Fri. December 2, 2016
Design to Renourish by Eric Benson (M.F.A. in Design, 2006) and Yvette Perullo was published this fall.
Design to Renourish is a book for graphic designers that helps to integrate sustainability into their workflow through a design process called systems thinking. This process asks the graphic designer to approach a design problem by being more informed and aware of and influenced by the impacts that material and vendor choices have on one another, the planet and, consequently, on us.
The book not only walks the reader through how to design with nature as a model, but also offers solutions to the real life challenges of working with the client to create sustainable work. Through ten case studies that feature interviews with international design teams who embrace a sustainable systems methodology, the reader will gain valuable insights on how to design to renourish for positive change.
Fri. December 2, 2016
This past month, Visual Art Studies students attended the Texas Art Education Association’s annual conference in Dallas. The conference seeks to promote quality visual arts education as an integral part of learning in Texas through the professional development and advancement of knowledge and skills, representation of the art educators of Texas, service and leadership opportunities, and research and development of policies and decisions relative to practices and directions in visual arts education.
Awards for excellence in the field were given to UT Austin faculty members Paul Bolin for TAEA Distinguished Fellow and Heidi Powell for TAEA Higher Education Division Outstanding Art Education Award. In addition, faculty, current and former Visual Art Studies students presented research and best practices in a variety of conference presentations. Included among the presentations were current senior Julia Caswell’s “The Walking Classroom: Audio Walks and Engagement," which explored how interactive audio walks may be implemented in the art classroom, and alumnus Shaun Lane and Shelby Johnson's “Myth vs. Reality: Student Teaching,” an investigation of students’ relationships with student teachers vs. in-service teachers. Faculty members Christina Bain and Heidi Powell presented a workshop titled "Animating Your Curriculum" that taught how to integrate time-lapse software into an art education curriculum.
Christina Bain also presented a two hour workshop, "Penelope Paper Strip, Puppets, and Paper Sculpture," with VAS students Courtney Jones, Hannah Reed, Madison Weakley, Katie Gregory, Chelsea Freestone and Julia Caswell that explored how storytelling can set the stage for teaching basic paper sculpture techniques. This conference presentation was a natural extension of previous research presented at the International Society for Education through Art annual conference. Research from contemporary art educators at The University of Texas at Austin innovates upon current practices, incorporating elements of gamification and technology. "I think technology has always been a focus of art instruction," said Bain. "As technologies of the times change, so too does instruction. Technologies spotlighted in conferences such as TAEA dovetail with the general push in education to focus on 21st century learning skills."
Design M.F.A. Students Invited to Apply for Fall 2017 Design Institute for Health Research Fellowships
Thu. December 1, 2016
The College of Fine Arts at The University of Texas at Austin announces two Design Institute for Health Research Fellowships open to graduate students entering the M.F.A. Design program in the Department of Art and Art History in fall 2017.
Fellowship awards include:
- Full tuition and health insurance
- Fellowship/work stipend of $25,000 per year
- The opportunity to work with the university's Design Institute for Health, a collaboration between the Dell Medical School and College of Fine Arts
Applicants to the M.F.A. Design program whose backgrounds and statements of intent suggest an interest in and aptitude for the field of healthcare design (broadly conceived to include the design of systems, services, devices and interactions) will automatically be considered for the fellowships; no separate application is required.
About the Department of Art and Art History
The Department of Art and Art History in the College of Fine Arts at The University of Texas at Austin is one of the largest and most diverse in the country. It includes programs in Art Education, Art History, Design and Studio Art. The M.F.A. Design program’s cohorts of four to seven students work closely with faculty in small classes with individualized instruction. Drawing on the extensive resources of a tier one, comprehensive research university, the program allows self-directed students the opportunity to tailor their coursework to pursue an area of academic concentration and to focus on graphics, objects, interactions, systems and/or services.
About the Design Institute for Health
The Design Institute for Health (DIH) is a first-of-its-kind initiative applying a creative design-based approach to the nation’s health care challenges and rapidly integrating that perspective into medical education and new community health programs in Central Texas. The DIH is a collaboration between the Dell Medical School and College of Fine Arts at The University of Texas at Austin and is a resource to the community. The DIH works across Austin’s new medical district with invested stakeholders on projects to meaningfully change health experiences and reimagine care delivery. The institute is led by two veterans of the internationally recognized design firm IDEO: Stacey Chang, IDEO’s former managing director of health and wellness; and Beto Lopez, former head of systems design at IDEO and a UT Austin alumnus.
Kim Gant (Ph.D. candidate in Art History) Named New Curator of Modern and Contemporary Art at Chrysler Museum
Mon. November 28, 2016
Mon. November 21, 2016
Operated out of DUMBO Brooklyn, by the Association of Independent Colleges of Art & Design (AICAD), the New York Studio Residency Program (NYSRP) offers a semester-long program for selected art students across the United States. Given their own studio space and the opportunity for intensive engagement with artists and colleagues, participating students are given an exceptional introduction to the New York art world.
This year, senior Studio Art undergraduate Gabrielle Daubourg joined twelve other students from across the U.S. and Canada in New York to embark on the residency. A change of scenery is nothing new for Daubourg. Originally from France, born and raised in Paris, she moved to Texas when she was sixteen years old. At The University of Texas at Austin, she studied philosophy before transferring to Studio Art in order to work in film. When describing the program, Daubourg writes, “The academic structure of the program is very laissez-faire and allows each students to have time to explore the city, go to museums, exhibits and work in our studios. No micro managing.” The critical seminars that take place from Monday through Thursday involve discussion of assigned texts to current events. “These discussions have been highly influential,” writes Daubourg. “especially as a practicing video maker, in this cultural climate, which is purely mediated through consumption and image-based relationships.”
Writing with Daubourg over email during mid-terms, we learned that Magdalena Sawon of Postmasters Gallery came to the studios as a guest critic. Sawon is known for cultivating talent in new and emerging artists working in sculpture and painting to new media. Among twelve students, she is the only one that works in video; most others work in sculpture, painting, screen printing and other mediums. All of the object-making makes for a dynamic exchange of voices and critical approaches, especially during midterm critiques. “As I primarily work in video, my shooting occurred after the midterm, so the majority of what I had to show was comprised of writings,” writes Daubourg. “I presented some previous works in order to show the visual strategies I intended on applying to the upcoming project. Otherwise it was a surprisingly polite and safe critique, especially considering the student’s overall sense of anxiety prior to the event, which only served to disappoint my masochistic tendencies.”
The individual studio spaces given to each student artist are a boon to their production and a unique opportunity to expand upon projects over the course of the semester. When discussing her studio space as a video artist, Daubourg responded, “My studio space looks more like an office. It’s clean, orderly and meticulous; a failed, conscious mise-en-scène to attempt to calm my neurosis.” Remarking on the comparison to other students’ studios, “The space lacks the liveliness and colors of the painter’s studios and as another student put it, ‘it’s sad, sterile and lacks warmth.’ The next day I bought a candle.”
Assuming that Daubourg employed the same crackling wit in her work, we asked her what some of her current projects entailed. “At the moment the process of aging and the attempt to preserve histories through different aspects of storytelling is central to my relationships with current subjects,” writes Daubourg. “My work is dependent on subjects, either actors, dancers or family members. I only occupy the studio for research or editing.” The constraints she puts on herself in terms of subject matter and approach means that she spends most days outside, establishing relationships with individuals she is curious about before retiring to her studio to edit. As a means of establishing authentic relationships, Daubourg is volunteering with an organization that establishes physical and emotional support for seniors in the city. “I have started developing a closeness with certain individuals and started a process of documenting them in their space and recording our conversations.”
“Most of my current work happens prior to capturing any footage. Because of my dependency on people I spend a lot of time building the relationship before I can introduce the invasive presence of a camera into their personal space. Trust must be established, a construction that is undeniably dependent on time.”
With a month left in the semester, Daubourg reflects back on some of the most enriching parts of the residency, “just the ability to produce work in one of the greatest cities in the world is such a tremendous opportunity. There is a freedom to experiment and attention given to young artists that I want to see everywhere and bring back with me.”