4 5

Calla Grace Fogarty Printmaking Ashley Smith Photography

Becca Cahan Cady Fontana Fibers 7

Emily White Sculpture

I am in love with my dogs. When you photograph someone, you are making a map of them in a way. Switch back to life and you see them in a new way. The map helps you know them, and you get more and more attached. William Wegman Alumnus

Aristide Little-Lex Architectural 9

There is an edge to every creative domain where new things are unfolding. It’s sloppy, dynamic—and this is important—wide open for reworking and reinvention. That’s always where the action is. And it’s where you’ll find the best, smartest people at play. Brian Collins Dana DiPlacido Jewelry and Metalsmithing Alumnus

Quinn Gorbutt Photography

Mishal Kizilbash Rachel Harmon Fashion 10 11

William Vanaria Jewelry Metalsmithing Shane Maxwell

Kira Maintanis Art Education

Katharena Rentumis Glass Laura Podlovits Jaklitsch Jewelry and Metalsmithing Daniel J. Foster Photography Paige Peterson Studio for Interrelated Media 12 13

Erin Shaw Fibers

The years I spent at Mass Art immersed in learning gave me the necessary tools I needed to become a confident and take risks to find my voice. AlumnA

Breanne Gustafson Painting 14 15

Ian Deleon Studio for Interrelated Media

Andrew Meyer Ceramics Erik Michel Lund

Cherry Au Illustration Molly Stone Illustration 16 17

We promise not to throw too many Instead, we’re going to tell you facts at you like square footage Not the of studio . Let’s just say sugar-coated “It’s so wonderful to We promise not to use make art” version. But the “hands worn-out phrases like “personal caked in clay at 2 a.m. on a Tuesday attention, “caring faculty,” or morning as you frustratingly try “close-knit community.” to perfect a corner because you here. And we promise not ” version. And to to tell you, “We have something do that, we’ve called on the for everyone.” The truth is, we’re MassArt best—students, not for everybody. No college is. alumni, and faculty. We hope that But for students who do come letting them share their stories, in here, we offer an , will help you learn that’s unlike any other art and what you really want to know— design college in the country. Is for you? 19

ELLIE http://stur.me/ellie

dayanne go behind the scenes http://stur.me/dayanne with nine insiders

DAVE AND MATT andrew http://stur.me/andrew http://stur.me/cloudkid

diego http://stur.me/diego

paul cailigh http://stur.me/paul http://stur.me/cailigh

soon-mi http://stur.me/soon-mi 20 21

VISUAL Blog

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A lot of schools I visited seemed

sterile. But when I toured Mass Art,

it was clear to me that real art

was happening here.

—CADY FONTANA, stu dent

Our students come in with a sense of

There is no pretense here. They are extremely talented and focused. Everyone just works really hard. —FRED LIANG, faculty

And I think because it’s a nurturing environment, not an intimidating one, students who have the potential to grow, grow immensely.

—SONDRA GRACE, f aculty

After 20 years at MassArt, it’s still a very compelling place to me, visually and intellectually. I never tire of it.

—ELLEN SHAPIRO, faculty When you’re making your own art, it’s easy to get stuck in one mode. But when you have a diverse group of students around you who are doing things in ways you never imagined, you can

always find inspiration and new ideas. — tyler haywood, Student

I fell in love with the community and the people and all the It wasn’t pretentious at all. I felt at home in that kind of atmosphere.

—m aya luz, alumna

— rick b rown, faculty

T he quality that distinguishes MassArt students is T hey are not afraid to ask anything, do anything. They have astounding

creativity and great passion. —ellen s hapiro, faculty 28 29

I made friends with people who really wanted to make a difference— and wanted to work really hard. They challenged me to be better.

—BRIAN CO LLINS, ALUMNUS

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Whenever I’m not in class, I’m in my —AIMEE BELANGER, alumna studio. I spend all my waking hours there. But it’s okay because I would be doing this at home anyway.

—CADY FONTANA, stu dent

The longer I’ve stayed at MassArt, the more energetic, engaged, and impassioned I’ve become as an artist—and it’s mainly because I work with young artists.

—DAVID NOLTA, faculty 31

“MassArt’s a great environment for working in teams. Because it’s studio based, people say, ‘Oh, I know how to do this. You know how to do that. Let’s work together.’ So you pick up a lot of random skills along the way.”

For Cailigh, that teamwork’s also extended to off-campus projects, especially at Handshouse Studio, a nonprofit founded by MassArt Professors Rick and Laura Brown (Sculpture ’93), where Cailigh volunteers re-creating historical objects. This summer, she’ll be working for Handshouse in Poland, helping to reconstruct a 17th-century wooden synagogue for a museum in Warsaw.

Before she started at MassArt and learned these things, Cailigh admits she was a little scared. She wondered, “What can I do with a degree in art?” Now she knows the answer — “Anything.”

INDUSTRIAL DESIGN / SCULPTURE, 2012

Cailigh MacDonald knows how to build a couch. By hand. From scratch. And not just something you’d throw on the front porch of a frat house. Something you’d find in a store. A nice store.

It’s not that Cailigh has a passion for couches. Or furniture, even. She just likes to build things. All types of things — especially using metals. And she gets to do a ton of that at MassArt. In fact, she has to do a ton of that at MassArt. It’s required for her majors — and Sculpture.

“There’s a passion and motivation factor here. You get to go to work every day and do something you love to do. And there’s a big studio culture at MassArt, which is a huge benefit because it encourages you to do your best work.”

The couch Cailigh built was part of her yearlong senior project in Industrial Design. She had to do everything from conceptual to consumer research to construction. So she learned about Caillumber andigh joinery and recyclable materials and manufacturing costs — everything that goes into the actual production of a couch. And she learned it, like she’s learned a lot of things at MassArt, by interacting with lots of different people. MacDonald MassArt’s a great environment for working in teams. Because it’s studio based, people say, ‘Oh, I know how to do this. You know how to do that. Let’s work together.’

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professor of architectural design PAUL

Paul Hajian didn’t plan on teaching — at MassArt or anywhere. He’s an architect. He designs things. That’s what he does and who he is. His dad was an architect. It’s part of his DNA. But when a HAcolleague,J who wasIAN teaching a class at MassArt in the evenings, asked Hajian to fill in for him for a few weeks back in 1986, he accepted.

It wasn’t like he didn’t enjoy teaching. He did. He even knew his way around a classroom, having taught at MIT, where he earned bachelor and master degrees in . And teaching was also in his genes. His mom was a teacher.

From that one-night-a-week gig, Hajian was invited back. And back. Eventually, he accepted an invitation to join the MassArt faculty full-time. Now he says that he had a calling to go along with his career.

More than 25 years later, Hajian continues to teach and practice architecture. He and his brother, David, also an architect, have run a successful design firm in Watertown, Massachusetts, for several years. Hajian says being a practitioner of your discipline, like many of his MassArt colleagues, provides for that organic and invaluable two-way learning experience.

I drag my students to job sites so they can see the framing directly and can see me interacting with my clients. I’ll also show them my work and get their critiques.

It’s this exchange, passion, and desire to help each other that Hajian says makes MassArt a rare place. And not just because it happens within departments. But because it happens across departments, across disciplines, and across campus. Take his architectural students, for example. There was a small group interested in that wanted to lend a hand with MassArt’s new residence hall. So Hajian introduced them to the architectural firm doing the work. And the students conceptualized, designed, and successfully pitched their plan for the hall’s café to the firm, the president, and the review committee.

“Things happen at MassArt because the people here are committed to this community. It’s not just the faculty and the students, either. It’s everyone. We watch out for each other. The best stuff comes out of the entire community participating.” 35 Q: WILL I BE CHALLENGED? 37

There are so many electives we can take that I’m thinking about coming back for a fifth year just so I can take advantage of all the electives we have.

—ALEX BARBOSA, stu dent

Oh my god, I CAN ’ T believe i get to go to choos l for this.

—maya luz, alumna

One of the things I really cherish about MassArt is that students still learn to make things. While other colleges are moving toward more conceptual thinking, MassArt is flourishing because our students are When I heard about five-hour classes, still making things. They’re having one-to- one contact with the physicality of the world I said, “I get to draw for five hours? Yes!” and learning how things function. So they I loved that idea. Count me in. have a connection to the world that — gustaVO barbosa, stu dent other students don’t get.

—rick b rown, Faculty 38 39

T he students make Faculty Fabulousness me more adventurous. W ork by MassArt faculty is exhibited and collected around the world. They make me aware Art Basel Miami Beach, FL that photography and and Basel, Switzerland Even though we’re technology are always Art Gallery of Ontario not as small as Belem Cultural Center changing. And they we used to be, the Carnegie Museum of Art influence my general faculty is still very I had really Centre Georges Pompidou approach to making hands-on, which My number one remarkable teachers Contemporáneo–Mexico City pictures. helps you stay goal is to expose who understood that Dallas Museum of Art —l aura mc phee connected with the students become deCordova Sculpture Park and Museum my students to faculty students. That’s the way you speak Harvard Art Museums/Fogg Museum new ideas and not just the MassArt about them. And High Museum of Art be an obstacle to MassArt toughened way, and it works. they spoke about Hirshhorn Museum and Sculpture Garden their development me up. I can now me with heightened Institute of Contemporary Art Boston, MA as artists. —s ondra grace take criticism, Irish Museum of Modern Art faculty expectations. I think — david n olta without taking it Israel Museum they did a good job faculty personally, and I J. Paul Getty Museum of imagining new can give criticism MASS MoCA possibilities with me. Metropolitan Museum of Art that’s constructive —b rian collins Moscow Museum of Contemporary Art and not threatening. alumnus Museo de Arte Contemporáneo, El Conde People seem to be Museo Nacional de Bellas Artes amazed by that. Buenos Aires, Argentina Museo Nacional de Bellas Artes —aimee b elanger Havana, Cuba alumna Museo Tamayo Museum of Contemporary Art Chicago, IL Museum of Contemporary Art Skopje, Republic of Macedonia Museum of Contemporary Art Sydney, Australia Museum of Fine Arts Boston, MA Museum of Fine Arts Houston, TX Museum of Modern Art New York, NY National Art Museum of China National Gallery of Jamaica National Museum of Natural History National Portrait Gallery Oberhausen International Film Festival Palais Des Beaux-Arts Republic of Senegal National Collection Royal Lyceum Theatre San Francisco Museum of Modern Art Shanghai Biennale China Tate Modern Uganda Museum Kampala Tokyo Metropolitan Museum of Photography Walker Art Center Whitney Museum of American Art 40 41

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The printmaking facility is 9,000 square feet— If you go across all disciplines, I think we might have

GIGANTIC IT’S There are many times that others have come here and modeled their facilities after ours. If other schools are coming here,

—Marc H olland, faculty

f un facts More classroom, gallery, studio, and workshop space than exhibition space in the Louvre and Smithsonian American Art In the Pozen Center there’s an equipment Museum combined room we call, The Crypt. There’s every 138 years of art and design I love the illustration studios. 10 college galleries piece of equipment in there that you It’s a great environment. and 2 performance spaces can imagine. You name it, they’ve got it. The first time I went there 39 student clubs and — organizations It’s a ridiculous room. I could not have N O

N —Gust aVO Barbosa, stu dent A “green roof” large enough to paid a rental company as little as what A HER fit 40 S“ mart” cars side by side Cross-registration (and I paid in tuition—and that’s out-of-state S HE cross-fun) at 10 Boston colleges tuition I’m talking about.

Y Two residence halls, designed ,

F for artists, with one on the way —so c tt hadley, alumnUS A C

UL 120,000 images in our slide

TY library with access to more than 1 million images online Film/Digital Photography facilities big enough to stretch across nearly five average-size movie screens (30 feet x 60 feet) 3D studio and workshop facilities with more floor space than you’ll find on all six floors of the White House U

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I think MassArt made me fearless. I know that sounds cheesy, but it’s also the artist mentality of not doing the status quo.

STUDIO FOR INTERRELATED MEDIA (SIM), 2004/2005

It was professional suicide leaving Disney. At least that’s what Matt Moore (SIM ’05) feared at the time. And for good reason. He was essentially dumping Mickey for … Fizzy. An animated icon loved by kids around the world, for a “scatter-brained” professor who — at least for nine guaranteed episodes — was going to try to win kids over by talking about eating healthy and exercising. On a website.

Fizzy is the main character of Fizzy’s Lunch Lab, an animated series created by Dave Schlafman (Animation & SIM ’04) and Evan Sussman. After PBSKids.org greenlighted the project in May 2009, Schlafman called Moore out in LA to see if he could help. They’d been good friends since working together on projects at MassArt’s Studio for Interrelated Media (SIM). And Schlafman knew Moore could create a killer website for the show. Something really fun and really interactive. Something that kids would love.

“It was a huge risk and a huge leap of faith,” says Moore. “But I loved Boston and loved the idea of working with Dave on this. So I said, ‘I’m going to go with my gut and move back.’”

Moore’s risk paid off. Big. Since launching in November 2009, Fizzy’s continues to build its fan base. And for the second year in a row, it’s been nominated for a Daytime Emmy® Award. It also gave Schlafman and Moore something truly invaluable — credibility. Which has helped them land more clients. Big clients, like Scholastic. And launch their own production company, called CloudKid.

“If you told me two years ago that we’d have a studio with 10 other people working here and we’d be working on these big projects, I wouldn’t have believed it,” says Schlafman. “But we’ve trusted our instinct, and we’ve tried to learn something new every day — and that started at MassArt.”

Especially at SIM, say Moore and Schlafman. Because that’s where they were given the freedom to explore, the resources to DAbring big ideas to life,V and the chanceE to learn one of the most valuable skills of all — how to talk about art. Any type of art. It’s why they look for those same qualities in new hires.

“We continue to hire a lot of MassArt grads,” says Schlafman. “I see us as having a long-term relationship with the college.SCH There’s a lot of potential to keepL really talentedA MassArtFM grads working AN right here in Boston. We can create opportunities for them here.” MATT MOORE 44 45

PHOTOGRAPHY, 1999 ASSISTANT PROFESSOR FILM/VIDEO

F orget the road less traveled. Try the road never traveled. Because one didn’t exist for Soon-Mi Yoo to follow when she decided to pursue a career in photography in the mid 1990s … with bachelor and master degrees in German literature … from a Korean University … as an immigrant living in the United States … with very few contacts.

But from a single photography class she took while living in Washington, D.C., Yoo discovered a creative outlet. And a potential career. So she decided to get her master’s in photography at MassArt and build her own road.

“I didn’t know what was going to happen or how it was going to turn out. I was just figuring out for myself how to make work when I didn’t have a lot of resources and how to express myself to the world.”

After graduating from MassArt’s MFA program, Yoo expressed herself through a combination of experimental films and videos, photographs, installations and text, often dealing with the Korean War. Not the kind of stuff you’ll probably ever see at the local Cineplex. But the kind of stuff that challenges the senses and makes you think about serious subjects in ways you probably never would have. In other words, art. Her work has appeared in festivals, museums, and galleries around the world.

Over the years, Yoo also discovered a passion for teaching. She joined MassArt in 2009 after teaching at Syracuse University for a few years. And she’s discovered that the things she liked about MassArt as a grad student are pretty much the same things she likes now.

“My sense of the kind of place MassArt is hasn’t changed much. It still holds a very strong attraction for me as a place where the students get exposed to a very good education and art making, and acquire the confidence that they can compete.”

Maybe that’s why she feels such a strong connection to her students. And why she works so hard to instill that “yes, you can” attitude. “It’s very important to me that students feel SOONwhatever they want to do, they can do. It’s possible.”-M I And who better to deliver that message?

It’s very important to me that students feel whatever y o o they want to do, they can do. It’s possible.

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Boston is a brilliant city. I’ve traveled from Colombia to Karachi to Iceland and believe Boston is the best city in the States—and one of the best cities in the world—for college students. —BRIAN CO LLINS, A LUMNus

visiting artists A sampling of artists who have visited MassArt. Richard Phillips Lisa Yuskavage Tristin Lowe Antony Gormley Edgar Arceneaux DJ Spooky/Paul D. Miller Mary McFadden Pae White Alec Soth Gregory Crewdson William Christenberry Bruce Yonemoto Trenton Doyle Hancock Robert Lazzarini Bradley McCallum & Jacqueline Tarry Beverly Semmes Nicole Cherubini Beatriz Milhazes

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22 13 SOMERVILLE 15 17 14 16 21 HARVARD INMAN SQUARE SQUARE

18

NORTH CENTRAL END 20 KENDALL SQUARE SQUARE CAMBRIDGE 12 FINANCIAL DISTRICT BEACON 19 HILL

THEATRE DISTRICT 1

8 CHINATOWN 7 BACK BAY 11 23

SOUTH BOSTON SEAPORT You could go to a BROOKLINE 4 different event every BOSTON 10 FENWAY SOUTH END 5 night of the week

3 if you wanted. There 2 9 are so many great 24 MassArt 6 galleries and collective groups and music and museums A TASTE OF THE ART SCENE IN AND AROUND BOSTON

—Aimee Belanger, alumnA

B oston Institutions/Venues Artist Communities in Boston

1 Institute of Contemporary Art (ICA) 22 In Somerville: Brickbottom Studios, Joy Street Studios, Central Street Studios, 2 Museum of Fine Arts (MFA) Vernon Street Studios, Mad Oyster Studios, 3 Isabella Stewart Gardner Museum Miller Street, and Mudflat Studio

4 Boston Center for the Arts (BCA) 23 The Fort Point Artist Community

5 SoWa (South of Washington Street) 24 The Distillery

6 Axiom Center for New and Experimental Media

7 Boston University Art Gallery Events & Happenings 8 Photographic Resource Center F irst Fridays and SoWa Open Market 9 Mobius Boston Cyberarts Festival 10 Coolidge Corner Theatre First Thursdays in Jamaica Plain 11 Boston Public Library Art openings in galleries and independent shops Boston Open Studios cambridge Institutions/Venues Yearly or biannual events in over a dozen Boston neighborhoods (Somerville Open 12 MIT List Visual Arts Center Studios is the largest in the country) 13 Harvard Fogg Museum

14 Carpenter Center for the Visual Arts Outside Boston 15 American Repertory Theatre de Cordova Sculpture Park and Museum 16 Brattle Theatre Lincoln, MA 17 Harvard Film Archive The Rose Art Museum, Brandeis University 18 Kendall Square Cinema Waltham, MA

19 Gallery 263 Peabody Essex Museum Salem, MA 20 The Dance Complex Fuller Craft Museum 21 Lilypad Brockton, MA 52 53

I think Boston is incredible. It’s a great There are a lot of really smart people place for the type of work I want to do. in Boston. And there’s I really like all the independent theaters I felt at home there right away. and small venues. —Maya Luz, A LUMNA

—Tyler H aywood, STUDENT

Because Boston’s such a big college town, as a student you get access to things that are probably better than anywhere else in the country.

—Marc H olland, FACULTY U

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PHOTOGRAPHY, 1997 ELLIE

Ellie Brown does what all artists want to do. What everyone wants to do for that matter. “I make BROwork that I want toWN make,” she says. Popularity? That’s not what drives her. At all. Instead, she searches for things that inspire her. That spark her creativity and curiosity and energy. Those things that most people pass by without a second glance, but that an artist sees and says, “Hmm… .”

And that no-regrets, “follow your own path” philosophy, it’s worked well for her. Because, well, she works really hard. It’s something she says she learned at MassArt.

They instilled a work ethic in me. The idea that the most important thing is making work.

F or her work, Brown has picked up a fair share of awards and grants over the years. And her photos have appeared in galleries around the world. She’s also been teaching photography for the past decade, most recently in Philadelphia, where she lives. And she’s modeled her teaching style after MassArt Photography Professor Laura McPhee, whom Brown says had a big influence on her.

“She was tough. She just says it like it is, and I really appreciated that and really responded to that. I remember we had a techniques class, and she put me on the spot to answer some technical questions. I was really flustered at first, but then it finally clicked.”

Brown also runs her own consulting company, POP!sicle Artist Marketing, to share what she’s learned about the business side of art. How to land grants and fellowships. Market your artwork to galleries. Get media coverage. Things like that.

“A lot of people are so focused on the studio aspect of their art that they neglect the other half — getting your work out into the world. It just makes me feel more well rounded. I think helping other artists is a good thing to do. People have helped me, so I feel I should help others, too.” 57

“I think the space is a big part of it because sometimes I need to build things and sketch things. And it’s a real working environment. You can see what your neighbors are doing and get their opinions and ideas. It helps me focus and makes me really want to do my work.”

Diego’s work was good enough to land him one of just 300 invitations nationally to attend the annual Art Directors Club in New York City. Now he’ll have a chance to get his portfolio in front of ad execs at some of the biggest agencies in the country — people who can hire him. He’s still not sure which of his professors nominated him, or why, but he’s thankful they did. And he thinks it’s another example of how they’re helping him grow as an artist.

“The teachers have always been great mentors to me. They are really honest with all the things I do right and all the things I do wrong. And they are always pushing me and challenging me to present my work. I think they are awesome.”

GRAPHIC DESIGN, 2011

Diego Tang sees the world differently now. He notices things he missed before. Curves and lines and shapes. All those little details that go into the design of products, posters, and artwork. And when something grabs his attention, he thinks about it. Then he asks himself, “What is it about that design that I like?”

He blames MassArt. Or, well, credits MassArt. Especially his professors, who changed his whole approach to design.

“More than anything, they teach you how to think about your work, to communicate your ideas. They challenge your conceptual thinking. That was really important in my education here, and I really appreciate that because I think it makes me a better designer.”

Diego also thinks the studio space had something to do with it. It’s big and open. It gave him the room to stretch out and make it his own by tacking up inspirational posters, book covers, and DIEGOtypography on the walls. TANG Things that inspire him. And he feeds off the creativity around him. The teachers have always been great mentors to me. They are really honest with all the things I do right and all the things I do wrong. And they are always pushing me and challenging me to present my work. I think they are awesome.

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I’m comfortable describing myself as an artist. When I say I’m an artist, I believe that.

—CADY FONTANA, STUDENT

no matter what the economy is, or the perceived movement is, there’s always a need for change and creative ideas.

that’s what moves the industry. —oS ndra grace, FACULTY

The world’s not an easy place for creating things. Having your work critiqued in class is nothing compared to what’s waiting for you in life. A lot of what happens after college involves failure and rejection, so it’s important to be prepared to face it, learn from it, and recover from it so you can continue on doing what you love.

—LAURA Mc PHEE, FACULTY 62 63

alumni at work A sampling of companies where MassArt alumni are employed. Puma Juice Pharma New Balance Harvard University Reebok International Apple West Elm Hasbro J. Jill Fidelity Investments MTV Networks Black & Decker Fossil Tommy Hilfiger Harmonix Music Systems Museum of Fine Arts, Boston Hill Holiday TJX Arnold Worldwide Museum of Science Brigham & Women’s Hospital Gilt Groupe Marc Jacobs Yahoo! Oxfam America Art Institute of Chicago Vans Polo Ralph Lauren PBS Kids BAM Converse Juicy Couture

It sets you up to put your best foot forward. You can actually say,

whatever you are—designer, painter. I felt fully confident although I still have —Aimee Belanger, ALUMNa a lot of things to learn. —Maya Luz, ALUMNa

MassArt prepares students for careers in the arts and design as well as any school in the country. I really believe that. You can find success stories coming out of every major.

One of the things that I find very interesting ig, big things about young artists, in general, is they don’t B really care what job they have, so long as they From the movie industry to fine are making work and showing work. Their identity is so different from the norm in society artists to people in the design field, where people ask, “What do you do?,” which usually means, “How much do you make?” there are a lot of big names who

—Nona H ershey, FACULTY have graduated from here.

—MARC HO LLAND, FACULTY 64 65

When they get here they realize, ‘Oh my gosh, this is unbelievable.’ Art is a thing than they ever thought was possible.

They discover this world that they never knew about and enter this realm they never imagined. And they learn to express their creativity through their work— and when they graduate, they leave a very different person from when they started.

—RICK BROWN, FACULTY 66

F Ashion DESIGN, 1999

Engineering? Nope. Medicine? Uh-uh. Those would have been the safe bets for Dayanne Danier. The roads that everyone expected her to travel when she was deciding on college back in 1995. Instead, she took a risk and decided to chase her childhood dream of becoming a fashion designer at MassArt. Turns out, it was a pretty good decision.

After graduating in 1999, Danier went on to design menswear for Perry Ellis and then Phillips-Van Heusen before launching her own brand of women’s clothing last year, called Bien Abyé (“well dressed”). Not bad for someone who didn’t know how to sew when she arrived at MassArt.

“On this one project, I think I must have ripped open the seams at least 15 times,” she says and laughs. “But the fact that I didn’t know how to sew turned out to be a plus for me, because it forced me to work even harder.”

It was through that trial and error, that ripping and sewing, and poking and pulling, and stretching and measuring — over and over again — that Danier says her creativity and aesthetic sense emerged. Sure, it was frustrating at times. Heck, she even questioned why they were forced to take on certain projects. But looking back now, she gets it.

“The one thing about my MassArt education that I really value — and I would have never thought this at the time — is that your first couple of years are spent building your foundation as an artist. It makes me stop and realize how important those classes were.”

Those classes took on even greater meaning this year when Danier traveled to her parents’ home country, Haiti, to once again volunteer her time and talents to help the country rebuild after the catastrophic earthquake in 2010. Unlike the first trip, when she taught kids art, this time she’ll be teaching sewing teachers from a vocational schoolDAYANNE how to draft patterns. “I want to help build independence. There’s talk that Haiti can spark its economy through the garment industry.”

And to help them out, Danier says she packed up some valuable resources — her old pattern books from MassArt. DANIER

Your first couple of years are spent building your foundation as an artist. It makes me stop and realize how important those classes were.

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What I learned is that if you think you’re finished, you probably aren’t.

PRINTMAKING, 2013

Andrew Stearns had a lot of those same questions. You know the ones. What’s the workload going to be like? Will it be a struggle to keep up? Is it super competitive? And how will I stack up against my classmates? Sure, he was a pretty good artist in high school. But this was college. Art college. Every student there probably fits that description, right?

But after a couple of years at MassArt, Andrew found his answers. And they might not be what you think. The workload, for one. Yeah, it’s a lot. Andrew logs a ton of time in the printmaking studio. But it’s nothing he can’t handle. And there’s this really cool thing that happens when you’re in the studio. Because it’s this big open space, you talk to people. Exchange ideas. Ask questions.

“You can’t help but look at what other people are doing, and that opens up a lot of conversations about what you’re working on. And I get inspiration from seeing what other people are working on.”

Make no mistake, though, says Andrew, it’s challenging. In fact, MassArt is harder than he expected. Sometimes you get pushed to the limits. Even a little beyond. Like the assignment where he had to stay up for 24 hours straight and draw on a six foot by six foot piece of paper.

“It was painful. I had a plan going in, but I accomplished it and then had to figure out what else to do. What I learned is that if you think you’re finished, you probably aren’t. And there will be times when you don’t want to do art anymore, but there’s something inside of you that makes you want to keep going.”

As for the competitiveness, well, it’s really not, says Andrew. It’s been more like a team. People try to lift each other up, not tear each other down. And he likes that.

If you visit campus, you might be able to ask Andrew your questions in person. He’s one of the student tour guides. And he’ll give you honest answers.ANDREW Because not so long ago, he was sitting where you are. And he had a lot of those same questions.STEARNS

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find out more online. www.MassArt.edu/answers Earning a BFA

In order to complete a Bachelor of Fine Arts degree, students must complete a total of 120 credits. Generally, credits are broken down as follows: 78 credits _ Animation 21 MAJORS in studio course work (foundation and major studio requirements and studio _ Architectural Design electives), 42 credits in liberal arts/his- tory of art (typically, 30 liberal arts and _ Art Teacher Education 12 history of art). It’s important to note that course requirements for particular _ Ceramics majors may vary. _ Community Education _ Fashion Design A cademics _ Fibers _ Film/Video Year 1 A ccreditation S tudio Foundation 30 credits _ Glass • 2 semesters of Drawing Massachusetts College of Art and (figurative/breadth) 6 credits Design offers a comprehensive range _ Graphic Design • 2 semesters of Visual Language of programs in fine arts, design, and (2D/3D principles) 6 credits art education, and awards bachelor of _ History of Art • Form Study (3D) 3 credits fine arts, master of fine arts, master • Studio Elective 3 credits of architecture, and master of science _ Illustration • Written Communication 3 credits degrees as well as a number of • Freshman Seminar 3 credits certificates. _ Industrial Design • Intro to Western Art 3 credits The College holds accreditation from • History of Art Elective 3 credits _ Jewelry and the New England Association of Schools Year 2 Please note that and Colleges (NEASC) and the National S ophomore Year 30 credits Metalsmithing students enrolled in Association of Schools of Art and both Art Education • Major Requirements 12 credits Design (NASAD). majors, which prepare • Studio/Open Electives 6 credits * _ Museum Education students for licensure, MassArt is also a member of the • Liberal Arts/History of Art and double majors, will Association of Independent Colleges of Electives 12 credits _ Painting need to complete more Art and Design (AICAD), a consortium Year 3 than 120 credits. of 41 leading art schools in North America­ — _ Photography Junior Year 30 credits 37 in the United States and four in In some cases, students • Major Requirements 12 credits may find themselves Canada — and three international affiliates. _ Printmaking • Studio/Open Electives 6 credits * between curricular • Liberal Arts/History of Art _ Sculpture years if they transfer to electives 12 credits MassArt or carry less Dual Majors than a full course load. Year 4 _ Studio Education S tudents who choose a dual major com- S enior Year 30 credits plete the requirements of both majors. • Major Requirements 12 credits _ Studio for Typically, this requires an extra year • Studio/Open Electives 6 credits * of study. Students may need to speak • Liberal Arts/History of Art Interrelated Media with the chairs of both departments to Electives 12 credits understand how the requirements of both majors will fit together. * Depending upon departmental require- ments, electives may be studio, open, liberal arts, history of art, or departmentally required. Please consult the departmental course requirement listings. 74 75

opportunities T ours Cross-Registration

MassArt maintains consortium arrange- Campus tours are offered most ments with other colleges and art schools weekdays throughout the year. Your visit will typically include international in the Boston area, including Colleges of Portfolio REVIEWS travel courses the Fenway, ProArts, and Massachusetts an information session with an Institute of Technology as well as the P ortfolio reviews are conducted by admissions counselor and a MassArt offers a range of exciting, other eight Massachusetts state universi- appointment in the Admissions Office on student-led tour of the facilities faculty-led, international travel courses ties. Students also have the ability to par- a daily basis as well as at many off-cam- and housing. Please note that every year. These are three-credit elec- ticipate in domestic exchange programs pus events, including National Portfolio tive courses open to all majors. In the access to some areas, including with 32 colleges of art and design located Days and regional receptions. In-person past, our students have had an opportu- the residence halls, is limited in the United States and Canada through reviews are not a requirement but pro- nity to travel to Egypt, Italy, New Zealand, during summer months. the Association of Independent Colleges vide information on how to best prepare China, and Poland, just to name a few. of Art and Design (AICAD). your artwork for applying.

International Exchanges

MassArt International Exchanges are Internships Portfolio Prep Classes/ Pre-College/ a snapshot full immersion programs designed for the MassArt students are encouraged to com- of our Summer Studios student body independent and self-motivated student. plete one or two credit-bearing internships — Students pay MassArt for the regular full- before graduation. Students may receive MassArt’s Youth Programs offer classes 1,752 time tuition and fees applicable to their three studio elective credits for a paid or and intensives throughout the year undergraduate state of residency during the semester where high school students can build unpaid internship that meets MassArt’s students they will travel. MassArt has reciprocal Internship Guidelines. Career Services their portfolios. During the academic — exchange partnerships with institutions in advertises over 400 internships each year year, students can also register for 187 Australia, Japan, the Netherlands, South on our job listing website. Students may Saturday Studios and Xtreme!Week graduate students Korea, Spain, and the United Kingdom. also find opportunities through indepen- programs over February and April — dent research and faculty. school vacations. Summer Intensives Study Abroad Programs differ from 66% are female, and Summer Studios are offered in July exchanges and are ideal for students who 34% are male and August to allow serious students are more comfortable with being part of — to develop their technical skills and a group, which often has the support of A cademic Advising/ over 93% Registrar studio practice. of students host-country coordinators. Students may are full-time choose from a wide range of academic T he Academic Advising and Registrar — programs in over 100 countries. offices assist students with program Orientation 71% are from planning, registration, recording of Massachusetts grades, addresses, and requests for Orientation takes place the four days 18% are from academic and enrollment records. They preceding the start of fall classes and New England International also refer students to other offices that includes programming for families, 11% are from Education provide student support services and new students, and transfer students. Out-of-State business and financial aid functions. During orientation, students move into — residence halls, meet fellow classmates, As of academic

receive student IDs and course sched- year 2010–2011 ules, and become acclimated to the campus and the Boston area.

find out more online. www.MassArt.edu/answers 76 77

Deadlines Early Action

Fall Admission Financial Aid * Spring admission is only If MassArt is your first-choice college, available for select transfer A snapshot priority priority you may want to consider Early Action. of our students. Please refer to This option is intended for students who applicants February 1 March 1 massart.edu/answers for additional details. have a propensity for art and strong aca- — we receive Early Action Spring Admission * demic credentials. Admissions decisions over 2,000 for Early Action applicants are mailed in December 1 October 15 undergraduate early January. SAT or ACT Scores applications — To be considered for Early Action, Most applicants (freshmen and transfers) 55–60% you must: are required to submit officialS AT I or of applicants • Submit all application requirements ACT scores. MassArt’s SAT school code are admitted by December 1. is 3516. MassArt’s ACT school code is yearly • Indicate your interest in Early Action 1846. Test scores can play an important — on your application. the average role in the review process, but will not • Be a first-time freshman or transfer GPA was replace the importance/relevancy of an 3.27 student who has completed fewer than applicant’s academic transcript. Transfer 15 studio credits. — applicants who have earned 60 or more the average Please note that if you are not accepted college credits, including liberal arts SAT score for Early Action, you will not be automati- classes, are not required to submit was 1664 apply SAT or ACT scores. — cally reviewed for the regular deadline. You may reapply the following year. As of academic CEEB Code year 2010–2011 Application Requirements f i

n A CEEB code is needed when you d • Application form Transfer Placement

o register for SAT Program tests or ut m • $50 application fee Approximately one-third of all new send score reports to colleges. students enter MassArt as transfers. MassArt’s CEEB code is 3516.

ore Portfolio • Statement of purpose In addition to our general admissions All applicants must submit 15–20

o requirement, all transfer applicants nl pieces of artwork, completed in • Portfolio

i must submit college course descriptions. English Proficiency n the past two years. At least five e • Transfer portfolio Transfer applicants seeking credit in (TOEFL/IELTS) . pieces must be completed from www. transfer students only studio art classes must submit a transfer direct observation of live situations International students whose native portfolio with three images per class for language is not English are required to M or three-dimensional objects. The • Official high school transcript

assArt.edu/answers evaluation. Transfer credits are awarded rest of your portfolio should reflect demonstrate proficiency in written and • Official college transcript on a case-by-case basis following review your passion, ideas, and strengths. spoken English. To demonstrate English if you have completed of the college transcript, course descrip- Transfer applicants seeking credit proficiency, an official copy of one of college- classes tions, and portfolio (for studio courses). in studio art classes must also the following English proficiency exam Transfer placement/level is based on the submit three images per class • College course descriptions scores is required: number of studio courses completed for evaluation. Portfolios can be • SAT or ACT scores and how they pertain to MassArt’s Test of English as a Foreign Language submitted online using Slideroom. curriculum, as well as the strength (TOEFL) with a minimum, Internet-based • Two letters of recommendation of the portfolio. composite test score (iBT): 85. • Résumé/List of activities The International English Language • Copy of alien registration card Testing System (IELTS) with a minimum Advanced Placement score of 6.0. permanent residents only Credit International students whose primary • Verification of finances F or students who receive an exam score language is English will be required to international applicants only of 4 or 5, MassArt will award three open submit SAT or ACT scores. Please note studio elective credits for Advanced • Declaration of finances that the TOEFL or IELTS scores may Placement (AP) art exams in Studio Art substitute for the SAT or ACT scores. international applicants only (Drawing, 2D Design, and 3D Design), and three credits in select humanities courses. Please note that neither credits nor an exemption are given for English Language AP examinations. 78

Scholarships thanK YOU artworK CREDITS MassArt merit scholarships are quite Special thanks to everyone who contributed to 10 Kelly Wearstler competitive. Strong candidates will the Massachusetts College of Art and Design top photo: Mark Edward Harris Undergraduate Viewbook. bottom photo: Grey Crawford Tuition automatically be reviewed for awards for 23 bottom image, center: which they are eligible. Students must be photography John Skibo high academic achievers with strong Tuition Thanks to Jörg Meyer for profile photography. 25 bottom image, left: Fish McGill, Robot Guts, artist-in-residence portfolios to be given serious consider- Thanks to all contributing photographers drawing project with Studio Foundations. MassArt is pleased to offer tuition rates ation. Remember that both your technical in alphabetical order: 56 large image: that are competitive with other private and creative/conceptual skills should be Aimee Belanger Erin Kiewel Julie Chen and public institutions of our size and cali- equally represented within your portfolio. Emily Cody 59 large image: ber. The full-time (nine credits or more) Corey Corcoran Arisa Murouchi undergraduate tuition and fees for the It’s important to note that some of our Gina Cura 60 center image: Kent Dayton 2011 – 2012 academic year are as follows: merit scholarships are also based on Scott Hadley Rob Duarte need. To receive fullest consideration Josh Falk Massachusetts Residents for all merit scholarships, complete your Cady Fontana inside FRONT COVER ARTWORK Katie Giguere $9,700 FAFSA by February 15. The Scholarship left to right: Scott Hadley Sage Schmett Committee begins reviewing accepted Angela Jones New England Residents Andrew Stearns Leah Klein applicants around March 1. Once the Daniel Quinones $16,600 Katie Loesel decisions have been made, scholarship Geena Matuson Non-Residents recipients will be notified by letter from Ryan McCune inside BACK COVER ARTWORK Fish McGill $26,400 left to right: the Scholarship Committee. Scholarship Jörg Meyer Calla Fogarty Coleen Palencia Please note that while tuition and fees recipients being awarded solely merit- Lauren McAvoy Stacy Petersen based awards will be notified with their Ruth Dowling increase on a yearly basis, MassArt is Doug Rickert committed to making its education acces- decision letter. All other merit/need-based Dan Rukas Meghan Rukas MAss art scholarships will be reviewed after sible through a variety of financial aid Ariana Schaefer Karen Townsend, Dean of Admissions March 1. Recipients will be notified of John Skibo offerings, including merit and need-based Ana Davis, Executive Director of Marketing Danielle Spurge these awards at the end of March and and Communications aid, grants, and student loans. Andrew Stearns beginning of April. Essdras M. Suarez Sonia Targontsidis design Joel Veak Moth Design: Dan Rukas (’03), Katie Magee (’09), Financial Aid Helene Zuckerbrod Tammy Dayton (’98), Ernesto D. Morales Over 70% of MassArt students receive Thanks to the Bakalar & Paine Galleries for use of the following images: HOUSING writing some form of financial assistance. 44 large image: Mike Ransdell To be considered for financial aid, appli- Reception for Sensacional! Mexican Street cants must submit the Free Application Housing Graphics, Stephen D. Paine Gallery, MassArt. editing 45 1st column, 2nd image: for Federal Student Aid (FAFSA), In fall of 2012, our third residence hall will Inside Juan Angel Chavez’s Speaker Project, Linda Walsh available on the Federal Aid website rise 21 stories above Huntington Avenue. Stephen D. Paine Gallery, MassArt. at www.fafsa.ed.gov. Be sure to indicate With the addition of this new residence 1st column, 4th image, printing MassArt’s Federal School Code (see and 2nd column, 6th image: hall, MassArt will be able to double the Universal below) while filing your FAFSA. Please Gallery reception, Stephen D. Paine Gallery, housing capacity that already exists in MassArt. note that only citizens and permanent the Artist Residence and Smith Hall, and 47 large image: residents of the United States are eligible will guarantee all freshmen and sopho- Gallery reception, Stephen D. Paine Gallery, MassArt. for need-based financial aid. mores an on-campus home. 49 top image, left: Reception for Mary McFadden: Goddesses, Federal School Code Sandra and David Bakalar Gallery, MassArt. (Title IV School Code) Meal Plan top image, right: Stephen D. Paine Gallery, MassArt. The Title IV School Code is a Federal Resident students who live on campus are 3rd row, 2nd image: Institution code that you will need enrolled in a declining balance meal plan Visitors in the Sandra and David Bakalar to complete your FAFSA. MassArt’s that works just like a debit card and can Gallery, MassArt. Title IV School Code is 002180. be used at locations on the campuses of 50 large image: Stephen D. Paine Gallery, MassArt. MassArt and Wentworth. The type of meal plan is dependent on where you live.