2019 COURSE CATALOG
SPRING THE GLASSELL SCHOOL OF ART STUDIO SCHOOL
µ˙The Museum Of Fine Arts, Houston mfah.org/studioschool Cover: Photograph by Allyson Huntsman WELCOME We are delighted to present the spring catalog, with course selections for the second semester in the magnificent Glassell School building. The enthusiasm generated by our wonderful facilities was tangible this fall semester, with the students inspired by their new environment. And we have just begun! Now that we are fully moved in and completely operational, look for additional exciting opportunities to learn about art, explore your own creativity, and develop the skills to express yourself. We are offering several innovative courses this spring semester, including metalworking; an advanced critique course; and an art history class dedicated to Vincent van Gogh that complements the special exhibition Vincent van Gogh: His Life in Art, on view at the Museum of Fine Arts, Houston, March 10 through June 27, 2019. Along with these recent additions, we continue with a full curriculum of 2-D and 3-D programs, enhanced by updated equipment and studios. We also offer more chances to explore digital media, both in focused classes and integrated into more traditional media. Come visit us and take a class at the new Glassell, where we have excellent teaching artists and scholars, plus exceptional facilities on the campus of a major museum.
Joseph Havel Director, The Glassell School of Art The Museum of Fine Arts, Houston
1 SPRING 2019 Contents Academic Calendar
4 General Information November 12–December 3 Preregistration for current students for spring 4 Admissions 2019 semester
6 Tuition Discounts for MFAH Members January 15–16 11:00 a.m.—6:00 p.m. 6 Tuition and Fees Registration and faculty counseling for new and continuing students 7 Payment and Refund Policy January 17 8 Student Policies 11:00 a.m.–4:00 p.m. Registration and faculty counseling for new 10 Certificate of Achievement and continuing students
12 Course Descriptions January 17 Last day enrolled students can change class 23 Class Schedule schedules. Last day to drop studio and art history courses and receive a refund 31 Workshops (minus $100 processing fee).
36 Student Events January 21 Martin Luther King, Jr. holiday, 37 Registration Form for Art History Glassell offices closed Courses & Workshops January 24 39 Faculty and Staff Spring semester begins
March 4 47 Annual Fund Drive Scholarship portfolios due for fall 2019 semester
March 11–17 Spring break, no classes
April 1–May 10 Preregistration for current students for summer 2019 semester
April 15–May 10 Priority registration for current students for fall 2019 semester
April 18–21 Easter break, no classes
May 10 Photograph by Carrithers Studio Spring semester ends
SPRING 2019 2 3 FALL 2018 GENERAL INFORMATION ADMISSIONS Originally founded as the Museum School The school provides art history, workshop, and in the late 1920s, as part of the Museum of studio courses for adults. Students must be Fine Arts, Houston, the Glassell School of at least 18 years of age to attend any studio Art has grown for almost 100 years, through courses or workshops. Students younger than several buildings, to a dynamic and diverse 18 may enroll in courses (offered during the fall program today, encompassing classes for and spring semesters) with the permission of students of all ages. Named for Houston their legal guardian and the dean. Questions businessman and arts patron Alfred C. regarding permission may be directed to the Glassell, Jr., the school offers programs and dean. Students enrolled in the Studio School classes in all media areas, and for all skill courses are expected to actively participate in and experience levels. their courses and to work toward the improved development of their artistic practices. The school’s new building, designed by Steven Students at advanced levels looking to work Holl Architects and opened in 2018, provides independently must have faculty approval more than 80,000 square feet of classroom for their projects and be registered for either and exhibition space. With 22 classrooms, advanced-level courses or independent study. an 80-seat auditorium, and year-round The school uses English as the medium of programming for children and adults, the instruction, and all students are assumed to Glassell School of Art serves more than 7,000 have proficiency in English, particularly with students per year, offering a wide range of regard to understanding statements and studio, lecture, and workshop programming instructions about safety and equipment for students at all ages and skill levels. operation. Due to class-size limitations, the Studio School does not allow enrollment solely for the use of equipment and facilities, nor offer GENERAL POLICIES rental of studio time, equipment, or facilities for The Glassell School of Art is part of the working artists. Museum of Fine Arts, Houston (MFAH); and as such, complies with all policies and procedures of the MFAH, as appropriate, for the proper PREREQUISITES AND administration and management of the school. REGISTRATION The school reserves the right to amend, Registrations are not accepted by phone. add, and delete policies and regulations Undersubscribed sections are canceled at the as necessary, as well as the right to change discretion of the Glassell School. programs, dates, personnel, and fees noted in this schedule. Any photos, videos, pictorial Art history courses and most workshops do images, voice recordings, or quotations taken not have any prerequisites, unless specifically or created by the MFAH (including without noted in description. Students may register for limitation any taken by any photographer or art history courses and workshops in person, videographer paid by or volunteering for the by mail, or by fax. Use the form on page 37 or MFAH) during or relating to the course are the go to mfah.org/glassell to download a form. sole property of the MFAH and may be used in future publications, web pages, promotions, All new students enrolling in studio courses advertisements, and exhibitions of the school must register in person in order to attend or the MFAH or any other person authorized mandatory faculty counseling. Continuing to use such images by the school or MFAH students may register in person, by mail, without the need of additional permission from or by fax, as long as their form is signed by or consideration to the student. an instructor (should the class they wish to
SPRING 2019 4 enroll in require approval). Studio course end of the semester’s registration period. registrations are not accepted via third- Students who do not furnish transcripts party representatives. by this deadline may be dropped from all classes with no tuition refund. Transfer credit Students may skip prerequisite courses will be evaluated on a case-by-case basis by only if their student file contains one of a faculty counselor, in conjunction with the the following: 1) documentation that registrar’s review of the student’s transcript. the prerequisite was waived by a faculty counselor or 2) a transcript showing that the prerequisite was completed at another INTERNATIONAL STUDENTS institution. Students must repeat any The Glassell School is not able to grant prerequisite courses in which they received F1 student visas to international students grades of W, DR, or F. seeking to study studio arts.
Each level of a studio course consists of two STUDIO SCHOOL semesters. Students are expected to enroll in SCHOLARSHIPS each semester in numerical sequence without A limited number of scholarships are skipping semesters, unless the student’s available each fall and spring semester for record file contains either 1) a transcript both studio and art history courses. These showing completion of similar course work merit-based scholarships are awarded at another institution or 2) faculty approval. through a portfolio review by a panel of Additionally, students are expected to Studio School faculty. Scholarships are progress through the levels at a reasonable funded through proceeds from the Annual rate of study. Students may repeat levels only Student Sale as well as privately funded with faculty approval. grants. Scholarships are available to students at all levels but are awarded solely based FACULTY COUNSELING AND on the quality of the artwork submitted through portfolios. Scholarships are not PLACEMENT awarded based on financial need. For more Faculty counseling is held prior to the information, visit mfah.org/studioschool or start of each semester to place students call 713-639-7500. into courses commensurate with their experience and skills. The counseling sessions allow each student to discuss FREE MUSEUM ADMISSION goals with a faculty member, who also The Museum of Fine Arts, Houston, is the evaluates the student’s experience based largest art museum in the Southwest, and its on a review of a portfolio, Glassell School of encyclopedic collections are an exceptional Art academic records, or a transcript from resource for learning about the visual arts from a another institution. worldwide perspective. Studio School students receive free general admission to the Museum TRANSFER CREDIT (excluding ticketed exhibitions and events). Students wishing to transfer credits from other institutions must submit official transcripts and a portfolio for review. Portfolios should be submitted during registration to be reviewed during faculty counseling. Official transcripts must be provided no later than one month after the
5 SPRING 2019 TUITION DISCOUNTS Tuition covers the cost of the class. Class fees The Glassell School of Art offers a number are charged separately, and include scaled of discounts. All discounts are applicable to fees for appropriate use and maintenance tuition only, and not to class fees. Class fees are of equipment in all studios, purchase of bulk added to the transaction after discounts have supplies (chemicals, glazes, and inks) in various been applied. Only one discount may be used areas, disposal of hazardous waste, and usage per registration. of figure models in scheduled classes and figure drawing lab sessions. Tuition rates are listed below for courses in various areas and MFAH MEMBERS reflect the appropriate scaled fee for use of Become a Museum member today and school-provided resources. receive a discount on classes at the Glassell School of Art. Personal supplies such as paints, canvas, Museum members receive year-round free brushes, clay, tools, photographic paper, general admission to the Museum, invitations to lenses, cameras, and other materials are not members-only events and exhibition previews, included in these fees, and it is expected and are eligible for discounts on film tickets, that students will provide these materials purchases in the MFAH Shop, admission to both for themselves. Supply lists are provided by Bayou Bend and Rienzi, and much more. instructors at the first class meeting.
Museum members at the Patron level and Tuition for Full-Time Students above are eligible for a 10% discount off tuition Students enrolling in a full-time schedule only on one course or workshop per semester (4 courses per semester) are eligible for a for two adults in the same member household. 20% discount off their total cost of tuition The maximum discount available to Patron level (class fees included). members is $70 off tuition on a studio course. Tuition for Part-Time Students MFAH Docents Studio Courses (3 hours) Currently active MFAH docents (including $700 tuition, $25 fee: $725 each docents at Bayou Bend and Rienzi) are eligible 2-D Design for a 40% discount off tuition for art history 3-D Design classes and a 20% discount off all other Collage & Assemblage courses and workshops. Docents must present Color a docent ID with the registration form. Critique Digital Photography MFAH Staff Drawing Current MFAH staff are eligible for a 40% Drawing Fundamentals discount off any course or workshop Painting tuition. Staff must present a staff ID with the Seminar registration form. Watercolor Studio Courses (3 hours) $700 tuition, $100 fee: $800 each TUITION AND FEES Ceramics The Glassell School of Art does not offer Digital Sculpture payment plans. All tuition and fees are due in Enameling full at the time of registration. Workshops are Foundry priced individually. Jewelry Life Drawing
SPRING 2019 6 Life Painting in the original transaction, the school does Photography not maintain swiped credit card information Printmaking/Monoprint on file. Refunds in these situations will be Sculpture processed by check. Refunds by check are Art History Courses $500 each sent via U.S. mail and may take up to three Study Abroad Program $2,500 each (3) weeks to process. Greek Art: From Cycladic to Contemporary Travel expenses, meals, and accommodations Students wishing to drop a workshop and are not included and will be paid by each receive a refund must submit a drop form one student individually. (1) week prior to the start of the workshop. Refunds will be processed for the full amount of the workshop costs, minus a $50 processing PAYMENT AND REFUND POLICY fee. The school does not offer prorated refunds The school requires a minimum number of or credits for individual sessions of courses students in order to hold a class. Students or workshops that are canceled for reasons enrolled in classes that are canceled beyond the school’s control, such as weather because of low enrollment will be notified or unexpected absence of the instructor. by the registrar prior to the start of the semester and given an opportunity to Medical Drop Policy enroll in another class or receive a full 100% In the case of serious illness or injury refund or credit. necessitating the student’s withdrawal from the school, it is the responsibility of the Adding/Dropping/Withdrawing student to notify the registrar immediately. Students wishing to add or drop must Requests will only be honored if the complete an add/drop form, available at student submits documentation from his/ mfah.org/glassell and in the registrar’s her physician that a withdrawal from the office. All courses are considered closed course is medically necessary. A tuition after the first class meeting, and permission credit will be issued for the student to of the instructor is required to add into take the course in a future semester. a course. Additional tuition charges and The registrar will process the student out refunds are processed as appropriate. as appropriate, including initiating any Any student submitting more than one credit, and notify the student’s instructor(s). (1) add/drop form per semester will be Instructors cannot initiate or complete the charged a processing fee of $50 for each withdrawal process on behalf of a student, additional form submitted. nor initiate any refund or credit processes.
Students dropping a class must inform the Credits registrar and complete an add/drop form Once issued, credits for dropped courses no later than stated drop date in calendar. or workshops cannot be exchanged for a Refunds will be processed for the full monetary refund. Credits remain on file for amount of tuition, minus a $100 processing two (2) semesters before expiring. Credits fee. After that date, which is listed in the are filed in the dollar amount originally paid, calendar for each semester, no credits or not as placement in a particular course or refunds are given. Refunds are processed workshop. If a student uses a credit on file, through the MFAH accounting department and later drops the course, the student forfeits and, in most cases, are processed through that credit. It does not remain on file, nor does the original method of payment. In cases it roll into the next semester. where the student’s credit card was swiped
7 SPRING 2019 STUDENT POLICIES a Pass/Fail (P/F). Students who have chosen Homework Pass/Fail (P/F) grades may petition for letter Each studio course requires a minimum of grades within two years of taking the course. three hours of homework per week. Students After two years, grades cannot be changed. enrolled through the University of St. Thomas are expected to produce three hours of Letter Grades additional homework per course to fulfill the Letter grades range from A to F: A credit-hour requirements. (Excellent), B (Good), C (Average), D (Below Average), and F (Fail). Pluses and minuses Attendance may be used with letter grades, with the Each student is permitted three (3) absences highest grade given being A. per semester. Four (4) or more absences may result in dismissal or a grade of F (Fail) Incomplete if the student fails to complete assignments A notation of I (Incomplete) is given if that were scheduled during the absence(s). the student is unable to complete the Registered students who fail to attend any assignments of the course for reasons classes in a given semester will receive a W beyond the student’s control, including (Withdrawn) on their transcript. Instructors illness. The student must notify the reserve the right to drop a student who instructor and receive approval to obtain an has been absent from the first two (2) class incomplete. An incomplete must be resolved meetings. In this case, refunds and/or credits prior to the start date of the following will not be issued and the student will semester or it becomes an F grade. receive a W on their transcript. Withdrawn/Dropped Discipline/Dismissal To withdraw from a class, a student must The Glassell School reserves the right complete the add/drop form and notify to remove students from classes for the registrar. The student will receive a W unsatisfactory achievement, excessive (Withdrawn) on his/her transcript. absences, or behavior that is deemed to be rude, disruptive, inappropriate, dangerous, Workshops or in violation of school health and safety Students enrolled in workshops will regulations. Individual instructors maintain receive grades of S (Satisfactory) or U the right to dismiss a student from a class (Unsatisfactory). Satisfactory completion of with a warning, and to remove a student workshops earns one elective credit hour. permanently from a class for repeated offenses. In the event of subsequent Lockers and Personal Property behavior problems, the student will be A limited number of lockers are available dismissed with no refund and no access to in specific classes and designated areas for further programming. Students may also student use during the registered semester. be dismissed for nonpayment of any tuition The school does not guarantee a locker for and fees, past or present, and for unlawful each student. At registration, the student possession or use of drugs and/or alcohol. releases and discharges the school and the MFAH from any liability or claim of liability for any damage to or loss of personal Grading Grades are issued at the end of each property, including artwork. All artwork and semester and are mailed to each student. A personal property left at the school between student may elect to receive a letter grade or semesters is discarded. The school, the
SPRING 2019 8 MFAH, and their agents or designees are Transcripts not liable for damage to or loss of personal Students requesting transcripts must submit property left unattended. (Instructors will a written request and appropriate payment provide additional information about lockers to the registrar. Transcripts cost $5 per copy. during course introductions.) Request forms are available at mfah.org/ glassell and from the registrar. Transcript Parking requests will not be processed if the student Parking is available in the MFAH Montrose owes any fees. Students may also mail a Garage (located directly under the Glassell request in writing to: School of Art). Enrolled students will receive free parking sufficient to attend their weekly Registrar, Studio School class and one additional open studio or MFAH Glassell School of Art, P. O. Box 6826 scheduled lab session per week for the Houston, TX 77265-6826 duration of the semester, for each class enrollment. Lost parking cards will not be Requests must include the full name of the replaced without a fee. Additional parking will student, last semester attended, and the be at the student’s own expense and at the full mailing address with zip code for the posted rates for the MFAH Montrose Garage. location(s) where the transcripts are to be The school, the MFAH, and their agents or sent. Alternatively, the student may pick designees are not liable for damage or loss to up transcripts in person. In-person pick-up vehicles or the contents of vehicles parked in requests must include a telephone number so or around designated areas. that the registrar can contact the student when the transcripts are available. Allow at least 3 Release of Information business days for transcripts to be completed. The school maintains records for all current and past students. Student information is released only to the student or designated representative. Designation forms are available at mfah.org/glassell and from the registrar and must be on file for information to be released to anyone other than the student. Exceptions may be made for health and safety emergencies or to comply with legally issued subpoenas.
Safety The school is committed to the safety of its students, faculty, and staff. As such, the school has prepared a Health and Safety Manual. This document is available from the administrative offices, and a copy is kept in all studios and classrooms. Students are expected to follow safety procedures as outlined in the manual as well as comply with any safety information distributed by instructors. Students who fail to follow safety instructions may be dismissed from the school, as outlined in the discipline policy.
9 SPRING 2019 CERTIFICATE OF ACHIEVEMENT Subject/Course A comprehensive fine arts program has Credits been developed in which students work Art history electives 12 toward a Certificate of Achievement in one of the following subjects: drawing, painting, 2-D Design 2DD 1303 6 photography, printmaking, sculpture, and 3-D Design 3DD 1304 ceramics, or jewelry. Drawing Fundamentals 6 DRF 1301, DRF 1302 A student may begin this program at any point. The program provides students with the Life Drawing 6 necessary foundation for continued studies DRL 2310, DRL 2311 at an intermediate or advanced level in their major field. A wide range of course offerings Major field of study 24 for elective credits supplements the major field 2-D courses (other than major) 9 of study. 3-D courses (other than major) 9 Upon the student’s satisfactory completion of 96 specific credits, the student’s work General electives 24 is reviewed and approved by a certificate Total 96 committee made up of Studio School faculty.
Students may transfer 12 foundation-level Certificate of Achievement credits, 6 art history credits, and 6 life Requirements drawing credits from another post-secondary Students earn three hours of credit for institution, with the approval of the dean each successfully completed and the registrar. Students interested in (grade C or above) course per semester. the Certificate of Achievement program As of the fall 2008 semester, certificate should call 713-639-7500 to schedule an students are required to receive a letter appointment with the dean. grade. Pass/Fail grades received prior to fall 2008 will still be accepted toward certificate credits. Workshops are not eligible for credit toward the Certificate of Achievement.
Photograph by Allyson Huntsman
SPRING 2019 10 11 SPRING 2019 SPRING 2019 COURSE DESCRIPTIONS
ART HISTORY as James Turrell, time, motion, light, and Art History Survey 2: even sound have not only been fair game as Renaissance to Contemporary subject matter but these elements have been ARH 307-2 actual media used by painters and sculptors This course explores the development of as they make their work. This course walks Western art from the Renaissance to the through modern and contemporary art and present. The class is structured chronologically culture as artists explore the use of these and is designed to encourage a critical “intangible” materials as a component of understanding of the meaning and function of their artwork. selected art objects, architecture, and design artifacts within their original historical contexts. Art History: Vincent van Gogh: His Life in Art Emphasis is placed on a visual and verbal ARH 400 examination and analysis, as well as discussion This course offers a unique opportunity to of societal and historical contexts of all the survey Vincent van Gogh as one the most major stylistic and thematic trends in Western influential Post-Impressionist artists. Van artistic tradition. Slide presentations and case Gogh’s art making will be examined in relation studies of individual museum objects are to major currents and themes in European incorporated in the survey. art, history, and culture. This fourteen-week program is offered in conjunction with the Art Appreciation: The Formal Elements of special exhibition Vincent van Gogh: His Art and the Principles of Design Life in Art, on view at the Museum of Fine ARH 321 Arts, Houston, March 10–June 27, 2019, This introduction to art history is a global and will highlight current scholarship and investigation of artistic styles, methods of conversations in order to reassess Van Gogh’s artistic production, media, and techniques. A unique vision and his legacy to the art world. variety of artwork mostly from the permanent Students develop observational skills and collection of the Museum of Fine Arts, critical thinking through visual and verbal Houston, is analyzed and defined in relation to examination and analysis. Slide presentations formal elements (line, space, light and color, and case studies of individual artworks form, texture, and pattern) and the principles are incorporated in the class. Visits to the of design (balance, scale, proportion, rhythm, exhibition will be an integral part of the course. unity, and variety). Universal themes are studied within historical, political, economic, Study Abroad Greek Art: From Cycladic sociological, conceptual, and aesthetic to Contemporary contexts. Students develop observational skills ARH 401 and critical thinking through visual and verbal Class limited to two sessions of 18 students examination and analysis. Slide presentations each; dean’s approval required to sign up. and case studies of individual museum objects are incorporated in the class. Four preparatory lectures on Thursdays, 4/18, 4/25, 5/2, and 5/9, 7:00–9:00 p.m. in the Art History: Contemporary Sculpture Glassell School’s Favrot Auditorium. Most of ARH 325 the instruction takes place in Greece during From at least the Futurist artist Umberto the five-day field trip in May 2019 (Session 1: Boccioni through contemporary artists such May 20–24, 2019; Session 2: May 27–31, 2019).
SPRING 2019 12 In this study abroad program, four exploration of different representational preparatory lectures in the Glassell School’s techniques in black-and-white media and auditorium offer a panoramic overview of the development of visual awareness and Greek art and museums in Athens. Then, discrimination. Critiques and demonstrations students visit a curated selection of museums occur throughout the semester. and sites in Greece for a five-day trip, with 20 hours of instruction, Monday to Friday. Drawing Fundamentals II On-site visits are structured chronologically DRF 1302 and thematically. The first two days, students Prerequisite: DRF 1301 explore ancient Greek art, with visits to the The second semester of Drawing Cycladic Art Museum, the Acropolis Museum, Fundamentals continues to develop the and the Archaeological Museum. On the student’s visual and technical skills in various third day, a day excursion to Delphi allows an black-and-white media as initiated in the first in-depth exploration of the ancient sanctuary semester. In addition, basic color theory is of oracle Pythia and its museum. The last introduced as color concepts are applied to two days focus on museums and spaces of the drawing process. Broader approaches modern and contemporary art. A day cruise to a more complex range of subject matter to the artsy and cosmopolitan island of Hydra are explored. Critiques and demonstrations concludes the program. Two optional studio occur throughout the semester. sessions will be offered each week. (Course worth: 3 credits). Intermediate/Advanced Drawing DRA 3312, DRA 3313, DRA 4312, DRA 4313 2-D COURSES Prerequisites: DRF 1302 and 2DD 1303 2-D Design Drawing is a fruitful medium for creative 2DD 1303 research, a way of processing and trying out Students are introduced to basic design new ideas before translating them to other elements that are specific to two-dimensional media. Intermediate/Advanced Drawing work. Classroom exercises and homework combines studio work, critique, and slide assignments help students visually organize lectures. Students explore ideas through and understand formal issues such as pattern mixed-media works on paper. Homework and rhythm, and the effects of line, shape, assignments, critiques, and demonstrations value, texture, and color on a flat surface. A occur throughout the semester. variety of materials, including colored paper, glue, markers, and paint are employed to Intermediate/Advanced Drawing: provide students with many options for their Ideas & Images work. Critiques and demonstrations occur DRA 3318, DRA 3319, DRA 4318, DRA 4319 throughout the semester. Prerequisites: DRF 1302 and 2DD 1303 Drawing is about observing, documenting, Drawing Fundamentals I communicating ideas, unleashing the DRF 1301 imagination, and questioning the world we In this introductory course, students learn to live in. This course focuses on a series of transpose 3-D objects into 2-D equivalents. topics including personal narrative, the natural While studying the relationships between and industrial landscape, objects dissected planes and evaluating proportions, and transformed, social and political issues, students develop perceptual skills in and investigation of the drawing process. order to translate these observations to Students explore format, scale, technique, paper. The goals of this course involve the
13 SPRING 2019 and mixed media. The course includes Fridays and Saturdays at 9:30 a.m.–12:30 p.m. discussions, critiques, and slide presentations. provide additional time to work from the model. Critiques and demonstrations occur Beginning Life Drawing throughout the semester. DRL 2310, DRL 2311 Prerequisites: DRF 1301 and 2DD 1303 Beginning Painting I & II Students concentrate on representing an PAI 2320, PAI 2321 anatomically convincing account of the Prerequisites: DRF 1301 and 2DD 1303 human figure while focusing on balance, Students learn to paint in oil and/or acrylic movement, proportion, volume, and paint. The course is designed to familiarize space. Short poses build an understanding students with the formal elements of of anatomy; long poses permit the painting and to build their technical exploration of media and the development proficiency. Students paint in the studio, of technique. Two labs on Fridays and mostly from observed situations and still- Saturdays at 9:30 a.m.–12:30 p.m. provide life setups. Critical dialogue and frequent additional time to work from the model. critiques figure largely in the learning Critiques and demonstrations occur process and encourage each student’s throughout the semester. personal vision.
Drawing & Painting the Human Head Intermediate Painting DRL 2312, DRL 2313 PAI 3320, PAI 3321 Prerequisites: DRF 1301 and 2DD 1303 Prerequisites: DRF 1301, 2DD 1303, and This course offers an intensive exploration PAI 2321 of the possibilities presented by portraiture. Intermediate Painting challenges the idea of Students may choose to work with a range what painting can be with several projects of media: graphite, charcoal, watercolor, designed to stretch each student’s technical acrylic, or oil. Emphasis is placed on ability and vision. Formal critiques at the end individual interpretation. Demonstrations, of each project help determine how well museum visits, and critiques support the the paintings work. A review of fundamental course goals. procedures is included when necessary, but emphasis is placed on personal Intermediate/Advanced development. Ongoing references to Life Drawing & Painting contemporary painters and demonstrations DRL 3310, DRL 3311, DRL 4310, DRL 4311 add to each student’s understanding and skill. Prerequisite: DRL 2311 Advanced Painting These sequences of courses are designed PAI 4320, PAI 4321 for students who have completed at least two semesters of Beginning Life Drawing Prerequisites: DRF 1301, 2DD 1303, PAI 3321, and permission of the instructor and wish to continue working with figurative imagery. Studio time allows for longer, more Advanced-level students are encouraged complex poses. Students work toward greater to develop their own projects and vision control in a variety of wet and dry media. through a combination of intensive, The class includes slide lectures, weekly independent studio work and ongoing demonstrations, and ongoing critiques. guidance from the instructor. There are Advanced students begin to concentrate at least two formal critique days during within one primary medium. Two labs on the semester. Discussions of exhibitions and research on contemporary painters
SPRING 2019 14 add to the students’ understanding and who wishes to explore what cutting-edge, development of their own painting practices. young artists are thinking about. Students will engage in a range of topics important Intermediate/Advanced Abstract for their own art making. For each class, Painting Essentials students meet with one of the nine Core CRT 3322, CRT 3323, CRT 4322, CRT 4323 artists or critics and the three Core Program Prerequisites: DRF 1301, 2DD 1303, leaders, Joe Havel, Mary Leclere, and Pete PAI 2321, and permission of the instructor Gershon, to learn how they approach their This course for multiple skill levels explores own practice as artists, writers, or curators. the generative ideas underlying abstract art. In the second part of each class, students Each week, a slide presentation introduces get feedback on their work from that week’s a new theme. Students work at home, in any Core fellow or leader. Students will deepen medium, and bring their work to the weekly their understanding of contemporary class meetings for discussion and critique. practices and gain a critical perspective on their own work with ensuing discussions. Works on Paper Critique CRT 4396, CRT 4397 Advanced Studio BLOCK CRT 4399 Prerequisites: permission of the instructor Prerequisite: admission by portfolio review This critique course is designed for the serious, advanced student working in Please note: The Advanced Studio Block drawing or water-based media on paper. The course is taught by a team of Glassell faculty course provides an arena for constructive and members of the Houston art community. criticism within a nurturing environment. As Included in the $3,000/semester fee is this this is primarily a critique course, most work weekly critique course, full access to a private discussed will be on art that was created studio, an assigned mentor, plus access outside of the classroom. to the classroom and equipment during regular school hours. Interested students in Advanced Painting Studio Critique the 2018–2019 Block need to submit a letter CRT 4394, CRT 4395 of interest, a CV, and six 8.5” x 11” printed images for review by April 13, 2019. The Prerequisite: permission of the instructor director and 2-D chair choose 15 students This critique course is designed for advanced for placement in the course. students in any area trying to push their practices forward through ongoing feedback Advanced 2-D/3-D Media: and critique. Students have access to the Professional Practices thoughts and opinions of two different SEM 4398 faculty members on alternate weeks. As in Prerequisite: permission of the instructor any critique class, work discussed is made independently outside the classroom. The This professional-practice seminar for intense focus of this course allows students to advanced students focuses on skills involved grow their work substantially. with exhibiting artwork, such as selecting and documenting work, approaching gallery Advanced Content & Context with Core directors, and writing proposals or artist’s statements. This course also examines the CRT 4326 range of options available for exhibition Prerequisite: permission of the 2-D chair venues and funding sources, as well as how This course is for the advanced-level to arrange and handle studio visits and talk student, artist, or alumna in any media about one’s artwork.
15 SPRING 2019 Color environment, assemblage, or found-object CLR 2306 hybrid. Assignments include book and Prerequisites: 2DD 1303 and DRF 1301 postcard alterations, map works, personages, Projects in this class are designed to address game boards, and more. Field trips as well as the relativity and interaction of color in the slide and video presentations are integral to visual arts. Emphasis is on learning by direct the course. perception of color phenomena, with studies on juxtaposition, harmony, and quantity, Advanced Collage and Assemblage executed in paint, colored papers, and COL 4350, COL 4351 nontraditional materials. Prerequisite: COL 3350 or COL 3351, or permission of the instructor Beginning Collage and Assemblage Students continue to participate in many of COL 2350, COL 2351 the assignments featured in Intermediate Prerequisites: DRF 1301 and 2DD 1303, or Collage and Assemblage, but also begin permission of the instructor focusing on individualizing their research This course allows students to express within this limitless medium. Students meet themselves not only through traditional art with the instructor to discuss projects and media but also with objects that are common project series that are worked on throughout or unusual: papers, fabrics, printed images, the semester. words, machine parts, and things old and new. An overview of the history of collage Beginning Watercolor and assemblage features slide presentations, WAT 2380, WAT 2381 videos, demonstrations, field trips, and Prerequisites: DRF 1301 and 2DD 1303 critiques. Students are encouraged to think Beginning students are introduced to the comprehensively, experiment, share ideas inherent properties of watercolor through and techniques, and develop integrated and projects that start with the translation of creative collages and assemblages. Collage a single object and progress to include and Assemblage offers different projects in more complex ideas. Critiques and the fall and spring. Students may enroll for the demonstrations occur throughout semesters in either order. (COL 2350 is not a the semester. prerequisite for COL 2351.) Intermediate Watercolor Intermediate Collage and Assemblage WAT 3380, WAT 3381 COL 3350, COL 3351 Prerequisite: WAT 2381 Prerequisite: COL 2350 or COL 2351, or Intermediate students review the concepts permission of the instructor of composition and color, learn new The genres of collage, assemblage, and technical approaches, and are encouraged found-object art have revolutionized the to develop a disciplined studio practice, nature of art and how it is made. In these with personally expressive images as the courses, students develop a personal point of goal. Critiques and demonstrations occur view and a body of work through challenging throughout the semester. projects in mixed media that may be approached individually or as collaborative Advanced Watercolor adventures. The class focuses on exploring WAT 4380, WAT 4381 ideas, collecting materials, experimenting Prerequisite: permission of the instructor with construction methods, and arranging a This advanced-level watercolor cohesive and meaningful collage, relief, box
SPRING 2019 16 course promotes the development of development of visual content. The class conceptualization skills and media control. focuses on studio time and challenges Students are encouraged to develop their students to to pursue ambitious projects and own projects. Ongoing class critiques consider the final print product. Critiques and guidance are provided. Critiques are an important part of the class format. and demonstrations occur throughout Students are required to have some ideas in the semester. mind prior to the start of the semester.
Beginning/Intermediate/Advanced Beginning/Intermediate/Advanced Printmaking: Silkscreening Printmaking: Monoprint PRI 2307, PRI 2308, PRI 3307, PRI 3308, PRM 2301, PRM 2302, PRM 3301, PRM 3302, PRI 4307, PRI 4308 PRM 4301, PRM 4302 Prerequisites: DRF 1301 and 2DD 1303 Prerequisites: DRF 1301 and 2DD 1303 This course introduces students to This course is recommended as an fundamental analog and photo-based introduction to the fundamentals of silkscreen techniques, while focusing on printmaking, and there are no printmaking developing and executing personal projects. course prerequisites. Monoprinting is a Students prepare screens and learn to expose process that utilizes a broad variety of stencils on the first day. Demonstrations techniques to create unique prints from easily include using hand-drawn or painted manipulated materials. Over the course of the cut-out paper photo stencils, plus drawing semester, the class covers printing by hand and fluid and reductive color printing and using with the etching press, using oil-based inks, digitally developed photographic imagery. watercolor, and dry-stick drawing materials Demonstrations focus on developing on both plexiglass plates and silkscreens. In proper printing techniques and registration, addition to painterly and drawing approaches, supplemented with presentations introducing students learn sculptural methods involving students to historical and contemporary embossments and techniques for printing with examples of artists redefining silkscreen as actual flat objects as well. a fine-art medium. Students are expected to have some project ideas in mind for this class. Beginning Digital Photography I COM 2316 Intermediate/Advanced Printmaking: A practical, one-semester introduction to Independent Projects digital photography, this course prepares PRI 3311, PRI 3312, PRI 4311, PRI 4312 students for further study in digital imaging. Prerequisites: PRI 2304 and permission of Emphasis is placed on competence with an the instructor SLR digital camera, composition, color, space, This lab is for intermediate and advanced shooting, and storing and saving digital files. students who have taken a minimum of Basic printing is also covered. Bring your SLR two printmaking classes, and who show digital camera to the first class meeting. great proficiency in one or more forms of printmaking. Students will have access to Beginning Digital Photography II working in a broad range of techniques, COM 2317 including etching, lithography, relief, Prerequisite: COM 2316 silkscreen, and some alternative methods. Students continue to refine their digital Advanced students work toward a further photography skills while improving creativity refinement of technical procedures with in composition and developing personal a focus on personal practice and the viewpoints. This course offers a more in-
17 SPRING 2019 depth study of lighting, printing, camera variety of different materials such as wood, RAW, and different types of photography, plastic, paper, metal, and found materials. such as portraiture, still life, or landscape. Class assignments are supported with Emphasis is on improving skills in camera demonstrations and slide presentations. operation, composition, and personal concepts. Computers are only used for basic Photography: Basic Camera and printing and RAW-processing procedures. Darkroom Techniques PHO 1305 Intermediate Digital Photography I Through this introductory course, students COM 3316 expand their knowledge and understanding Prerequisite: COM 2317 or permission of of the technical and aesthetic fundamentals the instructor of photography, providing a strong This course is a digital darkroom experience foundation for further study of both that uses Adobe Photoshop. Photoshop can film and digital photography. Students be used sparingly to enhance a photograph receive extensive instruction on camera or extensively to push the photograph operation, black-and-white film processing into abstraction. Everything from dodging techniques, and traditional darkroom and burning to using image-altering filters printing skills. In-depth class discussions will be explored, giving students a solid include composition and image making, understanding of Photoshop and F-stop and aperture settings, depth of field, its capabilities. lighting, and optics. Beginners are required to use a 35mm film camera, but use of other Intermediate Digital Photography II film camera formats, such as the Holga, is also encouraged. A limited number of film COM 3317 cameras are available for lease. Please bring Prerequisite: COM 3316 or permission of your camera to the first class meeting. the instructor
Students refine skills from the first semester Beginning Photography (COM 3316) and expand their technical PHO 2305, PHO 2308 knowledge while developing personal Prerequisite: PHO 1305 viewpoints and departures for investigation. In this course, students refine the black- Critiques have greater importance and and-white processing, printing, and impact, as students explore not only their conceptual skills learned in Basic Camera artistic potential within digital media but also and Darkroom Techniques. Emphasis is their personal agenda in producing images. placed on developing personal viewpoints and becoming confident with the technical Intermediate Digital Sculpture aspects of exposures, processing, and DGL/SCU 3300 printing. Only black-and-white film will Prerequisite: 2DD 1303 or 3DD 1304 be used. This course focuses on the use of digital tools in the process of producing physical Intermediate Photography: sculpture. Using software such as Rhino Non-silver Processes 3D, combined with digital hardware such PHO 3302 as laser cutters, 3-D printers, digital CNC Prerequisites: PHO 1305 and COM 2316 cutters/carvers, and a CNC plasma cutter, Designed to explore alternative students design, cut, carve, and assemble photographic processes, this course a variety of different sculptures from a introduces students to making photo-based
SPRING 2019 18 works of art that are not dependent on Advanced 3-D Studio Critique conventional camera or darkroom processes. CRT 4324 Image-making techniques include cyanotype This critique course is designed for advanced (blueprinting), kallitype, salted-paper students working in a 3-D media including photographs (the first photographic sculpture, jewelry, or ceramics. The course process), and cliché-verre (hand-drawn provides an environment for constructive negatives). Individual expression and feedback and critique by faculty as well as experimentation are encouraged. outside members of the Houston community. As this is a critique course, the work discussed Intermediate Photography will be created outside the classroom. PHO 3305, PHO 3308 Prerequisites: PHO 2308 and permission of Beginning Sculpture I the instructor SCU 2330 Students continue to refine their Prerequisite: 3DD 1304 (DRF 1301 is processing, printing, and conceptual skills highly recommended) in Intermediate Photography. Emphasis is One of two required beginning-level placed on developing personal viewpoints sculpture courses, this course introduces and becoming proficient with the technical students to the possibilities of sculptural aspects of exposures, processing, form and space while exploring the aesthetic and printing. and conceptual potential of materials and processes such as clay, plaster, and mold Advanced Photography making. Basic techniques are introduced PHO 4305, PHO 4306 alongside slide presentations and critiques to Prerequisite: permission of the instructor help students become familiar with the ideas This course emphasizes the use of that form the foundation of contemporary photography as a vehicle for personal vision sculpture. Hand tools, power tools, mold- and expression through technical, conceptual, making techniques, ceramic processes, and and perceptual approaches. Individual and other practices are explored. group critiques are conducted. Beginning Sculpture II SCU 2331 3-D COURSES Prerequisite: 3DD 1304 (DRF 1301 is 3-D Design highly recommended) 3DD 1304 One of two required beginning-level This course explores how to make decisions sculpture courses, the goal of this course is about form; how to affect the way form is to acquaint students with the fundamental seen using color, scale, mass, line, plane, materials and processes typically used in the texture, and balance; how to apply the course of fabricating sculpture. Emphasis elements of design to different materials; is placed on the relationships between and how to express emotions, attitudes, and sculptural materials and sculptural design, ideas with form. These elements are taught with a specific focus on the use of wood within the context of 3-D objects, along with and metal. Traditional materials and tools the practical application of the elements are demonstrated, along with traditional of design. techniques such as fabricating. Students are encouraged to experiment and develop their own artistic goals.
19 SPRING 2019 Intermediate/Advanced Sculpture: industry and the fine arts. Projects are executed Mixed Media on a small scale to allow students to complete SCU 3333, SCU 3334, SCU 4333, SCU 4334 their work within the semester. Prerequisite: SCU 2331 Intermediate students focus on the technical Beginning Ceramics and conceptual issues of contemporary CER 2340, CER 2341 sculpture using wood, clay, plaster, and steel Prerequisite: 3DD 1304 (DRF 1301 is highly recommended) as primary media. Advanced students focus on the production of work in the studio, using This course introduces students to the a wider variety of media and also addressing tools, techniques, and vocabulary of clay issues of format, which are tailored to particular through lectures, demonstrations, and studio interests. Group and individual critiques, as well participation. Emphasis is placed on problem as slide presentations, are incorporated. solving with clay as the design medium, using the traditional techniques of hand-building Intermediate/Advanced Sculpture: and wheel-throwing. Metal Working SCU 3350, SCU 3351, SCU 4350, SCU 4351 Intermediate Ceramics Prerequisite: SCU 2331 and permission of CER 3340, CER 3341 the instructor Prerequisite: CER 2341 This course focuses on metal fabrication Students learn to refine ideas while studying techniques for the sculptor and is ideal for glaze materials, glaze formulations, and the intermediate students wanting to learn new procedures of kiln loading and firing. More techniques, or advanced students wanting to complex techniques—like repetitive and further develop their skills and add fresh ones extended wheel-throwing, mold making, and to their repertoire. Students focus on cutting, constructing on a large scale—are included. bending, welding, mechanical-attaching, and This course offers an opportunity to meld polishing techniques while becoming familiar creative abilities with the ceramics process. with metal saws, plasma cutters, MIG and TIG welders, oxyacetylene torches, and variety of Intermediate Ceramics: Hand-Building finishing and polishing equipment. Advanced- CER 3346, CER 3347 level students pursue a more self-directed Prerequisite: CER 2341 curriculum with respect to style while learning In this two-semester course, students enhance more advanced methods of metal forming their hand-building skills and learn alternative and attachments. building processes. Projects include building with solid clay, constructing with extrusions, and Beginning/Intermediate/Advanced Foundry working on individual projects. In addition, there FOU 2335, FOU 2336, FOU 3335, FOU 3336, is an emphasis on glaze making, specifically FOU 4335, FOU 4336 related to ceramic sculptural surfaces. Prerequisites: SCU 2330 and permission of the instructor Intermediate Ceramics: Wheel-Throwing Students are introduced to lost-wax casting CER 3348, CER 3349 using aluminum and bronze; learn to work Prerequisite: CER 2341 with wax; discover techniques of investment In this course, students continue to develop and procedures for pouring molten metal; and their wheel-throwing skills. A focus is placed gain experience with mold making, welding, on vessels with multiple components such chasing, and patina applications. The course as handles, lids, and spouts. Additionally, also examines the history of metal casting in
SPRING 2019 20 students learn to increase the scale of their Beginning Jewelry vessels as well as to use different methods JWL 2360, JWL 2361 of altering pots. Glaze research focuses on Prerequisite: 3DD 1304 (DRF 1301 is surfaces for utilitarian wares. highly recommended) This two-semester course is the basis for any Intermediate Ceramics: Narrative Sculpture further jewelry explorations. In the first semester, CER 3350, CER 3351 students acquire the basic skills needed to Prerequisite: CER 2341 fabricate jewelry out of nonferrous metals The focus of this class is narrative sculpture. (copper, brass, nickel, sterling, and gold). Using images and materials to create personal A progression of techniques—from sawing, stories, students are encouraged to write, draw, riveting, and soldering to bezel-stone setting— think, and craft. Topics explored include how is combined with the refinement of design to use images to create symbolic meaning and sensibilities and aesthetic considerations. The how to sculpt stories that allude to universal second semester continues the development themes, fantasy, or allegory. While clay is a of fabrication skills; examines the possibilities of basis, the work is not limited solely to the content; and introduces additional techniques ceramic process. A broad range of materials that explore texture, volume, and alternative and techniques are covered. methods of setting stones.
Intermediate Ceramics: Multiplicity Intermediate Jewelry CER 3352, CER 3353 JWL 3360, JWL 3361 Prerequisite: CER 2341 Prerequisite: JWL 2361 In this course students propose a topic of The first semester of this two-semester study for the semester to be approved by course explores the lost-wax casting process the instructor. While most of the semester with an emphasis on matrix development. students work independently, demonstrations The second semester, which focuses on and technical support will be available fabrication techniques applied to containers, upon request. In addition to writing a strong covers a variety of forms, including lids and proposal, installing exhibitions is addressed. hinging mechanisms. The course terminates in an exhibition at Gallery 100 in the Silos at Sawyer Yards. Advanced Jewelry: Special Topics JWL 4360, JWL 4361 Advanced Ceramics Prerequisite: permission of the instructor CER 4340, CER 4341 This advanced-level course introduces Prerequisites: CER 3341 and permission of students to more complex forming processes the instructor and surface treatments such as forging, In consultation with the instructor, raising, patinas, and plastics. Independent each student proposes a self-directed development is emphasized as students investigation, with clay as the medium for combine process with concepts and content. visual expression. During the semester, the student’s goals and direction are discussed, methods of presentation are addressed, and the student’s critical analyses of the work are continually reviewed.
21 SPRING 2019 Beginning/Intermediate/Advanced Jewelry: Enameling ENM 2362, ENM 2363, ENM 3362, ENM 3363, ENM 4362, ENM 4363 Prerequisite: 3DD 1304 (DRF 1301 is highly recommended) The first semester focuses on the techniques of stencil, graffito, and cloisonné, exposing the beginning student to a wide range of approaches. The second semester introduces etching techniques for two projects, one on silver and one on copper, using the champlevé technique. A third project includes enameling on a chased or etched surface, or basse-taille. The intermediate student explores sawed plique-à-jour (backless enameling), enameling on a hydraulically pressed form, and silkscreening enamels. Students at the advanced level make decals and steel-cut dies for limited-edition production pieces. More advanced classes may include electroforming, painting, spraying enamels, and other combinations of techniques.
SPRING 2019 22 SPRING 2019 CLASS SCHEDULE
ART HISTORY COURSES Art History Survey 2: Renaissance to Contemporary ARH 307-2 A Thursday 10:00 a.m.–12:00 noon Tahinci
Art Appreciation: The Formal Elements of Art and the Principles of Design ARH 321 N Wednesday 7:00–9:00 p.m. Tahinci
Art History: Contemporary Sculpture ARH 325 A Monday 10:00 a.m.–12:00 noon Hill
Art History: Vincent van Gogh: His Life in Art ARH 400 A Wednesday 10:00 a.m.–12:00 noon Tahinci
Art History: Study Abroad Greek Art: From Cycladic to Contemporary ARH 401 A Thursday 7:00–9:00 p.m. (Week One: May 20–24) Tahinci B Thursday 7:00–9:00 p.m. (Week Two: May 27–31) Tahinci
2-D STUDIO COURSES 2-D Design 2DD 1303 A Monday 9:30 a.m.–12:30 p.m. Bise B Tuesday 9:30 a.m.–12:30 p.m. Bodnar-Balahutrak N Tuesday 6:30–9:30 p.m. Davenport C Thursday 1:00–4:00 p.m. Cosgrove
Drawing Fundamentals I DRF 1301 D Monday 9:30 a.m.–12:30 p.m. Manns A Monday 1:00–4:00 p.m. Bise NA Monday 6:30–9:30 p.m. Manns B Wednesday 9:30 a.m.–12:30 p.m. Cosgrove C Thursday 9:30 a.m.–12:30 p.m. Cosgrove F Thursday 1:00–4:00 p.m. Masson N Thursday 6:30–9:30 p.m. TBA
23 SPRING 2019 Drawing Fundamentals II DRF 1302 A Monday 1:00–4:00 p.m. Manns B Tuesday 9:30 a.m.–12:30 p.m. Cosgrove D Wednesday 9:30 a.m.–12:30 p.m. Manns C Wednesday 1:00–4:00 p.m. Masson N Wednesday 6:30–9:30 p.m. Bise
Intermediate/Advanced Drawing DRA 3312, DRA 3313, DRA 4312, DRA 4313 A Wednesday 9:30 a.m.–12:30 p.m. Masson B Thursday 9:30 a.m.–12:30 p.m. Portman
Intermediate/Advanced Drawing: Ideas & Images DRA 3318, DRA 3319, DRA 4318, DRA 4319 A Friday 9:30 a.m.–12:30 p.m. Cosgrove
Beginning Life Drawing DRL 2310, DRL 2311 N Monday 6:30–9:30 p.m. Bodnar-Balahutrak A Wednesday 1:00–4:00 p.m. Mazzu B Thursday 9:30 a.m.–12:30 p.m. Bodnar-Balahutrak
Drawing & Painting the Human Head DRL 2312, DRL 2313 A Tuesday 9:30 a.m.–12:30 p.m. Palmer
Intermediate/Advanced Life Drawing & Painting DRL 3310, DRL 3311, DRL 4310, DRL 4311 B Tuesday 1:00–4:00 p.m. Palmer N Wednesday 6:30–9:30 p.m. Bodnar-Balahutrak NA Thursday 6:30-9:30 p.m. Greenwalt
Beginning Painting I & II PAI 2320, PAI 2321 C Monday 9:30 a.m.–12:30 p.m. Ruello D Tuesday 1:00–4:00 p.m. Ruello N Tuesday 6:30–9:30 p.m. Bise A Thursday 9:30 a.m.–12:30 p.m. Masson
Intermediate Painting PAI 3320, PAI 3321 B Monday 9:30 a.m.–12:30 p.m. Portman N Monday 6:30–9:30 p.m. De Vries C Tuesday 9:30 a.m.–12:30 p.m. Fuchs A Tuesday 1:00–4:00 p.m. Masson
SPRING 2019 24 Advanced Painting PAI 4320, PAI 4321 D Tuesday 6:30–9:30 p.m. Portman B Wednesday 9:30 a.m.–12:30 p.m. Fuchs N Wednesday 6:30–9:30 p.m. Fuchs A Thursday 9:30 a.m.–12:30 p.m. Bise C Thursday 1:00–4:00 p.m. Portman
Intermediate/Advanced Abstract Painting Essentials CRT 3322, CRT 3323, CRT 4322, CRT 4323 A Tuesday 9:30 a.m.–12:30 p.m. Masson
Works on Paper Critique CRT 4396, CRT 4397 A Tuesday 9:30 a.m.–12:30 p.m. Ruello B Tuesday 1:00–4:00 p.m. James
Advanced Painting Studio Critique CRT 4394, CRT 4395 B Tuesday 1:00–4:00 p.m. Fuchs/Bise
Advanced Content & Context with Core CRT 4326 N Monday 6:30–9:30 p.m. Fuchs
Advanced Studio BLOCK CRT 4399 A Thursday 1:00–4:00 p.m. Fuchs
Advanced 2-D/3-D Media: Professional Practices SEM 4398 A Tuesday 1:00–4:00 p.m. Hill
Color CLR 2306 A Wednesday 1:00–4:00 p.m. Kenny N Wednesday 6:30–9:30 p.m. Ruello
Beginning/Intermediate/Advanced Collage and Assemblage COL 2350, COL 2351, COL 3350, COL 3351, COL 4350, COL 4351 A Monday 9:30 a.m.–12:30 p.m. Cosgrove
25 SPRING 2019 Beginning/Intermediate Watercolor WAT 2380, WAT 2381, WAT 3380, WAT 3381 D Monday 1:00–4:00 p.m. Mazzu A Wednesday 9:30 a.m.–12:30 p.m. Mazzu C Thursday 9:30 a.m.–12:30 p.m. Willis
Intermediate/Advanced Watercolor WAT 3380, WAT 3381, WAT 4380, WAT 4381 B Thursday 1:00–4:00 p.m. Willis
Beginning/Intermediate/Advanced Watercolor WAT 2380, WAT 2381, WAT 3380, WAT 3381, WAT 4380, WAT 4381 N Monday 6:30–9:30 p.m. Mazzu
Beginning/Intermediate/Advanced Printmaking: Silkscreening PRI 2307, 2308, 3307, 3308, 4307, 4308 A Monday 9:30 a.m.–12:30 p.m. Squier
Intermediate/Advanced Printmaking: Independent Projects PRI 3311, PRI 3312, PRI 4311, PRI 4312 N Tuesday 6:30–9:30 p.m. Squier
Beginning/Intermediate/Advanced Printmaking: Monoprint PRM 2301, PRM 2302, PRM 3301, PRM 3302, PRM 4301, PRM 4302 A Wednesday 9:30 a.m.–12:30 p.m. Squier
Beginning Digital Photography I & II COM 2316, COM 2317 A Monday 9:30 a.m.–12:30 p.m. Ponder N Wednesday 6:30–9:30 p.m. Ponder
Intermediate Digital Photography I & II COM 3316, COM 3317 N Monday 6:30–9:30 p.m. Ponder A Wednesday 9:30 a.m.–12:30 p.m. Ponder
Intermediate Digital Sculpture DGL/SCU 3300 A Monday 1:00–4:00 p.m. Hill
Photography: Basic Camera and Darkroom Techniques PHO 1305 A Tuesday 9:30 a.m.–12:30 p.m. Blakemore N Tuesday 6:30–9:30 p.m. Blakemore
SPRING 2019 26 Beginning Photography PHO 2305, PHO 2308 A Tuesday 1:00–4:00 p.m. Blakemore
Beginning/Intermediate Photography PHO 2305, PHO 2308, PHO 3305, PHO 3308 N Wednesday 6:30–9:30 p.m. Blakemore
Intermediate Photography: Non-silver Processes PHO 3302 A Monday 1:00–4:00 p.m. Michels
Intermediate Photography PHO 3305, PHO 3308 B Wednesday 1:00–4:00 p.m. Blakemore
Advanced Photography PHO 4305, PHO 4306 A Thursday 9:30 a.m.–12:30 p.m. Blakemore N Thursday 6:30–9:30 p.m. Blakemore
3-D STUDIO COURSES 3-D Design 3DD 1304 A Monday 9:30 a.m.–12:30 p.m. Dube B Monday 1:00–4:00 p.m. Dube N Monday 6:30–9:30 p.m. Hill
Advanced 3-D Studio Critique CRT 4324 A Friday 9:30 a.m.–12:30 p.m. Dube/Havel
Beginning Sculpture I & II SCU 2330, SCU 2331 A Monday 9:30 a.m.–12:30 p.m. Medina B Wednesday 9:30 a.m.–12:30 p.m. Hill
Intermediate/Advanced Sculpture: Mixed Media SCU 3333, SCU 3334, SCU 4333, SCU 4334 A Tuesday 9:30 a.m.–12:30 p.m. Hill N Tuesday 6:30–9:30 p.m. Hill
Intermediate/Advanced Sculpture: Metal Working SCU 3350, SCU 3351, SCU 4350, SCU 4351 A Thursday 9:30 a.m.–12:30 p.m. Medina
27 SPRING 2019 Beginning/Intermediate/Advanced Foundry FOU 2335, FOU 2336, FOU 3335, FOU 3336, FOU 4335, FOU 4336 N Thursday 6:30–9:30 p.m. Medina A Friday 9:30 a.m.–12:30 p.m. Medina
Beginning Ceramics CER 2340, CER 2341 A Thursday 9:30 a.m.–12:30 p.m. Forster N Thursday 6:30–9:30 p.m. Dennard
Intermediate Ceramics CER 3340, CER 3341 N Wednesday 6:30–9:30 p.m. Budge
Intermediate Ceramics: Hand-Building CER 3346, CER 3347 A Wednesday 9:30 a.m.–12:30 p.m. Forster
Intermediate Ceramics: Wheel-Throwing CER 3348, CER 3349 A Tuesday 9:30 a.m.–12:30 p.m. Forster
Intermediate Ceramics: Narrative Sculpture CER 3350, CER 3351 A Friday 9:30 a.m.–12:30 p.m. Dennard
Intermediate/Advanced Ceramics: Multiplicity CER 3352, CER 3353 A Wednesday 1:00–4:00 p.m. Forster
Advanced Ceramics CER 4340, CER 4341 A Monday 9:30 a.m.–12:30 p.m. Budge N Tuesday 6:30–9:30 p.m. Forster
Beginning Jewelry JWL 2360, JWL 2361 A Tuesday 9:30 a.m.–12:30 p.m. Zilker
Beginning/Intermediate Jewelry JWL 2360, JWL 2361, JWL 3360, JWL 3361 N Wednesday 6:30–9:30 p.m. Dube
Intermediate Jewelry JWL 3360, JWL 3361 A Wednesday 9:30 a.m.–12:30 p.m. Dube
SPRING 2019 28 Advanced Jewelry: Special Topics JWL 4360, JWL 4361 N Tuesday 6:30–9:30 p.m. Zilker A Thursday 9:30 a.m.–12:30 p.m. Zilker/Dube
Beginning/Intermediate/Advanced Jewelry: Enameling ENM 2362, ENM 2363, ENM 3362, ENM 3363, ENM 4362, ENM 4363 A Monday 9:30 a.m.–12:30 p.m. Harrell N Monday 6:30–9:30 p.m. Harrell
Advanced Jewelry: Enameling ENM 4362, ENM 4363 B Monday 1:00–4:00 p.m. Harrell
29 SPRING 2019 SPRING 2019 30 WORKSHOPS
Ceramics: Low-Down on Low Fire, Part 1 Drawing Flowers and the Floral Tradition Dennard Manns AW115-1 AW287 7 sessions: January 28–March 18 7 sessions: January 30–March 20 Monday 6:30–9:30 p.m. Wednesday 1:00–4:00 p.m. (no class on March 11) (no class on March 13) Tuition: $425 Tuition: $400
Ceramics: Low-Down on Low Fire, Part 2 Flowers have been an endless source of Dennard inspiration for poetry, stories, and visual AW115-2 art as early as the 16th century to the 7 sessions: March 25–May 6 present day. Working from observation, Monday 6:30–9:30 p.m. students will draw flowers with various Tuition: $425 media in both black and white and color. Starting with single, simple forms, This class answers the question, “Why the projects become more complicated, low fire?” Lectures are designed to focusing on form and expressiveness. enrich the student’s ceramic knowledge An overview of artists working with and technique. A variety of low-fire flowers and floral symbolism is included. glaze-decoration and hand-building There are no prerequisites for the techniques are presented, including workshop, which is suited for the unconventional hand-building and beginner as well as the more advanced glazing solutions. Experimentation is student wanting to focus on the encouraged. This class is open to all anatomy and splendor of flowers. A list skill levels; it is a welcoming entry for a of materials will be provided before the beginning student and a way to increase first workshop. technical knowledge and expand as an intermediate or advanced student. Drawing: Brush and Ink Washes Both sculptors and those interested in Manns functional ceramics are encouraged to AW279 try this fascinating approach to ceramics. 7 sessions: March 27–May 8 Beginning students are required to enroll Wednesday 1:00–4:00 p.m. in the first session of the workshop. Tuition: $400
Cost to enroll in both sessions of Ink as a sophisticated artistic medium Low-Down on Low Fire: $800 developed sometime between the 7th and 8th centuries in China, where a range of subjects, from religion, history, and daily life were illustrated. This workshop explores contemporary and traditional ink-wash techniques such as wet-on-dry, dry brush and wet-in-wet. Although there are many colored inks and surfaces now available, this workshop teaches the wonderful tradition of black waterproof Photograph by Kristin Liu ink on watercolor paper. Subjects
31 SPRING 2019 include still-life, interior, and landscape inclement weather, the class meets in possibilities. There are no prerequisites an appointed studio at the Glassell for this workshop, which is suited for the School building. beginner drawer as well as the more advanced student wanting to work Cost to enroll in both of Portman’s with ink and brush imagery. A list of workshops: $725 materials will be provided before the first workshop session. Drawing: Bringing Back the Sketchbook Palmer Cost to enroll in both of Manns’s AW337 workshops: $725 7 sessions: March 21–May 9 Thursday 1:00–4:00 p.m. Drawing: Monumental Drawing (no class on April 18) Portman Tuition: $400 AW946 7 sessions: January 30–March 20 Let’s bring back sketching! This workshop Wednesday 1:00–4:00 p.m. reintroduces students to the age-old (no class on March 13) idea of sketching. The entire range of Tuition: $400 sketching materials will be introduced and demonstrated: graphite drawing, This seven-week workshop focuses on colored pencils, india and sepia-toned the creation and properties of drawings inks, ballpoint pens, coffee/tea washes, with dimensions 5 x 5 feet or larger. and watercolor. We will explore realistic, Examples of various rolled papers will be gestural, and expressive/interpretive provided, together with an introduction sketching techniques along with to materials appropriate for mark making landscape sketching; group, solo and on large-scale drawings. Demonstrations, portrait sketching; and object sketching. discussions on technique, slide lectures, Quickly recording everyday moments in and field trips to the Museum augment life, travels, and ideas in a visual diary is a this workshop. Enrollment is limited to brilliant way of exploring creativity! 8 students. The Magic of Korean Papermaking Drawing: Landscape Drawing Lee Portman AW340 AW242 3 sessions: April 12–14 7 sessions: March 27–May 8 Friday/Saturday/Sunday 10:00 a.m.–4:00 p.m. Wednesday 9:30 a.m.–12:30 p.m. Tuition: $240 Tuition: $400 In this process-focused workshop, students This course for multiple skill levels learn how to make one style of hanji offers students the opportunity to learn (Korean paper) from raw-paper mulberry landscape drawing techniques in an bark. By working together, students off-campus setting. Participants meet at complete various steps to prepare raw various sites to experience and translate materials for sheet formation in the gadum nature firsthand with the supportive tteugi method. Bark considered too tough guidance of a Glassell instructor. For to make paper will be transformed into critique sessions, and in the case of
SPRING 2019 32 bark lace for future applications in fiber, Digital: Basic Rhinoceros sculpture, and books. This class is ideal for Dube those with papermaking experience who AW231-1 want to learn East Asian techniques and 7 sessions: January 25–March 8 those interested in the history and folklore Friday 1:00–4:00 p.m. of hanji, but is open to all levels. Joint Tuition: $425 offering with Asia Society Texas Center. Digital: Basic Rhinoceros Advanced Painting: Clinic 1 Dube Fuchs/Ruello AW232-2 AW342-1 7 sessions: March 22–May 10 1 session: February 22 Friday 1:00–4:00 p.m. Friday 9:30 a.m.–12:30 p.m. (no class on April 19) Tuition: $225 Tuition: $425
Advanced Painting: Clinic 2 In this basic introduction to 3-D digital Palmer/Masson drawing and design using the software AW342-2 Rhinoceros, students create an original 1 session: April 12 work in Rhinoceros and then have it printed Friday 9:30 a.m.–12:30 p.m. either using an onsite MakerBot or Form 2 Tuition: $225 3-D printer or by sending the drawing to an off-site printer such as Shapeways. These clinics are for the advanced- level painter, artist, and alumna with an Cost to enroll in both sessions of the established studio practice. If you feel Rhinoceros workshops: $800 stuck in your work, want to check in with some professionals for feedback, Digital: Painting or hear an additional voice about your Ruello work: this opportunity is for you! Each AW328 session includes a 15–20 minute critique 7 sessions: January 30–March 20 dedicated to your work alone. Two Wednesday 1:00–4:00 p.m. instructors will be present so that you get (no class on March 13) to hear more than one voice. Workshop Tuition: $425 is limited to 8 students. David Hockney has explored and Cost to enroll in both Painting Clinic embraced digital painting as a tool for workshops: $400 artists. This workshop builds upon and expands that notion of painting, using powerful software such as Photoshop along with the Glassell computer lab. The workshop explores the use of Photoshop to sketch as well as to create a final product ready for printing in local print labs such as Que Imaging or Aker Imaging. All skill levels are welcome to learn how to use this very flexible software that helps create incredible images with
33 SPRING 2019 a few simple tools. You will be amazed at methods of transferring images directly what this digital tool can help you create. onto working surfaces. No previous computer experience is needed. Digital: Chine-Collé
Ruello Digital: Documenting Artwork & AW338 Software Correction 7 sessions: March 27–May 8 Ponder Tuesday 1:00–4:00 p.m. AW294 Tuition: $425 7 sessions: March 26–May 7 Tuesday 9:30 a.m.–12:30 p.m. This workshop will combine digital Tuition: $425 technology with a printmaking technique called chine-collé (the fusing of various In this workshop, students learn how to papers together). We will use the Glassell light and capture their finished works. computer lab’s software (Illustrator and Students also learn how to modify color Photoshop) to create images, which will and light in Adobe Photoshop to help be printed upon the chine-collé paper develop a professional-looking portfolio. using the lab’s Epson archival printer. Students learn about lighting, backdrops, Some computer experience is helpful, and basic image editing, as well as saving but not necessary. Students explore their and organizing. No previous knowledge own imagery and work at their own pace. of either photography or digital editing is We begin with 8” x 10” prints, and work needed. A DSLR camera is not needed for our way up to 16” x 20” final prints. this workshop.
Cost to enroll in both sessions of Cost to enroll in both of Ponder’s Ruello’s workshops: $800 workshops: $800
Digital: Preparations for Painting & Drawing Starting Your Own Art Business Ponder Wexler AW339 AW343 7 sessions: January 29–March 19 3 sessions: February 12, 19, & 26 Tuesday 9:30 a.m.–12:30 p.m. Monday 7:00–9:00 p.m. (no class on March 12) Tuition: $225 Tuition: $425 Do you look at all of your art and feel This workshop helps students visualize overwhelmed when you think about painting and drawing designs before selling it? Don’t know how to even committing the time to render them. start the process? This workshop gives This course provides a basic introduction you the basics of starting your own art to Photoshop collaging and photo business. Discussions include business editing. Students learn the select tools, formation, intellectual property, fair layers, basic image editing, basic use and copyright infringement, work transformation, and scaling for any registration, website creation, use of small-, medium-, or large-scale drawings/ social media, necessary business paintings. Students also explore several documents, work and name protection,
SPRING 2019 34 the right of publicity and privacy, and how to market your work.
Glassell Tours the MFAH Collection Palmer AW344 7 sessions: February 22–April 12 Friday 10:30 a.m.–12:30 p.m. (no class on March 15) Tuition: $250
For each session of this workshop, a different faculty member of the Glassell School of Art leads participants on a unique, personal tour of the collection of the Museum of Fine Arts, Houston. The faculty members represent all areas of study (art history, ceramics, drawing, jewelry/enameling, painting, photography, and sculpture) and will explore a wide array of the Museum’s collection, including some works from the archives for special private viewing. Faculty members will offer their personal viewpoints and perspectives, highlighting works that are most meaningful to them. Participating faculty: Jeff Forster, Francesca Fuchs, Joe Havel, Will Michels, Patrick Palmer, Anna Tahinci, and Sandie Zilker. Limited to 15 students.
Sculpture: Soft Sculpture Hill AW345 7 sessions: January 24–March 8 Thursday 9:30 a.m.–12:30 p.m. Tuition: $425
A significant portion of modern and contemporary sculpture makes use of nontraditional, “soft” media such as canvas, linen, fur, silk, and other fabrics. After introducing basic materials and methods, this seven-week workshop guides students through a set of projects using soft material to explore the field of soft sculpture. The workshop will help students expand their own artistic practices.
35 SPRING 2019 STUDENT EVENTS Studio $75 (FMV $50) Lectures • Eligibility for entry in the SAO Select Juried The school sponsors several lectures annually Exhibition that are open to students and the public. • An invitation to the preview party for the Artists, curators, critics, and historians are Annual Student Sale invited to speak.
Workshop $250 (FMV $125) Annual Student Sale All of the benefits of Studio level, and: Students have the opportunity to sell work in the December group event. The popular and • An invitation to an exclusive Dean’s profitable event is a great opportunity for students Reception held at the private residence of a to showcase their work. faculty member or donor
Annual Juried Student Exhibition A panel of faculty selects student work to show in Exhibition $1,000 (FMV $150) an annual exhibition in the student gallery every All of the benefits of Workshop level, and: spring. Each student can submit one piece to be • Recognition at the Annual juried. A reception celebrates the school year and Student Exhibition awards are presented. • A complimentary copy of the annual Departmental Exhibitions Core publication The student gallery shows a series of departmental • One complimentary art history course exhibitions of student work. Department heads at the Glassell School organize the presentations.
Leadership Circle Student Alumni Organization For those who wish to contribute $2,500 or more The Student Alumni Organization (SAO) is a and receive benefits that reach throughout the donor group created specifically for the students Museum, the Leadership Circle offers exclusive and alumni of the Glassell School of Art. For access to the MFAH. Leadership Circle members current and former students who are passionate who designate a portion of or their entire gift to about giving back to the Glassell School the Glassell School will also receive SAO benefits community, the SAO provides an opportunity at the level of their Glassell donation. not only to connect with other Glassell alumni, but also to contribute to the school’s mission. By joining the SAO, your gift will allow the school to continue giving excellent instruction; to keep its tuition fees affordable; and to create an ever- growing community of artists.
For more information or to join SAO, please contact [email protected] or call 713-639-7559.
SPRING 2019 36 Art History Courses & Workshops Registration Form DO NOT USE THIS FORM FOR STUDIO COURSES. Students must register for studio courses in person. Use this form to register for art history courses and workshops by mail, by fax, or in person at the Glassell School of Art, 5101 Montrose Blvd., during office hours. Please register early, as undersubscribed sections are canceled.
Workshops: Students must be at least 18 years of age and have completed high school or high school equivalency testing to enroll.
Student Information
Previously enrolled First time enrolled
Name Daytime phone
Address Evening phone
City Zip code Email address
Course number Day Time Instructor
Course number Day Time Instructor
Course number Day Time Instructor
How did you hear about the Glassell School? MFAH Houston Chronicle Web Living Social Other
I have read and understand all admission requirements and policies, including the refund policy available on the Glassell Studio School website (mfah.org/studioschool). By signing below, I also agree to charges to my credit card in the amount due. Registration will not be processed without signature of student. Proxy signatures not accepted.
Signature
(Continued on next page)
37 SPRING 2019 MFAH Membership Status
MFAH members at the Patron level and above are eligible for a 10% discount. To receive the discount, you must provide your name, member ID number, and expiration date below or include membership dues with your payment. Member benefits are nontransferable and may be used only by persons on the member account.
I am not an MFAH member, but I would like to join, and my dues are included. (indicate level) I am an MFAH member. (indicate level) $45 Student $60 Individual $80 Dual $95 Family $185 Patron* $330 Supporting* $750 Sponsor* $1,500 Benefactor* *Levels eligible for 10% discount.
Name of member, as it appears on your membership card
Member ID # Expiration date (located under the bar code on your membership card)
For information about the many benefits of MFAH membership, visit mfah.org/member or call 713-639-7550.
Tuition and Fees
$______Tuition*
$______MFAH membership dues (if applicable)
$______Donation to Glassell School
$______Total amount
*MFAH members at the Patron level and above may take 10% off the price of tuition for one (1) class or workshop. (See above.) Tuition and lab fees for art history courses are listed on page 6. Tuition and lab fees for workshops are listed with each course description.
Payment
My check is enclosed.
Charge payment to my credit card:
Visa MasterCard American Express Discover
Card number Expiration date
Name as appears on card (please print) Name (signature)
Mail payment for full amount with completed registration form to: Studio School Registrar, MFAH Glassell School of Art, P. O. Box 6826, Houston, TX 77265-6826
Fax completed registration form with credit card information to: 713-639-7709.
SPRING 2019 38 FACULTY AND STAFF at TCU. He was the recipient of a Houston Arts Alliance Individual Artist Grant and the Hunting Art Prize, Staff a finalist for Artadia in 2014, and a nominee for the Texas Contemporary Joseph Havel Award in 2012. His work is in the Director collections of the Museum of Fine Arts, Houston; the Houston Airport Jennifer Cronin System; the City of Houston; and Lydia Bodnar-Balahutrak Associate Director the Art Museum of Southeast Texas, MFA, George Washington Beaumont. He regularly contributes University; Patrick Palmer criticism and reviews for the online BS, Kent State University Faculty Chair and Dean art journal Glasstire. Lydia Bodnar-Balahutrak joined the faculty of the Glassell School Sandra Zilker in 2008 and teaches life drawing Associate Dean of Student Activities and painting. She completed her undergraduate art studies at Gina Stayshich Kent State University, studied at Registrar the Corcoran School of the Arts and Design, and received an Alexandria Gomez MFA in painting from the George Assistant Registrar Washington University, Washington, Amy Blakemore D.C. Since 1991, the artist has Area Coordinator, Photography participated in a number of curated, Lindsay Kayser catalogued, and touring national Communications Liaison & MFA, University of Texas; and international exhibitions and Assistant to the Director BS, BA, Drury College been awarded artist residencies Nadia Al-Khalifah Amy Blakemore has been teaching in France, Ukraine, and the United Administrative Assistant photography at the Glassell School States. Her work can be found in since 1985 and is the head of the museum and private collections photography department. She in the United States, Canada, and Faculty received a BS in psychology and a Europe. A monograph of her BA in art from Drury College (now work was published in 2005. From Drury University) in Springfield, 2015–17, traveling solo exhibitions Missouri, and an MFA from the Dialogues and Discourse presented University of Texas at Austin. She comprehensive selections of her was also a Core Program Artist in mixed-media explorations of Residence at the Glassell School. narrative that combine collage, text, Blakemore’s photographs have and figuration. been exhibited at the Whitney Museum of American Art 2006 Biennial, Day for Night. Her twenty- Michael Bise year retrospective (2009) at the MFA, University of Houston; Museum of Fine Arts, Houston, BFA, University of North Texas traveled to the Seattle Art Museum Michael Bise has taught painting and the Oklahoma City Museum of at the Glassell School since 2013. Art. Art League Houston honored He received a BFA in drawing and Blakemore as the Texas Artist of painting from the University of North the Year in 2015 and presented an Susan Budge Texas in 2001 and an MFA in drawing accompanying exhibition of her MFA, University of Texas, and painting from the University of work. Blakemore has exhibited with San Antonio; Houston in 2005. His work has been Inman Gallery in Houston for more MA, University of Houston, shown at the Contemporary Arts than two decades. Clear Lake; Museum Houston, the Art Museum BFA, Texas Tech University of Southeast Texas, the McKinney Avenue Contemporary in Dallas, Susan Budge has taught ceramics and Fort Worth Contemporary Arts at the Glassell School since 2015 and has been making ceramic
39 SPRING 2019 sculpture for more than 30 years. Museum of Fine Arts, Houston; the She received a BFA from Texas Art Museum of Southeast Texas; Tech University in 1983, an MA from and private collections. Cosgrove University of Houston in 1987, and also taught at the High School for an MFA from University of Texas at the Performing and Visual Arts, San Antonio in 1999. Budge’s work and cofounded a professional has been included in hundreds of photography business in Houston. exhibitions throughout the United States and is in private and corporate Bill Davenport collections around the world. Her MFA, University of Massachusetts, work is in the permanent collections Amherst; of the Smithsonian, the Honolulu BFA, Rhode Island School Museum of Art, the Daum Museum of Design of Contemporary Art, and more. Budge has also completed public Bill Davenport came to Houston in commissions in San Antonio. She 1990 as a fellow in the Core Residency received an Artist in Education Sharon Dennard Program of the Glassell School. For Grant from the Texas Commission BA, University of Houston ten years, his quirky objects and on the Arts. Previously, she was the finicky hyper-real paintings, once department head of ceramics at Sharon Dennard has taught ceramics likened by Art in America to “Zen San Antonio College where she was at the Glassell School since 2003. koans by Bart Simpson,” were in many awarded the NISOD Excellence in Her relationship with visual art began exhibitions everywhere. A former Teaching Award and established an in the fashion industry. The forms, editor of Glasstire.com and an art endowed ceramics scholarship fund. patterns, and colors used in clothing writer for the Houston Chronicle, he’s sparked a creativity and interest in taught at Rice University, Sam Houston design that led her to a degree in State University, Texas Southern photojournalism from the University University, Houston Community of Houston. She continued her College, and University of Houston. studies at the Glassell School of Art At Rhode Island School of Design, he and expanded her interest from studied 2-D design with the revered photography to sculpture, working David Brisson, who studied with the primarily in clay and wood. She has legendary Hans Hofmann. For the exhibited in galleries and museums past ten years, he has been proprietor throughout the United States. Her Charlotte Cosgrove of the fabulous Bill’s Junk, a shop work has been featured in Southwest MFA, University of Pennsylvania; combining high art, low craft, nature, Art, Texas Monthly, the Houston BA, Pennsylvania State University and salvage in the Houston Heights. Chronicle, 500 Cups: Ceramic Charlotte Cosgrove joined the Explorations of Utility & Grace, and Glassell faculty in 1967, teaching PaperCity Magazine. Outside of the studio and art history courses. She studio, Dennard frequently juries completed a bachelor of applied exhibitions and lectures on subjects art degree at Pennsylvania State such as ceramic sculpture and design. University and an MFA in painting She also teaches at the High School from the University of Pennsylvania. for Performing and Visual Arts. Solo exhibitions include A Transitory Realm (2009) at the Art Museum of Julie De Vries Southeast Texas in Beaumont and MFA, University of Houston; House of Shadows (2007) at the BFA, School of the Art Institute Ellen Noël Art Museum in Odessa, of Chicago Texas. Cosgrove’s work was part of Double Take (2001–02), a group Julie De Vries is an artist and exhibition that she organized and educator living in Houston. Her work curated, which originated at the Art includes painting, drawing, and League of Houston and traveled sculpture, and she has exhibited around the state. Cosgrove’s work work in both commercial and has been included in numerous nonprofit spaces throughout the exhibitions throughout Texas and is city and state. She received a BFA in the permanent collection of the from the School of the Art Institute
SPRING 2019 40 of Chicago focusing on painting MFA from Southern Illinois University. of Contemporary Arts, London, and Latin American art history, and He has exhibited nationally and among others. She has been the her MFA in painting and drawing internationally, winning awards recipient of two Artadia Awards and from the University of Houston. She including Juror’s Choice Award in three Individual Artist Grants from the currently teaches drawing and art Ceramic Object/Conceptual Material City of Houston. She has taught at appreciation at Lone Star College and the Luis Jiménez Award for First University of Virginia, Charlottesville; and is represented by Jonathan Place in Sculpture on Campus at Rice University; and University of Hopson Gallery in Houston. Southern Illinois University. Forster Houston. Fuchs shows with Inman was awarded the Helen Drutt Studio Gallery in Houston and Talley Dunn Fellowship with his residency at the Gallery in Dallas. She also curates Houston Center for Contemporary shows and writes articles. Craft and completed residencies at Lone Star College–North Harris and the Armory Arts Center. Besides teaching and maintaining a studio practice, Forster sits on the Artist in Residence Committee at the Houston Nathan Dube Center for Contemporary Craft 3-D Department Chair and the Artist Advisory Committee for Fresh Arts. He also served on MFA, Kent State; the board of the National Council Mark Greenwalt BFA, University of Texas on Education for the Ceramic Arts MFA, Pratt Institute, Brooklyn, NY; Nathan Dube joined the Glassell for the 47th annual conference in MA, Stephen F. Austin State faculty in 2012 and teaches jewelry Houston. University, TX; and 3-D design courses. He is a BA, Stephen F. Austin State metalsmith whose work explores his University, TX interest in childhood and play by Mark Greenwalt is professor of art at exploring the relationship between College of the Mainland and current humor, aggression, masculinity, president of the Texas Association and the ways contemporary adult of Schools of Art. Prior to 2000, male identity is constructed in Greenwalt taught drawing and American culture. He holds an MFA painting courses for the University from Kent State University and a of Houston, Rice University, and the BFA from the University of Texas at Francesca Fuchs Glassell School. For more than 20 Austin. His work has been exhibited 2-D Department Chair years he has been represented by both nationally and internationally, MFA, Kunstakademie Düsseldorf, Houston’s Hooks-Epstein Gallery. including a solo show at the National Germany; Most recently Greenwalt participated Ornamental Metal Museum in BFA, Wimbledon School of Art, in an art and pathology collaborative Memphis, Tennessee. Great Britain; project with the University of Texas BA, Bristol University, Great Britain Medical Branch and Galveston Arts Center. Through frequent Francesca Fuchs has taught at cycles of forming, deforming, and the Glassell School since 1997, reforming imagery, Greenwalt’s where she is head of the painting nondeterministic figures evolve department. She completed a BFA on drawing surfaces parallel to the at London’s Wimbledon School greater world in which nature and of Art (now Wimbledon College culture increasingly fuse in wonderful of Arts) in 1993 and an MFA at and terrifying ways. Jeff Forster the Kunstakademie Düsseldorf, Area Coordinator, Ceramics Germany. Fuchs came to Houston in 1996 for the Core Residency MFA, Southern Illinois University; Program of the Glassell School of BA, St. John’s University Art. Fuchs’s work has been shown Jeff Forster joined the Glassell School at the Modern Art Museum of Fort faculty in 2009 and is the head of Worth; the Museum of Fine Arts, the ceramics department. He has a Houston; the Contemporary Arts BA from St. John’s University and an Museum Houston; and the Institute
41 SPRING 2019 Idea Fund Award, plus grants from BFA, Cooper Union for the Houston Arts Alliance (HAATX). Hill Advancement of Science continues to explore media as wide and Art ranging as traditional materials such Devin Kenny is an interdisciplinary as wood and steel to innovative artist, writer, musician, and uses of sound to create sculptural independent curator. Hailing from environments. He also employs the south side of Chicago, he the use of many digital tools. Hill relocated to New York to begin his Jan Harrell received a BA in political theory, studies at Cooper Union. He has MFA, University of Houston; followed by an MFA in sculpture from since continued his practice through BFA, Texas Tech University Stephen F. Austin State University. the Bruce High Quality Foundation, Jan Harrell is a metalsmith, enamelist, Skowhegan School of Painting and educator who has been on and Sculpture, SOMA Mexico, and the Glassell School faculty since collaborations with DADDY, pooool, 1993, teaching enameling. Her Studio Workout, Temporary Agency, love for glass and metal media and various art and music venues in was fueled by her early childhood New York City, Chicago, Los Angeles, years in Japan and then grew into and elsewhere including: Recess, her college and graduate-school Roode Bioscoop, REDCAT, MoMa vocation and passion. Harrell teaches PS1, Freak City, and Santos Party Terrell James workshops across the country and House. He received his MFA in 2013 BA, Sewanee: The University of participates in invitational and from the New Genres department the South juried exhibitions. Her work is in the at the University of California, Los permanent collection of the Houston Terrell James is happy to return to Angeles, and is an alumnus of the Airport System at IAH, the Kamm her professional alma mater, having Whitney Independent Study Program. Teapot Foundation, the Enamel Arts been both a faculty member and Foundation, and several private student. She has worked in studios collections. More than 15 books and in New York’s Soho, Harlem, Studio publications feature her work. Harrell City, and Montauk; Bald Head received a BFA from Texas Tech Island, North Carolina; Bologna; University and an MFA in sculpture San Miguel de Allende; and Berlin. from the University of Houston. In James’s active career, her works have been seen in galleries and museums throughout the United States, Europe, and Asia. Collections Suzanne M. Manns include the Museum of Fine Arts, MA, Rhode Island School Boston; the Dallas Museum of Art; of Design; the Museum of Fine Arts, Houston; Atelier Garrigues, France; Transart Foundation; and the Whitney BFA, Carnegie Mellon University Museum of American Art. She has In 1980 Suzanne M. Manns joined the been included in more than 200 Glassell School, where she helped J Hill group shows, and completed more establish a substantial printmaking MFA, BA, Stephen F. Austin than 40 solo exhibitions in galleries, department, and teaches classes State University artist-run spaces, and museums. and workshops in drawing and J Hill has been teaching sculpture printmaking. She received a BFA at the Glassell School since 1995. in painting and printmaking from He is a sculptor who has had Carnegie Mellon University and multiple one-person and group received an MA in printmaking from exhibitions in galleries, nonprofits, the Rhode Island School of Design. and museum spaces. Hill’s works Presently her work is inspired by the and social projects have been garden of her Heights bungalow executed in venues throughout and other places/landscapes of Texas, in cities such as Chicago and personal significance. Combining both Devin Kenny Baltimore, and countries including traditional and innovative print and MFA, University of California, France and Kenya, to name a few. drawing techniques, her work is a diary Los Angeles; He has received awards such as the of intimate experience meditating Artadia Houston Grand Prize and an
SPRING 2019 42 on the fragile, yet enduring nature the Museum of Fine Arts, Houston; of life. She has shown in numerous City of Houston public art; and the solo and group exhibitions, nationally Houston Airport System. and internationally, including the Galveston Arts Center and Flatbed Press & Gallery. Her work is included in numerous private and public collections including The JPMorgan Chase Art Collection; the Modern Ken Mazzu Art Museum of Fort Worth; and the Area Coordinator, Works on Paper
Museum of Fine Arts, Houston. MFA, University of Houston; BFA, Lamar University Will Michels Ken Mazzu, a painter working in BArch, Pratt Institute watercolor and oil media, has taught watercolor and drawing courses at Will Michels has been employed the Glassell School since 1997 and with the Museum of Fine Arts, also serves as department head for Houston, since 1985 and has taught the works on paper department. photography at the Glassell School Academically, Mazzu’s philosophy is since 2001. He graduated with honors in 1991 from Pratt Institute, with a Arielle Masson based upon building traditional, solid degree in architecture. When he MFA, University of Houston; foundations that facilitate students’ was the project architect in charge MA, La Sorbonne, France; expansion toward individual interests of restoring the Battleship Texas, BA, Lycée Français, Belgium as they advance as artists. Prior to maintaining his studio art practice in a World War I-era dreadnought, Arielle Masson joined the Glassell Houston for the past 20 years, Mazzu Michels began to explore fine art School faculty in 1990 and teaches received an MFA in painting from the photography. He has focused on painting and drawing. She first University of Houston in 1997. He is portraiture, including self-portraits, studied fine art drawing at L’École also a graduate of Lamar University, environmental portraits of Battleship d’Art d’Uccle Brussels, Belgium. She with a BFA in studio art. Texas veterans, and living-history earned an MA in Latin American documentation. Michels cocurated literature and did postgraduate the landmark exhibition WAR/ studies in linguistics at La Sorbonne. PHOTOGRAPHY: Images of Armed She received an MFAH in fine Conflict and Its Aftermath. The arts/painting from the University accompanying catalogue won of Houston. She was awarded a the Kraszna-Krausz Award for Best residency with the Core Residency Photography Book in 2013. His Program of the Glassell School work was included in the traveling and with the Brown Foundation exhibition and catalogue Who Shot Fellows Program at the Dora Maar Sports: A Photographic History, David Medina House, Ménerbes, France. She has 1843 to the Present, organized by Area Coordinator, Sculpture extensively exhibited in museums the Brooklyn Museum. Michels has and galleries throughout Texas, MFA, University of Houston; received grants from the Cultural Arts France, and Mexico, including a BFA, Fort Lewis College Council of Houston, the Summerlee solo exhibition at the Museum of Foundation, Houston Endowment Inc., David Medina has taught sculpture Anthropology of Xalapa, Veracruz, and Artadia. He is also a collection at the Glassell School since 2004 Mexico. Her studio practice photographer at the Museum of Fine and is the head of the sculpture includes all painting media and wall Arts, Houston. department. He received an MFA installations, with a specialization from the University of Houston in the fabrication and use of egg in 2002 after studying sculpture tempera and gouache paint. She as an undergraduate at both the has designed major public artwork Minneapolis College of Art and for the City of Houston, including Design and at Fort Lewis College in the MetroRail Transit. Durango, Colorado. He has worked as studio assistant to sculptors Luis Jiménez and Joseph Havel. Medina’s work is included in the collections of
43 SPRING 2019 sarcastic, but perhaps most oddly, highly austere. Ponder earned an MFA from Southern Illinois University in 2009 and a BFA from Lamar University in 2005.
Patrick M. Palmer Robert Ruello MFA, Arizona State University; Area Coordinator, Digital Arts
BA, University of California, MFA, Columbia University; Santa Barbara BFA, School of the Art Institute Patrick Palmer has been teaching of Chicago; painting at the Glassell School since BA, Loyola University 1992 and has been the dean since Brian Portman Robert Ruello joined the Glassell 2010. He also serves as faculty chair. BFA, Rhode Island School School faculty in 2008 and is the head He earned a BA from the University of of Design of the digital arts department. He is a California, Santa Barbara in 1977 and Brian Portman has been an instructor visual artist working in both digital and an MFA from Arizona State University at the Glassell School since 1999, traditional media. Ruello received an in 1979. Throughout his 40-plus years teaching drawing and painting. He MFA from Columbia University in New of painting, Palmer placed works in has a BFA from Rhode Island School York City, a BFA from the School of the Metropolitan Museum of Art in of Design where he was a European the Art Institute of Chicago, and a BA New York; the San Francisco Museum Honors Fellow. Other awards and in psychology from Loyola University of Modern Art; the Museum of Fine fellowships include the Arch and in New Orleans. Artist residencies Arts, Houston; and many other Anne Kimbrough Fund Award from include the Core Residency Program prestigious museum and university the Dallas Museum of Art, an NEA of the Glassell School, the Skowhegan collections. Palmer’s current paintings grant, and the Core Residency School of Painting and Sculpture, revisit an often-examined theme using Program of the Glassell School and the Brown Foundation Fellows abstracted figures/heads edged with (1983–85). Portman’s work is in the Program at the Dora Maar House. some psychological intrigue. collections of the Museum of Fine Honors include a painting fellowship Arts, Houston; Dallas Museum of Art; from the National Endowment for the Walker Art Center; Museo Culterdad, Arts and a Gottlieb Foundation grant, Mexico City; the Blanton Museum; plus Ruello was a selected artist for the the Old Jail House Museum; and publication New American Paintings the El Paso Museum of Art. He (Issue 102). Ruello has worked has also given seminars for the collaboratively on both Transforma Museum’s education department. Projects with Rick Lowe, Sam Durant, He was juror for Art on the Avenue. Jessica Cusick, and Jess Garz and He has exhibited locally, nationally, Snack Projects with artist/curator Mark Ponder and internationally. In 2010, he was Michael Guidry. He is represented in MFA, Southern Illinois University; featured in Catherine D. Anspon’s Houston by Inman Gallery. BFA, Lamar University book, Texas Artists Today. He is represented by Meredith Long & Mark Ponder joined the Glassell Company, Houston. School faculty in 2014 and teaches digital photography. He creates playful, self-reflexive drawings and installations that critically address the potential empowerment and perils that come from positive thinking. His subversive, brutally honest take on his quest for happiness and success Alexander Squier reminds one of self-help posters MFA, Tufts University of the gone extremely wrong. Often gaudy Museum of Fine Arts, Boston; and sometimes slightly icky, his BFA, University of Rochester visuals seek to tease out the duality Alexander Squier has taught embedded in our deepest feelings printmaking at the Glassell School and emotions. The works are cute,
SPRING 2019 44 since 2017. He is an artist working courses from cave to contemporary, than 20 years. This October, Willis across printmaking, drawing, and her research interests and will participate in a group show at photography, and installation. publications include French art and Galveston Arts Center. Squier earned a BFA from the women in art. University of Rochester, and an MFA from the School of the Museum of Fine Arts in Boston (Tufts University) in 2013, where he also taught before returning to his hometown of Houston. Currently, Squier works out of his home and studio at Box 13 in Houston’s East End. In addition to pursuing installation opportunities Sandra Zilker in non-art spaces throughout the Stephan Wexler Area Coordinator, Jewelry city, he works as the exhibitions MD, University of Texas Health MFA, Cranbrook Academy of Art; coordinator at Houston Community Science Center, San Antonio; BFA, University of Houston College Central Visual Arts Gallery MLA, University of St. Thomas; and also teaches printmaking at the MBA, University of St. Thomas; Sandie Zilker joined Glassell in 1974 University of Houston. JD, South Texas College of and is now department head of Law-Houston jewelry/enamel and the associate dean of student activities. She Among his many hats, Dr. Stephan earned a BFA from the University Wexler is an attorney specializing in of Houston and an MFA from entertainment law and intellectual Cranbrook Academy of Art. Zilker’s property. His clients include authors, wild and colorful work has been musicians, actors, and artists. He exhibited worldwide. Several brings his unique legal perspective collections include her work: the and insight to a variety of topics Museum of Fine Arts, Houston; the important to all artists: art and media, Anna Tahinci Racine Art Museum; Designmuseo, copyright, the internet, and how to Art History Department Chair Finland; and Norden Felske Kundi make art a business. Industrimuseum, Norway. Her work PhD, DEA, BA, University of Paris I, has been published in numerous Panthéon-Sorbonne books, including 500 Brooches, Dr. Anna Tahinci is professor 500 Bracelets, and 500 Plastic and and the head of art history at the Resin Objects, as well as The Art of Glassell School, where she has Enameling by Linda Darty. She is on taught since 2013. A native of the exhibition committee and has Greece, she studied history and served on the board of the Society archaeology in Athens and art of North American Goldsmiths. Zilker history and comparative literature also serves on the board of Houston Bill Willis at the Sorbonne (PhD on Rodin’s Center for Contemporary Craft MFA, University of Houston; collectors), and did museum studies and is president of Houston Metal BFA, University of Texas at the École du Louvre. She has Arts Guild. The Houston Center for worked at the Musée Rodin, the Bill Willis joined the Studio Contemporary Craft named her Texas Musée d’Orsay, the Louvre, and School faculty in 2018. He is a Master Artist in 2014. the Harvard Art Museums. She watercolor artist who promotes a has taught at Boston University, studio environment conducive to Paris; the University of Minnesota; discovery and nurtures students to Macalester College; and the advance and achieve their visions Minneapolis College of Art and in watercolor. Willis paints for Design. She cocurated the sculpture excitement and believes in painting exhibition that was organized in as a practice of transformation, Athens for the Olympic Games in capable of revealing hidden 2004 and the exhibition Rodin and truths through diverse modes of America at the Cantor Arts Center, representation and ways of world Stanford University in 2011. She making. Willis has maintained an teaches a wide range of art history active studio practice for more
45 SPRING 2019 SPRING 2019 46 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 contributions to the 2018–19 Glassell School of Art Annual Fund Drive:
LEADERSHIP CIRCLE Chairman’s Circle Mr. and Mrs. David H. Rude, Jr. The Glassell Family Adrienne and Tim Unger Sue and Rusty Burnett The Skiles Foundation Fellows Leslie and Brad Bucher Claire and Doug Ankenman Karol and Paul Barnhart, Jr. Director’s Circle Karen Bradshaw Ellen and David Berman Krista and Michael Dumas Mrs. Jereann H. Chaney Mary and George Hawkins Mr. and Mrs. Jamal H. Daniel Ms. Cecily E. Horton Mr. and Mrs. David Marsh Ms. Catherine J. Leachman John P. McGovern Foundation Mr. and Mrs. Meredith J. Long Nancy Powell Moore Mr. and Mrs. William K. Matthews III Mr. and Mrs. John S. Orton Mr. and Mrs. Scott McCool Mr. and Mrs. C. Robert Palmer Mirtha Casimir and Jack McKinley Isla and Tommy Reckling Clare Casademont and Michael Metz Mr. and Mrs. Scott Nyquist The Gallery H. John and Diane M. Riley Priscilla Angly and Miles Smith Pauline and Stephen Smith Sara Paschall Dodd Wells Fargo Barbara and Michael Gamson Vallette and Russell Windham Ms. Carroll R. Goodman Mrs. Cyvia G. Wolff Mr. Samuel F. Gorman Mr. and Mrs. Jacque H. Passino, Jr. Ms. Beth Robertson
Photograph by Allyson Hunstman
47 SPRING 2019 $1,000—$2,499 $250—$999 Melza and Ted Barr A-Action Home Inspection Group Leslie and Jack Blanton, Jr. Mr. John C. Boehm Mrs. Daniel A. Breen, Jr. Betty Ann and Richard Brose Mr. and Mrs. Laurence C. Burns, Jr. Ms. Lynn Sewell Carpenter Charles Butt Dr. Angela Chen Dr. and Mrs. William A. Coe Marie Fay and S. K. Evnochides Mr. Jong D’Andrea Mrs. Jerry E. Finger Ms. Julia M. Flowers Mr. and Mrs. Harvey Fitzpatrick Dr. Martin Giesecke Janice M. Avery and Teruhiko Hagiwara Mr. and Mrs. I. H. Kempner III Patricia Lasher and Richard Jacobs Ms. Anne Lamkin Kinder Annie Wang and Zerong Jiang Marilyn G. Lummis Yolanda and William Knull III Nancy McGregor and Neal Manne Karen Rosoff and Bruce Lindabury Mr. Rodney H. Margolis Reid Sutton and Joe Nagar Gary Mercer Dr. Paula J. Runte Bunny and Perry Radoff Cindy Levit and Ian Ryan Leigh and Reggie Smith Mr. and Mrs. David Senior Mr. and Mrs. William A. Smith Mr. and Mrs. Michael Sigman Gretchen Bender Sparks Marjorie and Peter Silverstein Marcy E. Taub Deanna and Jim Swenke Ann G. Trammell Mr. and Mrs. James G. Ulmer Dede and Connie Weil Mrs. Paul Elliott Van Hook Mr. and Mrs. Robert R. Weir
The above list includes the names of all donors to the Glassell Annual Fund from July 1, 2018, through press time.
SPRING 2019 48
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