µ˙The Museum of Fine Arts, Houston

THE GLASSELL SCHOOL OF ART STUDIO SCHOOL mfah.org/studioschool

FALL 2020 COURSE CATALOG WELCOME As we negotiate these uncertain times, creative expression and engagement with culture are among the most significant tools for understanding our relationship to the moment. We paint, sculpt, draw, and express ourselves in different media to find our voices and add our songs to the collection of individual voices. We study art history to comprehend how humans have expressed joy, love, and hope, as well as pain and uncertainty, in previous eras.

Our class offerings for the fall semester reflect the usual breadth of our 2-D, 3-D, and art history programs. The outbreak of COVID-19 has led us to take extra precautions to keep facilities sanitized for meeting on campus. Some classes provide the option to participate either online or in person on campus, and some classes will be conducted completely online.

This fall we anticipate the completion of the new Nancy and Rich Kinder Building, which will showcase modern and contemporary art from the vast collections of the Museum of Fine Arts, Houston. The building’s opening completes the campus expansion project, and its proximity to the Glassell School will be a wonderful asset for our students, providing examples of powerful work that will influence and delight our community.

We look forward to seeing students back in our building or learning remotely. Art—whether making, teaching, or experiencing it—is one of the great joys in life. We hope to share this joy with you.

Physical Address For general information Joseph Havel Director, The Glassell School of Art (Do not mail registrations to this address.) [email protected] The Museum of Fine Arts, Houston 5101 Montrose Blvd. Houston, Texas 77006 Send registration forms to [email protected] Mailing Address Glassell School of Art Phone P.O. Box 6826 713-639-7500 Houston, Texas 77265-6826

Cover: From the Glassell Student Exhibition, 2019 : Jong D’Andrea, Story 3, 2019, mixed-media sculpture. Photo by Sarah Hobson. Photos, inside: Jenny Anthill, Trish Badger, Cameron Bertuzzi, Sarah Hobson, Allyson Huntsman, and staff. 1 FALL 2020 Contents Academic Calendar

4 General Information July 6 Fall preregistration open to spring & 4 Admissions summer 2020 students

6 Tuition and Fees August 11 10:00 a.m.—5:00 p.m. 7 Payment and Refund Policy Registration and counseling for new and continuing students 8 Tuition Discounts (Call 713-639-7500 for appointment.)

8 Grading Information August 17 Last day to drop studio and art history 9 Student Policies & Information courses and receive a refund (minus $100 processing fee). Last day enrolled students 12 Programs of Note can change class schedules.

14 Course Descriptions August 24 Fall semester begins 31 Class Schedule September 7 36 Student Events Labor Day holiday, no classes

37 Online Art History Course October 12–13 Registration Form Fall semester break, no classes

October 19 39 Faculty and Staff Scholarship portfolios due for spring 2021

45 Annual Fund Drive November 16 Preregistration open to current students for spring 2021 semester

November 25–29 Thanksgiving break, no classes

December 7 Fall semester ends

FALL 2020 2 3 GENERAL INFORMATION exhibitions of the school or the MFAH or will be required to have their temperature prerequisite courses in which they received Originally founded as the Museum School any other person authorized to use such scanned when entering the building. All grades of W, DR, or F. in the late 1920s, as part of the Museum images by the school or MFAH without students are required to wear a face mask of Fine Arts, Houston, the Glassell School the need of additional permission from or while in the building and studios. Each level of a studio course consists of two of Art has grown for almost 100 years, consideration to the student. semesters. Students are expected to enroll in through several buildings, to a dynamic Due to class-size limitations, the Studio each semester in numerical sequence without and diverse program today, encompassing ADMISSIONS School does not allow enrollment solely skipping semesters, unless the student’s classes for students of all ages. Named The Studio School offers art history courses, for the use of equipment and facilities, nor record file contains either 1) a transcript for Houston businessman and arts patron studio courses, and workshops for adults. offer rental of studio time, equipment, or showing completion of similar course work Alfred C. Glassell, Jr., the school offers Students must be at least 18 years of age facilities for working artists. Students may at another institution or 2) faculty approval. programs and classes in all media areas, to attend any studio courses or workshops. be asked to leave the program or not be Additionally, students are expected to and for all skill and experience levels. Students younger than 18 may enroll in approved for reenrollment if they are solely progress through the levels at a reasonable courses (offered during the fall and spring enrolled to use equipment and facilities. rate of study. Students may repeat levels only The school’s new building, designed by semesters) with the permission of their with faculty approval. Steven Holl Architects and opened in 2018, legal guardian and the course instructor. PREREQUISITES AND provides more than 80,000 square feet of Questions regarding permission may be Students are required to have their classroom and exhibition space. With 22 directed to the dean. New students must REGISTRATION temperature scanned when entering the classrooms, an 80-seat auditorium, and attend mandatory faculty counseling for Registrations are not accepted by phone. building. Face masks or coverings must be year-round programming for children and placement in courses. Continuing students Undersubscribed sections are canceled at worn while inside the building and in the adults, the Glassell School of Art serves may only advance if they have successfully the discretion of the Glassell School. classrooms. By registering for a class, the more than 7,000 students per year, offering completed courses with grades of C student is committing to wear a mask at all a wide range of studio, lecture, and or higher, and with the permission and Art history courses and most workshops times in the school building and to follow workshop programming for students at all approval of an instructor in their area of do not have any prerequisites, unless all current or future safety measures. ages and skill levels. study. Students may not repeat courses specifically noted in description. Students without faculty approval. may register for art history courses and workshops by mail or by email. Use the FACULTY COUNSELING GENERAL POLICIES Students enrolled in the Studio School form on page 37 or go to mfah.org/glassell AND PLACEMENT The Glassell School of Art is part of courses are expected to actively participate to download a form. Faculty counseling is held prior to the start the Museum of Fine Arts, Houston in their courses and to work toward the of each semester to place students into (MFAH), and as such, complies with all improved development of their artistic New students are welcome to enroll in any courses commensurate with their experience policies and procedures of the MFAH, as practices. Students at advanced levels course or workshop that does not require and skills. The counseling sessions allow appropriate, for the proper administration looking to work independently must have prerequisites. New students wishing to each student to discuss goals with a faculty and management of the school. The faculty approval for their projects and be enroll in upper-level courses must register member, who also evaluates the student’s school reserves the right to amend, add, registered for either advanced-level courses in person in order to attend mandatory experience based on a review of a portfolio, and delete policies and regulations as or independent study. The school uses faculty counseling. Please contact the Glassell School of Art academic records, or a necessary, as well as the right to change English as the medium of instruction, and all school via email at [email protected] transcript from another institution. programs, dates, personnel, and fees students are assumed to have proficiency or by phone at 713-639-7500 to set up noted in this catalog. Any photos, videos, in English, particularly with regard to a counseling appointment. Continuing TRANSFER CREDIT pictorial images, voice recordings, or understanding statements and instructions students may register by mail or by email Students wishing to transfer credits from other quotations taken or created by the MFAH about safety and equipment operation. to [email protected]. institutions must submit official transcripts (including, without limitation, any taken and a portfolio for review. Portfolios should be by any photographer or videographer Students enrolled in online courses will Students may skip prerequisite courses submitted during registration to be reviewed paid by or volunteering for the MFAH) not be permitted to attend in-person only if their student file contains one of during faculty counseling. Official transcripts during or relating to a course are the classes due to limitations regarding the following: 1) documentation that must be provided no later than one month sole property of the MFAH. These items social distancing. Online students will be the prerequisite was waived by a faculty after the end of the semester’s registration may be used in future publications, web permitted to use the studios outside of class counselor or 2) a transcript showing that period. Students who do not furnish transcripts pages, promotions, advertisements, and times if social distancing is maintained and the prerequisite was completed at another by this deadline may be dropped from all institution. Students must repeat any classes with no tuition refund. Transfer credit

FALL 2020 4 5 FALL 2020 will be evaluated on a case-by-case basis by below for courses in various areas and reflect Life Drawing of tuition, minus a $100 processing fee. a faculty counselor, in conjunction with the the appropriate scaled fee for use of school- Life Painting Refunds are processed through the MFAH registrar’s review of the student’s transcript. provided resources. Photography accounting department and, in most cases, Printmaking/Monoprint are processed through the original method of Tuition for online courses covers the cost of Sculpture payment. Refunds by check are sent via U.S. INTERNATIONAL STUDENTS the class only. Students enrolled in online mail and may take up to three (3) weeks to The Glassell School is not able to grant courses will not be provided parking, and Art History Courses (2 hours) process. Credit card refunds may take up to a visas to international students seeking to are expected to pay the posted amount if $500 tuition, no fee: $500 each full statement cycle to appear. study studio arts. If looking to enroll in they choose to use the studios at the school a visa-based program, we recommend outside of the class times. Online Studio Courses (3 hours) Students wishing to drop a workshop and registering through our partner program $600 tuition, no fee: $600 each receive a refund must submit a drop form one with the University of St. Thomas. Personal supplies such as paints, canvas, (1) week prior to the start of the workshop. brushes, clay, tools, photographic paper, Online Art History Courses (2 hours) Refunds will be processed for the full amount of ONLINE STUDENTS lenses, cameras, and other materials are not $380 tuition, no fee: $380 each the workshop costs, minus a $50 processing fee. Students have the option to enroll in many of included in these fees, and it is expected the courses online. Students who choose to that students will provide these materials The school does not offer prorated refunds enroll in an online course will pay the amount for themselves. Supply lists are provided by PAYMENT AND REFUND POLICY or credits for individual sessions of courses noted in the Tuition and Fees section under instructors at the first class meeting. The school requires a minimum number of or workshops that are canceled for reasons Online Studio Courses and Online Art History students in order to hold a class. Students beyond the school’s control, such as weather Courses. Students enrolled in a course online Tuition for Full-Time Students enrolled in classes that are canceled or unexpected absence of the instructor. will not be permitted to attend the same class in Students enrolling in a full-time schedule because of low enrollment will be notified person if the course is offered both online and (4 courses per semester) are eligible for a by the registrar prior to the start of the Medical Drop Policy in person. Students in online courses are able 20% discount off their total cost of tuition semester and given an opportunity to In the case of serious illness or injury to use the studios outside of class time, as social (class fees included). enroll in another class or receive a full necessitating the student’s withdrawal from distancing permits, and are required to wear 100% refund or credit. the school, it is the responsibility of the a face mask as well as have their temperature Tuition student to notify the registrar immediately. Add/Drop Policy scanned upon entering the building. Studio Courses (3 hours) Requests will only be honored if the Any student submitting more than one student submits documentation from his/ $700 tuition, plus $25 fee: $725 each Parking is not provided for online students, (1) add/drop form per semester will be 2-D Design her physician that a withdrawal from the and those wishing to use the studios will be charged a processing fee of $50 for each 3-D Design course is medically necessary. A tuition required to pay the posted parking rates. additional form submitted. Collage & Assemblage credit will be issued for the student to

Color take the course in a future semester. Students wishing to add a course or The registrar will process the student out TUITION AND FEES Critique workshop must complete an add/drop as appropriate, including initiating any The Glassell School of Art does not offer Drawing form, available at mfah.org/glassell and in credit, and notify the student’s instructor(s). payment plans. All tuition and fees are Drawing Fundamentals the administrative office. All courses are Instructors cannot initiate or complete the due in full at the time of registration. Painting considered closed after the first class meeting, withdrawal process on behalf of a student, Workshops are priced individually. Seminar and permission of the instructor is required to nor initiate any refund or credit processes. Watercolor add into a course. Additional tuition charges Tuition covers the cost of the class and and refunds are processed as appropriate. Credits parking. Class fees are charged separately, Studio Courses (3 hours) Once issued, credits for dropped courses and include scaled fees for appropriate use $700 tuition, plus $100 fee: $800 each Students wishing to drop a class must or workshops cannot be exchanged for a and maintenance of equipment in all studios, Ceramics complete an add/drop form. All registrations monetary refund. Credits remain on file for purchase of bulk supplies (chemicals, Digital Photography are considered final as of the stated drop two (2) semesters before expiring. Credits glazes, and inks) in various areas, disposal Digital Sculpture date in the calendar (see page 2). No are filed in the dollar amount originally paid, of hazardous waste, and usage of figure Enameling refunds or credits are available for students not as placement in a particular course or models in scheduled classes and figure Foundry who drop after that date. If applicable, drawing lab sessions. Tuition rates are listed workshop. If a student uses a credit on file, Jewelry refunds will be processed for the full amount

FALL 2020 6 7 FALL 2020 and later drops the course, the student forfeits only. Please note that studio class fees Incomplete and Sundays from 10:00 a.m. to 7:00 p.m. that credit. It does not remain on file, nor does of either $25 or $100 are not tuition and A notation of I (Incomplete) is given if the during the scheduled semester programs. it roll into the next semester. Students using a therefore are not discounted. Discount is student is unable to complete the assignments Hours may be adjusted for holidays or credit would need to complete all appropriate valid for studio course tuition ($700), art of the course for reasons beyond the student’s private events. It is recommended to enrollment forms, obtain necessary approvals, history course tuition ($500), online course control, including illness. The student must check the website and social media for and indicate that they are using a credit on file tuition ($600/$380), and/or workshops notify the instructor and receive approval to information on closures related to holidays for payment purposes. (pricing will vary). obtain an incomplete. An incomplete must be and private events. The school makes all resolved prior to the start date of the following efforts to provide advance notice of event SCHOLARSHIPS, FINANCIAL MFAH Docents semester or it becomes an F grade. closures, including notices on social media Currently active MFAH docents (including and via email. AID, AND DISCOUNTS docents at Bayou Bend and Rienzi) are Withdrawal The school does not offer any need-based eligible for a 20% discount on all courses To withdraw from a class, a student must During the semester, currently enrolled financial aid, nor is the school eligible to and workshops for the semester (including complete the add/drop form and notify the students may expect to access their participate in federal financial-aid programs. class fees). Docents must present a docent registrar. The student will receive a classrooms during building hours only. ID with the registration form. W (Withdrawn) on his/her transcript. Students do not have permission to access Studio School Scholarships No refunds or credits are issued. studios and facilities outside of the building’s A limited number of scholarships are MFAH Staff hours, nor permission to access areas in available each fall and spring semester for Current MFAH staff are eligible for a 30% Workshops which they are not enrolled. both studio and art history courses. These discount off tuition only. Please note that Students enrolled in workshops will merit-based scholarships are awarded studio class fees of either $25 or $100 are receive grades of S (Satisfactory) or U Students who attend classes or wish to work through a portfolio review by a panel not tuition and therefore are not discounted. (Unsatisfactory). Satisfactory completion of in the studios during open studio times will of Studio School faculty. Scholarships Discount is valid for studio course tuition workshops earns one elective credit hour. be required to wear a face mask or covering are funded through proceeds from the ($700), art history course tuition ($500), Workshop credit hours do not apply toward and to check in with the guards to have Annual Student Sale as well as privately online course tuition ($600/$380), and/ the Certificate of Achievement program. their temperature scanned. The number of funded grants. Scholarships are available or workshops (pricing will vary). Staff must visitors, staff, and students to the Glassell to students at all levels but are awarded present a staff ID with the registration form. School are limited at this time, and students solely based on the quality of the artwork STUDENT POLICIES & may not be given access to the studios if submitted through portfolios. For more INFORMATION social distancing cannot be maintained. information on applying for the merit-based GRADING INFORMATION Attendance Students are asked to monitor themselves scholarships, visit mfah.org/studioschool or Grades are issued at the end of each Each student is permitted three (3) absences in regard to social distancing and sickness, call 713-639-7500. semester and are mailed to each student. A per semester. Four (4) or more absences and are expected to consider the health of student may elect to receive a letter grade or may result in dismissal or a grade of F (Fail) themselves and others before entering the a Pass/Fail (P/F). Students who have chosen TUITION DISCOUNTS if the student fails to complete assignments building and studios. Pass/Fail (P/F) grades may petition for letter All discounts are applicable to tuition that were scheduled during the absence(s). grades within two years of taking the course. only, and not to class fees. Class fees are Registered students who fail to attend any During the breaks between semesters, After two years, grades cannot be changed. added to the transaction after discounts classes in a given semester will receive a W students may access studios only if *Note: Students enrolled through UST must have been applied. Discounts may not be (Withdrawn) on their transcript. Instructors preregistered for the next semester. Studio take all classes for letter grades and may not combined, and are not issued retroactively. reserve the right to drop a student who access during breaks is not guaranteed, as select the Pass/Fail option. Discounts are not applicable on Glassell has been absent from the first two (2) class that time is used for maintenance, cleaning, study-tours courses, BLOCK courses, or any meetings. In this case, refunds and/or credits and equipment upgrades. Letter Grades courses and workshops involving travel. will not be issued and the student will receive Letter grades range from A to F: A a W on their transcript. Please note: The MFAH Garage hours are (Excellent), B (Good), C (Average), D different from the building’s hours, and MFAH MEMBERS (Below Average), and F (Fail). Pluses and Building Hours/Classroom Access garage access does not guarantee or Museum members at the Patron level minuses may be used with letter grades, The Glassell School of Art is open Monday include classroom access. See Parking ($200 annual membership fee) and above with the highest grade given being A. through Friday from 9:00 a.m. to 10:00 p.m., for more information. are eligible for a 5% discount off tuition on Saturdays from 9:00 a.m. to 7:00 p.m.,

FALL 2020 8 9 FALL 2020 Discipline/Dismissal admission to the Museum (excluding Parking instructors. Students are required to check The Glassell School reserves the right ticketed exhibitions and events). Parking for classes and workshops is in with the MFAH guards upon entering the to remove students from classes for included in tuition for in-person classes building to have their temperature scanned. unsatisfactory achievement, excessive Homework only. Parking is available in the MFAH Entry points and visitors to the building will absences, or behavior that is deemed to be Each studio course requires a minimum Montrose Garage (located directly under be limited. Students whose temperature rude, disruptive, inappropriate, dangerous, of three hours of homework per week. the Glassell School of Art). Enrolled is above the safe level will not be granted or in violation of school health and safety Students enrolled through the University of students will receive a parking pass to access to the building and will be asked regulations, or in violation of Museum policies. St. Thomas are expected to produce three attend weekly class meetings. Additional to leave. Face masks or face coverings hours of additional homework per course to parking will be provided for scheduled lab are mandatory in the building and in the While it is impossible to compile a fulfill the credit-hour requirements. or open-studio sessions. Further parking classrooms. Students who enter the building complete list of disruptive behavior, will be at the student’s own expense and without a face mask will be asked to leave. any form of conduct by an individual or Participation at the posted rates for the MFAH Montrose The building will be cleaned and sanitized group of students that interferes with or Students are expected to actively participate Garage. The school does not sell additional more frequently to ensure the safety of inhibits the educational opportunities of in their classes, including attending parking passes, extend parking passes past our students and instructors. Students and another student is considered a disruption. scheduled critique sessions and field trips. the end-of-semester expiration date listed instructors are advised to stay home in the Similarly, conduct that diminishes the on the pass, nor provide validated parking. case of illness, and to report to the office effectiveness of an instructor or has Lockers Students enrolled in online courses will any illnesses that could be spread to other the effect of negatively impacting the A limited number of lockers are available not receive free parking, and are expected students or instructors so that it can be dealt learning environment is also considered a in specific classes and designated areas for to pay for their parking per the posted with accordingly. The number of students in disruption. Students engaging in disruptive student use during the registered semester. rates if/when they come to the school. the classrooms has been limited to ensure classroom behavior may be subject to The school does not guarantee a locker for The school, the MFAH, and their agents that social distancing can be maintained. disciplinary action, including warnings, each student, nor have the availability to or designees are not liable for damage or Students are granted access to the studios dismissal from a class, and dismissal from allow students to have multiple lockers in loss to vehicles or the contents of vehicles during the open studio times only when the program and/or school. various areas. At registration, the student parked in or around designated areas. social distancing can be maintained. Online releases and discharges the school and the classes have been put in place to offset the Individual instructors maintain the right to MFAH from any liability or claim of liability Release of Information number of students in the classrooms, as well dismiss a student from a class with a warning for any damage to or loss of personal The school maintains records for all current as to provide education to those students and to remove a student permanently from property, including artwork. (Instructors and past students. Student information is who do not feel comfortable entering the a class for repeated offenses. In the event of will provide additional information about released only to the student or designated building. Students who fail to follow safety subsequent behavior problems, the student lockers during course introductions.) representative. Designation forms are instructions may be dismissed from the will be dismissed with no refund and no available at mfah.org/glassell and from school, as outlined in the discipline policy. access to further programming. Personal Property the registrar and must be on file for All artwork and personal property left at information to be released to anyone other Student ID Cards Students may also be dismissed for the school between semesters or after the than the student. Exceptions may be made Each semester, students will receive a inappropriate and disruptive behavior stated retrieval dates will be discarded. for health and safety emergencies or to Glassell student ID card for the current toward Museum staff, for nonpayment of This includes artwork from exhibitions both comply with legally issued subpoenas. semester. The Glassell student ID card any tuition and fees past or present, and at the school and other venues, as well as should be kept with students at all times for unlawful possession or use of drugs work left in the classrooms and studios. Safety when in the building. The student ID card and/or alcohol. The school will contact students via email The school is committed to the safety of should be used at the MFAH guest services with final notice for artwork and personal its students, faculty, and staff. As such, the desks to access free Museum admission. Free Museum Admission property pickup each semester. After the school has prepared a Health and Safety The Museum of Fine Arts, Houston, is deadline date, the school will dispose of Manual. This document is available from the Transcripts the largest art museum in the Southwest, any unclaimed items. The school, the MFAH, administrative offices, and a copy is kept Students requesting transcripts must and its encyclopedic collections are an and their agents or designees are not liable in all studios and classrooms. Students are submit a written request and appropriate exceptional resource for learning about the for damage to or loss of personal property expected to follow safety procedures as payment to the registrar. Transcripts cost visual arts from a worldwide perspective. left unattended. outlined in the manual as well as comply $5 per copy. Request forms are available Studio School students receive free general with any safety information distributed by at mfah.org/glassell and from the registrar.

FALL 2020 10 11 FALL 2020 Transcript requests will not be processed Certificate of Achievement University of St. Thomas if the student owes any fees. Students may Requirements The Glassell School of Art serves as the also mail a request in writing to: Students earn three hours of credit for studio arts program for the University of each successfully completed (grade C or St. Thomas. Students seeking to earn their Registrar, Studio School above) course per semester. bachelor of arts degree must apply and MFAH Glassell School of Art, P. O. Box 6826 enroll through the University of St. Thomas, Houston, TX 77265-6826 Certificate students are required to receive in order to receive full credit toward a letter grade. Pass/Fail grades received degree programs. Requests must include the full name of the prior to fall 2008 will still be accepted student, last semester attended, and the toward certificate credits. Workshops are Students enrolling through the UST full mailing address with zip code for the not eligible for credit toward the Certificate program may only enroll in those courses location(s) where the transcripts are to be of Achievement. offered through the UST registration sent. Alternatively, the student may pick system. Please note, due to UST policies up transcripts in person. In-person pick- Subject/Course Credits and rules, not all Glassell courses are up requests must include a telephone offered and available for UST enrollment. Art history electives 12 number so that the registrar can contact For more information, please visit the UST the student when the transcripts are 2-D Design 2DD 1303 & 6 website at stthom.edu. available. Allow at least 3 business days 3-D Design 3DD 1304 for transcripts to be completed. Drawing Fundamentals 6 DRF 1301, DRF 1302 PROGRAMS OF NOTE Certificate of Achievement Life Drawing 6 A comprehensive fine arts program has DRL 2310, DRL 2311 been developed in which students work Major field of study 24 toward a Certificate of Achievement in one of the following subjects: drawing, 2-D courses (other than major) 9 painting, photography, printmaking, sculpture, ceramics, or jewelry. 3-D courses (other than major) 9

General electives 24 A student may begin this program at any point. The program provides students with Total 96 the necessary foundation for continued studies at an intermediate or advanced Students may transfer 12 foundation- level in their major field. A wide range level credits, 6 art history credits, and 6 of course offerings for elective credits life drawing credits from another post- supplements the major field of study. secondary institution, with the approval of the dean and the registrar. Students Upon the student’s satisfactory interested in the Certificate of Achievement completion of 96 specific credits, the program should call 713-639-7500 to student’s work is reviewed and approved by schedule an appointment with the dean. a certificate committee made up of Studio School faculty.

FALL 2020 12 13 FALL 2020 FALL 2020 COURSE DESCRIPTIONS day. Emphasis will include not only stylistic developments, but also the ways women artists interacted with the ideas ART HISTORY Picasso’s unique vision and his legacy to the and values of their time and cultures. Students study and Art History Survey I: Caveman art world. Class sessions are primarily lecture interpret works by Angelica Kauffmann, Rosa Bonheur, to Medieval with some discussion. Slide presentations Berthe Morisot, Mary Cassatt, Camille Claudel, Georgia ARH 307 and case studies of individual artwork are O’Keeffe, Frida Kahlo, Louise Bourgeois, Marina Abramović, Judy Chicago, Kara Walker, Cindy Sherman, and Sophie One of two art history survey courses, this incorporated in the course. Online courses Calle, and examine the cultural and artistic contexts of these course explores the development of Western will be taught via the BlueJeans video works. The artists’ relationships to the society that produced art from prehistory to the 14th century. conferencing app, with handouts available on them will be examined, as well as feminism and gender. The class is structured chronologically Google Drive. Students will be able to interact Online courses will be taught via the BlueJeans video and is designed to encourage a critical with the instructor during class time over the conferencing app, with handouts available on Google understanding of the meaning and function BlueJeans conferencing app’s chat function. Drive. Students will be able to interact with the instructor of selected art objects, architecture, and during class time over the BlueJeans conferencing app’s design artifacts within their original historical Art History: Modern & Contemporary Art chat function. contexts. Emphasis is placed on a visual and at the MFAH verbal examination and analysis, as well as ARH 310 discussion of societal and historical contexts Using the new buildings and campus 2-D COURSES of all the major stylistic and thematic trends in redevelopment of the Museum of Fine Arts, 2-D Design Western artistic tradition. Slide presentations Houston, as a point of departure, and to 2DD 1303 and case studies of individual museum celebrate the opening of the new Nancy 2-D Design teaches the basic grammar underlying all visual objects are incorporated in the survey. Online and Rich Kinder Building for modern and language. Students are introduced to design elements courses will be taught via the BlueJeans video contemporary art at the MFAH, this course that are common to all works in two dimensions. Students conferencing app, with handouts available on introduces students to the history of art from will learn to manipulate movement, line, shape, texture, Google Drive. Students will be able to interact the 1870s through the present day. The value, and color to achieve specific artistic goals through with the instructor during class time over the course is designed to encourage a critical practical exercises and to analyze how compositions work BlueJeans conferencing app’s chat function. understanding of the meaning and function through discussion. Critiques and demonstrations occur of selected art objects and design artifacts throughout the semester. For those students who express Art History: Pablo Picasso and His within their original historical contexts and concern about joining the class in person, the possibility of Artistic Legacy within the museum context. Emphasis is taking part remotely is available. The time allotted to each ARH 320 placed on visual and verbal examination student is based upon class size. The platform for remote This course offers a unique opportunity to and analysis, as well as discussion of societal communication will be Zoom. Google Drive will be used survey the works of Pablo Picasso (1881– and historical contexts of all the major as the platform for uploading and sharing images and will 1973), the most prolific and influential artist stylistic and thematic trends in modern require a Gmail address. Students should be comfortable of the first half of the 20th century. Nearly and contemporary art. Course topics are with these methods of online communication. The Glassell seven decades of incessant art making will be related to the collections on view, but School is taking all necessary precautions to ensure a safe examined in relation to major currents and recurring questions will focus on materiality in-class working environment to encourage students to themes in European art, history, and culture. and display. Online courses will be taught experience the course in person in the studio. Emphasis is not only on stylistic developments via the BlueJeans video conferencing during the artist’s lifetime and artistic career, app, with handouts available on Google Drawing Fundamentals I but also on the way Picasso interacted with Drive. Students will be able to interact with DRF 1301 the instructor during class time over the the ideas and values of his culture and time. In this introductory course, students learn to transpose BlueJeans conferencing app’s chat function. The aim of the course is to increase visual 3-D objects into 2-D equivalents. While studying the literacy and to deepen students’ awareness relationships between planes and evaluating proportions, of the cultural and conceptual framework in Art History: Women in Art students develop perceptual skills in order to translate these ARH 312 which Picasso’s artwork was made and used. observations to paper. The goals of this course involve This course will highlight current scholarship In this course, students study women artists the exploration of different representational techniques and conversations in order to reassess from the 19th century until the present in black-and-white media and the development of visual

FALL 2020 14 15 FALL 2020 awareness and discrimination. Critiques and demonstrations own focus according to interest and in the intermediate or advanced levels occur throughout the semester. Assignments and links to ability. Throughout the semester, different of life drawing who want to continue video demonstrations for online classes will be posted on drawing materials will be introduced and to work with the figure and explore a Google Classroom. Zoom conferences will be held to go demonstrated. This class offers an in-depth concentration in mixed media. The course over questions about the assignments. Zoom conferences study of drawing nature and allows students will use and combine drawing, painting, will be held at a time that works best for everyone, so it is not to practice social distancing outside while and collage (paper, fabric, and found necessarily the exact time that the class is scheduled. Both also wearing masks. object-based). Students will explore a Google Classroom and Zoom are free and user-friendly. When variety of palettes, textures, value systems, class begins, the instructor will email students an in-depth Intermediate/Advanced Drawing: and both representational and abstract tutorial on how these two programs will be used in the class. Ideas & Images I & II interpretations of the figure. Students will DRA 3318, DRA 3319, DRA 4318, DRA 4319 examine many periods in art history, starting Drawing Fundamentals II Prerequisites: DRF 1302 and 2DD 1303 with ancient art and ending with modern DRF 1302 Drawing is about observing, documenting, art, using figurative images throughout time Prerequisite: DRF 1301 communicating ideas, unleashing the to inspire their work. Artists such as Paul The second semester of Drawing Fundamentals continues imagination, and questioning the world Gauguin, Alice Neel, and Pablo Picasso, to develop the student’s visual and technical skills in various in which we live. This course focuses among many others, will be studied. Weekly black-and-white media as initiated in the first semester. In on a series of topics including personal videos and demonstrations will analyze addition, basic color theory is introduced as color concepts narrative, natural and industrial landscapes, compositions, palettes and value systems, are applied to the drawing process. Broader approaches to a dissected and transformed objects, social artistic styles, and the varieties of realism. more complex range of subject matter are explored. Critiques and political issues, and the drawing Weekly videos and still photographs will be and demonstrations occur throughout the semester. Class process. Students explore format, scale, shared through a Facebook group page. will meet on Zoom on the scheduled day and time. Each class technique, and mixed media. The course includes a live lecture and discussion using pictorial examples includes discussions, critiques, and slide Beginning Life Drawing I & II to illustrate the lesson and weekly assignment, in-class presentations. Class will meet on Zoom DRL 2310, DRL 2311 exercises and demonstrations of materials and techniques, on the scheduled day and time. Each Prerequisites: DRF 1301 and 2DD 1303 and a critique of student homework submitted to a shared class includes a live lecture and discussion Students concentrate on representing an folder on Google Drive. Before each weekly meeting, students using pictorial examples to illustrate the anatomically convincing account of the will be provided with the class objective, the homework lessons and weekly assignments, in-class human figure while focusing on balance, assignment, and visual information as a preview so they can exercises and demonstrations of materials movement, proportion, volume, and prepare for conversation and questions during the online and techniques, and a critique of student space. Short poses build an understanding session. Students may use a PC or their phones (iPhone or homework submitted to a shared folder on of anatomy; long poses permit the Android) to participate in class meetings. Instructions on how Google Drive. Before each weekly meeting, exploration of media and the development to obtain Zoom and access Google Drive will be provided. students will be provided with the class of technique. Two labs on Fridays and objective, the homework assignment, and Saturdays at 9:30 a.m.–12:30 p.m. provide Intermediate/Advanced Drawing: visual information as a preview so they can additional time to work from the model. Landscape Drawing I & II prepare for conversation and questions Critiques and demonstrations occur DRA 3314, DRA 3315, DRA 4314, DRA 4315 during the online session. Students may use throughout the semester. Prerequisites: 2DD 1303 and DRF 1302 a PC or their phones (iPhone or Android) to For this course, the class will go to a different site each week participate in class meetings. Instructions Intermediate/Advanced Life Drawing & and draw from the landscape. A wide variety of sites will be on how to obtain Zoom and access Google Painting I & II introduced, from woodland settings to different types of Drive will be provided. DRL 3310, DRL 3311, DRL 4310, DRL 4311 gardens to more urban environments. Upon meeting at the Prerequisite: DRL 2311 designated location, we will have a critique on site and then Intermediate/Advanced Figurative Mixed This sequence of courses is designed for go into the setting to draw. In the beginning of the semester, Media I & II students who have completed at least two students will concentrate on specific elements (a tree, the DRA 3320, DRA 3321, DRA 4320, DRA 4321 semesters of Beginning Life Drawing and sky, ground planes, reflections, linear and atmospheric Prerequisite: DRL 2310 wish to continue working with figurative perspective, etc.). Advanced students can choose their This online course is designed for students imagery. Studio time allows for longer, more

FALL 2020 16 17 FALL 2020 complex poses. Students work toward greater of collage and assemblage features slide alterations, map works, personages, game boards, and control in a variety of wet and dry media. presentations, videos, demonstrations, and more. Class will meet on Zoom on the scheduled day and The class includes slide lectures, weekly critiques. Students are encouraged to think time. Each class includes a live lecture and discussion demonstrations, and ongoing critiques. comprehensively, experiment, share ideas using pictorial examples to illustrate the lesson and Advanced students begin to concentrate and techniques, and develop integrated weekly assignment, in-class exercises and demonstrations within one primary medium. Two labs on and creative collages and assemblages. of materials and techniques, and a critique of student Fridays and Saturdays at 9:30 a.m.–12:30 p.m. Collage and Assemblage offers different homework submitted to a shared folder on Google Drive. provide additional time to work from the projects in the fall and spring. Students Before each weekly meeting, students will be provided model. Critiques and demonstrations occur may enroll for the semesters in either with the class objective, the homework assignment, and throughout the semester. order. (COL 2350 is not a prerequisite for visual information as a preview so they can prepare for COL 2351.) Class will meet on Zoom on conversation and questions during the online session. Color the scheduled day and time. Each class Students may use a PC or their phones (iPhone or Android) CLR 2306 includes a live lecture and discussion to participate in class meetings. Instructions on how to Prerequisites: DRF 1301 and 2DD 1303 using pictorial examples to illustrate the obtain Zoom and access Google Drive will be provided. Projects in this class are designed to address lessons and weekly assignments, in-class the relativity and interaction of color in the exercises and demonstrations of materials Advanced Collage and Assemblage I & II visual arts. Emphasis is on learning by direct and techniques, and a critique of student COL 4350, COL 4351 perception of color phenomena, with studies homework submitted to a shared folder on Prerequisite: COL 3350 or COL 3351, or permission of on juxtaposition, harmony, and quantity Google Drive. Before each weekly meeting, the instructor executed in paint, colored papers, and students will be provided with the class Students continue to participate in many of the assignments nontraditional materials. Students who feel objective, the homework assignment, and featured in Intermediate Collage and Assemblage, but unable to join the class in person may take visual information as a preview so they can also begin focusing on individualizing their research within part remotely via the BlueJeans or Zoom prepare for conversation and questions this limitless medium. Students meet with the instructor application (instructions will be provided) to during the online session. Students may use to discuss projects and project series that are worked on discuss work uploaded to a shared Google a PC or their phones (iPhone or Android) to throughout the semester. Class will meet on Zoom on the Drive. The instructor will provide a written participate in class meetings. Instructions scheduled day and time. Each class includes a live lecture description of each new project in advance on how to obtain Zoom and access Google and discussion using pictorial examples to illustrate the and explain the project during class time so Drive will be provided. lesson and weekly assignment, in-class exercises and that both written and oral explanations of demonstrations of materials and techniques, and a critique the projects will be available. All meetings Intermediate Collage and Assemblage I & II of student homework submitted to a shared folder on will be held during the scheduled class time. COL 3350, COL 3351 Google Drive. Before each weekly meeting, students will be Students will need a Google account and Prerequisite: COL 2350 or COL 2351, or provided with the class objective, the homework assignment, permission of the instructor to be able to take and upload pictures to and visual information as a preview so they can prepare Google Drive, to feel comfortable working The genres of collage, assemblage, and for conversation and questions during the online session. with the Zoom and/or BlueJeans applications, found-object art have revolutionized the Students may use a PC or their phones (iPhone or Android) and to have a good Wi-Fi connection. nature of art and how it is made. In these to participate in class meetings. Instructions on how to obtain courses, students develop a personal Zoom and access Google Drive will be provided. point of view and a body of work through Beginning Collage and Assemblage I & II challenging projects in mixed media COL 2350, COL 2351 Beginning Painting I & II that may be approached individually or Prerequisites: DRF 1301 and 2DD 1303, or PAI 2320, PAI 2321 as collaborative adventures. The class permission of the instructor Prerequisites: DRF 1301 and 2DD 1303 focuses on exploring ideas; collecting This course allows students to express Students learn to paint in oil and/or acrylic paint. The materials; experimenting with construction themselves not only through traditional course is designed to familiarize students with the methods; and arranging a cohesive and art media, but also with objects that are formal elements of painting and to build their technical meaningful collage, relief, box environment, common or unusual: papers, fabrics, printed proficiency. Students paint in the studio, mostly from assemblage, or found-object hybrid. images, words, machine parts, and things observed situations and still-life setups. Critical dialogue Assignments include book and postcard old and new. An overview of the history and frequent critiques figure largely in the learning

FALL 2020 18 19 FALL 2020 process and encourage each student’s personal vision. Advanced Painting I & II Advanced Watercolor I & II Online courses will be held via the Zoom or BlueJeans PAI 4320, PAI 4321 WAT 4380, WAT 4381 video conferencing application, per the instructor’s Prerequisite: PAI 3321 Prerequisite: WAT 3381 preference. Students will upload pictures of their in- Advanced-level students are encouraged This advanced-level watercolor progress and completed works onto the Google Drive to develop their own projects and visions course promotes the development of application so that instructors can view and critique works through a combination of intensive, conceptualization skills and media control. and answer students’ questions. The amount of time with independent studio work and ongoing Students are encouraged to develop their own each student will be divided based on class size. guidance from the instructor. There are projects. Ongoing class critiques and guidance at least two formal critique days during are provided. Critiques and demonstrations Intermediate Painting I & II the semester. Discussions of exhibitions occur throughout the semester. PAI 3320, PAI 3321 and research on contemporary painters Prerequisite: PAI 2321 add to the students’ understanding Beginning/Intermediate/Advanced Intermediate Painting challenges the idea of what painting and development of their own painting Printmaking: Open Studio can be with several projects designed to stretch each practices. Online courses will be held via student’s technical ability and vision. Formal critiques at the the Zoom or BlueJeans video conferencing PRI 2304, PRI 3303, PRI 3304, PRI 4303, PRI 4304 end of each project help determine how well the paintings application, per the instructor’s preference. Prerequisites: DRF 1301 and 2DD 1303 work. A review of fundamental procedures is included Students will upload pictures of their The Open Studio course provides students when necessary, but emphasis is placed on personal in-progress and completed works onto with the opportunity to define personal development. Ongoing references to contemporary the Google Drive application so that project goals and to execute them with painters and demonstrations add to each student’s instructors can view and critique works and the help of the instructor. In addition to understanding and skill. Online courses will be held via the answer students’ questions. The amount independent projects, the course will be Zoom or BlueJeans video conferencing application, per of time with each student will be divided supplemented with technical demonstrations the instructor’s preference. Students will upload pictures based on class size. relevant to the class, opportunities for of their in-progress and completed works onto the Google collaboration, and an optional themed print Drive application so that instructors can view and critique Beginning Watercolor I & II exchange. Beginning students will be guided works and answer students’ questions. The amount of time WAT 2380, WAT 2381 through demonstrations of a variety of with each student will be divided based on class size. Prerequisites: DRF 1301 and 2DD 1303 techniques and optional prompts. Advanced Beginning students are introduced to the students work toward a further refinement Intermediate/Advanced Abstract Painting I & II inherent properties of watercolor through of technical procedures with a focus on PAI 3322, PAI 3323, PAI 4322, PAI 4323 projects that start with the translation of a personal practice and the development of Prerequisites: DRF 1301, 2DD 1303, single object and progress to include more visual content. Critiques and discussions are DRF 1302, PAI 2321 complex ideas. Critiques and demonstrations an important part of the class format. Students This course is for intermediate- and advanced-level occur throughout the semester. are encouraged to have some ideas in mind students who want to delve further into the practice of prior to the start of the semester. abstract painting. It is a studio-centered course and comes Intermediate Watercolor I & II on the heels of the Intermediate/Advanced Abstract WAT 3380, WAT 3381 Beginning Digital Photography I Painting Essentials Course, which is recommended for Prerequisite: WAT 2381 COM 2316 those who have not practiced abstract painting. The Intermediate students review the concepts A practical, one-semester introduction to students work in class and center their attention on a of composition and color, learn new digital photography, this course prepares personal strategy to develop their own voice through technical approaches, and are encouraged students for further study in digital imaging. abstract painting. to develop a disciplined studio practice, Emphasis is placed on competence with personally expressive images as the with an SLR digital camera, as well as goal. Critiques and demonstrations occur on composition, color, space, shooting, throughout the semester. and storing and saving digital files. Basic printing is also covered. Bring your SLR digital camera to the first class meeting. Online courses will be held via the Zoom or

FALL 2020 20 21 FALL 2020 BlueJeans video conferencing application, the range of ideas Adobe Photoshop Beginning Photography I & II per the instructor’s preference. Students makes possible. Students refine their PHO 2305, PHO 2308 will upload pictures of their in-progress and development while learning advanced Prerequisite: PHO 1305 completed works onto the Google Drive software techniques and large-scale In this course, students refine the black-and-white processing, application so that instructors can view printing, and exploring hard and soft printing, and conceptual skills learned in Basic Camera and and critique works and answer students’ materials for output. Emphasis is placed Darkroom Techniques. Emphasis is placed on developing questions. The amount of time with each on personal development by exploring personal viewpoints and becoming confident with the student will be divided based on class size. contemporary styles, personally expressive technical aspects of exposures, processing, and printing. Only projects, and ongoing references to black-and-white film will be used. Beginning Digital Photography II contemporary photographers and artists. Online courses will be held via the COM 2317 Intermediate Photography I & II Zoom or BlueJeans video conferencing Prerequisite: COM 2316 PHO 3305, PHO 3308 application, per the instructor’s preference. Students continue to refine their digital Students will upload pictures of their Prerequisite: PHO 2308 photography skills while improving in-progress and completed works onto Students continue to refine their processing, printing, and creativity in composition and developing the Google Drive application so that conceptual skills in Intermediate Photography. Emphasis is personal viewpoints. This course offers a instructors can view and critique works and placed on developing personal viewpoints and becoming more in-depth study of lighting, printing, answer students’ questions. The amount proficient with the technical aspects of exposures, camera RAW, and different types of of time with each student will be divided processing, and printing. photography, such as portraiture, still life, based on class size. or landscape. Emphasis is on improving Advanced Photography I & II skills in camera operation, composition, Photography: Basic Camera and PHO 4305, PHO 4306 and personal concepts. Computers are Darkroom Techniques only used for basic printing and RAW- Prerequisite: PHO 3308 PHO 1305 processing procedures. Online classes will This course emphasizes the use of photography as a vehicle be using the Zoom platform. The instructor Through this introductory course, students for personal vision and expression through technical, will provide all the handouts, assigned expand their knowledge and understanding conceptual, and perceptual approaches. Individual and group homework, websites, and other resources of the technical and aesthetic fundamentals critiques are conducted. on a Google Drive folder. Students are of photography, providing a strong foundation for further study of both film allowed to look at the entire semester and CRITIQUE AND SEMINAR COURSES all lectures whenever they want and are and digital photography. Students receive extensive instruction on camera operation, Advanced Works on Paper Critique I & II encouraged to ask questions regarding CRT 4396, CRT 4397 anything. Specific instructions will be black-and-white film processing techniques, Prerequisite: admission by portfolio review provided on what will be discussed in and traditional darkroom printing skills. In- This critique course is designed for the serious, advanced the Zoom meetings. Virtual meetings are depth class discussions include composition student working in drawing or water-based media on paper. designated to sharing screens/websites, and image making, F-stop and aperture The course provides an arena for constructive criticism within looking at the student work turned in the settings, depth of field, lighting, and optics. a nurturing environment. As this is primarily a critique course, Google Drive, and one-on-one discussions Beginners are required to use a 35mm film most work discussed will be on art that was created outside of about the students’ progress. camera, but use of other film camera formats, such as the Holga, is also encouraged. A the classroom. The amount of time with each student will be divided based on class size. For those working remotely, we Intermediate Digital Photography I & II limited number of film cameras are available for lease. Please bring your camera to the will communicate via BlueJeans or Zoom and discuss work OM 3316, COM 3317 first class meeting. uploaded to a shared Google Drive. All meetings will be held Prerequisite: COM 2317 or permission during class time. Students will need a Google account or Gmail of the instructor address and to be able to take and upload pictures to Google At the intermediate levels of digital Drive, to feel comfortable downloading Zoom and BlueJeans, photography, students manipulate digital and to have a good Wi-Fi connection. photos and found images while exploring

FALL 2020 22 23 FALL 2020 Advanced Studio Critique I & II Drive, feel comfortable downloading tools, mold-making techniques, ceramic CRT 4394, CRT 4395 Zoom and BlueJeans, and have a good processes, and other practices are explored. Prerequisite: permission of the instructor W-Fi connection. For students who feel more comfortable This critique course is designed for advanced students with online attendance, a remote option will in any area trying to develop a fuller understanding of Please note: This focused, year-long be offered. Online and in-person students their work through ongoing feedback, discussion, and program including seminar and critique will each receive an equitable amount of critique. Students will learn as much by acutely observing is for advanced students with their own the instructor’s attention. For those working and discussing the work of peers as from their own. As in studios and ongoing practices. BLOCK only remotely, demonstrations and group any critique class, work discussed is made independently takes applications once a year and the next discussions will use Zoom, BlueJeans, or outside the classroom. The intense and nurturing focus of submission deadline will be Spring 2021. similar platforms and images of artwork and this course allows students to grow their work substantially. demonstrations will be placed in Google Dropbox or similar. We will discuss student The amount of time with each student will be divided 3-D COURSES work via these same platforms. All meetings based on class size. For those working remotely, we will 3-D Design will be held during class time so that online communicate via BlueJeans or Zoom and discuss work 3DD 1304 and in-person students will be part of the uploaded to a shared Google Drive. All meetings will be This course explores how to make decisions same community. Online students will need held during class time. Students will need a Google account about form; how to affect the way form is to feel comfortable downloading Zoom or or Gmail address and to be able to take and upload seen using color, scale, mass, line, plane, similar applications. pictures to Google Drive, to feel comfortable downloading texture, and balance; how to apply the Zoom and BlueJeans, and to have a good Wi-Fi connection. elements of design to different materials; Beginning Sculpture II and how to express emotions, attitudes, and SCU 2331 Advanced Studio BLOCK ideas with form. These elements are taught Prerequisite: 3DD 1304 (DRF 1301 is highly CRT 4400 BLOCK Seminar within the context of 3-D objects, along with recommended) CRT 4401 BLOCK Critique the practical application of the elements Prerequisite: admission by application of design. A brief video demonstration as One of two required beginning-level sculpture courses, the goal of this course is The Advanced Studio BLOCK program will be run by well as weekly handouts will be uploaded to acquaint students with the fundamental Francesca Fuchs with the addition of two-hour morning to Dropbox and/or Google Docs. These materials and processes typically used in the seminars led by Laura August, PhD. This intensely focused materials will allow both in-person and course of fabricating sculpture. Emphasis program is for advanced students with their own studios online students to complete all assignments. is placed on the relationships between and ongoing studio practices. Each participant receives Questions will be addressed in either a sculptural materials and sculptural design, weekly individual critiques with Glassell faculty and Facebook group, Zoom, or via email. with a specific focus on the use of wood Houston-area artists, critics, and curators. The program and metal. Traditional materials and tools encourages the development of a peer group of artists, Beginning Sculpture I are demonstrated, along with traditional allowing for lasting interactions and shared learning. SCU 2330 techniques such as fabricating. Students are Weekly seminars require advance preparation and focus Prerequisite: 3DD 1304 (DRF 1301 is highly encouraged to experiment and develop on contemporary artists’ practices, combining lecture, recommended) their own artistic goals. For students who feel discussion, and field trips. The BLOCK expects significant One of two required beginning-level more comfortable with online attendance, developments in participants’ work and their presentation sculpture courses, this course introduces a remote option will be offered. Online of it. Included in the $1,800 fee, students have access students to the possibilities of sculptural and in-person students will each receive to all areas of the school equipment/classrooms within form and space while exploring the aesthetic an equitable amount of the instructor’s regular school hours outside of class times. There will be and conceptual potential of materials and attention. For those working remotely, a curated exhibition after the conclusion of each year. The processes such as clay, plaster, and mold demonstrations and group discussions will amount of time with each student will be divided based making. Basic techniques are introduced use Zoom, BlueJeans, or similar platforms on class size. Students working remotely will communicate alongside slide presentations and critiques and images of artwork and demonstrations via BlueJeans or Zoom and discuss work uploaded to a to help students become familiar with will be placed in Google Dropbox or similar. shared Google Drive. All meetings will be held during the ideas that form the foundation of We will discuss student work via these same class time. Students will need a Google account or Gmail contemporary sculpture. Hand tools, power platforms. All meetings will be held during address, be able to take and upload pictures to Google

FALL 2020 24 25 FALL 2020 class time so that online and in-person The course also examines the history of Intermediate Ceramics: Hand-Building I & II students will be part of the same community. metal casting in industry and the fine arts. CER 3346, CER 3347 Online students will need to feel comfortable Projects are executed on a small scale to Prerequisite: CER 2341 downloading Zoom or similar applications. allow students to complete their work within In this two-semester course, students enhance their hand- the semester. building skills and learn alternative building processes. Intermediate/Advanced Sculpture: Projects include building with solid clay, constructing with Mixed Media I & II Beginning Ceramics I & II extrusions, and working on individual projects. In addition, SCU 3333, SCU 3334, SCU 4333, SCU 4334 CER 2340, CER 2341 there is an emphasis on glaze making, specifically related to Prerequisite: SCU 2331 Prerequisite: 3DD 1304 (DRF 1301 is highly ceramic sculptural surfaces. Intermediate students focus on the technical recommended) and conceptual issues of contemporary This course introduces students to the Intermediate/Advanced Ceramics: sculpture using wood, clay, plaster, and tools, techniques, and vocabulary of clay Alchemy to Art: Glaze Materials steel as primary media. Advanced students through lectures, demonstrations, and studio CER 3356, CER 3357, CER 4356, CER 4357 focus on the production of work in the participation. Emphasis is placed on problem Prerequisite: CER 2341 studio, using a wider variety of media solving, with clay as the design medium, This course is everything glaze! Through guided and also addressing issues of format, using the traditional techniques of hand- experiments, lectures, and demonstrations, students will which are tailored to particular interests. building and wheel-throwing. go through a series of projects examining glaze materials. Group and individual critiques, as well as While there will be a heavy focus on working with glaze slide presentations, are incorporated. For Beginning/Intermediate Ceramics: recipes and developing a personal surface palette, students students who feel more comfortable with Hand-Building I & II will also learn how to implement some of these same online attendance, a remote option will be CER 2346, CER 2347, CER 3346, CER 3347 materials in decorative manners. Students will learn how to offered. Online and in-person students will Prerequisite: 3DD 1304 make and/or adjust a glaze recipe and will learn decorating each receive an equitable amount of the This course will concentrate on the multiple processes, plus will hone their glaze applications. Students instructor’s attention. For those working techniques ceramics artists use to build forms. should come with some bisqueware ready to glaze. remotely, demonstrations and group The student will explore forms and molds, and discussions will use Zoom, BlueJeans, or slab and coil construction. It is an excellent Intermediate Ceramics: Wheel-Throwing I & II similar platforms and images of artwork and place for the student new to ceramics to CER 3348, CER 3349 demonstrations will be placed in Google develop basic skills and learn about clay, Prerequisite: CER 2341 Dropbox or similar. We will discuss student building techniques, and firing and glazing. In this course, students continue to develop their wheel- work via these same platforms. All meetings Intermediate students will be challenged by throwing skills. A focus is placed on vessels with multiple will be held during class time so that online more sophisticated projects using multiple components such as handles, lids, and spouts. Additionally, and in-person students will be part of the building techniques to make larger and students learn to increase the scale of their vessels, as well same community. Online students will need sculptural pieces. All students will be asked to as to use different methods of altering pots. Glaze research to feel comfortable downloading Zoom or participate in technical lectures, glazing and focuses on surfaces for utilitarian wares. similar applications. firing processes, and in-class critiques. It is an opportunity for a sound foundation for further Intermediate Ceramics: Narrative Sculpture I & II Beginning/Intermediate/Advanced ceramic study for the beginning student and CER 3350, CER 3351 Foundry I & II further expansion of skills and techniques Prerequisite: CER 3341 FOU 2335, FOU 2336, FOU 3335, FOU 3336, for the intermediate student. Students will The focus of this class is narrative sculpture. Using images FOU 4335, FOU 4336 have the option to meet either in the building and materials to create personal stories, students are Prerequisite: SCU 2330 or online via BlueJeans, Zoom, or a similar encouraged to write, draw, think, and craft. Topics explored Students are introduced to lost-wax casting platform during the same class time to retain include how to use images to create symbolic meaning using aluminum and bronze; learn to work a communal environment. Students who and how to sculpt stories that allude to universal themes, with wax; discover techniques of investment choose to meet virtually will still be able to fantasy, or allegory. While clay is a basis, the work is not and procedures for pouring molten metal; bring work in to be fired and will have access limited solely to the ceramic process. A broad range of and gain experience with mold making, to glazes and equipment. materials and techniques are covered. Students will have welding, chasing, and patina applications.

FALL 2020 26 27 FALL 2020 the option to meet either in the building or online via Advanced Jewelry: Special Topics I & II and sharing. The final project of the BlueJeans, Zoom, or a similar platform during the same JWL 4360, JWL 4361 semester is more complex and can involve class time to retain a communal environment. Students who Prerequisite: permission of the instructor enamel and metal techniques. There will be choose to meet virtually will still be able to bring work in to This advanced-level course introduces discussion and direction each week to help be fired and will have access to glazes and equipment. students to more complex forming to facilitate that design. Instructor approval processes and surface treatments such is required and completion of all the Advanced Ceramics I & II as forging, raising, patinas, and plastics. projects assigned in the first fourth levels. CER 4340, CER 4341 Independent development is emphasized Prerequisite: CER 3341 as students combine process with concepts In consultation with the instructor, each student proposes and content. a self-directed investigation, with clay as the medium for visual expression. During the semester, the student’s goals Beginning/Intermediate/Advanced and direction are discussed, methods of presentation are Jewelry: Enameling I & II addressed, and the student’s critical analyses of the work ENM 2362, ENM 2363, ENM 3362, are continually reviewed. Students will have the option to ENM 3363, ENM 4362, ENM 4363 meet either in the building or online via BlueJeans, Zoom, Prerequisite: 3DD 1304 (DRF 1301 is highly or a similar platform during the same class time to retain recommended) a communal environment. Students who choose to meet The first semester focuses on the virtually will still be able to bring work in to be fired and will techniques of stencil, graffito, and have access to glazes and equipment. cloisonné, exposing the beginning student to a wide range of approaches. The second Beginning Jewelry I & II semester introduces etching techniques JWL 2360, JWL 2361 for two projects, one on silver and one on Prerequisite: 3DD 1304 (DRF 1301 is highly recommended) copper, using the champlevé technique. This two-semester course is the basis for any further jewelry A third project includes enameling on explorations. In the first semester, students acquire the basic a chased or etched surface, or basse- skills needed to fabricate jewelry out of nonferrous metals taille. The intermediate student explores (copper, brass, nickel, sterling, and gold). A progression sawed plique-à-jour (backless enameling), of techniques—from sawing, riveting, and soldering to enameling on a hydraulically pressed form, bezel-stone setting—is combined with the refinement of and silkscreening enamels. Students at the design sensibilities and aesthetic considerations. The advanced level make decals and steel-cut second semester continues the development of fabrication dies for limited-edition production pieces. skills; examines the possibilities of content; and introduces More advanced classes may include additional techniques that explore texture, volume, and electroforming, painting, spraying enamels, alternative methods of setting stones. and other combinations of techniques.

Intermediate Jewelry I & II Advanced Enameling I & II JWL 3360, JWL 3361 ENM 4362, ENM 4363 Prerequisite: JWL 2361 Prerequisite: ENM 3363 The first semester of this two-semester course explores At the advanced level, the student is ready the lost-wax casting process with an emphasis on to use the technical information of the first matrix development. The second semester focuses on four semesters to create a more personal mechanisms as they apply to both jewelry and containers. direction. Each semester begins with Techniques included are hinges, clasps, and stone setting. several samples that will explore specific techniques. There will be demonstrations of each sample and group critique, discussion,

FALL 2020 28 29 FALL 2020 FALL 2020 CLASS SCHEDULE

ART HISTORY COURSES Art History Survey I: Caveman to Medieval ARH 307 A Thursday 10:00 a.m.–12:00 noon Online Only Tahinci

Art History: Pablo Picasso and His Artistic Legacy ARH 320 N Wednesday 2:00–4:00 p.m. Online Only Tahinci

Art History: Modern & Contemporary Art at the MFAH ARH 310 A Wednesday 10:00 a.m.–12:00 noon Online Only Tahinci

Art History: Women in Art ARH 312 A Thursday 2:00–4:00 p.m. Online Only Tahinci

2-D STUDIO COURSES 2-D Design 2DD 1303 A Monday 9:30 a.m.–12:30 p.m. In Person & Online Johnson NA Monday 6:30–9:30 p.m. In Person & Online Ponder

Drawing Fundamentals I DRF 1301 A Monday 1:00–4:00 p.m. In Person Only Bise NA Monday 6:30–9:30 p.m. In Person & Online Johnson D Tuesday 9:30 a.m.–12:30 p.m. In Person Only Johnson C Thursday 9:30 a.m.–12:30 p.m. In Person Only Kerl F Thursday 1:00–4:00 p.m. In Person Only Masson

Drawing Fundamentals II DRF 1302 C Tuesday 9:30 a.m.–12:30 p.m. Online Only Cosgrove D Wednesday 9:30 a.m.–12:30 p.m. In Person Only Masson

Intermediate/Advanced Drawing: Landscape Drawing I & II DRA 3314, DRA 3315, DRA 4314, DRA 4315 A Friday 9:30 a.m.–12:30 p.m. In Person Only Portman

Intermediate/Advanced Drawing: Ideas & Images I & II DRA 3318, DRA 3319, DRA 4318, DRA 4319 A Friday 9:30 a.m.–12:30 p.m. Online Only Cosgrove

FALL 2020 30 31 FALL 2020 Intermediate/Advanced Figurative Mixed Media I & II Beginning/Intermediate/Advanced Watercolor I & II DRA 3320, DRA 3321, DRA 4320, DRA 4321 WAT 2380, WAT 2381, WAT 3380, WAT 3381, WAT 4380, WAT 4381 A Tuesday 9:30 a.m.–12:30 p.m. Online Only Palmer A Wednesday 9:30 a.m.–12:30 p.m. In Person Only Kerl

Beginning Life Drawing I & II Beginning/Intermediate/Advanced Printmaking: Open Studio DRL 2310, DRL 2311 PRI 2304, PRI 3303, PRI 3304, PRI 4303, PRI 4304 C Monday 9:30 a.m.–12:30 p.m. In Person Only Kerl A Wednesday 9:30 a.m.–12:30 p.m. In Person Only Johnson NA Thursday 6:30–9:30 p.m. In Person Only Greenwalt Beginning Digital Photography I & II Intermediate/Advanced Life Drawing & Painting I & II COM 2316, COM 2317 DRL 3310, DRL 3311, DRL 4310, DRL 4311 A Monday 9:30 a.m.–12:30 p.m. In Person & Online Ponder B Tuesday 1:00–4:00 p.m. In Person Only Palmer N Tuesday 6:30–9:30 p.m. In Person & Online Ponder NA Thursday 6:30–9:30 p.m. In Person Only Greenwalt Intermediate Digital Photography I & II Color COM 3316, COM 3317 CLR 2306 A Tuesday 9:30 a.m.–12:30 p.m. Ponder B Thursday 9:30 a.m.–12:30 p.m. In Person & Online Ruello Photography: Basic Camera and Darkroom Techniques Beginning/Intermediate/Advanced Collage and Assemblage I & II PHO 1305 COL 2350, COL 2351, COL 3350, COL 3351, COL 4350, COL 4351 N Tuesday 6:30–9:30 p.m. In Person Only Blakemore A Monday 9:30 a.m.–12:30 p.m. Online Only Cosgrove Beginning/Intermediate Photography I & II Beginning Painting I & II PHO 2305, PHO 2308, PHO 3305, PHO 3308 PAI 2320, PAI 2321 N Wednesday 6:30–9:30 p.m. In Person Only Blakemore C Monday 9:30 a.m.–12:30 p.m. In Person & Online Ruello D Tuesday 1:00–4:00 p.m. In Person & Online Ruello Intermediate Photography I & II N Tuesday 6:30–9:30 p.m. In Person & Online Bise PHO 3305, PHO 3308 A Thursday 9:30 a.m.–12:30 p.m. In Person Only Masson B Wednesday 1:00–4:00 p.m. In Person Only Blakemore

Intermediate Painting I & II Advanced Photography I & II PAI 3320, PAI 3321 PHO 4305, PHO 4306 B Monday 9:30 a.m.–12:30 p.m. In Person & Online Portman A Thursday 9:30 a.m.–12:30 p.m. In Person Only Blakemore N Monday 6:30–9:30 p.m. In Person & Online Ruello N Thursday 6:30–9:30 p.m. In Person Only Blakemore C Tuesday 9:30 a.m.–12:30 p.m. In Person & Online Fuchs A Tuesday 1:00–4:00 p.m. In Person Only Masson CRITIQUE AND SEMINAR COURSES Advanced Works on Paper Critique I & II Intermediate/Advanced Abstract Painting I & II CRT 4396, CRT 4397 PAI 3322, PAI 3323, PAI 4322, PAI 4323 A Tuesday 9:30 a.m.–12:30 p.m. In Person & Online Ruello A Wednesday 1:00–4:00 p.m. In Person Only Masson Advanced Studio Critique I & II Advanced Painting I & II CRT 4394, CRT 4395 PAI 4320, PAI 4321 B Tuesday 1:00–4:00 p.m. In-Person & Online Fuchs N Tuesday 6:30–9:30 p.m. In Person & Online Portman B Wednesday 9:30 a.m.–12:30 p.m. In Person & Online Fuchs A Thursday 9:30 a.m.–12:30 p.m. In Person & Online Bise C Thursday 1:00–4:00 p.m. In Person & Online Portman

FALL 2020 32 33 FALL 2020 Advanced Studio BLOCK Intermediate Ceramics: Wheel-Throwing I & II CRT 4400 BLOCK Seminar CER 3348, CER 3349 A Friday 9:30 a.m.–12:30 p.m. In Person & Online August A Tuesday 9:30 a.m.–12:30 p.m. In Person Only Forster CRT 4401 BLOCK Critique B Friday 1:00–5:00 p.m. In Person & Online Fuchs Intermediate Ceramics: Narrative Sculpture I & II CER 3350, CER 3351 3-D STUDIO COURSES A Friday 9:30 a.m.–12:30 p.m. In Person & Online Dennard 3-D Design 3DD 1304 Advanced Ceramics I & II B Monday 1:00–4:00 p.m. In Person & Online Dennard CER 4340, CER 4341 A Tuesday 9:30 a.m.–12:30 p.m. In Person Only Garcia N Tuesday 6:30–9:30 p.m. In Person & Online Forster

Beginning Sculpture I & II Beginning Jewelry I & II SCU 2330, SCU 2331 JWL 2360, JWL 2361 N Monday 6:30–9:30 p.m. In Person & Online Hill A Tuesday 9:30 a.m.–12:30 p.m. In Person Only Zilker B Wednesday 9:30 a.m.–12:30 p.m. In Person & Online Hill Beginning/Intermediate Jewelry I & II Intermediate/Advanced Sculpture: Mixed Media I & II JWL 2360, JWL 2361, JWL 3360, JWL 3361 SCU 3333, SCU 3334, SCU 4333, SCU 4334 N Wednesday 6:30–9:30 p.m. In Person Only Falkenhagen A Tuesday 9:30 a.m.–12:30 p.m. In Person & Online Hill N Tuesday 6:30–9:30 p.m. In Person & Online Hill Intermediate Jewelry I & II JWL 3360, JWL 3361 Beginning/Intermediate/Advanced Foundry I & II A Wednesday 9:30 a.m.–12:30 p.m. In Person Only Zilker FOU 2335, FOU 2336, FOU 3335, FOU 3336, FOU 4335, FOU 4336 N Thursday 6:30–9:30 p.m. In Person Only Garcia Advanced Jewelry: Special Topics I & II JWL 4360, JWL 4361 Beginning Ceramics I & II A Thursday 9:30 a.m.–12:30 p.m. In Person Only Falkenhagen CER 2340, CER 2341 A Thursday 9:30 a.m.–12:30 p.m. In Person Only Forster Beginning/Intermediate/Advanced Jewelry: Enameling I & II N Thursday 6:30–9:30 p.m. In Person Only Dennard ENM 2362, ENM 2363, ENM 3362, ENM 3363, ENM 4362, ENM 4363 A Monday 9:30 a.m.–12:30 p.m. In Person Only Harrell Beginning/Intermediate Ceramics: Hand-Building I & II N Monday 6:30–9:30 p.m. In Person Only Harrell CER 2346, CER 2347, CER 3346, CER 3347 N Monday 6:30–9:30 p.m. In Person & Online Dennard Advanced Jewelry: Enameling I & II ENM 4362, ENM 4363 Intermediate Ceramics: Hand-Building I & II B Monday 1:00–4:00 p.m. In Person Only Harrell CER 3346, CER 3347 A Wednesday 9:30 a.m.–12:30 p.m. In Person Only Forster

Intermediate/Advanced Ceramics: Alchemy to Art: Glaze Materials CER 3356, CER 3357, CER 4356, CER 4357 A Wednesday 1:00–4:00 p.m. In Person Only Forster

FALL 2020 34 35 FALL 2020 STUDENT EVENTS Leadership Circle Online Art History Course Annual Gala For those who wish to contribute $2,500 The school hosts an annual gala and benefit or more and receive benefits that reach Registration Form throughout the Museum, the Leadership auction each spring. This event is the only DO NOT USE THIS FORM FOR STUDIO COURSES. fundraising event dedicated to the school, Circle offers exclusive access to the MFAH. Use this form to register for online art history courses by email or by mail. Please register early, and funds raised support operating costs for Leadership Circle members who designate as undersubscribed sections are canceled. the school’s programming. More information, a portion of or their entire gift to the Glassell including student ticket information, is School will also receive SAO benefits at the Workshops: Students must be at least 18 years of age and have completed high school or high available at the end of the spring semester. level of their Glassell donation school equivalency testing to enroll.

Lectures Student Information Both the Studio School and the Core Program sponsor a number of free lectures each year.  Previously enrolled  First time enrolled All students are encouraged to attend. More information on lectures is available in the MFAH calendar. Name

Levant Foundation Gallery The first-floor gallery shows the work of Address Phone Glassell-related artists, including students, faculty, and alumni. Annual shows include the City Zip code Juried Student Exhibition, the Block Show, and the Core Show.

Email address Leslie and Brad Bucher Gallery The second-floor gallery shows the work of the Core fellows program and related artists, Course number Day Time Instructor as well as the Certificate of Achievement program’s graduate exhibition at the end of the spring semester. Course number Day Time Instructor

Orton Gallery The third-floor gallery focuses on current Course number Day Time Instructor student work. Shows include departmental How did you hear about the Glassell School? work, fundamental-class work, first-semester  MFAH  Houston Chronicle  Web  Instagram  Other work, and faculty-selected exhibitions.

Kinder Morgan Exhibition Program The Glassell School of Art is proud to I have read and understand all admission requirements and policies, including the refund present a series of exhibitions at the Kinder policy available on the Glassell Studio School website (mfah.org/studioschool). By signing Morgan Building in downtown Houston. below, I also agree to charges to my credit card in the amount due. Registration will not be The series features artwork by Studio processed without signature of student. Proxy signatures not accepted. School faculty and students, highlighting the depth and variety of courses that the Glassell School offers. Information on each Signature exhibition, including how to submit work, is available from the administrative office. (Continued on next page)

FALL 2020 36 37 FALL 2020 MFAH Patron-Level Membership FACULTY AND STAFF Anderson, Richmond, VA), Yvonne Blakemore’s photographs have been writes letters to the sky (San Jacinto exhibited at the Whitney Museum of Community College, Houston, TX), and American Art 2006 Biennial, Day for Staff MFAH members at the Patron level and above are eligible for a 5% discount. Member benefits are To Weave Blue (University of Memphis, Night. Her twenty-year retrospective nontransferable and may be used only by persons on the member account. TN). She is founding director of (2009) at the Museum of Fine Arts, Joseph Havel Yvonne, a residential project space in Houston, traveled to the Seattle Director  I am not an MFAH member, but I would like to join, and my dues are included. Guatemala City, where she divides her Art Museum and the Oklahoma time with Houston. City Museum of Art. Art League (Select a level below to be eligible for 5% discount.) Jennifer Cronin Houston honored Blakemore as     Associate Director Michael Bise $200 Patron $350 Supporting $800 Sponsor $1,500 Benefactor the Texas Artist of the Year in 2015 MFA, University  I am an MFAH member. My information is below. and presented an accompanying of Houston; Patrick Palmer exhibition of her work. Blakemore BFA, University of Faculty Chair and Dean has exhibited with Inman Gallery in North Texas Houston for more than two decades. Name of member, as it appears on your membership card Sandra Zilker Michael Bise has [email protected] Associate Dean of Student Activities taught painting Charlotte at the Glassell School since 2013. Member ID # Expiration date Cosgrove Mathilde Bowen He received a BFA in drawing and (located under the bar code on your membership card) MFA, University Registrar painting from the University of North of Pennsylvania; Texas in 2001 and an MFA in drawing BA, Pennsylvania and painting from the University of For information about the many benefits of MFAH membership, visit mfah.org/member or call Shelby O’Dell State University 713-639-7550. Studio School Program Coordinator Houston in 2005. His work has been shown at the Contemporary Arts Museum Houston, the Art Museum Charlotte Cosgrove joined the Glassell Tuition and Fees Lindsay Kayser Communications Liaison & of Southeast Texas, the McKinney faculty in 1967, teaching studio and Assistant to the Director Avenue Contemporary in Dallas, and art history courses. She completed $______Tuition* $______Donation to Glassell School Fort Worth Contemporary Arts at TCU. a bachelor of applied art degree at He was the recipient of a Houston Arts Pennsylvania State University and an $______Total amount Faculty Alliance Individual Artist Grant and the MFA in painting from the University Hunting Art Prize, a finalist for Artadia of Pennsylvania. Solo exhibitions Tuition and lab fees for art history courses are listed on page 6. Tuition and lab fees for workshops are listed with each Laura August in 2014, and a nominee for the Texas include A Transitory Realm (2009) at course description. PhD, University of Contemporary Award in 2012. His work the Art Museum of Southeast Texas Texas at Austin; is in the collections of the Museum of in Beaumont and House of Shadows Payment MA, University of Fine Arts, Houston; the Houston Airport (2007) at the Ellen Noël Art Museum Texas at Austin; System; the City of Houston; and in Odessa, Texas. Cosgrove’s work BA, Georgia  My check is enclosed.  Charge payment to my credit card: the Art Museum of Southeast Texas, was part of Double Take (2001–02), a College & State Beaumont. He regularly contributes group exhibition that she organized  Visa  MasterCard  American Express  Discover University criticism and reviews for the online art and curated, which originated at the journal Glasstire. [email protected] Art League of Houston and traveled Laura August is a writer and around the state. Cosgrove’s work independent curator. She has received Amy Blakemore has been included in numerous Card number CVC Expiration date The Creative Capital | Andy Warhol Department Head, exhibitions throughout Texas and is Foundation Arts Writers Grant for her Photography in the permanent collection of the writing in Central America; The IDEA MFA, University Museum of Fine Arts, Houston; the Fund Stimulus Grant for her exhibition of Texas; BS, BA, Name as appears on card (please print) Name (signature) Art Museum of Southeast Texas; Mud & Blue; and the HAA Support for Drury College and private collections. Cosgrove Artists and Creative Individuals Grant also taught at the High School for for Studio Visit, a book of interviews Amy Blakemore the Performing and Visual Arts, Return completed form and full payment: with Houston artists. She served as has been teaching photography and cofounded a professional critic-in-residence at the Core Program at the Glassell School since 1985 By email: [email protected] By mail: photography business in Houston. at the Museum of Fine Arts, Houston, and is the head of the photography Studio School Registrar [email protected] from 2016–18. In 2018–19, she curated department. She received a BS in MFAH, Glassell School of Art citysinging (Lawndale, Houston, TX), psychology and a BA in art from P.O. Box 6826 Mud & Blue (Houston, TX), To look Drury College (now Drury University) Houston, TX 77265-6826 at the sea is to become what one is in Springfield, Missouri, and an MFA (Radiator Arts, New York, NY), The hurt from the University of Texas at Austin. can also be dyed blue (Centro Cultural She was also a Core Program Artist de España, Guatemala), Sanación (The in Residence at the Glassell School.

FALL 2020 38 39 FALL 2020 Sharon Dennard historical ornament, art history, to Houston in 1996 for the Core Rice University, and the Glassell have been executed in venues Bradley Kerl BA, University of and iconography. Residency Program of the Glassell School. For more than 20 years he throughout Texas, in cities such as MFA, University of Houston School of Art. Fuchs’s work has been has been represented by Houston’s Chicago and Baltimore, and countries Houston; Jeff Forster shown at the Modern Art Museum Hooks-Epstein Gallery. Most recently including France and Kenya, to name BFA, University of Sharon Dennard Department of Fort Worth; the Museum of Fine Greenwalt participated in an art and a few. He has received awards such North Texas has taught Head, Ceramics Arts, Houston; the Contemporary Arts pathology collaborative project with as the Artadia Houston Grand Prize ceramics at MFA, Southern Bradley Kerl is Museum Houston; and the Institute of the University of Texas Medical Branch and an Idea Fund Award, plus grants the Glassell Illinois University; a painter based Contemporary Arts, London, among and Galveston Arts Center. Through from Houston Arts Alliance (HAATX). School since 2003. Her relationship BA, St. John’s in Houston. He received his BFA others. She has been the recipient frequent cycles of forming, deforming, Hill continues to explore media as with visual art began in the fashion University from the University of North Texas of two Artadia Awards and three and reforming imagery, Greenwalt’s wide ranging as traditional materials industry. The forms, patterns, and in 2009, and has been an instructor Jeff Forster joined the Glassell Individual Artist Grants from the nondeterministic figures evolve on such as wood and steel to innovative colors used in clothing sparked of drawing and painting throughout School faculty in 2009 and is the City of Houston. She has taught at drawing surfaces parallel to the greater uses of sound to create sculptural a creativity and interest in design the Houston area since completing head of the ceramics department. He University of Virginia, Charlottesville; world in which nature and culture environments. He also employs the that led her to a degree in his MFA at the University of Houston has a BA from St. John’s University Rice University; and University of increasingly fuse in wonderful and use of many digital tools. Hill received photojournalism from the University in 2014. His work has been shown and an MFA from Southern Illinois Houston. Fuchs shows with Inman terrifying ways. [email protected] a BA in political theory, followed by of Houston. She continued her widely across Texas, including solo University. He has exhibited nationally Gallery in Houston and Talley Dunn an MFA in sculpture from Stephen F. studies at the Glassell School of Art Jan Harrell presentations at Jonathan Hopson and internationally, winning awards Gallery in Dallas. [email protected] Austin State University. [email protected] and expanded her interest from MFA, University Gallery, the Galveston Arts Center, including Juror’s Choice Award in photography to sculpture, working Carlos David of Houston; Liv Johnson and Art Palace; and in group Ceramic Object/Conceptual Material primarily in clay and wood. She has Garcia BFA, Texas Tech MFA, Texas Tech exhibitions in Houston, Dallas, and and the Luis Jiménez Award for First exhibited in galleries and museums Foundry Manager University University; Lubbock. Kerl’s work also appears Place in Sculpture on Campus at throughout the United States. Her MA, Royal College BA, University of in the recent publications New Southern Illinois University. Forster Jan Harrell is work has been featured in Southwest of Art, London; Hawaii at Hilo American Paintings No. 138 and was awarded the Helen Drutt Studio a metalsmith, Art, Texas Monthly, the Houston BFA, University Friend of the Artist: Volume 7. He is Fellowship with his residency at the enamelist, and educator who has Born and raised Chronicle, 500 Cups: Ceramic of Houston represented in Houston by Jonathan Houston Center for Contemporary been on the Glassell School faculty in Pahoa, Hawaii, Explorations of Utility & Grace, and Hopson Gallery. [email protected] Craft and completed residencies at Carlos Garcia began teaching as a since 1993, teaching enameling. Liv Johnson earned her BA at the PaperCity Magazine. Outside of the Lone Star College–North Harris and foundry instructor at the Glassell School Her love for glass and metal media University of Hawaii at Hilo. In 2015 she Arielle Masson studio, Dennard frequently juries the Armory Arts Center. Besides in the fall of 2019. Trained as a sculptor, was fueled by her early childhood moved to Lubbock where she earned MFA, University exhibitions and lectures on subjects teaching and maintaining a studio he has extensive experience working years in Japan and then grew into her MFA at Texas Tech University in of Houston; such as ceramic sculpture and design. practice, Forster sits on the Artist in with metals, wood, and a variety of her college and graduate-school printmaking and sculpture. While her MA, La Sorbonne, She also teaches at the High School Residence Committee at the Houston other media. His practice currently vocation and passion. Harrell teaches primary emphasis is in printmaking, France; BA, Lycée for Performing and Visual Arts. Center for Contemporary Craft and centers on bronze casting, using found workshops across the country and her work branches into multiple media, Français, Belgium [email protected] the Artist Advisory Committee for objects for inspiration for larger-scale participates in invitational and developing pieces that explore sound, Arielle Masson Diane Fresh Arts. He also served on the works. He earned his MA from the juried exhibitions. Her work is in the light, installation, and combine a wide joined the Glassell School faculty Falkenhagen board of the National Council on Royal College of Art in London and his permanent collection of the Houston variety of materials. Over the years she in 1990 and teaches painting and MFA, University Education for the Ceramic Arts for the BFA from the University of Houston. Airport System at IAH, the Kamm has organized and volunteered for drawing. She first studied fine art of Houston; 47th annual conference in Houston. He worked for Mike Smith Studios in Teapot Foundation, the Enamel Arts numerous community art events and drawing at L’École d’Art d’Uccle BFA, University [email protected] London, completing projects for artists Foundation, and several private has taught courses and workshops at Brussels, Belgium. She earned an MA of North Texas like Julian Opie, Sean Scully, and Mark collections. More than 15 books and universities and community studios. Francesca Fuchs in Latin American literature and did Wallinger. Now working in Houston, publications feature her work. Harrell She has also published the first Department postgraduate studies in linguistics at he has exhibited both in the U.K. and received a BFA from Texas Tech scientific illustrations of four new Diane Falkenhagen holds a BFA from Head, 2-D La Sorbonne. She received an MFAH in Texas. [email protected] University and an MFA in sculpture species of Cyrtandra in the peer- the University of North Texas and an MFA, fine arts/painting from the University of from the University of Houston. reviewed journal PhytoKeys. Her work MFA from the University of Houston. Kunstakademie Mark Greenwalt Houston. She was awarded a residency [email protected] has been shown across the country She is a native of Texas, but has also Düsseldorf, MFA, Pratt Institute, with the Core Residency Program and she has curated a number of lived for extended periods in Brazil, Germany; BFA, Brooklyn, NY; J Hill of the Glassell School and with the exhibitions. She now lives in Houston Alaska, and England. She maintains Wimbledon MA, Stephen MFA, BA, Stephen Brown Foundation Fellows Program where she continues to develop her a private studio on west Galveston School of Art, Great Britain; BA, Bristol F. Austin State F. Austin State at the Dora Maar House, Ménerbes, studio work at Burning Bones Press. Island. Falkenhagen is best known for University, Great Britain University, TX; BA, University France. She has extensively exhibited [email protected] her fabricated, one-of-a-kind jewelry. Stephen F. Austin in museums and galleries throughout Francesca Fuchs has taught at the J Hill has Her mixed-media compositions often State University, TX Texas, France, and Mexico, including Glassell School since 1997, where been teaching combine evocative pictorial imagery a solo exhibition at the Museum of she is head of the 2-D department. Mark Greenwalt is professor of art at sculpture at with fabricated metal forms and a Anthropology of Xalapa, Veracruz, She completed a BFA at London’s College of the Mainland and current the Glassell School since 1995. He diverse range of art media. Her work Mexico. Her studio practice includes all Wimbledon School of Art (now president of the Texas Association is a sculptor who has had multiple is an unconventional marriage of painting media and wall installations, Wimbledon College of Arts) in 1993 of Schools of Art. Prior to 2000, one-person and group exhibitions material and content that references with a specialization in the fabrication and an MFA at the Kunstakademie Greenwalt taught drawing and painting in galleries, nonprofits, and museum myriad interests including memory, and use of egg tempera and gouache Düsseldorf, Germany. Fuchs came courses for the University of Houston, spaces. Hill’s works and social projects metaphor, figuration, romanticism, paint. She has designed major public

FALL 2020 40 41 FALL 2020 artwork for the City of Houston, Brian Portman plus Ruello was a selected artist for the Cranbrook Academy of Art. Zilker’s including the MetroRail Transit. BFA, Rhode publication New American Paintings wild and colorful work has been [email protected] Island School (Issue 102). Ruello has worked exhibited worldwide. Several of Design collaboratively on both Transforma collections include her work: the Patrick M. Palmer Projects with Rick Lowe, Sam Durant, Museum of Fine Arts, Houston; the Faculty Chair & Brian Portman has Jessica Cusick, and Jess Garz and Racine Art Museum; Designmuseo, Dean of Students been an instructor Snack Projects with artist/curator Finland; and Norden Felske Kundi MFA, Arizona at the Glassell Michael Guidry. He is represented in Industrimuseum, Norway. Her work State University; School since 1999, teaching drawing Houston by Inman Gallery. has been published in numerous BA, University of and painting. He has a BFA from Rhode [email protected] books, including 500 Brooches, California, Santa Island School of Design where he was a 500 Bracelets, and 500 Plastic and Barbara European Honors Fellow. Other awards Anna Tahinci Resin Objects, as well as The Art of and fellowships include the Arch and PhD, DEA, BA, Patrick Palmer has been teaching Enameling by Linda Darty. She is on Anne Kimbrough Fund Award from the University of Paris painting at the Glassell School since the exhibition committee and has Dallas Museum of Art, an NEA grant, I, Panthéon- 1992 and has been the dean since 2010. served on the board of the Society and the Core Residency Program of the Sorbonne He also serves as faculty chair. He earned of North American Goldsmiths. Zilker Glassell School (1983–85). Portman’s a BA from the University of California, Dr. Anna Tahinci also serves on the board of Houston work is in the collections of the Santa Barbara in 1977 and an MFA joined the Center for Contemporary Craft and Museum of Fine Arts, Houston; Dallas from Arizona State University in 1979. Glassell School faculty in 2013. A native is past president of Houston Metal Museum of Art; Walker Art Center; Throughout his 40-plus years of painting, of Greece, she studied history and Arts Guild. The Houston Center for Museo Culterdad, Mexico City; the Palmer placed works in the Metropolitan archaeology in Athens and art history Contemporary Craft named her Blanton Museum; the Old Jail House Museum of Art in New York; the San and comparative literature at the Texas Master Artist in 2014. Museum; and the El Paso Museum of Francisco Museum of Modern Art; the Sorbonne (PhD on Rodin’s collectors), [email protected] Art. He has also given seminars for the Museum of Fine Arts, Houston; and and did museum studies at the École Museum’s education department. He many other prestigious museum and du Louvre. She has worked at the was juror for Art on the Avenue. He university collections. Palmer’s current Musée Rodin, the Musée d’Orsay, has exhibited locally, nationally, and paintings revisit an often-examined the Louvre, and the Harvard Art internationally. In 2010, he was featured theme using abstracted figures/heads Museums. She has taught at Boston in Catherine D. Anspon’s book, Texas edged with some psychological intrigue. University, Paris; the University of Artists Today. He is represented by [email protected] Minnesota; Macalester College; and Meredith Long & Company, Houston. the Minneapolis College of Art and Mark Ponder [email protected] Design. She cocurated the sculpture MFA, Southern Robert Ruello exhibition that was organized in Athens Illinois University; MFA, Columbia for the Olympic Games in 2004 and BFA, Lamar University; BFA, the exhibition Rodin and America University School of the at the Cantor Arts Center, Stanford Mark Ponder Art Institute of University in 2011. She teaches a wide joined the Chicago; range of art history courses from cave Glassell School faculty in 2014 and BA, Loyola to contemporary, and her research teaches digital photography and University interests and publications include design. He received a BFA in graphic French art and women in art. Robert Ruello joined the Glassell design from Lamar University in 2005 [email protected] School faculty in 2008. He is a visual and an MFA in drawing and painting artist working in both digital and Sandra Zilker from Southern Illinois University, traditional media. Ruello received an Department Carbondale in 2009. His work has MFA from Columbia University in New Head, Jewelry & shown at GalleryHOMELAND in York City, a BFA from the School of Associate Dean Houston, Lawndale Art Center in the Art Institute of Chicago, and a BA MFA, Cranbrook Houston, Big Medium in Austin, in psychology from Loyola University Academy of Art; Acadiana Center for the Arts in in New Orleans. Artist residencies BFA, University of Lafayette, and BravinLee Programs in include the Core Residency Program Houston New York. He was the recipient of the of the Glassell School, the Skowhegan Louis Comfort Tiffany Grant in 2014. Sandie Zilker joined Glassell in 1974 School of Painting and Sculpture, [email protected] and is now department head of and the Brown Foundation Fellows jewelry/enamel and the associate Program at the Dora Maar House. dean of student activities. She Honors include a painting fellowship earned a BFA from the University from the National Endowment for the of Houston and an MFA from Arts and a Gottlieb Foundation grant,

FALL 2020 42 43 FALL 2020 THE ANNUAL FUND DRIVE SUPPORTS THE GLASSELL SCHOOL OF ART Operational costs for the Glassell School are not covered by tuition alone. The Glassell School relies on generous contributions from students and alumni who contribute to the Glassell School Annual Fund Drive. These important donations provide for the most basic, day-to-day necessities of the school. From providing essential upkeep of the facilities and supporting the faculty and staff to enabling scholarships, affordable tuition rates, and special programs, the Glassell School Annual Fund Drive is critical for the ongoing success of the school.

For more information about the Annual Fund Drives or the Leadership Circle, please contact Haley Horan, senior development officer, annual campaigns, at 713-639-7559, or [email protected].

We wish to thank and recognize those who made recent contributions to the Glassell School of Art Annual Fund Drive:

LEADERSHIP CIRCLE Chairman’s Circle Fellows The Glassell Family Mr. and Mrs. W. Douglas Ankenman, Jr. Leslie and Brad Bucher Ms. Janet M. Bates and Ms. Elisabeth Bates Sue and Rusty Burnett Mrs. Karen A. Bradshaw The Brown Foundation, Inc. Director’s Circle Mrs. Jerry Ann Woodfin-Costa and Ellen and David Berman Mr. Victor Costa Mr. and Mrs. Peter R. Coneway Mr. and Mrs. George A. Hawkins Mr. and Mrs. Jamal H. Daniel Ms. Julia Hayes Mr. and Mrs. David Marsh Mr. and Mrs. William Palmer Hayes John P. McGovern Foundation Ms. Catherine J. Leachman Ms. Bobbie Nau Mrs. Fred R. Lummis Mr. and Mrs. John S. Orton Mr. and Mrs. William K. Matthews III The Powell Foundation Mr. and Mrs. John T. McCauley Mr. and Mrs. Scott McCool The Gallery Ms. Clare T. Casademont and Ms. Priscilla R. Angly and Mr. Miles Smith Mr. Michael M. Metz Ms. Bettie Cartwright Mr. and Mrs. Scott Nyquist Mrs. Jereann H. Chaney Mr. and Mrs. Thomas R. Reckling III Ms. Sara Paschall Dodd Mr. and Mrs. H. John Riley, Jr. Mr. and Mrs. Michael Gamson Mr. and Mrs. Stephen J. Smith Mr. Samuel F. Gorman Mr. and Mrs. Russell M. Windham Ms. Cecily E. Horton Mr. and Mrs. William A. Wise Mrs. Cornelia Long Mrs. Cyvia G. Wolff Ms. Beth Robertson and Mr. Steve Pearce

FALL 2020 44 45 FALL 2020 $1,000—$2,499 $250—$999 (cont.) Melza and Ted Barr Mr. and Mrs. Mike Huber Mr. and Mrs. Jack S. Blanton, Jr. Ms. Claudia Huthnance Mr. and Mrs. Laurence C. Burns, Jr. Ms. Annie Wang and Mr. Zerong Jiang Mr. Charles Butt Ms. Susan Johnston Dr. and Mrs. William A. Coe Mrs. Dell Jones Mr. and Mrs. Holcombe Crosswell Ms. Donna Keys Mr. and Mrs. Antonio D’Andrea Ms. Anne Lamkin Kinder Ms. Julia M. Flowers Mr. and Mrs. Curtis T. Klement Mr. and Mrs. Marvin Kaplan Dr. and Mrs. Ernst L. Leiss Mr. and Mrs. I. H. Kempner III Mr. Carl Lockstedt Mr. and Mrs. Stan Lloyd Mr. and Mrs. George H. Martin Mr. and Mrs. Rodney H. Margolis Dr. V. Reid Sutton and Mr. Joseph B. Nagar Mr. Gary Mercer Mr. and Mrs. Ed Nasta Ms. Karen J. Minich Dr. and Mrs. Donald W. Owens Mr. and Mrs. Michael Sigman Ms. Viju Padmanabhan and Dr. Ruth Simmons Mr. Gautham Suresh Mr. and Mrs. William A. Smith Mr. and Mrs. Perry J. Radoff Mr. and Mrs. William S. Sparks Ms. Katherine Rider Ms. Ann G. Trammell Ms. Ellen M. Hauge and Mr. John Riola Mr. and Mrs. Conrad Weil, Jr. Dr. Paula J. Runté Mr. and Mrs. Thomas F. Wessel Mr. John-Davis Rutkauskas Mr. and Mrs. Robert B. Westendarp Ms. Kelly Gaye Simmons Ms. Bebe Woolley Ms. Hilde Stapleton Ms. Cynthia Toles $250—$999 Ms. Ann M. Trickel Mrs. Elizabeth D. Alcorn Mr. and Mrs. James G. Ulmer Ms. Gloria Alford Mrs. Paul Elliott Van Hook Mr. and Mrs. Robert B. Bennett Mr. and Mrs. Robert R. Weir Mr. John C. Boehm Carly and Michael West Mr. and Mrs. Richard Brose Mrs. Deanne T. White Ms. Shoko Kadowaki Bullock Mr. and Mrs. Welcome W. Wilson, Sr. Ms. Kathy Cannon Mr. and Mrs. Damien Carey Dr. Angela Chen Mr. and Mrs. Philip C. Chou Ms. Kathy Collins and Mr. Adam Rose Mr. and Mrs. David P. Cotellesse Marie Fay and S. K. Evnochides Fisher Investments Mr. and Mrs. Harvey Fitzpatrick Mr. and Mrs. Anthony M. Gatti The above list includes the names of all donors Ms. Janice Mullin Avery and through press time. Dr. Teruhiko Hagiwara Ms. Sharon Willcutts and Mr. Dan Havel Mr. and Mrs. Raymond Holland Ms. Ya-Ling Hsiao

FALL 2020 46 47 FALL 2020 µ˙The Museum of Fine Arts, Houston P.O. BOX 6826 HOUSTON, TX 77265-6826 Nonprofit Org. U.S. Postage PAID Houston, TX THE Permit No. 214 Glassell School GLASSELL of Art 1 CAROLINE WIESS LAW BUILDING 2 AUDREY JONES BECK BUILDING SCHOOL 3 VISITORS CENTER & PARKING GARAGE OF ART 4 LILLIE & HUGH ROY CULLEN SCULPTURE GARDEN 5 GLASSELL SCHOOL OF ART STUDIO P PARKING

SCHOOL Visitors Center 5101 MONTROSE BLVD. HOUSTON, TX 77006 713-639-7500 • [email protected]