Academy of Art Printmaking grads Erin McAdams (’16) and Keisha Mrotek (’15) have been putting their skills to use in their work for Master Printer Paul Mullowney. Mullowney Printing, located in San Francisco’s Mission District, publishes unique and editioned works by leading artists, using techniques that include etching, woodcut, photogravure, direct gravure, screen printing, and letterpress printmaking. The work has been an opportunity for McAdams and Mrotek to use the skills the acquired in their printmaking courses at AAU, and to develop those skills in a working apprenticeship with Mullowney.
New Zine Class offers Conceptual Development and a Variety of Skills
The Academy of Art is excited to offer a new class for Spring 2018: Zines: Reproduction Techniques for Communication and Expression. Zines are self-published small-run magazines, often created by artists, photographers, illustrators or anyone interested in exploring an idea and publishing it on their own.
Zines provide a forum to explore alternative ideas in a print format. Communities of artists and zinesters put on annual events such as the SF Zine Fest every September in Golden Gate Park, the New York Art Book Fair, and the San Francisco Art Book Fair. Artists and publishers come from all over the world to sell, buy and trade zines.
The Zines class gives students an opportunity to explore their current technical field, but also explore other ideas and avenues of content development. The class will use Xerography and Risography as well as collage, typography, design layout, photography, illustration, fiction and non-fiction writing to develop ideas and create zines. Sign up now for this exciting Spring class!
The Fine Art Printmaking Departments hosts the exhibition Printed in Cuba at the 688 Sutter Gallery
The Printmaking Department will host an exhibition from the international project Edition/Basel entitled Printed in Cuba. The exhibition is the result of a collaborative project executed by 17 artists from the United States, Switzerland, and Cuba, during April of 2017. The artists worked out of the Taller Experimental de Gráfica de La Habana in Havana, Cuba. This international project focusing on cross cultural collaboration includes four Academy of Art Faculty Members: Carrie Ann Plank, Director of Fine Art Printmaking, Megan Adie, Printmaking Studio Manager, Lian Ng, Graphic Design Faculty and Barry Ebner, Printmaking Faculty.
Here Aqui Hier
Collaborative piece by Fine Art Printmaking Director, Carrie Ann Plank, Cuban artist Janette Brossard, and Swiss artists Margarit Lehmann and Sadhyo Niederberger
The exhibition runs from October 3rd through 31st at the 688 Sutter Gallery. The opening reception is Thursday, October 5th from 5:30-7:30pm
Cuba meets USA meets Switzerland. PRINTED IN CUBA is an initiative by Margarit Lehmann (Switzerland) in cooperation with Aliosky Gracía (Cuba) and Lian Ng (USA). It is an experiment of artistic and sociopolitical dimensions: not Cuban art in America or Swiss art in Cuba, but joint work in a tri-national cooperation. The project brought together 19 printmakers from Cuba, USA and Switzerland to collaborate on a collection of unique prints using lithography, collagraphy, etching, pressure and relief printing techniques. The artists created layers on the same print in response to each other to result in a finished piece that does not represent a singular artist but of a collective whole. The artists participated in the project are: Alejandro Sainz (Cuba), Aliosky García (Cuba), Andreas Frick (Switzerland), Barry Ebner (USA),
By Jesse Mangerson (FA Faculty)
One of the most interesting aspects of our MFA online program, from the instructor’s point of view that is, is learning of the variations on Thesis concepts being completed by our MFA students. The range of subject matter that is being addressed based on culture or location keeps our work as instructors continuously engaging and diverse. Working with students located in Norway, The Philippines, Saudi Arabia, and Japan to name a few, offers amazing insight into the places and the cultures that influence their work.
Tara Sood is one of these students. She is an American living and working in Japan whose work and project epitomize this idea.
I had the opportunity to work with Tara last semester in FA 811: Process and Thesis development. Her Fine art painting MFA Thesis project is based on the work of the Japanese Potter and the firing of the Noborigama kiln. Her work and story are inspiring to say the least. I sat down with her in an asynchronous interview about her project
Structure housing a Noborigama kiln. Okinawa, Japan
J: Will you share your Thesis statement?
T: Japanese pottery is revered and prized in Japan. Unlike the western world where sets of dishes all matching are treasured, a Japanese household will offer their guests each a unique pottery tea cup or plate. Among the most prized types of pottery are the teapot and the bonsai pot. My next three years starting in June 2016 will be spent in Okinawa, Japan. Having access to the Japanese culture I seek to paint the art and process of Japanese potters. There will be at least 15 representational oil paintings of the figure working in their environment – outside or in the studio. The finished sizes will range from 12x16 to 30x40 inches. The information for these studio paintings will be collected through on location oil and pencil sketches and photographs. Further sketches in oil will be made working out color and composition using the references collected prior to completing the final piece. The color palette will be inspired from Japanese culture, art, and life using seasonal colors and colors with specific meaning (i.e. in Japan white indicates death, red equals a wedding or new beginning). A painterly approach will use an expressive brushstroke to explore the elements of atmosphere and light and shadow effects paired with explorations of contrast in value, color, and texture at the area of interest.
J: Where are you located in Japan?
Pathway to the kiln
T: The four 'kojo' - factories that I am working with in Okinawa was stumbled upon on a scouting trip with my translator and friend - Kyan Yuko. She suggested visiting Yomitan village of potters first in my search for a potter to work with. There are 30 plus potters in this village that run studios, factories, and kilns and it took some time to walk through and talk with some of
T: My family and I are living in Okinawa, Japan, a small island part of the Ryukyu Archipelago south of the mainland. We are actually really close to Taiwan.
J: How did you get acquainted with this group of potters?
Making clay. Okinawa, Japan
them. I was looking for a potter that used more traditional Japanese methods in pottery such as the kiln built into the hillside and the overall appearance of a potter's studio close to nature. This large quadrangle was one of the last we visited and there were signs on all the doors of 'Staff Only' and 'Please Private Entrance'. Having Yuko-san there was essential because I would have just walked past all the studios because of the signs. In mainland Japan signs like this are like unspoken rules and if broken it is like a breaking of trust. But as I've found many things are a little friendlier and a little easier here in Okinawa, my translator suggested we go in and talk to the master potter. I was pretty nervous being an American!
We lingered around the entrance to the most direct kojo and a worker happened to emerge with a long board filled with just formed pots and we introduced ourselves and told a little about what we were looking for and who I was. He smiled and went to put his burden down and came back and introduced us to his sensei - the master potter of that studio - Miyagi-san. He was kind enough to listen to my project explanation and direct inquiry of whether I could photograph him working
School of Fine Art students donate their skill to a dedication mural for San Francisco Firehouse Station 1 in the South Market area. The mural depicts the history of the fire department in the city and the officers who serve the community.
FA 499-24: SPECIAL TOPICS:
ZINES: TECHNIQUES FOR COMMUNICATION & EXPRESSION
Ever wanted to make a zine, using Xerox and Risograph? Zines are a way to create editioned content in a reproducible and accessible format. We’ll investigate the history of zines, develop all sorts of content while exploring different formats of this democratic medium. Great for Fine Artists, Illustrators, Graphic Designers, Photographers and anyone looking to explore ideas through text and imagery.
By Sean Connor
Could you tell us a little about your self, your history and experience with art before arribing at the Academy of Art University?
My Earliest memories of drawing were of copying Audubon bird prints in color pencil, following the example of my older brother. While continuing to draw, I did not consider the fine arts and occupational choice, having no clear concept of the life of a professional artist. My first experience painting was in an undergraduate course in Chicago, and the frustration I felt spurred me to want to master the form, particularly in painting people. Luckliy, just after that term, a friend invited me to join him in NYC, where we would study at the National Academy of Design. I stayed in New York for sixteen years, during which I studied with a range of incredible painters. In addition, my colleagues were also an imprtant source of inspiration. Also critical were anual trips to Europe to see the great Western painting in situ. Finally, my wife, Helen, whom I met while a student, and who subsequently trained as a paintings conservator, sparked my interest in the technical aspects of painting. She and I eventually relocated to Chicago. It was while teaching there that I was encouraged to pursue an MFA, which is how I learned of the Academy of Art's program.
Did you have any rewarding experiences or intereactions with teachers while you studied at the Academy?
Absolutely! Notwithstandingmy prior experience as a visual artist and teacher, I found my understanding of picture-making deepened through the courses and the wisdom of my instructors, both in studio and art history courses. This dedication by the Academy faculty bore fruit in my thesis project, where, in working with Sean Connor, Warren Chang and Zack Zdrale, I combinedmy interest in the human form with that of CGI technology to create a series of paintings set in a motion catupture studio.
Are you having any upcoming shows that you'd like to share with us?
This April, my wife Helen and I will be subjects of a two person show at Chicago's Palette & Chisel Academy of Fine Arts. She and I have been painting together since we met in art school in NYC, and occasionally show together. This show will be a bit different, since it will highlight much of our working process and contain sketches, cartoons, oil studies as wall as finshed work.
10 a.m.–6 p.m.
Reception & Live Auction
Saturday, November 12, 2016
2 p.m. - Reception begins
3 p.m. - Live auction begins
Ends approximately 30 minutes after close of live auction
AAU Galleries at The Cannery
2801 Leavenworth St
San Francisco, CA 94133
Benefitting Academy of Art University's Student Scholarship Fund.
Browse 2016 Catalog
Contributed by Gateway To Sedona on 07 Sept.2016
Painter Mason Mansung Kang Follows His Passion Full Time After Retirement from Petroleum Industry
Sedona, AZ: Artist Mason Kang spent the better part of his life working in the petroleum, oil and gas industry, during which time painting was more of a hobby than a career. But at age 61, after he retired in 2012, his hobby became his prime focus and passion, and his accomplishments over the last few years are nothing short of brilliant. Mason is currently competing at the Sedona Art Prize
Mason Mansung Kang was born in the Republic of Korea (South Korea). He obtained a BS Degree in Chemistry Education from Seoul National University in 1975. Mason worked for the petroleum, oil and gas construction industries until he retired in 2012 after 35 years of service. Learning to paint has been his dream since childhood. He was finally able to pursue painting full time after retirement and began studying at the Academy of Art University obtaining his Masters Degree in Fine Arts in August 2016.
Mason specializes in scenes of nature utilizing what he describes as “harmonious light and shadows.” In 2015, he joined the Fine Art Study Abroad program and traveled to Florence, Italy. During that time, he gained
considerable experience with plein air (outdoor, from life) painting. He recently won the 1st, 3rd, and the ‘Body of Work’ prize under the MFA Landscape/Cityscape Category in the 2016 Spring Show at the Academy of Art University, primarily due to his painting “On the Hill.” In June/July 2016, he won the Best Landscape Award in the 6th Plein Air Salon, was selected as the ‘Winner Emerging Artist’ of the Artmuse Contest in 2016, and was also selected as the Painter for the Online Gallery, Leisure Painter Magazine, in August 2016. Mason is now represented by the Bill Hester Fine Arts gallery located in Santa Fe, New Mexico.
Mason comments: “After retirement from 35 years of service in the petroleum business, at the age of 61, I decided to pursue my long-time dream to paint. As a Christian, I feel the awe and wonder of the Divine Providence to see every corner of this world. I think the world we live in is truly a beautiful place. Every natural entity is different and unique and this diversity makes the world beautiful. To share this beauty is the goal of my efforts. I have just begun to experience this in my own work and want to develop my ability to paint beyond what I simply observe from life. I want to show the exact feelings that I have while I'm on site.”
Mason hopes that his works can ultimately present viewers with a sublime sense of warmth, happiness, and contentment. You can find more of his beautiful paintings at MasonMansungKang.com
Three long time instructors from the Academy’s Fine Art department, specializing in Book Arts and Letterpress, were invited by the San Francisco Center for the Book to produce artist’s books for the Center’s Small Plates imprint. Macy Chadwick, Jennie Hinchcliff, and Bettina Pauly were chosen by a panel of board members, teachers, and community members on the strength of their proposals to create the small-scale books, in an edition size of 100.
The books were released at a party on June 10, at the Center for the Book, in San Francisco’s Potrero Hill neighborhood. At the well-attended opening, each artist spoke about her process, from conceptualization to production. In addition to the books themselves, tools and proofs from that process were on display.
Macy Chadwick, a letterpress and book arts instructor at AAU since 2003, created a book called Input/Output. Chadwick says, “This is a book about the creative process. As artists, we gather information, text and ideas as fuel for making art. How does creative input transform into artistic output?” Her book is comprised of several folded sheets, which open up to reveal a complete image. In describing the process of designing and creating the book, Chadwick said, “Conceptually, I followed my usual mode of working—bouncing back and forth between structure, text, and idea in developing the book as a cohesive whole.” She did her printing at SFCB, rather than in her own studio, which presented both benefits and challenges. “It helped me focus on this specific project, and also gave me access to volunteers and equipment. But, I found that there was the added challenge of designing and producing the book in a public space.”
Proclomatie is the book by Jennie Hinchcliff, who has been teaching book arts at the Academy since 2007. Her book is an homage to the early 20th century Dutch artist H.N. Werkman, using text from his 1932 manifesto on art making, and employing many of the same techniques as Werkman himself – including spontaneous design decisions, hand stamping, and printing on an iron handpress. Hinchcliff found the 4x4” size to be comfortable: “small, personal, a book that the reader can hold in their hands and connect with.” The edition size was larger than anything she had ever worked with, though. “Planning out the logistics for 75 books (and then making each book happen) was a new experience for me,” she said.
Meisha Grichuhin show California Calling is at 625 Sutter Gallery
Artist Reception: Thursday, July 7th, 5:30 - 7:30pm
Prior to Meisha's opening we interviewed her about her carear.
Did you have any rewarding experiences or interactions with teachers while you studied at the Academy?
I feel very lucky to have had such wonderful instructors at the Academy. Some stand out for their teaching ability, some for their advice, and some for their processes. Paul Kratter, Tomutsu Takishima, and Kevin Moore are all memorable instructors for me, but the teacher who has influenced me the most is definitely Craig Nelson. The first class I took with Craig was Wildlife Painting.
I was worried that since I had no experience in landscape painting, I wouldn’t get as much out of the class. Craig helped me so much in one semester! I really understood his way of teaching and explaining things- and his style is similar to what I wanted to achieve in my own work. I took as many classes as I could with him after that.
Are you having any upcoming group or individual shows that you would like to share with us?
Yes! I have a solo show with the Academy at 625 Gallery (625 Sutter) for the month of July. The show opens on July 2nd, and the reception is July 7th from 5:30 to 7:30pm. Stop on by! I’ll have roughly 20 pieces on display. I also have two pieces included in the 59th Juried Exhibition at the Haggin Museum in Stockton, which opens the same night, and will be on display until mid-September.
Another group show that I’m participating in for the second year in a row is Sanchez Art Center’s 50/50 Show in Pacifica. This is a really fun show where each artist creates 50 6”x6” artworks in 50 days to a theme of their choosing. It’s challenging but also rewarding to create so much in a short period of time. It’s fascinating to see everyone’s efforts through their different themes and styles. The reception will be in August, and the show up through September.
All of the information for my exhibitions, as well as contact information can be found on my website: www.meishagrichuhin.com.
What subjects are you drawn to?
I am particularly drawn to landscape painting. I love being outdoors and find the beauty of nature immeasurably pleasing. Studying and sharing my natural surroundings through my work is my passion. To me, there is nothing more relaxing and grounding than spending time outdoors in a beautiful setting- whether it’s mountains, ocean, pasture, or my own backyard. My other favorite subject is animals, which really goes hand in hand with landscape.
What was the hardest lesson you learned?
Don’t be afraid to start! Get some paint on the canvas and be bold. You can always refine from there. The more you paint, the more you learn. I often think about a quote Craig Nelson uses: “It’s only a mistake if you leave it.” This frees you up to paint without worrying that everything has to be perfect from the start.
What advice would you give to students?
Paint! Paint more! Work hard and pay attention. All the demos and advice your teachers give you are invaluable. Absorb them and, even if you can’t do it at the moment, all those words of wisdom are there for you to pull from when you need them.
Public Projects, Gallery Exhibitions, and HBO Documentary
Nina Wright, Fine Art Painting/ Printmaking student, is working on a wide variety of public works projects. Nina’s signature graphic style can be seen applied to both her fine art pieces and in the public works projects popping up all over the Bay Area. Recent gallery exhibits feature Nina’s mixed media screen print on panel works at such venues as: Know Gallery, LeQue Vive, Temescal Gallery, and Naming Gallery in Oakland. Recent public works projects include commissions from the city of Oakland for the art on utility boxes project, a commission from the Mission Street Public Life Plan as a featured artist in Art on Muni, and murals with the Clarion Alley Mural Project and a mural for the Temescal Gallery. Look for more of Nina’s work in the 2015 documentary produced by HBO, San Francisco 2.0
Meet Bay Area artist Carrie Ann Plank on Sunday, March 20 and learn about her recent residency!
Sunday, March 20, 2-3pm
Join Carrie Ann Plank as she talks about her recent residency at Bullseye Resource Center Bay Area. She'll touch on the learning curve of working with glass for the first time, the inspirations for her prints, and the process of translating imagery into glass.
This event is free and open to the public. Space is limited—RSVP required.
About the Artist
Carrie Ann Plank’s work is included in public collections including the Fine Art Archives of the Library of Congress, the Guanlan Print Art Museum in China, and the Iraq National Library in Baghdad. Recent shows include American representation at the International Print Art Triennial in Sophia, Bulgaria, the Liu Haisu Museum of Fine Art in Shanghai, China, and the Guangzhou Academy of Fine Arts Museum in Guangzhou, China.
She is the director of the printmaking MFA & BFA Programs at the Academy of Art University and is a board member of the California Society of Printmakers.
Could you tell us a bit about yourself, your history and your experience with art before arriving at the Academy?
Art for me is an addiction that helps me stay sane and happy. It is the one thing that has been my constant companion throughout the years. Growing up in the suburbs of LA, I was often faced with situations where I felt out of place and withdrawn. It's a common story among artists, and not surprisingly I found myself always drawing. I would copy pictures and photos that were compelling to me, and through trial and error I gained an understanding of light and perspective at an early age. Eventually, I received a BA from San Francisco State, and afterwards I spent a long time traveling and studying music. It wasn't until 2008 when I decided to go to the Academy for a master's degree in illustration, but gravitated towards fine art painting instead.
Where do you see yourself in five years time?
There's no turning back now from my path of painting. I'm too old to do anything else career-wise with any great amount of vigor. So in five years I see myself in a large studio with an abundance of natural light, honing my skills as a painter, and getting my artistic vision out into the world. I also see this happening in or around the Bay Area as I've found a thriving musical community here which is hard to find in other cities. Being a realistic painter, I'll be making a living off of commissions and gallery sales.
By Chris Rolik
Hard to believe, but we’re halfway through Fall semester already – and that means Midterm projects are due! The following are just a few selected Midterm projects from the many different Book Arts classes running this Fall.
Itay Kapitulmik's game "Funded"
Itay Kapitulnik created a board game he calls “Funded”. Based on the geography of the San Francisco peninsula, the board’s playing space ranges from the bottom of Silicon Valley to the tippy top of The City. Different aspects of the game involve dealing with traffic, housing, R & D, and money, with the object of the game being to obtain enough funding to ultimately build the winning “killer app”. Itay’s awesome design skills are evident in every part of the game, including his own laser-cut Prius-shaped playing pieces.
Apinya Srikhwanthong used skills she developed by taking the Paper Sculpture class (taught by Jeff Nishinaka) to create her sculptural altered book entitled “Life’s a Beach so Relax and Eat More Lobster!” She colored, shaped, and built her lovely lobster and his garnish, which she then placed into an old, obsolete coffee table book she’d hollowed out and painted – a process that, as Apinya will attest to, takes a whole lot longer than you’d think! The end result is a sculptural book transformation that is simply magical.
Celia Cueto Morilla used her own photographs assembled in layered collage compositions reminiscent of the Dadaists in her three tunnel books entitled “Air, Earth, Water”. The tunnel book structure utilizes depth and layering, and must be handled and manipulated to be fully experienced. This interaction is mesmerizing because it is so toy-like, and is the perfect vehicle for Celia’s delightfully whimsical compositions.
This is just a small sample of the exceptional work produced by Book Arts students each semester. The Book Arts class (in the Printmaking Department, which is in the Fine Art Department) is open to all majors and all skill levels, with no prerequisites. Do come join us! Thanks to Itay, Apinya, and Celia for the use of their images, and congrats to all on a job well done!
By Anna Nelson
Samantha Buller at work in her studio
Samantha Buller graduated from the Academy of Art University with a BFA in Fine Art and studied for a semester in Italy with the Fine Art study abroad program. Italy inspired Samantha to continue her love and passion for painting beautiful light and color.
Samantha’s current solo exhibit for Elliott Fouts Gallery in Sacramento features her contemporary still life work inspired by Wayne Thiebaud. The body of work entitled “Nothing But In Thing’s” focuses on simplistic, everyday objects painting in a very stylistic manner.
“As children we are told from the very start to color inside the lines. These paintings are an everyday practice for me to push outside my own lines/boundaries, and trying to discover them again by pushing and pulling paint between background and foreground. From time to time I feel myself tense up, not wanting to loose the “perfect” mark…that’s when I know I need to take a breath and do just that, paint through that beautiful moment I was stuck on.”
Buller has had the opportunity to teach workshops in California, Kansas, and Colorado, as well as work along side well known landscape artist, Scott Christensen, mixing paint for two of his larger works. She shows in several galleries, including Abend in Denver, CO, Room Art Gallery in Mill Valley, CA and Wild Meyer Gallery in Scottsdale, AZ. She paints out of her studio in her home in northern California.
Each year, the San Francisco Center for the Book hosts the Roadworks Steamroller Printing Festival. Artists, Printmakers, Book Artists and enthusiasts all come together to visit with vendors, play with equipment, make pieces of art at do-it-yourself tables, and watch as a 7-ton 1924 Buffalo Springfield steamroller prints 3 foot by 3 foot large hand-carved linoleum blocks. This was the 12th year of the event, and quite a few of the Academy of Art’s alumni were there participating and celebrating.
Vendors and shoppers enjoy guitar playing as well
Leah Jachimowicz, Coffee n Cream Press
MFA Printmaking Alumni Leah Jachimowicz, owner of Coffee n Cream Press, is a one-woman printmaking powerhouse. Leah designs and prints greeting cards and artwork. She also enjoys working directly with clients creating custom wedding invitations. Leah participates in many street fairs and art events around San Francisco, selling her unique designs directly to art lovers. She also has over a dozen stores in California, and even one in Louisiana, that stock and sell her cards. Leah enjoys working directly with clients creating custom wedding invitations
Ryan Vicente’s print.
This year BFA Printmaking Alumni Ryan Vicente agreed to carve of Steamroller’s large scale linoleum blocks. He transferred his drawing to the “battleship” linoleum, then spent about a week of long days and evenings carving the image into the block. Ryan proofed the block in small sections as he was carving it in his studio, but had to wait until the day of the event to see the whole image. Using the surface of the street as the press bed, a team of San Francisco Center for the Book volunteers inked up the block, laid it on the ground in a designated spot, and watched as the steamroller ran over it, transferring the ink from the block to the paper that was laid on top. The prints, once dry, are then available to purchase through San Francisco Center for the Book. If you missed this exciting event, be sure to mark your calendars for next year’s Steamroller!
Volunteers remove the paper from the inked linoleum.
The final print.
Senior Painting Studio is a classes offered to undergraduate fine art students. The class is taught by faulty member Kevin Moore who advises the students towards a "pop up"at the end of the semester.
In the comming weeks you will be introduced to each artist, but in the mean time here is the concept for their show.
We are a dedicated group of emerging artists who believe art is an integral part of our society and as such should be accessible to everyone regardless of financial means. We would like to attempt a new take on the art show convention by creating a unique experience in the form of a pop-up show in San Francisco. An unfortunate reality of the art world is that at times money can be an obstacle for many when it comes to obtaining original artwork. We would like to have a show where money does not determine who can and who cannot own a piece of art.
The unique structure of this show encourages the community as a whole to support the arts, which in turn allows artists to make art accessible to the whole community. We are excited to provide a venue where the value of art is not determined by a price tag, but instead based on the merits of the work itself. Every guest will have an equal opportunity to become the owner of a well-crafted, thoughtful piece of art.
We would like to create a sustainable model for this type of show in which expense does not affect the outcome. In order to do so, we require financial support to host the event; this is why we’ve chosen to ask for your assistance through our Go-Fund-Me campaign. The success of the show heavily relies on community contributions and support to cover artists’ expenses and compensate them for their time and effort. This will allow the art to function solely as art and not as a market driven product.
We feel that art is greater than the established commercial market. To any who feel the same way, we ask that you support our goal. Every contribution no matter the size will help and be greatly appreciated. With the community’s support of this show, we hope to achieve something new that transcends the status quo of the art world. Thank you for your support!
To support click here.
Could you tell us a bit about yourself, your history and your experience with art before arriving at the Academy?
My name is Deepa Kataria. I am an abstract landscape painter. I was born in Mumbai, India and grew up in New York City, United States. I found my passion for arts in India’s Junior High School. This gave me a pathway to continue my arts education at high school in Queens, New York. My passion and love for the arts was further nurtured when I was accepted at Rutgers, The State University of New Jersey. After successful completion of my Bachelor of Fine Arts in 2007, I was determined to bring my artistic skills to a professional level.
I then decided to come to San Francisco Academy of Art University in order to earn my MFA degree. I have two years of classical training with emphasis on abstraction. Being the graduating class of Spring 2015, I am looking forward to my Solo Thesis Show coming up in October 1st to October 28th, 2015, at 625 Gallery at Sutter Street.
Did you have any rewarding experiences or interactions with teachers while you studied at the Academy?
Yes. Every teacher has played an important role in my MFA learning process at the Academy of Art University. One example, Prof. Bao Ping Chan told me that painting is a reflection of the artist. Further studying with my tutor Ho Jun Lee during classical training brought up the same concept and taught me in depth how the artist’s works reflects the artist’s life (values, character, and lifestyle). I learned at that point that core values between abstraction and realism are the same for the artists.
Where do you see yourself in five years time?
I see myself participating in group and solo shows consistently and planning solo shows for next five years.
Are you having any upcoming group or individual shows that you would like to share with us?
One can check my upcoming events at Deepkataria.com
We spoke with Valerie Winslow since her new book Classic Human Anatomy in Motion was published recently.
Could you tell us how long have you have been teaching for the Academy of Art University?
Since 1989 when I began teaching at the Academy of Art University, I have taught figurative art and artistic anatomy. For the last 11 years I have been the Anatomy Coordinator for The School of Fine Art.
How did you become an exhibiting artist?
I began my professional career by submitting examples of my paintings to galleries. Networking, meeting people in my field, and developing connections is an important part of my success.
After joining a co-op gallery when I completed my education, I was given the chance to exhibit my work. Many opportunities for group and solo shows were possible at this time.
Why did you write your first book and what happened that made you want to write a follow-up book?
When I began teaching, many students encouraged me to write a book about anatomy. Since I teach the concepts in an easy-to-understand way for the artist, and keep the information anatomically accurate, writing a book was a natural development for me.
The research I gathered through my teaching enabled me to present information and drawings to my publisher when I proposed my first book, Classic Human Anatomy. This book was published in 2009 by Watson Guptill, and was designed to be a basic anatomical reference guide for figurative artists.
After the positive responses to the debut of my first book, including many professional artists, art students and physicians in the medical field, I felt encouraged to write a follow-up book. This book called Classic Human Anatomy in Motion was released in August of 2015 and is about anatomy with an emphasis on movement. It contains over 500 drawings and includes anatomical charts, life studies, gesture drawings, and longer study poses. This book is intended to create a bridge between the anatomical concepts of motion and drawing the live model in action.
Why does the study of anatomy help an artist?
Depending on the focus of an artist and the artistic discipline being studied, anatomy allows us to understand the complexities of the human form on a deeper level, whether we sculpt, paint or draw the figure.
We spoke with Diana Majumdar before her show opened at the Academy of Art University.
Could you tell us how you became involved in art making?
Since a very early age I have been exposed to art in many forms and shapes. I grew up in Estonia in the last days of the Soviet Union. I was first introduced to art through my father. He took me to see museums in Estonia, Russia, and Armenia. I loved watching my father draw. He taught me the basics of watercolor, and gave me his large set of art books that were printed in Russia and Armenian. So when the choice for a field of study presented itself and I had to ask myself what I would like to learn, the choice was easy.
Has there been any particular class or teacher that really opened your eyes while studying at the Academy?
Mixed Media taught by Ms. Lynne Margulies, was the class that changed the way I approach art.
Artistic freedom was the key take away from that class. After taking countless classes with structure and order, I felt liberated at the end of this class. It was pure joy. Using the approaches she taught, art just seemed to flow out of me. The approaches she taught were daring. To do a charcoal drawing then run a wet brush over it, completely obliterating the charcoal image. It wasn't destruction per se. It was creating something throught the process of destruction. Creating something unexpected.