The Department of Art & Art History continues to foster relationships with our graduates across the globe. We recognize alumni for their service, achievements and professional excellence in order to showcase them within the Art & Art History family.
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Alumni in Focus
MFA, Filmmaking, 2017
When I was looking at graduate programs, I applied to a number of schools where I knew the work of the faculty. CU, at the time, had a number of well known filmmakers; Jeanne Liotta, Phil Solomon, Alex Cox, and Reece August. I admired all of their work, but faculty reputation alone wasn't the deciding factor. Additionally, when I learned that my incoming film cohort would consist of just one other student, I couldn't believe it. Not only would all these wonderful artists become colleagues and mentors over the next few years, but I wouldn't have to struggle to get time with them. Boulder, was unique in other ways as well. Since the program consists of not just filmmakers, but artists across disciplines, cohort feedback would come from artists working not just in filmmaking, but in photography, ceramics, sculpture, print making, and painting. Moreover, this gave me access to professors working in those disciplines as well. It didn't hurt that every graduate student also received their own studio.
I currently live in New Orleans teaching at Loyola University here. My practice remains active with several projects in development. I recently received a major grant from POLIN, a Jewish museum in Poland, to make a new short film for an exhibition that will take place in April of 2022. Additionally, I'm in production on a new feature length documentary called The Flamingo, about a late in life sexual awakening of a 60 year woman in Salt Lake City. I also just completed a short experimental film exploring abandoning a project on the end of the world amidst a global pandemic.
MA, Art History, 2016
Access to courses that were relevant and faculty whose areas of study directly related to my own were my top priorities. University of Colorado Boulder had both of those things. Having the opportunity to work with Dr. James Córdova, and then Dr. Annette de Stecher in my second year, was the primary draw. I know my time working with them (among all of the other incredible faculty in the program) really elevated my work and helped develop critical thinking skills and theoretical framing that I still use today—both as an arts professional and as a person.
I look back and know I absolutely made the right choice. I couldn’t have asked for more supportive faculty. My interests are varied, and when I decide I want to do something, it’s difficult to talk me out of it. If there was something I wanted to do, even if it was unprecedented or part of an abnormal trajectory for an art history graduate student, the conversation was never “oh, that won’t work,” but instead “let’s try and make that work for you.”
I had the chance to travel to Peru for research, thanks to support from a United Government of Graduate Students travel grant. Environmental and architectural context were critical to my work—my thesis wouldn’t have been the same without that opportunity to travel.
I also often reflect back on the experience I had as a teaching assistant. While I was excited and honored to receive the opportunity to teach initially, I had no idea when I started the program that teaching would have such a massive impact on my life. Working in a university now, I can’t overstate how formative an undergraduate college experience can be. I feel so grateful when I think back to the conversations about art that I got to have with students each week, where we could ask difficult questions and learn together.
I’m currently serving as the Director of Communications at the Eli and Edythe Broad Art Museum at Michigan State University. The museum focuses on the art of our time—in dialogue with the historical—and encourages engagement with timely issues of local relevance and global significance, such as restorative, environmental, and racial justice. I’m fortunate enough to work in one of the few Zaha Hadid-designed buildings in the United States as well. It’s a pretty big perk! We also have a second space across the street—the MSU Broad Art Lab—that houses community-driven programming and exhibitions that focus on experimentation and collaboration in art-making.
I think quite a bit about how everything I experienced in graduate school led me to this position. While I had years of professional communications experience, my leadership style is deeply rooted in the classroom—as both a graduate teaching assistant and a student—where listening, co-learning, negotiating, and making decisions are all of equal importance.
MFA, Sculpture & Post-Studio Practice, 2018
I chose CU for several different reasons. First, I was interested in a MFA program that had well known faculty that were leading the way in the growing territory of art practices that fall outside of the typical studio art model. Second, I was very interested in working with Yumi J. Roth and Richard Saxton whose practices incorporate a very wide range of influences. But that specific interest did not evolve overnight, it began just after I completed my BFA in 2009. During that time I was leading several community art projects in rural Pennsylvania. I had worked with countless volunteers and in a variety of contexts that all fell outside of what might be considered a normal arts practice. Naturally, I wanted to find a way to merge my arts practice with the community projects that I had been invested in. That’s when I came across the Sculpture and Post-Studio Practice area and the Rural Environments Field School at CU. I had applied to a number of other programs but the SPS area was exactly what I was looking for to grow my arts practice.
If I can give any reflection, it is about the importance of getting lost. I mean that in every sense of the phrase. Get lost in your work and forget that anything is happening in the world around you. Also, get lost in your concepts and realize that the ideas you are pursuing are so much more complex than you can ever expect to completely master in your time as a graduate student.
And most importantly, get lost in the land. Drive into the eastern plains of Colorado, turn off your GPS and follow the first dirt road you find. Drive until you don’t know East from West. Maybe then you can really find out where you are going.
Currently, I am preparing to complete two public art projects. I am also participating in two group exhibitions with the Ecotopian Library and Mary Mattingly. One of those exhibitions will take place in the Anchorage Museum in Alaska and the London Museum in Ontario, Canada. Recently I also completed a solo exhibition at Sheridan College in Sheridan, Wyoming entitled Internal Outpost, which included a large scale installation work.
The first public art project is a small collaborative project called the Street Light Survey Project and is funded by Boulder City’s Office of Arts and Culture. The Street Light Survey Project is a public art project that functions as an archive of urban ecology and street lights. The work is aimed specifically at creating an awareness of the interaction between artificial light, animals, and the human built environment. The project will consist of two street signs, a biodiversity survey, an online database, and a corresponding sonic interpretation of the survey data. Located at a public street light that has a high rate of attraction to bugs—an official project sign, survey box, and biodiversity survey will guide residents to collect information and document insects at a designated site and other street lights.
MFA, Interdisciplinary Media Arts Practices (IMAP), 2015
I'm currently working on a solo show about live cams and healing for Women & Their Work Gallery in Austin, TX, and am an assistant professor of digital/hybrid media at Southern Methodist University.
The visiting artist program was an invaluable part of my experience as a graduate student. I was able to meet artists I admired, and am fortunate enough to continue to keep in touch with them.
Before I attended CU Boulder, I worked a lot of random day jobs and would spend my free time doing live visuals for bands and installations, and teaching myself how to make net art. When I found out that professor Mark Amerika had a similar background and was critically engaging with that kind of art at the graduate level, I was intrigued and wanted to work with him and in the IMAP program.
MFA, Painting, 2005
I received two bits of advice when I was considering graduate school. The first was to pick a place where there was someone you wanted to work with teaching in the program, and the second was to pick a place that you felt like you could live in for two or three years. CU Boulder fit the second criteria for me.
My graduate school experiences pushed me and stretched me. There was lots of joy and lots of disappointment. I think the people I continue to stay in contact with made my time in Boulder priceless. I want to mention Kay Miller who was the chair of my graduate committee. She is the reason I ended up attending CU Boulder, and she continues to be a positive force in my life today. Overall, the years I spent in graduate school were some of my best years of my life.
I am currently working on a new body of work called "Picaninny 1976." My mother is white and my biological father is black. I make work about race and identity that primarily focuses on exploring this "in between" space. My mother's parents grew up in Mississippi and when my grandfather first met me he said, "Where is that little picaninny?" I am painting images of myself as a child and inserting crocodile/alligator imagery. The pairing of black children and alligators is common within racist memorabilia in the United States. These images were ubiquitous around America but especially around the gulf states. I am interested in the word picaninny; its historical context; this particular personal narrative within my family; and the implications of violence or erasure of black bodies within this imagery.
MFA, Printmaking, 2012
I chose the CU Boulder MFA program for the interdisciplinary nature of the program, for the amazing facilities, and for the opportunity to work with the CU Boulder faculty.
My recent work engages the reciprocal relationship between internal and external landscapes, between people and our environments, in the landscapes of the Western and Midwestern United States. Across these bodies of work, the tent form is emblematic of the tenuous nature of our relationship to our surroundings, an object that allows us to connect with the landscape, to spend time in it, by separating and protecting us from it. I am currently Assistant Professor of Printmaking at California State University Sacramento.
It was important to me to work in an interdisciplinary environment. The opportunity to interact closely with faculty and other graduate students, not only from other studio areas, but also from Art History and Film, was invaluable.
MFA, Ceramics, 2015
I just completed my third year as the Visiting Assistant Professor of Ceramics at Providence College in Rhode Island. I am making new work for a solo exhibition at Maake Projects in State College, PA, a group exhibition at Inman Gallery in Houston, and a group exhibition at 1969 Gallery in New York. My recent work explores utilizes wall-mounted, framed narratives composed of ceramic tiles to explore themes of masculinity, discovery of self, sexuality, and family, and all the nuanced guilt, confusion, and elation that exist in tandem.
I loved the work of all the ceramics professors and felt aligned with their approach towards art-making. After visiting, I felt like everyone in the program was dedicated to their studio practice but also invested in their students, and that there was a strong sense of community. I was right, and it was one of the best decisions I ever made. All the current graduate students were completely immersed in their studio practices and intent on transforming their work. I also liked the interdisciplinary nature of the program.
Graduate school was a rich time for me, all I did was work in the studio, read, and hang out with new friends from the graduate school. I had meaningful conversations and felt immersed in a rigorous practice. I spent a lot of time thinking about what art is, and how it can be a part of my life. I was invigorated by the visiting artists, professors, and other students dedicated to making art. I laid the foundation for a lifelong studio practice, expanded my understanding of historical and contemporary art, and started the process of becoming a professional artist.
I chose the MFA program at CU Boulder so I could study under Melanie Yazzie and the other faculty in the Art and Art History Department. The opportunity to fully focus on my art practice during my time in graduate school was my best memory.
Currently I am able to pursue my printmaking in my home studio and continue to produce relief, intaglio, and monotype prints. I am also teaching at Metro State University, Denver.