Institutions Registered for SNAAP 2013 (As of August 1, 2013)
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Curriculum Vitae
Curriculum Vitae Susan Dewsnap Bates College, Olin Arts Center, 75 Russell St., Lewiston, ME 04240 207- 240- 6346 • s d e w s n a p @ b a t e s . e d u 2012 – Present BATES COLLEGE, Lecturer (2017 – present) Visiting Assistant Professor (2012-15) Department of Art and Visual Culture, Lewiston, ME EDUCATION MFA-CERAMICS, UNIVERSITY OF NEBRASKA-LINCOLN, Lincoln, NE BFA-PAINTING, UNIVERSITY OF NEW HAMPSHIRE, Durham, NH Minor-Applied Mathematics (Magna Cum Laude) TEACHING EXPERIENCE 2017-Present BATES COLLEGE, Lecturer, Department of Art and Visual Culture, Lewiston, ME 2012 – 2016 BATES COLLEGE, Visiting Assistant Professor, Department of Art and Visual Culture, Lewiston, ME 2008 – 2012 UNIVERSITY OF NEBRASKA-LINCOLN • Graduate advisor to 1st and 2nd year ceramic MFA candidates • Adjunct Faculty, Advanced and Beginning Ceramics: Sculptural forms, wheel throwing, hand-building, low-fire and high-fire glazing technology and gas and electric kiln firing for BFA majors and non-art undergraduates • Adjunct Faculty, Foundations/ Visual Literacy: Color Theory integrating the teachings of Itten and Albers with basic history and contrasts of color, color mixing, form, composition employing gouache paint mixing and color-aid papers 2006 – 2008 UNIVERSITY OF NEBRASKA-LINCOLN – Ceramics Teacher of Record Beginning Ceramics 2007 PENLAND SCHOOL OF CRAFTS, Assistant to Gail Kendall 2005 UNIVERSITY OF NEBRASKA-LINCOLN, GTA/Co-taught with Gail Kendall Beginning, Intermediate and Advanced Ceramics BATES COLLEGE, Short Term Faculty/Lecturer in Ceramic Art -
2019-20 Guide to Music Schools
The 2019-20 Guide to September MUSIC SCHOOLS 2019 Editor’s Note MUSIC SCHOOLS For our 2019-20 Guide to Music Schools, we have culled about 60 institutions from our data For those schools in the listings, you’ll find detailed information on degrees offered, available areas of study, numbers of base of nearly 1200, using a variety of criteria. The key measure across an increasingly broad students and teachers, career and post-graduate assistance, and links to social media and financial information. We also asked spectrum—from schools offering only a certificate to those with multiple Ph.D. options— each institution to describe its most “distinguishing characteristics.” We relied on the schools to tell their own stories. is quality and reputation, not necessarily size. Academy of Vocal Arts ............................................................2 Robert McDuffie Center for Strings .......................................27 Arizona State University School of Music ................................3 New England Conservatory ..................................................27 For example, enrollment may be a mere 23 students, such as at the Academy of Vocal Arts Bard College Conservatory of Music .......................................4 New World Symphony, America’s Orchestral Academy .........28 in Philadelphia, or it could be 1,600 students at the Jacobs School of Music on Indiana Henry and Leigh Bienen School of Music ................................5 Oberlin Conservatory of Music ..............................................29 University’s Bloomington campus. Running a close second in numbers to the Jacobs School Blair School of Music ..............................................................6 Pacific Region International is the University of North Texas College of Music, with 1568, followed by the University of Michigan’s School of Music, Conservatorio di Musica “Arrigo Boito” ...................................6 Summer Music Academy (PRISMA) .................................29 Theater, & Dance, which boasts 1100 music students. -
Women Flood Portland, July 1925
Preserving History • Engaging Minds • Connecting Maine MAINE HISTORICAL SOCIETY WINTER 2014/20 15 THANK YOU TO OUR DONORS THE MHS LABORATORY Maine Historical Society I hope that many of you were able to stop in to visit our recent exhibition, Lincoln: The Constitu- tion and the Civil War. The traveling exhibition came courtesy of the American Library Associa- MAINE HISTORICAL SOCIETY Annual Report of Donors 2013-2014 tion and was installed in the lovely 2nd floor reading room of the Brown Library. It had scale, INCORPORATED 1822 was colorful, and took on important, timely themes that help put our Maine experience (and the We are pleased to have this opportunity each year to acknowledge you, our contributors, for your generous support of our work and our contemporary political climate) in perspective. mission. Together we raised $279,663 from 456 donors for the 2013-2014 Annual Fund. Your investment in Maine Historical Society assures the continued excellence of our educational programs for schools, exhibitions, lectures, publications, research services, and internet This represents a very big moment for MHS. Here’s why: resources—all the things that make MHS a unique and valuable institution. Thank you. Together we do great things. It is both a culmination of work done by many, many people over the past decade or so, and a The following gifts represent cumulative unrestricted gifts received for the Annual Fund from 10/1/2013 through 9/30/2014. OFFICERS glimpse of where MHS is headed. First, as you all know, the $9.5 million renovation of the Brown Research Library restored the library to its historical grandeur. -
Curriculum Vitae - Rose Marasco
CURRICULUM VITAE - ROSE MARASCO DISTINGUISHED PROFESSOR EMERTIA OF ART, UNIVERSITY OF SOUTHERN MAINE rosemarasco.com [email protected] 207. 780.1965 SOLO EXHIBITIONS upcoming 2018 Rose Marasco: index, Munson-Williams-Proctor Art Institute, Utica, New York 2015 Rose Marasco: index, Portland Museum of Art, Portland, Maine 2015 Patrons of Husbandry, Ogunquit Museum of American Art, Ogunquit, Maine 2014 New York City Pinhole Photographs, Meredith Ward Fine Art, New York, New York 2010-11 Projections, Houston Center for Photography, Houston, Texas 2008 The Invented Photograph, Universite de Bretagne Occidentale, Brest, France 2004-05 Domestic Objects: Past and Presence, University of Southern Maine; traveled to: Southwest Harbor Public Library, University of Maine Museum of Art, Bangor, & University of Maine at Farmington 2003 Circles, Sarah Morthland Gallery, New York, New York 2002 Open House: Margaret Jane Mussey Sweat, Portland Museum of Art, Portland, Maine 2000 Leafing, Sarah Morthland Gallery, New York, New York 1999 Ritual and Community: The Maine Grange, College of The Atlantic, Bar Harbor, Maine 1998 New England Diary, Sarah Morthland Gallery, New York, New York 1998 Rose Marasco Photographs, Port Washington Library, Port Washington, New York 1996 Ritual and Community: the Maine Grange, Latvian Museum of Photography, Riga, Latvia 1995 Tender Buttons: Women’s Domestic Objects, Davis Museum and Cultural Center, Wellesley College, Wellesley, Massachusetts, Lucy Flint-Gohlke curator 1992-93 Ritual and Community: The Maine Grange, with -
Winter 2009 (Pdf)
From the President I just finished reading an extraordinary book. In The Age of Wonder: How the Romantic Generation Discovered the Beauty and Terror of Science, Richard Holmes tells a series of rivet- ing stories profiling the eighteenth century pioneers of chemistry, biology, and astronomy. Hol- mes portrays the close interconnection between science and art as intrinsic to the creative process. At the source of scientific discovery is the remarkable quality of wonder—the deep and resilient desire to better understand the origins of life and the cosmos, not just to quench an unrelenting curiosity, but also to learn how to reside well on our remarkable planet. Perhaps this is the holy grail of science education—the inevitable intersection of creativity and analysis. Wonder requires both a poetic sensibil- ity and a rigorous empiricism. This is the heart of At the source of scientific discovery is the remarkable environmental learning as well. At Unity College quality of wonder-the deep and resilient desire to better we strive to provide our students with an empir- ically-based, methodologically rich approach to understand the origins of life and the cosmos, not just field biology and ecology. Our students know that to quench an unrelenting curiosity, but also to learn they belong in the field. Indeed, they thrive there. how to reside well on our remarkable planet. But that is merely the starting point. What ques- tions emerge from their experiences? How might they explore those questions and turn them into sound research? Or interesting works of art? When you spend your time in the field, creative inspiration is directly encountered. -
Does Accreditation Matter for Art & Design Schools in Canada?
College Quarterly Winter 2013 - Volume 16 Number 1 (../index.html) Does Accreditation Matter for Art & Design Schools in Canada? Home By Reiko (Leiko) Shimizu (../index.html) Studio-based degrees in fine arts and design are not often written Contents about in higher education literature. Perhaps it is because art and design (index.html) education is misunderstood – students are viewed as “finding themselves” or have unrealistic dreams of becoming the next big artist. Perhaps the studio-based nature of the curriculum does not intrigue researchers to write about issues that concern it, or perhaps it is because anyone can call themself an artist without having an academic credential. Ten years ago, urban theorist Richard Florida coined the term the “creative class” as individuals who “do a wide variety of work in a wide variety of industries – from technology to entertainment, journalism to finance, high- end manufacturing to the arts….they share a common ethos that values creativity, individuality, difference, and merit” (Florida, 2002, para. 8). According to Florida the creative class helps build economic development; therefore, our cities should be nurtured to be more inviting to these types of individuals. This emphasis on culture and creativity is at the foundation of art and design education. Groys (2009) argues that art education is complicated and subjective; it ultimately has no rules and that “teaching art means teaching life” (as cited in Madoff, 2009, p. 27). If that is the case, how does one measure quality in a field that is viewed as so subjective? How does one define and value art and design education? One’s notion of good art and design can be vastly different from another’s, and both views may come from experts in the field. -
Fall 2018 College Connections Newsletter
COLLEGE CONNECTIONS THE COLLEGE OF ARTS, HUMANITIES, AND SOCIAL SCIENCES NEWSLETTER Volume 12, Fall 2018 Fall 12, Volume Picnic on Route 114 Samantha Costello Art Education BFA student Introduction to Painting, Fall 2018 In This Issue: Program Activities New Center for the Arts Project Alumni Notes From the Dean Students, faculty, friends, and alumni of the College of Arts, Humanities, and Social Sciences at the University of Southern Maine, we would like to invite you to explore your college through our final newsletter of the academic year. Highlighted within are the achievements of our students and the many public events organized by our faculty and academic programs. This has been an important year at USM. The university continues to grow despite decreasing numbers of high school graduates in our aging Dean Adam Tuchinsky state. We are particularly grateful to the voters in our state that approved a bond package that will make possible a significant investment in our Volume 12, Fall 2018 Fall 12, Volume aging facilities, particularly on the Portland campus. The confidence that the voters in our state demonstrated in the importance of public higher education sends important signals to the philanthropic sector. Of central importance to our college is the proposed Center for the Arts, which has already received a substantial gift to begin the planning process. The Center will be funded entirely by private philanthropy, but with bond funding for a new campus center and public-private partnerships to fund residence halls on the Portland campus, we are confident that USM will be able to recruit students from throughout our neighboring regions. -
PARTICIPATING INSTITUTIONS Exchange November 2020.Pdf
PARTICIPATING EXCHANGE/MOBILITY INSTITUTIONS CANADA Alberta College of Art and Design Calgary, Alberta www.acad.ab.ca Nova Scotia College of Art and Design Halifax, Nova Scotia www.nscad.ca Ontario College of Art and Design Toronto, Ontario www.ocad.ca UNITED STATES Art Academy of Cincinnati Cincinnati, Ohio www.artacademy.edu Art Institute of Boston Boston, Massachusetts www.lesley.edu/aib California College of the Arts Oakland, California www.cca.edu College for Creative Studies Detroit, Michigan www.collegeforcreativestudies.edu Cleveland Institute of Art Cleveland, Ohio www.cia.edu Columbus College of Art & Design Columbus, Ohio www.ccad.edu Corcoran College of Art & Design Washington, DC www.corcoran.edu Kansas City Art Institute Kansas City, Kansas www.kcai.edu Laguna College of Art & Design Laguna, California www.lagunacollege.edu Lyme Academy College of Fine Arts Old Lyme, Connecticut www.lymeacademy.edu Maine College of Art Portland, Maine www.meca.edu Maryland Institute College of Art Baltimore, Maryland www.mica.edu Massachusetts College of Art Boston, Massachusetts www.massart.edu Milwaukee Institute of Art and Design Milwaukee, Wisconsin www.miad.edu Minneapolis College of Art and Design Minneapolis, Minnesota www.mcad.edu Montserrat College of Art Beverly, Massachusetts www.montserrat.edu Moore College of Art & Design Philadelphia, Pennsylvania www.moore.edu Otis College of Art & Design Los Angeles, California www.otis.edu Pacific Northwest College of Art Portland, Oregon www.pnca.edu Pennsylvania Academy of Fine Arts Philadelphia, -
Summer Programs the ARTS
Summer Programs Listed below are summer programs, internships and classes available to high school students. They vary in cost and location and arranged alphabetically. The list, although not exhaustive, is fairly comprehensive. Although we don’t recommend any particular programs, we have had Hun students attend some of them. Be aware of deadlines and if any require recommendations and/or transcripts we ask you give us ample time to complete this information. We have the programs listed under the following: The Arts, Business, Civics, Computers, Entrepreneurship, Psychology, S.T.E.M., & Teaching. The ARTS ● Visual Art Institute of Boston, Lesley University (MA) - http://www.lesley.edu/aib/curriculum/precollege.html Boston University (MA) - http://www.bu.edu/summer/ Buck's Rock Camp (CT) - http://www.bucksrockcamp.com/ California College of the Arts (CA) - http://www.cca.edu/academics/precollege California Institute of the Arts Cal Arts (CA) - http://calarts.edu/cap Carnegie Mellon (PA) - http://www.cmu.edu/enrollment/pre-college/ Cleveland Institute of Art (OH) - http://www.cia.edu/precollege/ College for Creative Studies (MI) - http://www.collegeforcreativestudies.edu/ce/precollege Columbia College (IL) - http://www.colum.edu/Admissions/hssi.php Columbia University (NY) - http://www.ce.columbia.edu/hs/courses.cfm?PID=4&Content=JS Columbus College of Art & Design (OH) - http://www.ccad.edu/programs-of-study/community-classes/college-preview/ Cooper Union (NY) - http://www.saturdayoutreach.org/outreach/welcome Corcoran College of Art -
Artist Packet
KYLE PATNAUDE Kyle Patnaude is currently based in Portland, Maine as a ARTIST & EDUCATOR Visiting Assistant Professor at Maine College of Art. He SCULPTURE & completed his BFA degree in Sculpture from Pratt METALSMITHING Institute in 2006 and in 2012 received an MFA in Metalsmithing from the University of Wisconsin Madison. Embracing a hybrid practice as a sculptor rooted in the SPACE STUDIOS rich traditional methods of metalsmithing, the work unites Studio #304 contemporary sculptural forms with the skill and elegance 536 Congress Street of precious metalworking. Portland, Maine 04101 His work explores the emotive and humanistic coding of objects which rebound a certain "queerness" pertaining Phone: (315) 573-5453 to the cultural guise of hypermasculinity. The objects within the work explore elements of a concealed external world within the public, city streets, restrooms, and parks, Email: providing a subtext for the distinct affective theme of their [email protected] “queerness.” [email protected] Website: www.KylePatnaude.com Site: www.kylepatnaude.com Space Studios: Studio #304 KYLE PATNAUDE Email: [email protected] 536 Congress Street Phone: (315) 573-5453 Portland, Maine 04101 Sculptor & Metalsmith EDUCATION 2009-2012 MFA - Art Metals University of Wisconsin Madison - Madison, Wisconsin 2004-2006 BFA - Sculpture Pratt Institute - Brooklyn, New York Pratt at Munson Williams Proctor Arts Institute - Utica, New York TEACHING EXPERIENCE 2014 - Present Visiting Assistant Professor - Maine College of Art, Portland ME - Department: -
Community Engagement at Bates
Community Engagement at Bates 2007-2008 Year-End Summary Table of Contents Letter from the Directors .........................................................................................................1 Statistics ................................................................................................................................... 4 Projects, Partnerships and Collaboratories............................................................... 6 Academic Initiatives and Course-Based Service-Learning ................................. 10 African American Studies....................................................................................................... 11 American Cultural Studies………………………………………………………………………………………12 Anthropology...........................................................................................................................12 Art and Visual Culture ............................................................................................................13 Biology .....................................................................................................................................14 Biological Chemistry………………………………………………………………………………………………15 Dance .......................................................................................................................................15 Economics ...............................................................................................................................15 Education ................................................................................................................................16 -
Arts Ed Collective, CIAG, Civic Art, and OGP
Additional Prospective Panelist Names received by 10/17/2018 - Arts Ed Collective, CIAG, Civic Art, and OGP Arts Ed Colle Civic Name of Nominator Panelist Nomination Title Organization City Discipline(s) ctive CIAG Art OGP Arts Educator / Master of Arts Alma Catalan Alma Catalan in Arts Management Candidate Claremont Graduate University Los Angeles Arts Education x Los Angeles County Department Anna Whalen Anna Whalen Grants Development Manager of Education Los Angeles Arts Education x x x Anthony Carter Anthony Carter Transition Coordinator Compton YouthBuild Los Angeles Community Development, At Risk Youth x Director, Community Relations Los Angeles Literary, Theatre, Community Development, Culturally Specific Aurora Anaya-Cerda Aurora Anaya-Cerda and Outreach Levitt Pavilion Los Angeles (Westlake/MacArthur Park) Services, Education/Literacy, Libraries, Parks/Gardens x x Development & Marketing Brittany A. Gash Brittany A. Gash Manager Invertigo Dance Theatre Los Angeles Presenting, Dance x x Arts Education, Visual Arts, At Risk Youth, Traditional and Folk Dewey Tafoya Dewey Tafoya Artist Self-Help Graphics Boyle Heights, Los Angeles Arts x x Arts Education, Dance, Multidisciplinary, Theatre, Traditional and Folk Art, Visual Arts, At Risk Youth, Civil Rights/Social Justice, Community Development, Culturally Specific Services, Edmundo Rodriguez Edmundo Rodriguez Designer/Producer N/A Los Angeles Education/Literacy, Higher Education x x Arts Education, Arts Service, Dance, Multidisciplinary, Presenting, Elisa Blandford Elisa Blandford