Faculty Research Summary 2018
The Department of Art and Art History experienced a productive and pivotal year, with several changes that lay groundwork for developing projects and future advancements in the department. At the beginning of the fall semester, the department welcomed new Assistant Professor of photography Allison Grant. Art history introduced new programs: the Minor in Medieval and Early Modern Studies (MEMES), directed by Tanja Jones, a second non-thesis track, and the Accelerated Masters Program in the art history MA program. Studio Art completely reworked the BA and BFA degree programs, bringing them in line with national standards.
The faculty had an especially exciting year, expanding our artistic and academic visibility nationally and internationally. Dr. Lucy Curzon was awarded an international book prize for her recently published monograph, Mass-Observation and Visual Culture: Depicting Everyday Lives in Britain, by the Historians of British Art, which recognized her exemplary scholarship on British art in the period after 1800. Drawing professor Pete Schulte received the Southern Art Prize Fellowship for Alabama and his artwork in a national exhibition was singled out for mention in a leading art publication, ARTnews. Jason Guynes won Best in Show at STAA Summer Show national juried exhibition in Coventry, LA. Photography professor Chris Jordan received the Juror’s Award in the juried group exhibition, Myths, Legends, and Dreams, in Middlebury, Vermont. Digital media professor Jane Cassidy collaborated with the widely celebrated experimental pop group Animal Collective to create immersive live visuals for two sell-out shows in the New Orleans. Wendy Castenell was the co-curator, alongside Emily Bibb, of the Paul R. Jones Collection of American Art’s tenth anniversary exhibition at the Museum of Contemporary Art, Georgia. Tanja Jones published an article in an international journal; and a book chapter.
In addition, undergraduate and graduate students in the department achieved high recognition for their academic achievement: four majors won awards for academic research and achievement; five majors were awarded prestigious internships; and sixteen majors and one graduate student participated in study abroad programs. In particular, senior art history major Sommer Hallquist won four prizes for her research and academic excellence: UA’s National Alumni Student Award; C. Earle Smith Memorial Award (Dept. of Anthropology); first prize at UA System Honors Research Conference; 4th place in the URCA Poster Session in the Arts and Humanities Division; and was accepted to the University of Cambridge. Junior art history major Nadia DelMedico won a Randall Outstanding Undergraduate Research Award; and art history major Taylor Murray has established an internationally recognized Instagram account @arthistoryfeed with more than 94,000 followers.
Sculpture students and Professor Craig Wedderspoon raised $32,000 for Nucor Children’s Charity Classic Auction for Children’s of Alabama, making a four-year total of $208,000 for the charity. Under Wedderspoon’s direction, the UA art foundry has accepted or completed commissions for more than ten projects, including the Alabama Bicentennial Park Project in Montgomery, and a public sculpture commission completed by undergraduates Susannah Lisko and Amber Daum, for a total of $422,752 awarded in contracts and grants. The department presented a full year of exhibitions, including the Faculty Biennial in 2017, which showcased the studio faculty’s creative activity and research for the past two years. The season opened with the evocative and award-winning exhibition by BFA alumna Kathryn Mayo’s Selma Portrait Project and featured an annual selection of artworks from the Sarah Moody Gallery of Art’s Permanent Collection.
The department received monies and gifts that will increase opportunities for student research and experience. Dr. William T. Price donated 940 more books and journals for the Dr. and Mrs. William T. Price Asian Art Book Collection, to be housed with the large collection already catalogued and shelved in the new facilities in Garland Hall, bringing the total volumes to 1,817. In addition, plans are already being put in place for the Susan N. McCollough Biennale. The department is proud to have given more than $109,900 in in-coming, merit-based, and need-based scholarships, which are made possible by our very generous donors. We are proud to have awarded 51 degrees in 2017-2018.
In the summer of 2017 Cassidy participated in a month-long residency at Áras Éanna on Inis Oírr, a three-square-mile island off the west coast of Ireland. The residency brought about a unique partnership with the community of the island, seeing Cassidy projection-map onto a 600-year-old castle in the center of the island. Cassidy returned to the Inis Oírr for the Winter Solstice to again project onto the castle, this time pairing with local schoolchildren. The children prepared drawings of mandalas inspired by the sun, which Cassidy then animated and used for content for the illuminating event. She also exhibited in three juried exhibitions this year, in Dublin, Ireland, at Rua Red; in Galway at Interface Gallery; and in Stockholm, Sweden at Detroit Gallery. In the spring of 2018, Cassidy collaborated with Music Box New Orleans and the widely celebrated experimental pop group Animal Collective to create immersive live visuals for two sell-out shows in the Crescent City.
Wendy Castenell has spent the past year editing her first book, “Creole Identity in the Art of the American South: Louisiana from the Colonial Era to Reconstruction,” which is due to the publishers Routledge/Taylor & Francis in May. She was elected as a member of the Board of the Nineteenth-Century Studies Association in March, where she presented a paper, “Reenacting Defeat: Wild West Shows as Spectacles of White Supremacy,” at their annual conference. This paper represents new research from Dr. Castenell’s second manuscript, “Dark Amusements: Spectacles of Race in Turn-of-the-Century American Visual Culture.” She applied to two major fellowships—the Ford Foundation Postdoctoral Fellowship and the Visiting Fellowship for Postdoctoral and Advanced Scholars at the James Weldon Johnson Institute for the Study of Race and Difference at Emory University—to support research on her second book. She completed the university’s Bauer Grant Writing Workshop, which helped her prepare her applications. Dr. Castenell was the co-curator, alongside Emily Bibb, of the Paul R. Jones Collection of American Art’s tenth anniversary exhibition at the Museum of Contemporary Art, Georgia in Atlanta, which opened on February 9, 2018. She also supervised the students in her African American art class as they curated a show entitled “Color by Color,” which opened at the Jones Museum on May 4, 2018.
During the 2017-18 year, Lucy Curzon published ‘Autonomous Cohorts: Towards an Integrated “Foundations” Education’ in FutureForward: The Journal of Integrative Teaching International, and had “Visualizing the Homefront: Evelyn Dunbar and Wartime Citizenship” accepted for publication in the internationally-renowned Oxford Art Journal (Oxford University Press journals). Additionally, she had a short essay, called “Visualizing Queer Kinship,” accepted for publication by Adoption and Culture (Ohio State Press journals), as well as one book review published in the Journal of British Studies (Cambridge University Press journals) and another accepted for publication in Critical Inquiries (SECAC journal). The College Art Association affiliate organization, Historians of British Art, awarded Curzon a book prize (for her Routledge monograph, Mass-Observation and Visual Culture: Depicting Everyday Lives in Britain) in January 2018, one that recognizes her exemplary scholarship on British art in the period after 1800. Curzon presented her research at nine local, regional, national, and/or international conferences over the past year: the Alliance for Arts in Research Universities (Northeastern University, Boston MA); the Pave Symposium in Arts Entrepreneurship (Arizona State University, Tempe AZ); the Northeast Conference on British Studies (Endicott College, Beverly MA); SECAC (Columbus College of Art and Design, Columbus, OH); Mass Observation 80th Anniversary Conference (Sussex University, Brighton, UK); OVPRED Faculty Research Day (University of Alabama, Tuscaloosa, AL); College Academy of Research, Scholarship, and Creative Activity Conference (University of Alabama, Tuscaloosa, AL); and the UA System Scholars Institute (University of Alabama, Tuscaloosa, AL). At the present time, Curzon is at work on two book proposals, one titled “Women Artists at War: Gender, Modernism and National Identity, 1939-1945” for Manchester University Press, and the other, “Mass-Observation: Historical Contexts and Contemporary Uses” (an edited collection with Dr. Ben Jones, University of East Anglia, Norwich, UK) for Bloomsbury Academic. The research for “Women Artists at War” is currently under sponsorship by an RGC Level 1 Grant (which expires in May 2018).
Over the past year Bill Dooley has been working with New York artist and UA alumnus, Thornton Willis, in an effort to secure a generous gift of selected paintings that covers the majority of his artistic career. He hopes to finalize the gift in coordination with the University and College soon. Two of his own paintings entitled Rabbet and Lift were accepted into juried exhibitions and he is preparing for an August 2018 group exhibition taking place in Decatur, Alabama. He served as curator for the exhibition devoted to the work of internationally acclaimed artist, Robert Kushner. A successful campus visit by the artist enriched the opportunities represented by the occasion of his Tuscaloosa exhibition. The exhibition, We are Selma: The Selma Portrait Project by Kathryn Mayo, illustrated a sophisticated, subjective photographic portal to Selma, Alabama, and its storied history from a UA New College/ Department of Art and Art History alumna. Dooley is guiding the gallery and its collection toward a print room concept and has acquired a print-share file system with shared support from the college. Acting as registrar for the collection, Dooley represented the need for framing for a specific work, a triptych in the Hall Collection. This resulted in the college cost sharing for framing materials for an impressive Helen Frankenthaler (American, 1928-2011) print entitled Book of Clouds (finishes to 36 x 69 inches). Two works on paper by the late sculptor Dale Eldred were lent to the Kansas City Art Institute Crossroads Gallery: Center for Contemporary Practice from the Morgan Collection managed by the Sarah Moody Gallery of Art. The painting, White Rage (1961), by Lee Krasner (American, 1908-1984) is being requested for a forthcoming publication organized by Paul Kasmin Gallery, New York. Dooley produced a high resolution image file and confirmed the provenance of the Krasner painting.
Jennifer Feltman submitted a book chapter for review: “Aligning Word and Deed: The Emergence of ‘Confessor’ as a Priest Who Hears Confession,” for the volume Words in the Middle Ages (Brepols). Her chapter, “The Last Judgement Porch at Lincoln Cathedral Over the Longue Durée: Iconography, Interaction, and Religious Thought,” will be published in May 2018 in Devotional Interaction in Medieval Britain and its Afterlives (Brill). She received a book contract from Routledge for The Long Lives of Medieval Art and Architecture, co-edited with Sarah Thompson. She was awarded a 2017 UA RGC Level 1 Grant for her project, “Negotiating Royal and Episcopal Power: Apocalypse and Sacral Kingship at Reims Cathedral,” which supported travel to Paris and Reims in June 2017. She was awarded a 2017 SEC Faculty Travel Grant for the invited lecture, “The Form of Gothic: Geometry in Design and Construction,” and two workshops at Auburn University, November 13-15, 2017. She received a 2018 CARSCA grant that will support travel to Amiens and Paris in summer 2018. She presented four research papers: “Tropology and the New Imagery of the Virtues and Vices at Notre-Dame, Paris and Amiens,” Medieval Academy of America, University of Toronto, April 6-8, 2017; “A ‘Bible in Stone’? The Sculptures of the West Façade of Amiens and Contemporary Modes of Citation,” International Congress on Medieval Studies, Western Michigan University, May 10-14, 2017; “New Jerusalem in the City of Amiens,” SEMA, College of Charleston, November 16-18, 2017; and “Post-Medieval Interventions in the North Transept of Reims Cathedral,” Medieval Academy of America, Emory University, March 1-3, 2018. She also published two online teaching guides: “Understanding Geometry and Cathedral Design Through Experiential Learning,” published by Art History Teaching Resources Weekly on October 11, 2017 and a guide to using the International Center of Medieval Art’s digital project, “Lordship and Commune,” as a teaching resource. She continued to serve as publications director for AVISTA and also conducted double-blind peer review for the journal Gesta and reviewed paper abstracts for the Collegiate Schools of Architecture annual conference.
Since joining the faculty in the Fall of 2017, Allison Grant has expanded her artistic practice while publishing numerous essays on contemporary photography, teaching, curating, and speaking publicly on her work and the work of other contemporary artists. Her essay, “Spectator Sports,” was published in issue 7/8 of Incite Journal of Experimental Media (2018); and “Picturing Intimacy” was published in a catalogue for artist Jess T. Dugan’s exhibition Every Breath We Drew at Gallery 210 in St. Louis, MI (2017). Grant co-curated the exhibition Disruptive Perspectives with Nadine Weitlisbach, Director at Fotomuseum Winterthur. The exhibition was presented twice in 2017 at the Museum of Contemporary Photography in Chicago, and Photoforum Pasquart in Beil, Switzerland. Grant and Weitlisbach co-edited a catalogue for the exhibition and co-wrote an introduction. Grant will exhibit a suite of photographs from her series “Unsoiled” in a solo exhibition at Governor’s State University’s Visual Arts Gallery in May of 2018. Her essay “One World to the Next” is slated to be published in artist Barbara Diener’s monograph Phantom Power in June of 2018.
Jason Guynes exhibited work in three national juried exhibitions winning the Best in Show award in the St. Tammany Art Association’s Summer Show, a national juried exhibition curated by William A. “Bill” Fagaly, New Orleans Museum of Art’s Francoise Billion Richardson Curator of African Art. In addition, he won an international runner-up award in Creativity Quarterly 47, which was recently named one of the top 100 art and design publications in the world. His work has also been accepted in Manifest Gallery’s International Painting Annual 8 (INPA 8), which will be published next year. In addition to exhibiting, he completed his final year as President of SECAC, the second largest art conference of its kind in the United States. He continues to serve on the Board of Directors for Kentuck Art Center and the Tuscaloosa Arts Council and began a recent appointment to the Artistic Literacy Consortium with the Alabama State Council on the Arts.
During the 2017-18 academic year, Dr. Tanja Jones was appointed Director of Undergraduate Programs for the department and Director of the newly approved Minor in Medieval and Early Modern Studies (MEMES) in the College of Art & Sciences. Dr. Jones received a contract with Amsterdam University Press for an edited volume dedicated to the study of women artists in the courts of Early Modern Europe; published an article in an international journal; and a book chapter. She also submitted an invited article to an international peer-reviewed journal (Predella); guest co-authored an essay for and co-edited a special edition of the peer-reviewed journal The Medal (British Art Medal Society, British Museum); and was invited speaker at the Lamar Dodd School of Art at the University of Georgia.
Professor Jordan has had a particularly active academic year (2017-2018). As studio area head of photography, he has overseen the reorganization of existing photography teaching spaces as well as the acquisition of several significant donations of photographic equipment. As technology liaison to eTech, he has overseen the transition of computer lab management to a more efficient model, now within eTech’s purview. He and recent hire Assistant Professor Grant have also begun revising significant aspects of the photography curriculum. Professors Jordan and Grant also coordinated a student photography exhibition at the George P. Farmer Gallery, at Hoover Public Library. Jordan has been extremely active, service-wise, in the university, completing his term on the Faculty Senate and Academic Affairs Subcommittee this spring, and in the department, serving on the Curriculum Committee, The NASAD Self Study Committee, chairing the Graphic Design Search Committee as well as chairing the Tenure, Promotion and Retention Committee. On the research front, Jordan received the Juror’s Award (Juror: Amy Holmes-George) for a new work exhibited in the juried group exhibition Myths, Legends, and Dreams, at PhotoPlace Gallery, Middlebury, Vermont. Jordan also had a solo exhibition, Still of the Night, at HPL Galleries, in Birmingham, AL, of new and old works from his Suburban Sublime series, depicting mystical events within suburbia, using photographically-based dioramas. His project “NoW/here” has been provisionally accepted for publication by GFT publishing, an important publisher of photography books, initially as an e-book, and subsequently in print. Importantly, Jordan has been awarded CARSCA funding in support of this endeavor. In addition, Jordan’s work was exhibited in the juried show This, That, or the Other: Emerging Trends and Vernacular in Photography, Cultivate 7twelve Gallery, Waco, TX, as well as the Department of Art and Art History Studio Faculty Research Biennial, Sarah Moody Gallery of Art, The University of Alabama.
Matt Mitros participated in nine invitational exhibitions and seven national juried exhibitions, as well as one solo exhibition at SOUP Experimental in Tallahassee Florida. A brief sampling of some of the venues in which his work was featured this year include the Hudgens Center for the Arts, the Mason-Scharfenstein Museum of Art, Signature Contemporary Craft in Atlanta, the Archie Bray Foundation, the Kennedy Museum of Art, and the Gertrude Herbert Institute of Art. He had work acquired by the Hudgens Center for the Arts permanent public collection. Mitros organized the traveling exhibition series titled TACTIC. This series traveled to the Kennedy Museum and the Gertrude Herbert Institute of Art in the fall of 2017 and spring 2018, and he presented lectures to the public on the nature of the exhibition at each of the receptions. Mitros submitted a successful proposal for an Artist-Invite-Artist residency at Red Lodge Clay Center in Red Lodge, Montana, for the summer of 2017 to begin immediately after his Short-Term Residency there in May. In addition to these scholarly activities, Mitros was a guest artist at Pennsylvania State University, Ohio University, and Augusta University, where he presented his work, met with students to discuss their studio practice, and provided a workshop on slip-casting and 3D printing. Mitros was awarded a solo exhibition at Plough Gallery in Tifton, Georgia, scheduled for February 2019, and has been invited to be a guest artist at Indiana University Southeast in April of 2018 and Valdosta State University in the fall of 2018.
In this academic year, Assistant Professor of Art/NTRC Pham traveled to Connecticut and participated in the competitive I-Park Artist Enclave residency program in July 2017. Her visual research was also accepted into the peer-reviewed international exhibition Abstract Mind at the CICA Museum in South Korea in Spring 2018. Assistant Professor Pham will continue her research this summer 2018 at the Hambidge Artist Residency in Rabun Gap, GA, and at the highly competitive ACRE Residency Program in Steuben, WI. Since collaboration is a part of her continued practice as an artist and educator, Pham has been collaborating with artist and Assistant Professor of Art and Visual Studies Hye-Young Kim of Winston-Salem State University on a sustainability art project centered on waste, fiber, and plastic to culminate in fall 2018. For summer 2018, Pham will also work on a poetry and visual art collaboration with Broadside Press, an organization with a mission to put art and literature on the streets.
In the last twelve months, Pete Schulte, Associate Professor of Art and head of the drawing area, has held solo exhibitions of his work at The Woskob Family Gallery at Penn State University and at Whitespace Gallery in Atlanta. His work was included in numerous group exhibitions, including the Spring/Break Art Show in New York City – where he was singled out for mention in the ARTnews review of the show – Jeff Bailey Gallery (Hudson, NY), and in the exhibition Uncommon Territory: Contemporary Art in Alabama at the Montgomery Museum of Fine Art. Schulte was selected to be a featured artist in issue 6 of Maake Magazine, an independent print publication and online resource showcasing the work of emerging artists. He also served as guest editor for issue 93 of the Art Journal, Number : Inc, and was named the Southern Art Prize State Fellowship winner from the state of Alabama, and subsequently one of nine finalists for the inaugural Southern Art Prize.
Sky Shineman was on research leave during the fall semester. During this sabbatical she attended a two-week artist residency in rural Ohio, journeyed to the Chianti Foundation in Marfa, Texas and traveled to Australia to begin work on a long-term project focusing on the art of the Aboriginal painters of the Western Desert movement. A multi-city research trip included visits to major museums in Sydney and Canberra and concluded with the Darwin Aboriginal Art Fair in the Northern Territory. Outback travels included ancient rock art sites in Kakadu National Park and the Injalak Aboriginal Arts Centre in protected Arnhem land. Creative work in the form of paintings, prints, and a short collaborative film project has been catalyzed through this research period and exhibition and writing projects will be seen in the year to come. Of special note this year was the inclusion of three of Shineman’s paintings in Montgomery Museum of Fine Arts’ Uncommon Territory: Contemporary Art in Alabama.
Since the beginning of the fall 2017 semester, Bryce Speed’s studio practice has built upon the experiences that took hold while in residency at the Hambidge Creative Arts Center during summer 2017. As in past years, he has maintained an active studio practice and has continually engaged the parameters of his work conceptually and formally. He has also maintained an active exhibition schedule that includes a site-specific wall painting at the TEN Gallery in New Orleans, LA, three juried exhibitions, and a solo exhibition at the Eichold Gallery at Spring Hill College in Mobile, AL. In November, 2017, he left the TEN Gallery collective and gained commercial representation at the Cole Pratt Gallery in New Orleans, LA. Speed taught sections of ART 216, ART 316, ART 416, ART 516, and ART 302 over the academic year. ART 302 Color Theory was a new course prep that he developed over fall 2017. In the painting area, we greatly expanded our undergraduate studio spaces which provide semi-private studios to advanced painting majors. Speed served on the Sarah Moody Gallery of Art Committee, Sella-Granata Art Gallery Committee, Recruitment Committee, and he was on an external planning committee for the University to promote a new STEM conference held on campus. Much time and energy was devoted to being a member of the Assistant Professor of Graphic Design Search Committee. In April 2018, he organized the BA EXIT exhibition for graduating seniors earning the BA degree in Studio Art.
Rachel Stephens’ article “‘Making a Display’: Adelicia Acklen’s Tennessee Family Portraits” was published in the Tennessee Historical Quarterly in May 2017. She presented research from this article on invitation at both the Tennessee Decorative Arts Symposium (April 2017) and the Tennessee Historical Society Lecture Series (September 2017). In November 2017 she published a book review of Darcy Grigsby’s Enduring Truths: Sojourner’s Shadows and Substance in Panorama. In addition, her article “Curious Men and their Curiosities: Ralph E. W. Earl’s Nashville Museum and the Precedent of Charles Willson Peale” is forthcoming in July 2018 from Early American Studies. She also awaits publication of her scholarly monograph Selling Andrew Jackson: Ralph E. W. Earl and the Politics of Portraiture, to be released June 15, 2018 from the University of South Carolina Press. In the past year, Stephens presented papers at CAA and at the University of Virginia symposium, “Universities, Slavery, Public Memory, and the Built Landscape,” as well as at a number of on-campus venues. She also organized and co-chaired the American Art open session at SECAC. During the summer of 2017, Stephens was accepted to participate in a competitive faculty research seminar offered by the American Antiquarian Society in Worcester, Massachusetts, entitled, “In Black and White: Race and American Visual Culture.” In terms of grants, during the summer of 2017 Stephens completed a one-week Mellon Research Fellowship at the Virginia Historical Society as well as a two-week Breaux Fellowship at the Filson Historical Society. She has been offered a 4-month faculty fellowship from the Gilder Lehrman Center at Yale University for Spring 2019. She was selected as an alternate for funding from two other competitive fellowships, the Tyson Fellowship at Crystal Bridges Museum of Art and a long-term fellowship from Newberry Library. Stephens was accepted to participate in the UA Cuba Center’s April 2018 trip, during which time she conducted research and met with colleagues at the University of Havana. During the 2017-18 academic year, Stephens offered three new courses including two from her expanded American Art curriculum. Stephens served as a member of the Graphic Design Search Committee as well as the Scholarship Committee, Curriculum Committee, Museum Studies Steering Committee, and Visiting Artists and Lecturers Committee. She was recently elected to a three-year term in the UA Faculty Senate.
Craig Wedderspoon exhibited his work at the 2017-2019 Spaces Sculpture Trail in Huntsville, Alabama, and this year received a total of $422,752 in contracts and grants (four external contracts totaling $350,667 and two internal totaling $72,085). These contracts include sculptural projects for the Alabama State Bicentennial Park Commission and the Tuscaloosa Bicentennial Park Commission. Wedderspoon has been invited to install a large-scale sculpture at the newly completed Montgomery Museum of Art Outdoor Sculpture Park. He was named one of 94 “Alabama Masters” by the Alabama State Council on the Arts, and will be included in the upcoming publication published by the University of Alabama Press. In service to his community Wedderspoon completed his fourth year making auction items for the Nucor Children’s Charity Classic which in total have raised $208,000 for Children’s of Alabama, completed the 10th year of lighting installations for the UA Gymnastics Power of Pink initiative, worked with the Druid City Gardens Project to install a new garden at Buhl Elementary School, and is working on multiple projects with the City of Tuscaloosa including the custom Bike Rack Project and the Tuscaloosa Public Art Project. Bike racks were installed this year at the downtown 4th & 23rd intersection and at Alberta Park. The first of the Tuscaloosa Public Art Projects was completed and installed at Monnish Park and the second is currently in production and will soon be installed at Snow Hinton Park.
Jamey Grimes participated in several solo and group exhibits this year. Grimes was selected as one of 30 artists/collaborative teams to participate in the Montgomery Museum of Fine Arts’ Uncommon Territory: Contemporary Art in Alabama, showcasing a cross-section of the exciting and challenging art currently produced in the state, in honor of the 200th anniversary of Alabama’s organization as a United States territory. He produced a solo exhibit in Austin Peay State University’s New Gallery, as the first exhibition in their new Art + Design Building. The installation coincided with the solar eclipse, and encompassed a two-floor gallery space. It featured a large fiberglass orb, suspended plastic, and lighting effects controlled by DMX systems and multiple projectors. Southeastern Louisiana State University hosted Grimes for roil, a solo exhibit in their Contemporary Art Gallery. The installation featured suspended plastic in multiple rooms and DMX controlled lighting effects. Grimes participated in a group exhibit (We Are One) at the Stephen Smith Fine Art Gallery, in Fairfield, AL. He also created a large sculptural installation in the same space for the group exhibit, Don’t Fence Me In. Grimes serves on the Board of Sassafras Center for Arts and the Environment. As head of Sassafras’ arts committee, he has managed and participated in Phase events, which incorporate outdoor environmental sculptures, as well as music and bonfires. These local events are open to the public, occurring in Alberta City’s Sassafras Park. Grimes also completed a large-scale installation in Nashville, TN, for Pinnacle Bank, as a feature of their recent remodeling at their main headquarters. The installation filled the 24-foot x 24-foot wall behind a new stairwell connecting the two floors, and featured thousands of laser-cut acrylic forms mounted inches off the wall with acrylic rod.
This was the first year for Kate M. Kocyba, Ph.D., as a full-time instructor in the department. She taught four courses each semester: in the fall, she taught two sections of Western Art History Survey II (ARH 253) and two sections of Non-Western Art History Survey (ARH 254). During the spring, she taught Western Art History Survey I (ARH 252), two sections of ARH 254, and American Architecture (ARH 376). In addition to her teaching responsibilities, Kate participated in faculty meetings, art history faculty meetings, met with potential Asian art history candidates, and wrote several letters of recommendation for undergraduate students seeking fellowships and internships.
JENNY TUCKER (FTTI, ART HISTORY, ONLINE)
The 2017/2018 academic year marks Jenny Tucker’s ninth year teaching at UA. She continues to teach two sections of Survey of Art I and Survey of Art II. Additionally, Jenny was selected as a 2017 Innovation Mentor by the College of Continuing and was invited to present at the Faculty Technology Showcase in the 2018 spring semester.
This year, in addition to teaching drawing, design, and rendering for theater, Charlotte Wegrzynowski had a solo exhibition of her charcoal drawings at the Dinah Washington Cultural Arts Center. She also participated in group shows at Paperworkers Local, Magic City Arts Festival, and Gallery 1930 in Birmingham.
TOM WEGRZYNOWSKI (FTTI, PAINTING, ART HISTORY)
In the past year Tom Wegrzynowski taught a diverse range of classes, including Drawing I, Drawing II, Life Drawing, Art History Survey I, Art History Survey II, and upper level Modernism classes. In the spring semester, Tom initiated a transition away from paper-based exams in ARH survey classes to better leverage available technology and cut down on both cost and waste. As part of Tom’s studio practice, he participated in the Exhibition of Recent Works Featuring University Art Professors at the Magic City Art Connection in Birmingham. He also participated in the eighth Monster Makeover exhibition in Tuscaloosa, where he won both Best in Show and the People’s Choice Award.
WADE MACDONALD (PTTI, CERAMICS)
Part-time instructor in Ceramics and Foundations, Wade Folger MacDonald participated in seven invitational exhibitions this year. Venues that featured his work include the Kennedy Museum of Art at Ohio University, the Clay Studio of Philadelphia, and the Gertrude Herbert Museum of Art in Athens, GA. MacDonald was one of six recipients of the 2018 NCECA Emerging Artist Award. With this award, MacDonald was a panelist and presenter at Cross Currents, this year’s NCECA conference held in Pittsburgh, PA. In March, his journal article “Nostalgia for the Grid,” was published in the 2018 NCECA Journal. Additionally, MacDonald organized the noteworthy NCECA concurrent group exhibition Parallel/Collision and was a visiting artist at The University of Utah. Last June, MacDonald took part in an Artists Invite Artists residency at Red Lodge Clay Center in Red Lodge, MT. While in Montana, he partnered with fellow AIA residents to conduct a group workshop on digital 3D modeling and clay printing for Red Lodge staff and long-term residents. This summer, his creative research and practice will be featured in American Craft Magazine. MacDonald was a juror this year for the Visual Arts Achievement Program State Competition sponsored by the Birmingham Museum of Art.