Founded in 1882, The Cleveland Institute of Art is an independent college of art and design committed to leadership and vision in all forms of visual arts education. The Institute makes enduring contributions to art and education and connects to the community through gallery exhibitions, lectures, a continuing education pro- Link gram and The Cleveland Institute of Art Cinematheque. FALL 2009 NEWS FOR ALUMNI AND FRIENDS OF THE CLEVELAND INSTITUTE OF ART RIGHT: Professor Petra Soesemann ’77 at worK in her Roswell, NM studio. BELOW: Detail from Soesemann’S recent worK. FROM FRANCE Summer OFFERS CLEVELAND INSTITUTE OF ART FACULTY MEMBERS A BREAK FROM TEACHING AND TIME TO CONCENTRATE ON THEIR PROFESSIONAL PRACTICE AND SCHOLARSHIP. THIS PAST SUMMER, NINE FACULTY MEMBERS TOOK IT TO THE NEXT LEVEL. THEY WERE CHOSEN TO BANFF: FROM AMONG HUNDREDS OF APPLICANTS FOR RESIDENCIES AT ART CENTERS ACROSS NORTH AMERICA AND ABROAD WHERE THEY HAD THE nLUXURIES OF TIME AND SPACE TO THINK, READ, CREATE, COLLABORATE WITH PEERS AND GROW PROFESSIONALLY. SOME RESIDENCIES OFFERED THE STIMULATION OF A COMMUITY OF ARTISTS; OTHERS OFFERED SILENCE. SOME PROVIDED FULLY EQUIPPED STUDIOS; ONE A QUIET OLD FACULTY PURSUE LIBRARY WITH WIRELESS ACCESS. AS DIVERSE AS THESE EXPERIENCES WERE, ALL REPRESENTED ACKNOWLEDGMENT OF PROFESSIONAL SUCCESS AND EXPOSURE TO NEW IDEAS FOR FACULTY MEMBERS TO SHARE WITH INSTITUTE STUDENTS. EXCLUSIVE TIME FOR EXPERIMENTATION Jacques Derrida. “Banff has made pos- her to branch out into new sculptural sible this depth of exploration and materials. And in between, she com- As her six-week residency came to a RESIDENCIES experimentation through the facilities pleted a workspace residency at Dieu close at The Banff Centre in Alberta, and support it offers.” Donne Papermill in New York City, Canada, Assistant Professor Lane Having the time, space and encour- which consisted of seven days in this Cooper said her experience there had agement to experiment is one of the studio over the course of a year. been “transformative.” most prized aspects of an artist’s Some 300 artists per year apply for “Having such a span of time with a residency, CIA faculty members say. the handful of workspace residencies kind of enforced removal from other Professor Petra Soesemann ’77 is spend- offered by Dieu Donne Papermill. concerns has been an incredible oppor- ing an entire sabbatical year in the Kabot said she “mostly uses cheap paper tunity,” said Cooper, interim head of the Roswell Artist-in-Residence Program you can buy in an office supply store” Painting Department. at the Roswell Museum and Art Center for her site-specific installations. At Surrounded by the snow-capped in New Mexico. “For me, it’s the abil- Dieu Donne, however, “part of their Canadian Rockies — and acclaimed art- ity to be in the studio spending maybe goal is to get artists to try working in ists from across the continent — she two weeks straight thinking through fine paper and extraordinary pigments, created works in painting, video, perfor- and working through a series of things to bring new perspectives and encourage mance, writing and installation inspired that are just very experimental,” experimentation.” by the writings of French philosopher said Soesemann, who teaches in the Foundation Environment. SAVORING SOLITUDE OR Assistant Professor Sarah Kabot NETWORKING WITH PEERS found opportunities to experiment with Soesemann socializes with other art- different media and different equipment ists at the Roswell program, but works in three separate residencies she juggled alone and cherishes the un-interrupted this summer. Riding high having had stretches of time and solitude. Liberal four New York City gallery shows in the Arts Professor Maureen Kiernan rel- last year, she spent June in an artist’s ished her residency at the Nantucket residency sponsored by Swarm Gallery Island School of Design and the Arts in Oakland, California. During July and for the same reason. August, she was at Sculpture Space in Continued on page 2 Utica, New York, where she had access to a variety of equipment that allowed 0908620_12pg.indd 1 8/20/09 3:34:28 PM “There’s the whole question of what you learn and how you grow from your own creative practice. In one way or another, it feeds your insights and what you bring to the students.” artists “who deal with scientific method- niques, conversations and the new con- RESIDENCIES continued from page 1 ology, scientific knowledge or technol- tacts that I’ve made, I present the model “I know that I work best when I’m ogy,” Ostrow explained. of the artist as professional.” by myself,” said Kiernan, who is work- For Tucker, who holds degrees in Cooper added that residencies offer ing on a book of and about travel essays. geology and biology in addition to his faculty members opportunities to share “For me, it’s really hard to get any work BFA and MFA, the Banff residency was ideas with other art educators about other than teaching done once the a unique experience. He has a strong “the difficulties of communicating semester starts. I get busy with classes professional focus on the collaborative abstract ideas.” She also looks forward to and then I can’t just sit down and finish potential between the arts and sciences. one of the most tangible benefits these an essay when I’ve been away from it for Assistant Professor Amanda Almon, residencies have for students: the diverse weeks. So this residency was great. I just head of the Institute’s Biomedical Art artists who will be invited to campus needed my little cabin and the library.” Department, was one of the 16 artists in because they impressed faculty members By contrast, other faculty members the program facilitated by Tucker and on various residencies this summer. say what they value most in a residency Ostrow. “The value of this residency are the contacts they make with other for me was in professional networking, COMPETITIVE RESIDENCIES artists. Associate Professor Saul Ostrow feedback from other artists and learn- ARE A STAMP OF APPROVAL said “Significantly, what artists get out ing innovative and contemporary art Ostrow, a critic and theorist, is a veteran of these residencies is networks.” practices and strategies for positioning of numerous residencies. He noted that Assistant Professor Megan Ehrhart my work in a contemporary context,” being chosen for such opportunities is collaborated with artists from around she said. an important form of professional vali- the world at the Camac Centre d’Art dation from outside the Institute. “The in Marnay-sur Seine, France, where she BRINGING IT BACK TO CIA STUDENTS fact that we have so many faculty mem- had a two-month residency this past Since its founding in 1882, the Institute bers on such high quality residencies summer. In a 17th century priory with has espoused the idea that students learn says we have significant faculty doing spotty Internet access, she worked on a art and design best from faculty mem- significant work. Not only is it a form short, animated film. bers who are themselves working artists of validation to be chosen from among “My work has thrived in these con- and designers. When faculty members so many applicants, but the notion is ditions, surrounded by artists with learn and grow professionally as a result you’re chosen to work with comparable such diverse backgrounds, cultures of a residency experience, their students people, the best of the best,” he said. and talents, nurtured by a strong com- inevitably benefit. Ehrhart, for instance, was one of only munity built from cooperation and “Art education is no longer merely 12 artists from around the world to win creation,” said Ehrhart, who teaches in the transfer of skills. It’s the transfer of a spot in the prized Camac Centre d’Art the T.I.M.E.-Digital Arts Department knowledge and the broader the faculty’s residency. And Soesemann’s opportunity (for Technology and Integrated Media knowledge, the broader the students’ for a full-year residency is a rare privi- Environment). knowledge,” said Ostrow. “The more lege for art and design faculty members. COUNTERCLOCKWISE FROM TOP: IN Assistant Professor Barry Underwood, exposure a faculty member has to what’s “I see the other artists here and every- CALIFORNIA, ASSISTANT PROFESSOR head of the Department of Film, Video going on in the world, the more access body is so thrilled to have this much BARRY UNDERWOOD SETS UP AN and Photographic Arts, said the value of our students have to that same knowl- time to work. People are really dedicated edge. And then when the student goes to being in the studio. It’s a very serious INSTALLATION THAT HE WILL PHOTOGRAPH artists’ residencies is “mostly about com- munity building.” Underwood spent his on either to graduate school or a career, workplace,” Soesemann said. OVERNIGHT IN A LONG EXPOSURE. third consecutive summer in a residency, they bring a degree of sophistication, As Ostrow sees it, that’s the whole this summer at Headlands Center for rather than being sort of provincial and point. “What you take away from a ASSOCIATE PROFESSOR SAUL OSTROW IS the Arts in Sausalito, California, where or reduced to what they’ve read in an art residency is a lot more than just being A VETERAN OF NUMEROUS RESIDENCIES. he photographed his own unique style magazine.” refreshed. They’re not vacations; they’re of outdoor site-specific installations. Students also gain to the extent that not even working vacations. They’re ASSISTANT PROFESSOR SARAH KABOT’S Ostrow made several new con- they learn by example from their profes- much more important.” INSTALLATION AT SWARM GALLERY IN nections this past summer.