NEW

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&HistoryArt

Last Spring’s newsletter featured a reporton the ceremonial groundbreaking of thenew art building located across RiversideDrive from what must now be designated“Old Art,” meaning the original 1936 seatof the School of Art & History on thebanks of the Iowa River. This addition of anew 67,000 square-foot structure to thesix-building visual arts complex will be anarchitectural monument no less prominenton the University of Iowa campus than wasthe original building in its day.

Actual construction on the new buildingbegan in the late summer of 2003 and ismoving forward nearly on schedule. Thepond has been temporarily drained, andmuch excavation and removal of limestonebedrock has been accomplished. As we goto press with the newsletter in earlyDecember, the foundations and basementwalls are complete. Thanks to the installa-

tion of a webcam, it is possible to followthe daily progress of the construction atftp://www.fsg.uiowa.edu/WebCam/artcam.htm. The website also includesarchived weekly photos of the construc-tion progress. The new building will bespatially integrated with the pond andvisually connected to the limestone bluffwhen it opens in the summer of 2005.

Given the epochal importance of thisproject for the School of Art & Art History,as the first comprehensive re-thinking ofthe physical plant needs of the institutionsince 1936, this fall’s newsletter departsfrom the normal format and content. Weare taking this occasion to think about thehistory of the School in a series of minihistories of its component units. Theaccompanying photos, both historic andcontemporary, too, form visual essays inthe history of the School. I hope you willInside this Issue

New Buildingp.3

Historypp. 4-6

Art History Divisionpp. 6-7

Studio Divisionpp. 7-14

Retirementspp. 17-18

Alumni Notes pp. 18-20

Obituaryp. 20

Contact Informationpp. 22-23

GreetingsfromJohn

BeldonScott,

InterimDirector

T h e U n i v e r s i t y o f I o w a

Art

School of

Volume 5 Fall 2003

N E W S L E T T E R

Computer-generated rendering of the dramatic cantilevered library wing of the new art building.Steven Holl Architects, New York.

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enjoy this opportunityto reflect on your timeat the School, whetheras undergraduatemajor, graduate stu-dent, faculty member,or friend of the visualarts at Iowa.

I want to thank, inparticular, members ofthe Historical MemoryCommittee. JulieHochstrasser, BunnyMcBride, Steve Thun-der-McGuire, andWallace J. Tomasinihave worked hard togather the informationneeded for this news-letter. Christopher Royand Peter Feldsteinundertook an extensivephotographic campaignaround the School, andthe School’s adminis-trative staff membershave provided massivehelp in the editorialand production phase.

Initial watercolor sketch by Steven Holl for new art building project.

Architect Steven Holl (far left) and project associates Li Hu (center) and Martin Cox present themodel for the new Art Building to Professor Dorothy Johnson, Director of the School of Art and ArtHistory (right) at Holl’s studio in New York.

College ArtAssociation Annual

MeetingSeattle, Washington(Feb. 18-22, 2004)

Iowa Breakfast(Feb. 21, 7:30-9:00)

The annual CAA IowaBreakfast for students,alumni, faculty, andfriends will be held atthis year’s annualmeeting in Seattle. Weare scheduled for Sat-urday morning, Febru-ary 21, from 7:30-9:00, in Room 416 atthe Sheraton SeattleHotel and Towers. Allstudents, alumni, andfriends are invited.

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New Art BuildingOne year after breaking ground acrossRiverside Drive from the School of Art andArt History, a new University of Iowaarchitectural icon has begun to emerge.Steven Holl’s imaginative design visuallybridges the space between the new and oldbuildings. Paralleling the original struc-ture, it features a two-story cantileveredwing reaching out from the central massand stretching above Hutchinson Quarrypond. The pre-patinated exterior steelcladding, too, will harmonize with the redbrick of the original building. But thearchitect’s concept also spans a temporaldimension. In passing between the old andthe new buildings, students and alumniwill understand how Holl’s designcontextualizes the present in the pastwith reference to an enduring visualeducation, which, for almost seventyyears, has included outdoor drawingclasses under the nearby limestone bluff.

Holl has to his credit the Helsinki KiasmaMuseum of Contemporary Art, a newdormitory at MIT, and a major wing of theNelson-Atkins Museum. He conceptualizedhis design for the new art building as awork of art in itself and took as his initialinspiration Picasso’s 1912 sheet-metal and

wire sculpture, Guitar (Museum of ModernArt). Some features of the building stillreflect this source: the cantilever as neckand the rounded façade as body of theguitar.

The art-building project has provided theopportunity for a comprehensive review ofthe tools needed for creative inquiry inthe twenty-first century. Upon enteringeach classroom and studio in the newbuilding, students will find state-of-the-art digital technology side by side withtraditional studio disciplines. As with theSchool’s original facility, this new buildinginventively considers how education in artand art history might be more for studentsand more for artistic practice and histori-cal inquiry.

Adjacent to the entrance on RiversideDrive is a gallery serving the exhibition ofboth student work and the work of visit-ing artists. On the second floor a 225-seatauditorium provides for survey classes inthe history of art. Connected to this largeclassroom the Mansfield Media Theater forart and technology innovation is the firstfacility of its kind in the country and willprovide a site for pedagogical experimen-tation and interdisciplinary interactionand performance. This room has alreadybeen named by a gift from the Mansfield

Charitable Trust ofBelle Plaine, Iowa.Painting and Designstudios on the thirdfloor repeat the studioskylights of the 1936building. A digitalprinting and editingcenter for Photographyoccupies the top floorof the cantilever. Newmedia technologyenfolds the entireproject.

Linking the threefloors of the building,a self-supportingstaircase rises from theground floor Interdis-ciplinary CommunityForum. This welcomingspace and dominantvisual element of theinterior is enhanced byexhibition spacessurrounding thestaircase as it spiralsupward. This toweringatrium celebrates thevitality of the School’spioneering concept ofseamlessly uniting arthistory and studiopractice, thus perpetu-ating the “Iowa Idea”first embodied in thehistoric originalbuilding.

More informationabout the new buildingand naming opportuni-ties can be found atthe University of IowaFoundation website:www.GoodBetterBestIowa.org/art/

Atrium staircase, Interdisciplinary Community Forum, new art building.

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Ars Longa and“Old Art”The last time theSchool’s architecturalneeds as a whole weretaken into consider-ation was almostseventy years ago whena new art building,funded in part by theCarnegie Foundationand the US PublicWorks Administration,united for the firsttime under a singleroof faculties in studioart and art history.University architectGeorge Horner’s 1936design rose on thebank of the Iowa Riverfollowing a plan likethat of Palladio’s VillaEmo at Fanzolo alongthe Brenta canal nearVenice, with its centraldwelling and flankingagricultural shedsconnected to the mainbuilding by arcadedloggias. The centerblock of Horner’sbuilding contained arthistory classrooms, alibrary, and an exhibi-tion gallery, whereasthe rooms behind thearcaded ranges and thepavilions at each endhoused studios for theproduction of art. Thedesign thereby re-flected the combina-tion of history/theoryand practice embodiedin the new curriculumof the School.

The early decades ofthe School were agolden age as nation-ally prominent artistsand scholars such asGrant Wood, PhilipGuston, Stuart Edie,

Art Building, University of Iowa, completed in fall of 1936. Architect: George Horner.

James Lechay, Eugene Lundins, MauricioLasansky, H.W. Janson, John RupertMartin, and William Heckscher joined thefaculty. A summer institute established bythe Department of Art’s chair, LesterLongman, attracted major artists to IowaCity and made Iowa a leading center forthe training of artists and artist/teachers.No doubt the Art Building’s evocative art-historical allusions, as announced in theproud Horatian inscription “Ars Longa VitaBrevis Est” above the portal on the riverfaçade, were intended to remind users ofthe cultural tradition considered the basisof art, but the reference to a working farmalso echoed sympathetically the agrarian

economy of the state. It was in this eraduring the Great Depression and preciselywithin the walls of “Old Art” that Iowaand the arts became associated terms.

Now that construction of the new artbuilding is underway we turn our atten-tion to the second phase of the largerproject of restoring and re-programming“Old Art.” Our aim is to return this vener-able architectural monument of art pro-duction and analysis to its former splendorwhile up-dating its spaces to meet therequirements of contemporary art and arthistory pedagogy, especially digital tech-nology.

The original building for the Department of Art under construction 1934-1936.

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The “IowaIdea”The radical notion thatartists should beeducated in a liberalarts context derivedfrom John Dewey’sphilosophy of educa-tion and served as thebasis for the effortmade by UI PresidentWalter Jessup (whohad studied withDewey at Columbia),Graduate Dean CarlSeashore, and Collegeof Education Dean PaulPacker. They broughtPrinceton-educated arthistorian LesterLongman to be thefirst chair of theDepartment of Art. In1938 he united thefaculties of two dis-tinct departments inLiberal Arts, theDepartment of Graphicand Plastic Arts andthe Department of theHistory and Apprecia-tion of Art. At thistime the B.F.A., M.F.A.,and Ph.D. programswere created andjoined to the alreadyexisting B.A. and M.A.programs. The “IowaIdea,” which subse-quently became themodel for many artsprograms around thenation, was to trainartists within a liberalarts environment thatwould combine studiocourses in the practiceof art with the historyand theory of art. Thehistorians, in turn,would benefit not onlyfrom the experience ofstudio courses but alsofrom their proximity to

the creative processes of art production.This was the historic mission of Iowa’sSchool of Art and Art History.

The period of the 60s, 70s, and 80s sawthe splitting of art departments at manyuniversities into completely separate unitsof studio art (often located in a college offine arts) and art history (usually kept ina college of liberal arts). Iowa has re-mained true to its historic mission even asthe national trend favored separation. Thistradition has endured to the present, withconsistently top-ranked programs: theNational Research Council’s 1997 GourmanReport ranked Iowa’s graduate program inPainting & Drawing fourteenth, Print-making second in the nation and tenthoverall among schools and departments offine arts. The yearly rankings published byU.S. News and World Report (withPrintmaking rated second in the nationagain in 2003) steadily reaffirm that the“Iowa Idea” thrives as it ushers the Schoolof Art and Art History into the twenty-first century.

Lester Longman, first chair of the Departmentof Art (united studio art and art history) at theUniversity of Iowa, 1938.

The “Iowa Idea” at work: Painting faculty member Margaret Rochelle (brush in hand) and JulieHochstrasser (in lab coat), Art History, team-teach seventeenth-century painting techniques in“Inside Baroque.”

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Historical MemoryProject and ArchiveThis fall the faculty launched a project tore-constitute the distinguished history ofthe School of Art & Art History. Promptedby the planning process for the newbuilding and the scheduled reprogrammingand restoration of the old building, thefaculty seeks to gather documentation tosupport a written and photographichistory of the School, beginning with thefirst art courses taught at the university in1906. By the coming centenary of thatevent, we hope to have in place somethingmore formal, but, for now, we are usingthe annual newsletter as an opportunity toinitiate this project.

As you read through the newsletter youwill see that, for this purpose, most of thearticles have a strong historical dimension.You will, no doubt, discover omissions andinaccuracies. We ask your indulgence andunderstanding that these articles are onlya tentative first step in amassing informa-tion and documentation, both written andphotographic, for a more definitive his-tory. We also ask your help in this en-deavor and seek your input for the project.Please send your corrections, additions,photocopies of documents, photographs, orany other type of historical object ormemorabilia you are willing to share withus. Anecdotes and memories of yourexperiences at Iowa, too, are most wel-come. Next year’s newsletter will providean update on the progress we are makingwith this enterprise.

We are forming the Historical MemoryArchive as a permanent central deposit forall such documentation of the history ofthe School of Art & Art History and as aresource for the longer term project of aformal history of our institution. We inviteyou to participate in this historic enter-prise and send to us relevant information.You can contact us at the HistoricalMemory Project, School of Art & ArtHistory, University of Iowa, Iowa City, Iowa52242; 319-335-1772, 319-335-1774 (fax),or art@uiowa.edu. Or you can fill out theinformation page at the back of thenewsletter. You may also wish to look atthe School’s website (now under revision)for information about the current facultyand programs: www.uiowa.edu/~art/

Art H

isto

ry D

ivis

ion (Joni Kinsey, Head; [Faculty pictured

below] Standing: Robert Rorex, JulieHochstrasser, Robert Bork, WallaceTomasini, Richard De Puma, Joni Kinsey,Craig Adcock, Christopher Roy. Front row:Barbara Mooney, Dorothy Johnson, SarahAdams, John Beldon Scott)

Art history was first taught at the Univer-sity of Iowa about 1900 through occa-sional courses in the Classics Department.By 1911 a more organized program in artappreciation emerged, growing throughoutthe 1920s before it formally joined studioart in 1938 upon the completion of thecurrent art building. Headed by LesterLongman who held a Ph.D. in art historyfrom Princeton University and taughtmodern art and theory, the art historyprogram offered Master’s and Ph.D. degreesby 1940, as well as a B.A. in art with anart history emphasis. This was changed toa B.A. in Art History in 1995. Art Historyat Iowa has had a distinguished facultythroughout its history. Some of the mostnotable professors in 1940s and 1950sinclude H.W. Janson, the author of thefamous survey textbook, who taughtRenaissance and Baroque history between1938-41; his successor, John RupertMartin, an authority on Italian Baroqueart; William Heckscher, a prominenticonographer who left to teach at DukeUniversity in the 1950s and wrote anumber of influential studies onRembrandt; and William Burke, a medi-evalist who was one of the founders andsecond director of the Index of ChristianArt at Princeton. Non-Western subjects

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became important by the 1950s through Chu-tsing Li, who taught Asian art, and RoySieber, a leading figure in the study ofAfrican Art. Pioneers in their respectivefields, both men were also Iowa Ph.D.s.Longman left for UCLA in 1958 and wassucceeded by Americanist Frank Seiberling.About this time Wallace Tomasini, teachingRenaissance and Baroque, and CharlesCuttler, teaching 19th Century and, later,medieval and Northern Renaissance, came tothe faculty. They were soon joined by RobertAlexander (American, 19th Century, and NearEastern), and Margaret Alexander (LateAntique and Byzantine). Wayne Begleyarrived to teach Indian and Islamic art in1967-68.

Longman formulated the “Iowa Idea” ofclosely associated disciplines of art historyand studio art. Students in each disciplinehad to have significant coursework andexams in the other field. The model wasinfluential nationally as Iowa graduates wenton to work in and direct distinguishedprograms, from the Fogg Museum at Harvardto the Institute of Fine Arts at New YorkUniversity. Owing to its commitment to adiversified curriculum, the graduate ArtHistory program has had a near 100% recordin placing its graduates in art history posi-tions around the country. The Art HistoryDivision will move to the new art building,but some art history classrooms will bemaintained in the renovated old building toinsure a healthy mix of studio art and arthistory.

Art Education

(Steve Thunder-McGuire, Head; RachelWilliams)

Lester Longman, first head of the Schoolof Art and Art History, established BFAand MFA degrees in Art Education, stress-ing a dialectical relationship among arthistory, criticism, and studio practice.Brent Wilson (Ph.D., Ohio State; MFA,Cranbrook) headed the program in ArtEducation. After the arrival of HughStumbo from Georgia, Wilson launched thedoctoral program. George Walker (MFA,Michigan State) joined the Art Educationfaculty at the same time as Wilson andStumbo. His emphasis on studio artmaking strengthened the studio dimensionof Iowa’s Art Education Program. MarilynZurmuehlen (Pennsylvania State Univer-sity) came to Iowa in the fall of 1974 toreplace Wilson as head of Art Education.She taught doctoral students to travelbroadly across realms of philosophy, toremain committed to art production, andto move beyond circumscribed assumptionsof behavioral psychology. Zurmuehlen,who taught ceramics, was head of ArtEducation for almost twenty years. MarthaTaunton (University of Illinois) also taughtin Art Education at the University of Iowafrom 1976 to 1987. Like the art educators

Stud

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ion

Charles Cuttler, emeritus professor, celebrates his90th birthday with special Bosch-inspired cake atArt History faculty dinner. His new book on theartist is being published by Pindar Press, London.

Steve Thunder-McGuire, Art Education, instructs children in the Universityof Iowa Saturday Art Workshop, one of the oldest continuously runcommunity outreach programs of its kind.

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who preceded them,the current facultymembers in the ArtEducation Area holddegrees in both studioart and education.

The Art EducationMasters and DoctoralPrograms reflect thefoundational principleof the School of Artand Art History. Theprogram is a product ofconditions and com-mitments unique tothe University of Iowa.The wide independentreading and study ofsuch related subjectsas literature, history,and philosophy attestto the special circum-stances that haveallowed a small pro-gram to produce anexceptionally variedand accomplishedgroup of graduates whohave assumed influen-tial positions in arteducation programsthroughout NorthAmerica.

Art education at theUniversity of Iowa,located in North Hall(the old University LabSchool), increased itsundergraduate programin the 1990s from 32students to the currentnumber of 65. Chosenby students who arecomfortable workingwithin an art schoolreflecting contempo-rary developments inart and within aprogram dedicated tothe nurturing of artist-teachers, the programseeks to encourage aproductive relationshipbetween art makingand teaching.

Ceramics

(Bunny McBride, Head; Charles Hindes)

Following some recreational crafts coursestaught through the Women’s PhysicalEducation Department in McLean Hall,Raoul Delmare and Glenn C. Nelson startedthe first ceramics courses in 1952. AngeloGarzio soon joined the group. The firstMFA degree in ceramics was awarded toNelson in 1954. Carl Fracassini, whooriginally had been hired as a Painting &Drawing instructor but who had sometraining in ceramics, also taught coursesfrom 1955 until 1961. With support fromadministration, interest from students,and some space in old Quonset hutslocated on the river just north of the IMU,the first steps were taken toward estab-lishing a viable studio area. Ceramics,however, did not achieve formal programstatus until 1962, although Nelson taughtelective courses and interested studentsbuilt the kilns, shelving, and equipment.In time he wrote down notes for thecourses, which eventually took the form ofa book. This text sustained many ceramicsprograms across the US for years and wasrecently updated. Garzio established aCeramics student scholarship in Nelson’sname.

In 1955 the first National Ceramics Exhibi-tion in Iowa was held at the UI under thecuratorial guidance of Delmare and Nelson.In 1962 James McKinnel, a ceramic engi-

neer and potter, became the first facultymember hired specifically to teach ceram-ics. Other ceramist educator/artists thatfollowed were Paul Soldner, JerryRothman, and Jim Foster. A new buildingdesigned especially for ceramics wascompleted in 1963. The Ceramics programhas received recognition that draws manystudents from around the U.S. Over theyears the craft as art in ceramics has beenconsistently part of the program’s peda-gogy.

Bunny McBridedemonstrates theslab roller forCeramics studentJoni Zimmerman.Visible betweenthem are (left toright): studentsSara Kauk andShannon Emerson,and TA Patrick Lally.

Ceramics students Andre Wright (left) and SaraKauk (standing) finish a slab-built piece in thestudio.

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Design

(Ab Gratama, Head; Joseph Coates)

The first courses in graphic design enteredthe curriculum during WW I, as indicatedby the change in title of the Departmentof Art to the Department of Graphic andPlastic Arts. The developing programs inart education, home economics, andphysical therapy in the Colleges of Educa-tion, Liberal Arts, and Medicine necessi-tated the inclusion of not only more finearts design courses but also courses infashion, jewelry, textile, and furnituredesign. With the appointment of LesterLongman as chair and the uniting ofstudio art, art history, and art educationinto a Department of Art, the Designprogram was reformulated to include boththe fine art and commercial design compo-nents. John Schulze (on faculty, 1947-1985), who trained as a painter anddesigner, instituted the strong fine artsorientation of the Iowa program. Schulze’sstudents designed furniture, textiles, andarchitecture as well as new forms of thealphabet. Silk screening and photographybecame important in the design curricu-lum of the 1950s. Design students exhib-ited work in the student and alumni

exhibitions in the gallery of the ArtBuilding, and pieces of furniture designedand constructed as graduate theses be-came functional units in the facultylounge and the administrative office of thedepartment. The popularity of the offer-ings in design eventually necessitated theappointment of a second designer, W.Hood Gardner (on faculty, 1955-63).

In the 1960s Schulze became increasinglyinvolved in photography and soon estab-lished himself as a recognized nationalfigure in the field. Director FrankSeiberling encouraged the development ofthe graduate program in Photography,with the first MA and MFA degrees beingawarded in the mid 1960s. In 1966 Pho-tography was separated from Design andSchulze became the first Head of thePhotography Area. In 1968, Hung-Shu Hu(on faculty, 1968-2003), who trained inChina as an architect and who held anMFA in design from Cranbrook, was hiredto lead the Design program. Introducingan updated Bauhaus-driven educationalprogram, Hu formulated a role-model fineart design curriculum whose graduatesbecame academic and professional design-ers. Graphic Design will move to a third-floor studio in the new building. 3-DDesign will expand into the reprogrammedspace of the old building.

Ab Gratama critiques a typography project with students in the Design Lab; in the middle, MattGrimm (undergraduate, Design major) and, on the right, Wan Eui (graduate student, Design).

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Intermedia

(Jon Winet, Head)

Intermedia began in1968, a year wellknown for the winds ofchange that blewmightily through itscalendar. Mai 68, thegeneral student upris-ing in France, matchedby anti-war demonstra-tions across Americaand the assassinationsof Robert Kennedy andMartin Luther King,shook the globe. It isnot surprising thatIntermedia would findits genesis in such alandmark year.

Founded by ProfessorHans Breder, theprogram proposedradical changes in theway art was thought

about and created, asserting an interdisci-plinary approach that valued process overproduct and stressing experimental re-search in a range of nontraditional media.Through the 70s and 80s the programdefined the cutting edge in performanceand video art, counting Ana Mendieta andCharles Ray among its students and listingan impressive range of visitors and col-laborators including Vito Acconci, NamJune Paik, Dennis Oppenheim, RobertWilson, Linda Benglis, Linda Montano,Carolee Schneemann, Karen Finley, BenVotier, Ken Friedman, and Dick Higgins.

The 90s brought new developments to thearea, including a focus on experiments innetworked electronic environments. At thepresent, Intermedia continues to embracethe traditions of avant-garde practice andtechnology innovation with an increasingcommitment to community-based work,encouraging new media research throughwide ranging collaborations within theuniversity, Iowa City, state, nation, andabroad. The Intermedia Area will movefrom its current location in the Interna-tional Center (old School of Law) to muchexpanded space in the renovated old artbuilding.

Metalsmithing & Jewelry

(Kee-ho Yuen, Head; Chunghi Choo)

Jon Winet works with Intermedia students Kyala Johnson (BFA Intermedia,left of Jon), Carissa Myers (presenting), and Brandon Buckner (MFA painting,minor in Intermedia, right of Jon).

Kee-ho Yuen turns some parts in silver on thelathe for Metalsmithing & Jewelry studentEmma Messer’s jewelry project.

The early visual arts program at Iowaincluded basic training in the crafting ofsmall metal decorative and functionalobjects. Facilities were inadequate for anymajor professional work but were suffi-cient for the needs of students seekingdegrees in art education and/or occupa-tional therapy. This training was directedby professors appointed to teach sculptureor art education. By the late 1940s aseparate space for a metals workshop waslocated in the abandoned World War IIQuonset barracks located north of the IowaMemorial Union. The appointment of thesculptor and wood and metal worker RaoulDelmare as the professor for Metalsmithing& Jewelry in 1952 made it possible forstudents to earn undergraduate andgraduate degrees in the area. The work-shop remained in the barracks until thebuilding of the new studio additions in1968 for the three-dimensional arts.

In the time since the move to its ownfacility in 1968 a professionally operatedand equipped workshop/laboratory hascome into being. Iowa’s metalsmithing andjewelry program has become a renownedtraining center. Research into new tech-niques and more profound conceptualdirections has made Iowa Metalsmithing &Jewelry both nationally and internation-

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ally respected. Thenumbers of studentstrained, majors gradu-ated, and awardsreceived by our gradu-ates have increaseddramatically. To meetthe increase in enroll-ments, the appoint-ment in 2000 of asecond professor in thearea, together with afull-time laboratorytechnician, has furtherstrengthened the area.This is another illustra-tion of the fact that atIowa the old deni-grated “crafts” or“minor arts” areesteemed members ofthe “fine” arts.Metalsmithing &Jewelry will expandinto a second floorabove its current spaceas part of the old artbuilding renovationproject.

Painting & Drawing

(John Dilg, Head; Ronald Cohen, DavidDunlap, Laurel Farrin, Sue Hettmansperger,Will Mentor, Joseph Patrick, Susan White)

Drawing was the first of the visual artsdisciplines to be taught at Iowa with, first,a few courses offered in the College ofEngineering as early as 1892, and, then,with the appointment of Frank DeWittWashburn, in the College of Liberal Arts in1906-07. Painting entered the curriculumin 1910-11 when Charles AthertonCumming joined the faculty. He chairedthe new Department of Graphic and PlasticArts, and, until 1920-21, all of the artistshe hired were professional painters whotaught drawing, painting, and design.With the arrival of Grant Wood in 1938,the painting discipline at Iowa was taughtnot only by professional painters workingin the traditions of the internationalacademies but by one of the leading self-taught Regionalists of the day. With theestablishment of the new Department ofArt (Studio Art, Art History, and ArtEducation) in the new Art Building in1938, the visual arts program became moreprofessionally involved in the otherdisciplines such as sculpture andprintmaking. Nevertheless, painters andthe discipline of painting remained, withdrawing, the major component of theprogram. Lester Longman continued thetradition of attracting to the facultyrenowned professional painters and

brought to Iowa such artists as PhilipGuston, Fletcher Martin, Emil Ganso,Stuart Edie, James Lechay, and EugeneLudins. By the end of the 1940s thepainting program was well established.Byron Burford, an undergraduate pupil ofWood, but also a graduate student ofGuston, joined the faculty in 1950 andbegan a distinguished career as teacherand artist. He was responsible for redefin-ing of the program and for bringing thePainting Area into a new era of promi-nence.

Painting students at work in the studio on thetop floor of the “old” Art Building. Can anyonetell us who this is (1950’s?)?

Laurel Farrin offerssuggestions toPainting studentShannon Emerson inthe undergraduatepainting studio inNorth Hall.

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Photography

(James Snitzer, Head; Peter Feldstein,Margaret Stratton)

Like many fine arts photography programs,the Photography Area within the School ofArt & Art History was founded by a singleindividual whose creative work in moretraditional media led to the explorationthe newer medium of photography. Ini-tially trained as a painter, John Schulzestudied and taught Design at Iowa beforeturning to photography. As a foundingmember of the Society of PhotographicEducation in the early 1960s, Schulzeestablished what became one of the largestfine arts photography programs in thecountry. At that time, there were few suchprograms and Schulze created an environ-ment for students to investigate theexpressive potential of the medium. Healso founded Refocus, the annual film andphotography festival that helped establishIowa as a leading program in the 1970s.

The Photography Area encourages studentsto develop critical awareness of their work

Beginning in 1973, thePainting Area waslocated in the OldMusic Building andNorth Rehearsal Hall.Later in the 1980s,North Rehearsal Hallwas razed and under-graduate painting re-housed in SeashoreHall. In the summer of1999, graduate paint-ing moved closer to theArt Building complexand relocated at 109River Street in aMediterranean-revivalformer medical frater-nity house. The under-graduate program wasmoved to its presentlocation in North Hall(the former UniversitySchool), a small roomwith a big view of theriver. The BFA roomwas also created inNorth Hall to replacethe spaces used bythese students in theOMB. UndergraduatePainting will move tothe new art buildingnow under construc-tion.

in relationship to the ever-increasingimpact of the medium in society. Rapidlychanging technology has made this achallenging time for both faculty andstudents, who are currently working inevery conceivable facet of the medium,from traditional large format silver printsto digital on-line magazines. The Photog-raphy program continues to grow and inrecent years has had high undergraduateclass enrollments. In order to meet theneeds associated with this growth, thePhotography Area opened a new digitalclassroom in the fall of 2002. This facility,temporarily located in the Communica-tions Center, features state-of-the-artscanning and printing equipment as wellas work stations for students. It is acrucial complement to traditional film-based technology and will serve the Areaas it integrates a digital component intoevery intermediate and advanced levelPhotography course. We anticipate thatthe new building will offer better facilitiesfor our digital classroom and that thescheduled renovation of the old buildingwill provide renovated and expandedconventional facilities.

Jim Snitzer critiques the work of freshman photography student Amanda Lynde.

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Printmaking

(Keith Achepohl, Head; Robert Glasgow,Virginia Myers)

The art of printmaking began as one ofreproductive media made available in thedrawing and painting classes of theDepartment of Graphic and Plastic Arts. Inthe 1920s and 1930s it was as frequentlyinvolved in design classes as in drawingclasses. Not until the late 1930s and theestablishment of the School of Art & ArtHistory did formal instruction in thevarious print media become increasinglyemphasized. The 1940 appointment ofEmil Ganso, a renowned painter andlithographer from New York City, indicatedthe popularity of the art form. AfterGanso’s death, Mauricio Lasansky, a youngartist with a reputation as an intaglioprintmaker, was appointed in 1945 andthis addition to the faculty marked thebeginning of the printmaking program atIowa as one of the major training centersin the nation.

Beginning with the teaching of Lasanskyand the formation of the Iowa Print Group,Printmaking at Iowa has attracted youngartists from all parts of the United Statesand foreign countries. The Iowa PrintGroup became an internationally knownentity, and by 1955 its early graduateswere directing many of the nation’s collegeand university printmaking departments.

The quality of theinstruction remainslegendary, and, to thisday, prints made byformer and presentstudents are seen innational and interna-tional exhibitions.While the printmakingprogram has expandedto include virtually allprint processes (inta-glio, lithography,etching, monotype,

monoprint, woodblock, foil imaging) andincorporates papermaking and the bookarts as well, the concepts that evolve areas varied as the students. The programregularly brings in visiting artists, criticsand scholars who ensure a familiarity withdiverse ideas on issues relevant to contem-porary print image-making. Upon comple-tion of the new art building, thePrintmaking Area will expand to occupythe entire 1968 wing where it is currentlyhoused.

Mauricio Lasansky (right), professor emeritus, converses with writerPaul Engle, founder of the Iowa Writers’ Workshop; the third presence, thewoman at center, is (unmistakably) an intaglio by Lasansky!

Students printing in the lithography studio, Printmaking wing.

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Sculpture

(Isabel Barbuzza, Head; Thomas Aprile)

In 1911-12 when the Department of FineArts was renamed the Department ofGraphic and Plastic Arts, course descrip-tions in drawing mention for the first timemodeling in clay. It was, however, notuntil 1920-21 with the appointment ofHarry Stinson that instruction in sculptureformally began. Stinson taught the work-ing of wood and clay, adding instruction instone carving when art classes moved intothe new Art Building in 1936. ElizabethCatlett was among his students in the late30s, but to learn bronze casting she had totake a course in the College of Engineer-ing. Stinson also taught a class in thehistory of sculpture in the Department ofthe History and Appreciation of Art. Thenationally important sculptor, Lorado Taft,lectured on sculpture in that departmentfrom about 1927 to 1933 and may alsohave taught with Stinson in the SculptureArea. Stinson’s successor was HumbertAlbrizio, who directed the sculptureprogram from 1941-42 to 1967. He, too,worked mostly in wood and clay but alsointroduced working with metals, nowincluding the casting of small objects inbronze. Having been involved in the WPAin New York City and worked on thesculpture at the New York World’s Fair of1938-39, Albrizio had developed a nationalreputation even before his arrival at theUI. He directed his students in modelingand casting life-sized statues in paintedfired clay. Upon his retirement a profes-sional facility in bronze casting wasconsidered essential. When Julius Schmidtjoined the faculty in the fall of 1970 histask was to build a program in the newSculpture building that would includecasting. He developed there a nationallyrecognized iron foundry program.

The work of large-scale metal sculpture continues today: Isabel Barbuzzacritiques the work of sculpture student Leah Sjostrom.

A bronze pour underway in the Sculpture studio, circa 1971.

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Office ArtStudio Faculty’s Works in the President’sand Dean’s Offices

Art LibraryThe Art Library at the University of Iowacame into being in the same manner as didmost special libraries in other educationalinstitutions. A professor put together acollection of his own books for studentuse; soon books from the main librarywere added, hours posted, and a monitorput in charge. In the late 1950s theUniversity of Iowa Library and the Schoolrealized this haphazard collection neededorder and management. The main librarytook over the staffing, furnishing equip-ment, and building of the collection. Thefirst art library occupied two small roomsin the northeast corner of the centralblock of the original 1936 Art Building. In1962 a professional art librarian (MFA andMLS) took charge. The collection hadincreased to 9000+ volumes and the spacewas so outgrown that any flat surface wasused to hold books. There were more thantwelve possible locations for any one title.Reserve books were stored on the readingroom’s three readers tables—an honorsystem which always broke down when anoverzealous student would hide the“hottest” must read item before an exami-nation.

Plans began in 1965 to expand the ArtBuilding. The large central room whichoriginally functioned as a gallery plus theadjoining foyer were assigned to thelibrary. By adding an interior staircase tothe existing balcony in the main room,enough space was created to house acollection now totaling 65000+ volumes.The move, in 1969, brought the collectiontogether in a logical order and added eightreaders’ tables, a conference table, andadequate staff working areas. The publica-tion explosion of the 70s and 80s, thedevelopment of new subfields of inquiry,and the rise of information technology,however, soon shattered this utopianenvironment. Readers’ tables were re-moved, shelving added to any availablespace, and lesser used titles were moved toan off site storage. Today the collectionhas nearly 101,000 volumes with 25% plusin storage. Reader space is limited andstaff work space restricted. The library willmove to the new building and occupy mostof the second floor, including the dramaticcantilevered wing, where a two-storyreading room will afford views of the pondand limestone bluff.

The office of Linda Maxson, Dean of the College of Liberal Arts & Sciences,features studio faculty works by Tom Aprile, Ab Gratama, Margaret Stratton,and pictured above is Joseph Patrick’s El Matiz de Naranja, oil on linen.

University of Iowa President David Skorton also enjoys studio faculty artworkin his office including works by Keith Achepohl, Isabel Barbuzza, John Dilg,Peter Feldstein, Ab Gratama, Sue Hettmansperger and Joe Patrick. Hangingbehind him here is Susan Chrysler White’s Expulsion, 2001-2003, acrylic andenamel on canvas.

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Office of VisualMaterials:The Projected ImageTraditionally, studio art and art historyhave been taught with visual aides rang-ing from plaster casts, artist’s renderings,prints, mounted photographs, transparen-cies, and, most recently, digital images.These reproductions convey to a larger andwider audience some idea of how theoriginal work of art looked. The School ofArt and Art History still maintains exten-sive collections of visual materials forteaching. The Office of Visual Materials hasa working collection of over 300,000

Art History Past: An automatic lantern projector, still in place in the Audito-rium projection booth. Using large glass slides measuring 4 x 3 inches, it wasdesigned and produced by technical medical staff at University Hospital, 1936.

Eric Dean, Chief Curator of the Office of Visual Materials, displays the presentand future of art history imagery. The OVM is in the process of making thetransition from 35mm slides to digital imagery.

35mm slides, thousands of mountedphotographs (in storage), and a fewexamples of lantern slides, the majority ofwhich were de-accessioned due to lack ofuse and storage space. We still have twoautomatic-advance lantern slide projectorsin the Art Building auditorium. Thesecarousel lantern slide projectors are ofunique design, hand-built by the MedicalInstrument Department of the Universityhospital in the 1930s. Most of the current35mm slide collection is now being con-verted into digital form and will soon beavailable as high-resolution digital files forinternet projection in the classroom. TheDigital Image Library, created by OVMChief Curator Eric Dean, received theUniversity of Iowa President’s Award forInnovation in Technology. This internet-based facility makes available to studentsall images projected in class. The slidedigitization process now underway willeventually make possible the electronicdelivery of all images in the OVM collec-tion to classrooms throughout the Univer-sity. The slide technology first developedin the seventeenth century, having en-dured for 350 years, will soon be history.The OVM will move to an expanded facilityon the ground floor of the new art build-ing.

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Keith Achepohl(Printmaking)

Keith Achepohl, Elizabeth M. StanleyProfessor in the Arts, received a B.A. fromKnox College, an M.F.A. degree from theUniversity of Iowa, and honorary doctor-ates from Pacific Lutheran University andKnox College. His work has been shown inover 200 invitational and juried exhibi-tions in the U.S. and abroad and is repre-sented in over 80 public collectionsincluding the Library of Congress, theNational Gallery of Art in Washington, theArt Institute of Chicago, the Seattle ArtMuseum, the Museo Castel Vecchio,Verona, Italy, and the Biblioteca Nacionalin Madrid, Spain. In March 2004 GrinnellCollege will mount a show of watercolorsand print installations which will travelthrough 2005. He has been head of theprintmaking program for 19 years and hastaught undergraduate and graduateintaglio and relief, and seminar courses onprint-related subjects. Since 1995 he hasbeen director of The University of Iowa’ssummer drawing and printmaking programat the Scuola Grafica in Venice, Italy. Keithplans to keep his house and studio in IowaCity.

Richard De Puma(Art History)

Richard De Puma, F. Wendell Miller Distin-guished Professor of Art History, is takingearly retirement “in order to have moretime to work.” After more than 30 yearson the faculty, he has enlivened his lastyear of teaching with a major exhibition ofRoman art at the Cedar Rapids Museum ofArt, where he was Senior CuratorialConsultant for “Art in Roman Life: Villa toGrave” (www.villatograve.org). Richardhopes to complete two book manuscripts,one on Etruscan engraved mirrors and theother on Etruscan forgeries, during thisacademic year. In 2002 he began a four-year effort for the Metropolitan Museum ofArt in New York as their consultant on there-installation of the Etruscan collection.He continues to co-direct excavations atCrustumerium, the ancient Latin city justnorth of Rome. He recently completed amajor library addition to the home heshares with Richard Sawyer and plans tocontinue living in Iowa City.

Hu Hung-Shu(Design)

Hung-Shu Hu, Professor of Design, waseducated at Cheng-kung University inTaiwan (1959) and at Cranbrook Academyof Art (1966). He came to the UI in 1968and totally reconstituted the Design Area.He has had many one-person oil paintingand 3D design exhibitions in Taiwan,Japan, and Korea as well as across the US.He has done many public commissions. InIowa, he has completed 12 public sculp-tures. His lighting, furniture, package, andproduct design and educational philosophyhave been published in many countries.His paper “Organic Geometry: A Rationaleto Create a Form” was presented at the 6th

Asian Design International Conference inJapan recently. He has been invited asguest professor by many schools. Afterserving as Head of the Design Area formore than 35 years, he retired in theSummer of 2003. Since retirement he hastraveled frequently to Asia to give manydesign workshops in Taiwan and China. Hecontinues to live and work in Iowa City.

Joseph Patrick(Painting & Drawing)

At the close of fall term 2003 JosephPatrick ended 38 years of teaching at theUI. He joined the faculty in 1965 andserved as the Head of the Drawing Area formore than twenty years. The recentretrospective exhibition at the Universityof Iowa Museum of Art has attracted manyvisitors during its two-month installation.In the catalogue he prepared to accom-pany the exhibition, Joe thanked hisfaculty colleagues “who have valued ourcommunity and the program that we havedeveloped,” and “the countless wonderfulstudents who have been in my classes.They have been my inspiration and my joy.They have given me more than they knowof their zest, enthusiasm, and inquisitive-ness, their affection and attention, theirgood humor, and their generous expres-sions of appreciation.” In retirement, Joeand Genie will continue to paint, dividingtheir time between their homes in IowaCity and Oaxaca, Mexico.

Reti

rem

ents

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Elizabeth “Liz” Bucheit (1982 BFA, 1986MA; Metalworking & Jewelry) won boththe “Rising Star Award” by the Women’sJewelry Association Midwest Chapter andhonorable mention from the WJA’s “DivaDesign Contest 2003.”

Mille Guldbeck (1995 MFA; Painting) iscurrently an Assistant Professor at BowlingGreen State University; she has a two-person exhibition at Melanee CooperGallery in Chicago, 2004, and will beincluded in the “The American River”traveling museum exhibition originating inBrattleboro, Vermont, as well as in a groupexhibition at Toyahashi Art Museum inToyahashi, Japan, 2004.

Phyllis E. Seltzer (1952 MFA) and PhyllisSeltzer Studio, owner. Over the last threedecades Phyllis Seltzer, painter andprintmaker has held numerous solo exhibi-tions as well as selected group shows, mostrecently the Cambridge National Art Showin Cambridge, MA; Artists Reflect Societyat the Jane Haslem Gallery in Washington,D.C.; Art Multiples Dusseldorf inDusseldorf, Germany; Group Show inVenice, Italy; and Americana 92 in HongKong. Seltzer had solo shows in Milan andVenice in 2003. Her works can be found inmany private and public collections,

including the Cleveland Museum of Art,the Brooklyn Art Museum, the New YorkPublic Library, the Museum of the City ofNew York, the London Library Collection inOntario, Canada, the National Gallery ofArt in Ottawa, and the University ofCalifornia in Los Angeles.

Jered Sprecher (2002 MFA; Painting) hasbeen granted a studio in Manhattanthrough the Marie Walsh Sharpe Founda-tion Space Program. His work was exhib-ited in a two-person show entitled “RoughAround the Edges,” work by Kristo Hoefleand Jered Sprecher, at Clarion Universityof Pennsylvania in October-November of2003.

Carla Johnson (1975 MFA) AssociateProfessor of Art at Marymount College ofFordham University, was CAA session co-chair for “Search/Research: Artists in theArchives.” She was awarded a Designcommission for Cultural Tourism Center in2002 and received the Director’s ChoiceAward at the Westchester Biennial, CatleGallery, New Rochelle, NY. She had a soloexhibition at the Elizabeth Foundation forthe Arts: Ceres Project Room.

Mary Ellen (Cone) Lentz (1941 MA; ArtHistory) Prince George’s County, Maryland,Board of Education; Librarian, MediaSpecialist. Retired in 1983, she enjoyedthe next thirteen years volunteering inthe library of the National Gallery. Thisoffered her the opportunity to combineher interests and gain additional museumexperience. Those were productive yearsboth for her and the cataloging section inwhich she worked.

Hilary Lorenz (1993 MFA; Printmaking),Assistant Professor of Art at Long IslandUniversity Juried 2003 InternationalPrintmaking Exhibition at Ramona Studioin NYC, where she had her second soloexhibition in December 2002. In January2003 she received a Printmaking Fellow-ship at the Frans Masereel Center inBelgium along with a group print exhibi-tion in the Masereel Museum. In July 2003she had a two-person exhibition “Cock-tails” at the James C. Hormel Gay andLesbian Center of the San Francisco PublicLibrary. She will be curating a travelingexhibition of digital printmakers inJanuary 2004.

Alum

ni N

ews

Dorothy Johnson and Ellen Lanyon (MFA, 1950) at the College Art Associa-tion reception at Lanyon’s New York studio, 2002.

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Mark Rosenthal (1979 PhD; Art History)recently joined the Menil Collection inHouston as Adjunct Curator.

Nicholas Hill (1977 MA and MFA; Draw-ing) is chairperson of the Department ofArt at Otterbein College and has received a2003 six-week residency at Grafikwerkstattprint studio in Dresden, Germany, spon-sored by the Ohio Arts Council, SygotePress of Cleveland, and the City ofDresden. Hill held a solo exhibition atPrintworks Gallery, Chicago, IL, in summer2003.

Anne Gregory (1981 MFA; Painting) isProfessor at Sacramento City College. Sheis still painting large format watercolors,now fueled with inspiration from two tripsto Africa and 10 years of collecting Africanart.

Anders C. Shafer (1966 BFA) is MaxSchonefeld Distinguished Professor,University of Wisconsin-Eau Claire, retired.He has published The Fantastic Journey ofPieter Bruegel, Dutton-Penquin-Putnam,NYC, 2002; and had a one-person exhibi-tion in April 2003 at Gallery K in Washing-ton, DC. Other exhibitions include 20 one-person shows and he has entered 30national and 50 regional competitions.

Cynthia Greig (1988 MA; Art History), Co-authored, Women in Pants: Manly Maidens,Cowgirls and other Renegades, publishedby Harry N. Abrams, 2003. She was the2003 recipient of the Houston Center forPhotography Fellowship and, in 2001,received an artist-residency award at LightWork, Syracuse, NY.

Lou Rizzolo (1960 MA; Art), is Professorof Art at Western Michigan Universitywhere he has taught painting, drawing,and multimedia since 1964. He is thefounder of World Peace Art Inititives withAustralia, Italy, Norway, People’s Republicof China and USA (www.worldpeaceart.org); since 1989 he has taught and exhib-ited paintings and drawings for interna-tional workshops in Scotland, France,Hawaii, Switzerland, Norway, Canada &Austria (www.internationalworkshops.org).

LeAnn Erickson (1992MFA; Intermedia) isAssociate Professor atTemple University,Philadelphia, PA. Shewas awarded a 2003Fellowship for MediaArts from the Pennsyl-vania Council on theArts for recent work inanimation. Ericksonalso received a produc-tion grant from theLeeway Foundation insupport of “NeighborLadies” a documentaryabout women in theMount Airy neighbor-hood of Philadelphiawho fought blockbust-ing in the 1960s.

Jolene ReynoldsGaranzha (1991 MFA;Painting) currentlyteaches studio artcourses at the Commu-nity College of Vermontas well as courses andworkshops in drawingat the Firehouse Centerfor the Arts throughthe city of Burlington,Vermont.

Dan Schimmel (1997MFA; Painting) is part-time Director andCurator of Exhibitionsat the Esther M. KleinArt Gallery, Philadel-phia(www.kleinartgallery.org)at the University CityScience Center. Prior tothat Dan taughtpainting and drawingat Drexel Universityand Delaware Collegeof Art & Design. Hiswork has been exhib-ited at the StateMuseum of Pennsylva-nia; Susquehenna Art

Museum; Allentown Art Museum; DelawareCenter for Contemporary Art; Walton ArtCenter, Fayetteville, AR; Delta Axis atMarshall Arts Gallery, Memphis, TN; andSpector Gallery, Philadelphia. He will havea one-person exhibit at the FreedmanGallery at Albright College in November2004. Dan’s paintings are featured in the2003 Mid-Atlantic issue of New AmericanPaintings (Open Studios Press, Boston,MA) and examples of his work can be seenon his website at www.danschimmel.org.His “e-comix” are archived onwww.inliquid.com.

Melissa Furness (2002 MFA: Painting) isAssistant Professor of Art Foundations andDigital Media at Eastern WashingtonUniversity. She has received residencies atLaznia (Bathhouse) Center of Contempo-rary Art, Gdansk, Poland (2004); Yaddo,Saratoga Springs, New York (2003); theHungarian Multicultural Center,Balatonfured, Hungary (2001), and theKala Art Institute, Berkeley CA (1998). Herfirst solo exhibition, “Water-borne,” washeld at Fish Tank Gallery, Williamsburg,Brooklyn, NY. She has another solo exhibi-tion coming up in 2004 at LoRiver ArtsGallery in Beacon, NY. In 2002 she andfellow artist, Carolyn Ginsberg, wereawarded a National Juried Exhibitionthrough the Creative Arts Workshop, NewHaven, Connecticut. View her website atwww.fluid-space.net.

Fred Tarr (1966 MA; Drawing). Invita-tional exhibition: 2000 Fitton Center forthe Creative Arts, “Drawn to Art,” DrawingInvitational, Main gallery, Hamilton, OH.Solo exhibitions: 1999, Design SmithGallery, “Over the Rhine, Stardancer”series, Drawings, Cincinnati, OH; 1998, ArtConsortium, Fred Bond Gallery, “Joseph inEgypt” installation sculpture piece, Cincin-nati, OH. Group Exhibitions: 2003, AnnieBolling Gallery, group exhibition, Cincin-nati, OH; Artery Gallery, “Large Paintings,2003,” Laura Hollis, curator, Newport, KY;2002, Discere, Robert Morris, group exhibi-tion, “Abstract Expressionism,” Cincinnati,OH; and 2002 Fitton Center for the Arts,Greater Hamilton Area Art Exhibition(juried), Hamilton, OH.

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In MemoriamJames A. Eisentrager (MFA 1961), diedMay 4, 2002. He was Professor at theUniversity of Nebraska-Lincoln, Depart-ment of Fine Arts. He retired in 1996.

Dennis Flynn (1967MFA) has exhibited atthe InternationalBiennial of Contempo-rary Art, Florence,Italy, 2003; the ArtCenter at Fuller Lodge,Los Alamos, NM, 2003;the Eldridge-McCarthyGallery, Santa Fe, NM,2003; the Museum ofContemporary Art, FortCollins, CO, 2002. Hehas had numerousexhibitions in NewMexico, Texas, Idahoand Washington. Hehas taught at theUniversity of Texas atArlington, TarrantCounty Junior College,Fort Worth, TX; theUniversity of Idaho;Florida Keys Commu-nity College, Key West;Minneapolis College ofArt and Design; andthe Saint Paul ArtCenter School.

Shelley Haven (1976MA; Art and 1978 MFA;Art) is back in NewYork. Her paintings willbe included in thefollowing group shows:The Brooklyn PaintersShow, Solo WorksShow, The BrooklynWorking Artists Coali-tion at the Red HookPier, BinghamtonUniversity Art Museum.

Student AwardsCeramist, Brian Harper, an Iowa Fellow-ship recipient, recently opened a one-person exhibition at Luther College Mu-seum.

John Fryer, Photography, received na-tional and international attention for “AllMy Life for Sale” an internet project andpublication by the same title. Most re-cently he has been featured on GoodMorning America, CNN, PBS, and LateNight with Conan O’Brien for that projectas well as a follow-up documentary “Sec-ond Hand Stories,” which is also a forth-coming publication from Bloomsbury Pressin 2004.

Undergraduate photography students JenMoon and Laurel Nakadate were featuredin the 2003 publication Twenty Five UnderTwenty Five: Up and Coming AmericanPhotographers, published by PowerhouseBooks, New York, NY.

Katey Carr, graduate student in sculpture,won an outstanding sculpture studentaward from the International SculptureMagazine and the International SculptureCenter.

Undergraduate major Melinda Kaune willhave a reproduction of one of her drawingsappear in the forthcoming book, 100Creative Drawing Ideas, by Anna Audette,Shambhala Publications, Random House,2003.

Seashore/Ballard recipients for 2003-04were Nancy Bishop and Gitti Salami, ArtHistory graduate students.

Ryan Casey, Ceramics, won first place andan honorable mention in the StudentSalon Exhibition held in Mason City, Iowa,2003.

Elaine Beck, Intermedia, received Best ofCompetition award at the Des Moines ArtCenter Film, Video and DVD competition,for her video “The Chair Project,” a 28-minute video documentary of her interac-tive public art project. This video will alsobe presented in January 2004 at theUniversity of Hawaii’s International Artand Humanities conference.

Tealia Ellis, Photography, had her workselected to be exhibited at the Big TenHeadquarters in suburban Chicago, andwill have her work featured in the PolaroidCorporation’s Close Up Magazine in early2004.

Alison Brunson, Colin McDonald, T.J.Lechtenberg and Huan Nguyen werechosen from more than 3,000 entires to bepublished in the book 500 Rings by LarkBook. Alison Brunson’s entry won firstplace in the ring division of the LapidaryJournal competition.

Metalsmithing and Jewelry graduatestudents, Huan Nguyen and ColinMcDonald, along with Dean Spencer (Labcoordinator and 1999 MFA) each receivedhonorable mention in this year’s 3rdCheongju International Craft Competitionin Cheongju City, Korea.

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Alumni News and Historical Memory Project and Archive RequestWe Want To Hear From YOU!In the next issue of our Newsletter, we will continue to include information on the accomplishments of ouralumni. Please use the form below to send us information about career changes, recognition received, and othernews and memories you would like to share with your former classmates, friends, and professors. Just completethis form and return it to the address provided and we will include it in a future issues of the newsletter. Clip andmail to:

Newsletter/Historical Memory ProjectSchool of Art and Art HistoryThe University of IowaE100 ABIowa City, IA 52242

Or E-mail information to: art@uiowa.edu

Name __________________________________________________________________________________First Middle Last

Name As It Appears On Your Degree: __________________________________________________________________First Middle Last

Home Address __________________________________________________________________________________Street, Apartment Number, or Post Office Box

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Annual Gift Fund andBuilding Fund AppealUniversity of Iowa Foundation

Before I do anything else, I would like tothank all of you who have so generouslysupported The School of Art and ArtHistory during the last year. Support fromalumni and friends makes an enormousdifference to our students, providingscholarship support, enhancing theiracademic experience by bringing visitinglecturers to campus, supplementing travelfellowships, and enabling the faculty totake advantage of teaching and researchopportunities as they arise. For all of this,thank you.

Gifts to the Art and Art History Gift Fundhelp make it possible to sustain the highlevel of achievement that you expect fromthe visual arts at the University of Iowa.This fund is the resource that gives theSchool the greatest flexibility to respondto student needs and opportunities asthey arise.

Another exciting opportunity now existsto support the visual arts at the UI. The67,000 square foot building designed bySteven Holl that is now under construc-tion will be the new home for the ArtLibrary, Office of Visual Materials, exhibi-tion spaces, classrooms, studios, andoffices. You’ve read more about thiselsewhere in the newsletter.

Each gift, whether large or small, made toeither the Art and Art History Gift Fund orthe Art and Art History Building Fund,will help the outstanding faculty andprograms within the School and thestudents who benefit from your generoussupport.

If you are interested in exploring ways youcan support the School of Art and ArtHistory through gifts of cash, stock,personal property, or as part of a plannedestate gift, please contact me by email atmargaret-reese@uiowa.edu or phone at(800) 648-6973. If you prefer, you can alsomake gifts online at www.uifoundation.org.Thank You.

Margaret Reese, UIFoundation

23

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