in support of the development and national presence of the school

• Communicate persuasively the mission and vision of the School of Arts to a broad stakeholder audience

• Develop and execute clear and realistic fundraising strategies along with sound fiscal and operational policies

• Advocate judiciously for the school

3 Photo by Steven Casanova (BFA ’15)

internally within the context of the mission of this public university;

• Recognize, reward, facilitate and actively participate in high-level research activities • Recruit and retain diverse and talented faculty colleagues in maintaining a commitment to excellence in collaboration with the school’s faculty

• Assure continued focus on students, both undergraduate and graduate, attending to their diversity and providing the services and the support to ensure their success

• Lead and manage effectively the overall operations of the School of the Arts and associated venues

3

• Lead the development of a strong and diverse faculty, overseeing recruitment, development and promotion and tenure activities, In collaboration with school leadership

• Ensure and enhance the sense of community within the school and the university • Engage in active listening with all members of the community • Lead and enhance ongoing initiatives such as facility enhancement in support of academic excellence and chart new initiatives in collaboration with faculty and chairs

• Ensure transparency and openness in communications • Support faculty efforts to promote equity for students seeking multiple pathways toward academic excellence

• Promote a collaborative culture among chairs and encourage cross-departmental learning and strategic program development

• Provide mentorship and support for chairs' leadership growth and professional development

• Lead the school on its research initiatives within an arts context and as they relate to
VCU’s wider research goals (Dean's responsibility to Quest 2025 research theme.)

• Work with and be sensitive to the educational needs of diverse urban populations and support the university’s and school’s commitment to having a positive impact at the local community level, as well as nationally and internationally

• Promote engagement and communication across departments, disciplines, positionalities (students, teachers, faculty, staff, chairs, administrators) both within and beyond the school.

Professional Experience/Qualifications

The preferred candidate has a terminal or equivalent degree in an arts-related discipline or substantive experience, sufficient to warrant a tenured position at the level of full professor in the School of the Arts. In addition, they should have a demonstrated record of administrative accomplishment in fiscal, facilities and personnel management in the arts, academia or an arts-related field, as well as experience or suitable preparation for success in fundraising and development. The candidate must be able to

4 Photo by Allen Jones, VCU University Relations

cultivate an environment that will stimulate the development of initiatives that support student development, faculty goals and sustainability within the school and across the university. The successful candidate should also possess an entrepreneurial spirit, a passion for embracing diversity, a record of building relationships internally and externally and a talent for fostering cross-disciplinary collaboration.

4

They should possess a forward-looking vision for the role of the arts and the ability to inspire a community toward its fulfillment.

The next dean should also possess:
• A commitment to developing and promoting quality research, scholarship and creative expression

• A strong record of leadership and success in elevating excellence • A commitment to continuous improvement of student learning and faculty teaching • A demonstrated commitment to diversity and inclusion

• A commitment to faculty and programmatic development

• An entrepreneurial, innovative and global orientation

• An interest in fostering community/university/national collaborations and partnerships

• A demonstrated commitment to cross-disciplinary programs

5 Photo by Steven Casanova (BFA ’15)

• The ability to articulate the school’s vision, goals, accomplishments and needs to constituents

• A record of success and ability in recruiting and retaining talented and diverse faculty • A history of inspiring faculty to excel in teaching, research, scholarship and creative activities and rewarding excellence in these areas

• Demonstrated leadership in infrastructure development and organizational maintenance, including attention to standards articulated by the national accrediting bodies of the various disciplines in the school

• Experience as a seasoned, decisive leader and diplomat with strong organizational and consensus-building skills, integrity and the ability to inspire and lead faculty with diverse interests and scholarly approaches

• A strong belief in shared governance • Strong communication, management and organizational skills • A record of exemplary personal and professional integrity

Experience in international education and, especially, with campuses in foreign nations is highly desirable.

5

Institutional Background/Culture

School of the Arts

The school is known for hands-on learning and experimentation and for encouraging students to push the boundaries of their creativity while working alongside some of the most acclaimed artist-faculty in the nation. Its curricula focus on cross-disciplinary collaborations with scholars from divergent fields, taking advantage of the school’s role as part of a major, urban public research university.

In their programs of study, undergraduate students master necessary skills for their

  • chosen
  • professions
  • and
  • creative

endeavors. They cultivate a habit of critical thinking and inventive problem solving, and they articulate their aesthetic endeavors in relation to local and global concerns. Graduate students develop a comprehensive, historical and current understanding of their fields. They effectively explain how their work contributes to current critical and scholarly conversations and they demonstrate the ability to become leaders in the arts.

6 Photo by Diego Valedez (BFA ’14)

Upon enrollment, students join a community of highly accomplished artists, designers, performers, scholars and mentors who share a steadfast commitment to excellence and exploration.

Students are inspired by School of the Arts faculty members, whose creative accomplishments have been seen in Tony Award-winning theater productions, nationally celebrated dance companies, world-class museums and international design competitions. Their artworks and research projects have been funded through grants from private foundations, public agencies and scholarly organizations. Their career accomplishments have been recognized with prestigious awards from professional arts organizations and foundations including MacArthur Fellowships, Guggenheim Fellowships, United States Artists Fellowships and Rome Prize winners.

VCU School of the Arts in Qatar (VCUQatar)

Established in 1998 through a partnership with the Qatar Foundation for Education, Science and Community Development, the School of the Arts campus in Doha, Qatar offers an opportunity to earn a Bachelor of Fine Arts degree in fashion design, graphic design, interior design and painting and printmaking, a Bachelor of Arts degree in art history and a Master of Fine Arts degree in design. VCUQatar enrolls over 300 undergraduate and 14 graduate students.

6

As the foremost example of its commitment to global outreach and education, VCUQatar presents valuable opportunities for cross-cultural exchange and connects the School of the Arts to the influential art and design world of the Middle East. The campus attracts renowned contributors to contemporary visual culture for speaking and teaching engagements, and hosts two major international events — the design conference Tasmeem Doha and the Hamad bin Khalifa Islamic Art Symposium.

VCUQatar embraces creative innovation as contribute to the vitality of human, social, economic and

  • a
  • means to

environmental development in Qatar and the region. The school engages with emerging art and design industries in Qatar and is a significant catalyst for growth. VCUQatar graduates have gone on to establish their own businesses, entrepreneurial development in Qatar; and many pursue successful careers within the government, nonprofit and

  • contributing
  • to

7 Photo via School of the Arts website

private industries in Qatar and around the world. These legacies have established VCUQatar as a center of excellence for education and research in art and design in the region, while furthering the global reputation and reach of the VCU School of the Arts.

VCUQatar features comprehensive facilities and resources that serve the arts and design disciplines, including the only materials library in the Gulf region, 3-D printers, green screen facilities, a wood shop and gallery facilities. It was the first campus established in Qatar’s Education City, and has since been joined by Weill Cornell Medical College, Texas A&M University, Georgetown University School of Foreign Service, Carnegie-Mellon University, Northwestern University and HEC Paris. Students and faculty benefit from their proximity to these prestigious institutions through cross registration and collaborative research opportunities.

Degrees

The VCU School of the Arts offers 18 bachelor’s degrees, six master’s degrees and one doctoral degree. Students at the graduate level can receive an M.F.A. in Design (three concentrations), Fine Arts (nine concentrations), Theatre (four concentrations), an M.A. in Art History (two concentrations), a Master of Music or a Master of Art Education.

Ph.D. program in Media, Art, and Text

VCU’s interdisciplinary doctoral program in Media, Art, and Text (MATX) is a joint endeavor of the School of the Arts, the Department of English, and the Robertson School of Media and Culture. MATX emphasizes the historical and theoretical foundations essential to the scholarly

7

study of media, broadly defined, both old and new. It provides an intellectually stimulating environment that encourages students to work both collaboratively and independently, as well as across and between disciplines and media.

The da Vinci Center

A collaboration of VCU’s Schools of the Arts and Business, the Colleges of Engineering and the College of Humanities and Sciences, the VCU da Vinci Center is a unique collegiate model that advances innovation and entrepreneurship through cross-disciplinary collaboration.

Accreditation

VCU is accredited by the Southern Association of Colleges and Schools Commission on Colleges, and each of the School of the Arts degreegranting programs is accredited by one or more of the following agencies: National Association of Schools of Art and Design, Council for Interior Design Accreditation, National Association of Schools of Dance, National Association of

  • Schools
  • of
  • Music,
  • National

Association of Schools of Theatre, National Council for Accreditation for

8 Photo by Steven Casanova (BFA ‘15)

  • Teacher
  • Education,
  • Virginia

Department of Education.

Rankings

The School of the Arts graduate arts program has the highest U.S. News & World Report ranking ever achieved by a public university’s arts and design school. The sculpture program holds the number one ranking for both public and private schools; the Department of Craft and Materials Studies has two disciplines ranked (glass at No. 3 and ceramics at No. 9); and the graphic design (No. 7), painting (No. 7) and printmaking (No. 10) disciplines are also ranked in the top ten.

The VCUarts Office of Research and Innovation

The VCUarts Office of Research and Innovation provides guidance to faculty, departments, programs, centers and institutes in their pursuit of external funding for research, sponsored projects and interdisciplinary collaborations. Services include project and research design, proposal-writing consultation, budget design, partnership development and funding source identification. The Arts ORI also serves as an incubator for interdisciplinary research themes and potential school-based research institutes and centers. Currently in development is the Institute for Arts and Health Innovation in collaboration with the School of Medicine. This institute will promote and support interdisciplinary research and collaborative projects that fall into one of two areas of specialization: neurodiversity or the patient and family experience.

8

The Center for the Creative Economy

The Center for the Creative Economy promotes the creative economy as a network of industries that center their activity on producing creative assets, potentially generating economic growth and development. The CCE operates three programs, each providing an experiential learning environment that expands the scope of any specific creative discipline. Collectively, the CCE and its programs provide students opportunities to collaborate with one another and learn from diverse disciplines, experiences and perspectives; navigate their education in an entrepreneurial way; and translate their entrepreneurial mindset to a new world of work, where they can apply their talents, skills and passions in unexpected places.

Commitment to diversity and inclusion

The school values diversity in all of its forms and supports a community in which individuals of different perspectives, life experiences and cultural backgrounds are welcomed.

Art Foundation

  • A
  • one-year program

required of all students prior to entry into one of the fine arts or design B.F.A. Foundation intellectually

  • program,
  • Art

  • an
  • is

rigorous, studio-based experience in the fundamental issues of art and design.

Visiting artists

The School of the Arts

  • departments
  • and

programs sustain an impressive visiting artist program. At the same

9 Photo by Steven Casanova (BFA ’15)

time that the school is an active participant in local, national and international arenas, it attracts renowned artists, designers, performers and scholars from across the country and around the globe. They come to teach as visiting artists, present lectures about their work, lead workshops, and serve as jurors and critics or curate exhibitions of students’ work. As they absorb the energy of the thriving creative community, they are invariably struck by the caliber of the students, the quality of the school’s facilities and the rigor of engagement in conversations that shape the arts and design fields. Public dialogue that explores the role of art and design in society is facilitated by the Arts Research Institute. Meanwhile, an array of presenting programs in theater, dance and music directly connect the school to the regional community.

Development

In September 2016, the university launched a three-year, $750 million capital campaign called “Make It Real.” The school’s campaign goal is $25 million and is currently at $19.2M. The

9

school’s campaign average in five years is $3.1M. A key group of donors are members of the Pollak Society, about 120 annual donors at the $1,000 level and above who receive insider access to monthly high-profile events.

Budget

The current school budget provided from the university is more than $38 million, which includes a unique tuition differential charged to art majors but does not include endowment income or revenue generated from indirect costs. The school operates on a hybrid RCM model. The school also offers internal grant opportunities for full-time and part-time faculty, as well as undergraduate and graduate students.

Facilities

The VCU School of the Arts is located in a unique urban setting in the city of Richmond, Virginia, on the edge of the largest area of occupied Victorian-era homes in the United States, known as The Fan. While the School of the Arts enjoys several purpose-built structures, many administrative academic university and offices, including some of those occupied by the School of the Arts, are housed

10 Photo via VCU School of the Arts

  • within
  • gracious
  • old

homes along Franklin Street which runs through the university’s Monroe Park Campus.

The School of the Arts facilities include lecture classrooms, offices, conference rooms, studios, computer labs, storage and workshops, as well as exhibition spaces and equipment distributed in 18 buildings across campus. The school has fully equipped shops for woodworking, metal fabrication, glassworking, ceramics, weaving, printmaking, silk screening and garment construction. There are darkrooms and editing stations for sound and video.

The upper level of the parking structure on Bowe Street, proximate to the main campus, is home to the Art Foundation Program. Accommodating 500 students, this contemporary space offers natural light, a wrap-around terrace and an elevated view of the city. It is located just north of Broad Street, approximately two blocks west of the Fine Arts Building.

10

The Depot, at Broad and Laurel Streets, was formerly a terminal for the Richmond trolley system. After major renovations, this historic structure re-opened in fall 2015. It is home to the Center for Creative Economy, the VCUarts Office of Research and Innovation, a sound stage, and an infinity wall and motion-capture studio on the ground floor. The second level houses the Cinema Program. The Depot Annex houses facilities for the departments of Kinetic Imaging and Dance and Choreography.

Recommended publications
  • Pinch with Ing Pennies Penny Marshall

    Pinch with Ing Pennies Penny Marshall

    PINCH ING PENNIES WITH PENNY MARSHALL DEATH RITUALS FOR PENNY MARSHALL BY PROJECT MANAGER Alfredo Macias Victor I. Cazares DIRECTION Alton Alburo Martin Manzanita Barna Barzin Randa Jarrar Olivia Jimenez Frances McDormand as Madre Cabrona April Matthis Ellen DeGeneres Pooya Mohseni Leo Scorpio, Esq. MD/PHO MBA Ashton Muiiiz BBSloppyJoe Jesus I. Valles Penny Marshall EPISODE1 A Zoom Webinar Offering Financial Advice for OnlyFans Content Creators EPISODE2 Sliding Scales NEW YORK EPISODE3 Dia de la Muerta THEATRE WORKSHOP Victor I. Cazares is a Tow Playwright in Residence. just to name a few. Wearing all those hats has The Guggenheim (Machine Dazzle), Art Institute resulted in 1) a strong core & excellent posture, Chicago/Swiss Institute/New Museum (Cally 2) delight in working and playing with all sorts of Spooner), Biennial Performa/Lehmann Maupin people, 3) an enduring belief in the power of play. (Nicholas Hlobo) & Pace Gallery (Lilleth Glimcher). Olivia’s curiosity currently lies at the intersections Additionally, Ashton has danced for Marc Jacobs of embodied healing, civic practice, and FW 2020 (Karole Armitage), A$AP Rocky (Lab sustainability. Olivia holds a B.A. in Theater from Rat-Sotheby’s), Rihanna (MTV VMAs 2016). Muñiz is the University of Southern California and studied a co-founder of Legacy: A Black Queer Production interactive storytelling with Deep Dive Austin. She Collective & received training at Ithaca College, is a company member of the VORTEX Repertory Moscow Arts Theatre School and Shakespeare & Company and Shrewd Productions, and an Company. Enterprise Rose Artist Fellow working at Foundation Communities in Austin, TX. Jesús I. Valles Penny Marshall April Matthis Jesús I.
  • STATEMENT of PRINCIPLE No One Should Be Forced to Choose

    STATEMENT of PRINCIPLE No One Should Be Forced to Choose

    STATEMENT OF PRINCIPLE No one should be forced to choose between her personal safety and dignity, and her job. But too often in the theater community this is exactly the choice that women must make. Sexual discrimination and harassment and gender-based violence often occur in the intimate and physical context of a theater production. Victims of such conduct face a stark choice between continuing to work in close collaboration with their abuser and quitting the show. Few can afford to give up a job and lose not only income, but also the opportunity for career advancement. There is a sense in the community that it is not necessarily in a victim’s best interest to report abuse because of fear that the response will be insufficient and open her up to retribution. In addition, many instances of abuse happen outside of the physical boundaries of a theater. No theater, union or guild currently takes responsible for handling such cases. However, the two people involved will most likely have to work together the next day or in another production, and the victims are left to deal with the aftermath by themselves. In the face of these realities, victims often choose silence and the abuse is allowed to continue. It is time for the theater community to break its own silence on harassment and abuse and formally address the problem. The reality is that those who behave abusively are generally in positions of power. Artistic directors hold the power to employ, playwrights have hiring approval; removing a director mid-rehearsal puts an entire production in doubt; losing a celebrity from the cast hurts ticket sales.
  • 2020 YEAR in REVIEW Looking Back

    2020 YEAR in REVIEW Looking Back

    What’s Past is Prologue — Prospero, The Tempest 2020 YEAR IN REVIEW looking back What a year this has been–a year of great change–both for Commonwealth Shakespeare Company and for the world. A year of tumult, transition...of tempests. And a year of opportunity. Our 2020 fiscal year began in October 2019 with two big changes. First, CSC and Babson College were winding down their six-year-long partnership that provided CSC with important support and a home. Second, CSC lost Abigail Rollins, who managed CSC since 2010 and led the Company through substantial growth to financial stability. To balance the disappointment of those losses, we were excited to welcome Adam Sanders— Associate Artistic Director since 2011— as Managing Director to take over Abi’s work and Bryn Boice to take over Adam’s responsibilities as Associate Artistic Director. The team was also eager to relocate the office to Boston and enjoy the amenities of city work-life again! Despite the changes, the future definitely didn’t look dull. Early 2020 saw a screening of our virtual Hamlet 360 at the Moxy Hotel in Boston and plans moving full steam ahead for our annual gala, our Stage2 Shakespeare for Young Audiences’ A Midsummer Night’s Dream, and our 25th anniversary production of Free Shakespeare on the Common, T he Tempest. That all came screeching to a halt in mid-March with the onset of the COVID-19 pandemic. As the world around us changed dramatically, we quickly adapted to remote office work and began re-imagining our programs.
  • Education 2014 Virginia Commonwealth University, MFA

    Education 2014 Virginia Commonwealth University, MFA

    Erika Diamond 66 Panorama Dr., Asheville, NC 28806, 704.575.1493, [email protected] Education 2014 Virginia Commonwealth University, MFA Fiber 2000 Rhode Island School of Design, BFA Sculpture 1998 Edinburgh College of Art, The University of Edinburgh, Independent Study/Exchange Residencies 2019 UNC Asheville STEAM Studio, Asheville, NC 2018 Studio Two Three, Richmond, VA 2018 Platte Forum, Denver, CO 2016 ABK Weaving Center, Milwaukee, WI 2016 STARworks Center for Creative Enterprise, Star, NC 2014 Black Iris Gallery, Richmond, VA 2011 McColl Center for Visual Art, Charlotte, NC 2006-10 Little Italy Peninsula Arts Center, Mount Holly, NC 2006 McColl Center for Visual Art, Charlotte, NC Awards and Grants 2020 Artist Support Grant, Haywood County Arts Council, Waynesville, NC Artist Relief Grant, United States Artists, Chicago, IL Special Project Grant, Fiber Art Now, East Freetown, MA Mecklenburg Creatives Resiliency Grant, Arts & Science Council, NC 2019 American Craft Council, Conference Equity Award, Philadelphia, PA 2017 Adjunct Faculty Grant, VCU, School of the Arts, Richmond, VA 2016 American Craft Council, Conference Scholarship, Omaha, NE 2015 Regional Artist Project Grant, Arts & Science Council, Charlotte, NC 2014 VCU Arts Graduate Research Grant, VCU, Richmond, VA 2013 Graduate Assistantship Award, VCU, School of the Arts, Richmond, VA 2012 Graduate Assistantship Award, VCU, School of the Arts, Richmond, VA 2008 Cultural Project Grant, Arts & Science Council, Charlotte, NC 1996-20 RISD Alumni Scholarship, RISD, Providence, RI 1998-19 Leslie Herman Young Scholarship, RISD Sculpture Department, Providence, RI Exhibitions 2021 Armor, Center for Visual Art, Denver, CO (forthcoming) Amplify, Virginia Museum of Contemporary Art, Virginia Beach, VA (forthcoming) Summer Workshop Faculty Exhibition, Appalachian Center for Craft, Smithville, TN Imminent Peril – Queer Collection (Solo), Iridian Gallery, Richmond, VA Family Room, Form & Concept Gallery, Santa Fe, NM Queer Threads, Katzen Art Center, American University, Washington, D.C.
  • 87Th Academy Awards Reminder List

    87Th Academy Awards Reminder List

    REMINDER LIST OF PRODUCTIONS ELIGIBLE FOR THE 87TH ACADEMY AWARDS ABOUT LAST NIGHT Actors: Kevin Hart. Michael Ealy. Christopher McDonald. Adam Rodriguez. Joe Lo Truglio. Terrell Owens. David Greenman. Bryan Callen. Paul Quinn. James McAndrew. Actresses: Regina Hall. Joy Bryant. Paula Patton. Catherine Shu. Hailey Boyle. Selita Ebanks. Jessica Lu. Krystal Harris. Kristin Slaysman. Tracey Graves. ABUSE OF WEAKNESS Actors: Kool Shen. Christophe Sermet. Ronald Leclercq. Actresses: Isabelle Huppert. Laurence Ursino. ADDICTED Actors: Boris Kodjoe. Tyson Beckford. William Levy. Actresses: Sharon Leal. Tasha Smith. Emayatzy Corinealdi. Kat Graham. AGE OF UPRISING: THE LEGEND OF MICHAEL KOHLHAAS Actors: Mads Mikkelsen. David Kross. Bruno Ganz. Denis Lavant. Paul Bartel. David Bennent. Swann Arlaud. Actresses: Mélusine Mayance. Delphine Chuillot. Roxane Duran. ALEXANDER AND THE TERRIBLE, HORRIBLE, NO GOOD, VERY BAD DAY Actors: Steve Carell. Ed Oxenbould. Dylan Minnette. Mekai Matthew Curtis. Lincoln Melcher. Reese Hartwig. Alex Desert. Rizwan Manji. Burn Gorman. Eric Edelstein. Actresses: Jennifer Garner. Kerris Dorsey. Jennifer Coolidge. Megan Mullally. Bella Thorne. Mary Mouser. Sidney Fullmer. Elise Vargas. Zoey Vargas. Toni Trucks. THE AMAZING CATFISH Actors: Alejandro Ramírez-Muñoz. Actresses: Ximena Ayala. Lisa Owen. Sonia Franco. Wendy Guillén. Andrea Baeza. THE AMAZING SPIDER-MAN 2 Actors: Andrew Garfield. Jamie Foxx. Dane DeHaan. Colm Feore. Paul Giamatti. Campbell Scott. Marton Csokas. Louis Cancelmi. Max Charles. Actresses: Emma Stone. Felicity Jones. Sally Field. Embeth Davidtz. AMERICAN REVOLUTIONARY: THE EVOLUTION OF GRACE LEE BOGGS 87th Academy Awards Page 1 of 34 AMERICAN SNIPER Actors: Bradley Cooper. Luke Grimes. Jake McDorman. Cory Hardrict. Kevin Lacz. Navid Negahban. Keir O'Donnell. Troy Vincent. Brandon Salgado-Telis.
  • Ibsen's 'Hedda,' Undergoing Renovation

    Ibsen's 'Hedda,' Undergoing Renovation

    ibsen’s ‘hedda,’ undergoing renovation Newsday, September 22, 2004 By Linda Winer Once more into New York’s kitchen-sink theater rides Ivo van Hove, the wild and often wondrous Flemish explorer (some say plunderer) of the hallowed and the classic. Once again, he is the guest of the New York Theatre Workshop, where van Hove, artistic director of Amsterdam’s leading repertory company, has found a home-away for his love-hate adventure with audiences. In 1997, he provoked furious accusations of vandalism and an appreciative Obie Award with a demented but enthralling rethinking of Eugene O’Neill’s problematic “More Stately Mansions.” Two years ago, he was less persuasive at stripping the illusion off “A Streetcar Named Desire” - mostly remembered for a Stanley who held a naked Blanche’s head underwater in a bathtub for a very long time. His prey this time is “Hedda Gabler,” which opened last night in a production that just might bring swing voters to his side. In many ways, this is the least outlandish and most satisfying of the visions he has shared at the Workshop. He plays the text fairly straight, using Christopher Hampton’s translation of Ibsen’s study of the disturbed female of 1890. Characters don’t talk much in gibberish or breathless overlapping speeches. The setting has been updated to a chic contemporary comfort zone, with fashion footwear and a surprisingly congenial modern attitude adjustment. Elizabeth Marvel, who proved she would go to the brink for van Hove as Blanche, has a complex combination of playful eroticism and hysteria as Hedda, the perilously bored new bride of Jason Butler Harner’s handsome but geeky George Tesman.
  • Arts, It Is My Pleasure to Welcome You As Participants in the 76Th Annual Carmenita Higginbothan, SECAC Conference

    Arts, It Is My Pleasure to Welcome You As Participants in the 76Th Annual Carmenita Higginbothan, SECAC Conference

    hosted by 1 Table 03 Welcome from the Dean of 04 Acknowledgements from Conference Director Contents 05 Keynote Speaker 06 Juried Exhibition 07 Fellowship Exhibition 09 The Virtual Anderson 13 Equity, Diversity and Inclusion Statement & Racial Justice Town Hall 14 Schedule of Sessions 55 SECAC Governance & SECAC Board of Directors 56 Institutional Members 57 Affiliated Societies 2 Welcome from On behalf of VCUarts, it is my pleasure to welcome you as participants in the 76th annual Carmenita Higginbothan, SECAC conference. While I wish we could welcome you all to Richmond in person, we are honored to host you for what is sure to be a dynamic virtual conversation about the Dean, VCUarts complex notions and ideals that make a commonwealth. The arts continue to be significant to cultural dialogue and critical inquiry. We at VCUarts are committed to the engagement of arts and education on our campus and in the city of Richmond, and we are excited to include each of you in this intellectual and cultural exchange. I would like to extend my thanks to Carly Phinizy, assistant chair of the VCUarts Department of Art History and the SECAC 2020 conference director. I also would like to thank VCUarts faculty members Tobias Wofford, Holly Morrison and Orla Mc Hardy; and Chase Westfall, the curator of Student Exhibitions and Programs, who all served on the SECAC Planning Committee. This conference is made possible in no small part by their research and insight. I am also grateful to our partners at SECAC; its president, Sandra Reed, and administrator Christine Tate, who have shared their invaluable expertise and guidance.
  • Virginia Commonwealth University VCU Scholars Compass

    Virginia Commonwealth University VCU Scholars Compass

    Virginia Commonwealth University VCU Scholars Compass VCU Bulletins VCU University Archives 2011 Virginia Commonwealth University Undergraduate Bulletin Virginia Commonwealth University Follow this and additional works at: http://scholarscompass.vcu.edu/vcubulletins © Virginia Commonwealth University Downloaded from http://scholarscompass.vcu.edu/vcubulletins/42 This Bulletin is brought to you for free and open access by the VCU University Archives at VCU Scholars Compass. It has been accepted for inclusion in VCU Bulletins by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. VCU Undergraduate Bulletin Monroe Park Campus and MCV Campus 2011–12 Virginia Commonwealth University Monroe Park Campus and MCV Campus 2011-12 Virginia Commonwealth University . 1 University College . 5 . Undergraduate Bulletin College of Humanities and Sciences . 15 . L . Douglas Wilder School of Government and Public Affairs School of Mass Communications Table of Contents School of World Studies Virginia Commonwealth University . 1 School of Allied Health Professions . .68 . University College . 5 . School of the Arts . 76 College of Humanities and Sciences . 15 . School of Business . 108 . L . Douglas Wilder School of Government and Public Affairs School of Dentistry . 122. School of Mass Communications School of Education . 126. School of World Studies School of Engineering . 141 . School of Allied Health Professions . .68 . School of Medicine . 156 School of the Arts . 76 School of Nursing . 158 School of Business . 108 . School of Pharmacy . 163. School of Dentistry . 122. School of Social Work . .165 . School of Education . 126. VCU Life Sciences . 170 School of Engineering . 141 . Graduate School . 176. School of Medicine . 156 Undergraduate study . .178 . School of Nursing .
  • We Believe in Nothing

    We Believe in Nothing

    Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2005 We Believe in Nothing Sarah Bednarek Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Art and Design Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/1196 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. School of the Arts, Department of Sculpture Virginia Commonwealth University This is to certify that the thesis prepared by Sarah Bednarek entitled WE BELIEVE IN NOTHING has been approved by his or her committee as satisfactory completion of the thesis or dissertation requirement for the degree of Master of Fine Arts Kendall Buster, Professor, School of the Arts Siemon Allen, Professor, School of the Arts Gregory Volk, Professor, School of the Arts Amy Hauft, Chair, Department of Sculpture, School of the Arts Richard Toscan, Dean, School of the Arts Dr. F. Douglas Boudinot, Dean of the School of Graduate Studies May 13, 2005 © Sarah Bednarek 2005 All Rights Reserved WE BELIEVE IN NOTHING A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts at Virginia Commonwealth University. by SARAH BEDNAREK BFA, University of Minnesota, 2002 MFA, Virginia Commonwealth University, 2005 Virginia Commonwealth University Richmond, Virginia May 2005 Table of Contents Page Chapter 1 Yeah, we believe in nothing...............................................................................6 References..........................................................................................................................17 iii Abstract WE BELIEVE IN NOTHING By Sarah Bednarek, MFA A Thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts at Virginia Commonwealth University.
  • The Veil of Forgetting

    The Veil of Forgetting

    the veil of forgetting the veil of forgetting the peaks and potholes of 2016 formed into a fascicle by Don Shewey ACCENTS ACTIVISM ANTARCTICA ANUS ART AWE BAMBOO BLACK LIVES MATTER BOWS CANCER CHALLENGING CHARACTER CHUTE COMFORT COMPASSION CONCLUSIONS CONTAINMENT DIAGNOSIS EARTH ECLIPSE EGO ELDERS FORGIVENESS GARDEN GUNS HOME ICELAND IMAGINAL HYGIENE INITIATION INTEGRITY JAMES HOUGHTON JOKES KILLING LIFE LONELINESS LOVE MASK MASTURBATION MEMORY MINDSET NAKED NUMBING OLD PARANOIA PARENTING PASSION PHILANTHROPY PLEASURE PMS POLITICAL EFFECTIVENESS POWER PROFESSIONALISM PSYCHEDELICS QUEEN OF SOUL QUEER QUESTIONS REGRET REJECTION REPETITION SAUDI ARABIA SCIENCE SEX SHAMANISM SHAME SNEEZING SONGWRITING SPEAK STRESS SUFFERING SUPEREGO TEA PARTY THEATER TIME TRAVEL TRUMP TIME UGLY TRUTHS VALUES VIRTUES VISION VOTING WEIRD WORRY WRITING WYOMING XXX YEAR IN REVIEW ZEITGEIST ACCENTS I hear you’re a new father to a baby boy. Congratulations. What’s his name? Hudson. I guess you can see the river from your office. It was either Hudson or Window. It didn’t occur to me until recently actually that my son is going to have an American accent. Because I guess in my head that’s never how I’ve heard my child speak, and I think it’ll be odd that I’m going to sound different from him. And he’ll hear me have to change my voice for automated machines. You probably don’t have to do that. On the automated phone lines, all the time — “No. 4.” “I’m sorry, I didn’t understand that.” “No. 4.” “I don’t understand that,” and I have to say “No. 4” like a kind of a sedated John Wayne.
  • Alessandro Quarta Cv Formazione

    Alessandro Quarta Cv Formazione

    ALESSANDRO QUARTA CV Doppiatore, Direttore di doppiaggio, Adattatore dialoghista, Attore, Cantante, Compositore. Alessandro Quarta è uno dei massimi esponenti del doppiaggio italiano, è attore teatrale da quando aveva 6 anni, 1976, e Doppiatore dal 1980. In 40 anni di carriera a doppiato più di 1200 opere, tra film, serie TV e film di animazione, tra cui Casey Affleck, Ethan Hawke, Jeremy Renner, Paul Rudd, Ed Helms, Mark Wahlberg, Peter Sarsgaard e ha vinto numerosi premi come miglior voce maschile. È la voce ufficiale italiana di Mickey Mouse dal 1995, è il doppiatore che l’ha interpretato da più tempo in Italia e, per questo, è il primo ad aver ricevuto un riconoscimento ufficiale direttamente da Disney Company, il “Premio Speciale Mickey 90”. L’Istituto Italiano di Cultura di Los Angeles gli ha conferito il primo riconoscimento a un doppiatore italiano negli USA, il “IIC Los Angeles Creativity Award”, come ambasciatore della lingua italiana nel mondo. Come rappresentante del doppiaggio italiano, ha partecipato al tour di presentazione negli USA del libro “Senti chi parla! Le 101 frasi più famose del cinema”, tenendo interventi presso la Chapman University di Orange County, in California, l’Università di Houston, e presso l’Istituto Italiano di Cultura di Los Angeles. Ricopre anche il ruolo di Direttore di doppiaggio e Adattatore Dialoghista di film cinema, serie TV e Cartoni Animati. Insegna doppiaggio e recitazione presso accademie e scuole di recitazione e doppiaggio, e ha tenuto corsi di doppiaggio presso l’Università degli studi di Salerno. Partecipa al Cortometraggio AttorInVoce alla 74ª Mostra Internazionale d’Arte Cinematografica la Biennale di Venezia e alla mostra fotografica “AttorInVoce” presso la Casa del Cinema di Roma, nei quali è stato scelto assieme ai migliori doppiatori italiani.
  • Hedda Gabler Variety, September 20, 2004 by Robert Hofl Er

    Hedda Gabler Variety, September 20, 2004 by Robert Hofl Er

    hedda gabler Variety, September 20, 2004 By Robert Hofl er A New York Theater Workshop presentation of the play by Henrik Ibsen in a translation by Christopher Hampton. Directed by Ivo van Hove. Berte - Elzbieta Czyzewska Eilert Lovborg - Glenn Fitzgerald George Tesman - Jason Butler Harner Hedda Gabler - Elizabeth Marvel Aunt Julia - Mary Beth Peil Mrs. Elvsted - Ana Reeder Judge Brack - John Douglas Thompson What would have happened to Blanche duBois if Stanley Kowalski had shut up and let her marry Mitch? If you squint real hard at the New York Theater Workshop’s current production, director Ivo van Hove answers that question in his startling, riveting new revival of “Hedda Gabler.” At the risk of putting the bathtub before the bustle, the Blanche connection offers a pretty eccentric take on Henrik Ibsen’s most discontented newlywed. But then, van Hove has made his reputation with revivals that run 180 degrees away from your average, typical interpretation of classic text. Five years ago, he staged “A Streetcar Named Desire” in a bathtub at NYTW. Elizabeth Marvel was his headstrong, sopping-wet Blanche. Curiously, Marvel’s Hedda appears to be a more delicate hot-house fl ower than her Blanche, and she’s even quicker to employ girlish wiles to win a point or protect an inner, vulnerable voice. In recent years, Hedda Gablers like Glenda Jackson and Kate Burton have tended to enter spitting bullets with no apparent need for the old man’s pistols. In Ingmar Bergman’s acclaimed red-box production from the 1970s, Maggie Smith lurched into a series of violent dry-heaves before uttering one word.