Apr
27
2022 Posthumous Alumni Award: Noel Martin

Congratulations to our 2022 posthumous award recipient Noel Martin.  

Accepting the award on Noel’s behalf is his son, Reid Martin.

About Noel Martin
Mr. Martin was born on April 19, 1922, in Syracuse, Ohio. His family moved to Cincinnati where he chose to spend the rest of his life. Martin studied drawing, painting, and printmaking and later spent time as a member of the faculty of the AAC and of the University of Cincinnati.  He was self-taught in typography and design, which were his main activities for the bulk of his career.

Martin spent his professional career as a freelance graphic designer and art director with clients including such brands as Champion Papers, Federated Department Stores, Xomox Corporation, Dreyfus Corporation, The New Republic magazine, Hebrew Union College, and many other industrial, educational, and cultural organizations.

In 1947, Martin held the role as the first graphic designer for the Cincinnati Art Museum.  During that time, Martin worked on the museum’s first logo, graphics, installations, and put him at the forefront of the movement to simplify and remove the clutter from catalogs of all varieties—from industrial parts catalogs to art museum catalogs.

Exhibition Acclaim:
His work was included in the exhibition, “Four American Designers”, at the Museum of Modern Art, New York City, in 1953, and in a one-man exhibition at the American Institute of Graphic Arts in 1958.[1] In 1971. Martin was the first Cincinnati artist to exhibit at the Contemporary Arts Center after its relocation in 1970 to 5th st. where he exhibited geometric paintings.[4]

Foreign exhibitions have included those of the U.S. Information Agency in Europe, Latin America, and the U.S.S.R., and at the Gutenberg Museum, Mainz; Musee d’Art Moderne, Paris; and the Grafiska Institute, Stockholm. Martin’s work is represented in public collections in New York, Boston, Washington, Cincinnati, and Amsterdam.[1]

He lectured at the Smithsonian, the Library of Congress, Aspen Design Conference, and schools and organizations throughout the country. Among his awards are the Art Directors Medal, Philadelphia, 1957, and the Sachs Award, Cincinnati, 1973.[1][5]

Martin succumbed to leukemia on February 23, 2009. His archive of works is currently housed at the University of Cincinnati | DAAP.

https://www.nytimes.com/2009/02/28/arts/design/28martin.html

Apr
27
Interview with Bill Parrish | Winner of the 2022 Distinguished Alumni Award

2022 Distinguished Alumni Award Recipient William (Bill) Parrish​

Interview by Christine Carli (2008 | Board of Trustees President)

Christine: How did you decide to attend the Art Academy? 

Bill: Originally, my hope was to get a full scholarship to the University of Cincinnati’s College Conservatory of Music. I was accepted and offered a scholarship, but it didn’t cover all my tuition. My second choice was the Savannah College of Art & Design. They offered me a full scholarship, but after looking at the overall costs of living, it was too expensive. The Art Academy of Cincinnati was my third choice. Not thinking I would get in, I submitted my application anyway. At that time, I was a bit intimidated by all I had heard about it’s rich tradition of artists, (Frank Duveneck, Elizabeth Nourse….) and what a great school it was. After getting accepted, I submitted my portfolio, and got a full scholarship. That, coupled with other private scholarships and grants, it made my decision easy. Without the scholarship and other needed expenses covered, I would not have been able to attend. I’m so thankful that the admissions office actually sat down with me during this process to make sure I had the needed resources to attend the school.

Christine: What mediums interested you?

Bill: Before attending the Art Academy, I was pretty prolific at drawing and painting. I graduated from Princeton High School, and my high school art teacher, Mr. Frank Shands, who happened to be African-American, and a great artist, was a huge Michelangelo fan, and taught art from the Masters perspective. But when I started attending the Art Academy, they encouraged me to experiment, try new things. As a result, I was exposed to a plethora of mediums of interest: Charcoal, Printmaking, Egg Tempra, Gouache, Watercolor, Oils, Acrylic, I eventually gravitated to using whichever I felt solved the problem and still use all of them. 

Christine: Can you recall a memory from your experience from the Art Academy that stays with you today? 


Bill: Yes. At the end of my second year at the Academy I has a random encounter we the Art Museums designer Noel Martin in the museum library and became friends with him. Noel was not only an amazing designer, he was just as great a man. I’d stop by his office on occasion and ask him if it was ok to hang around to watch him work. He’d share stories about the jazz musicians in New York and Chicago back in the 1940’s among other things of interest. I found myself in Noels office on a regular basis, sometimes having lunch with him, and learning what the designer for the museum did. He finally put me to work doing small projects as I learned about design, type and a bunch of other things just having to do with just life in general. I hadn’t declared a major yet, and was torn between Painting and Design. I shared my struggle with him, and he said, “Do both.” I made my decision during the summer before my third year that Design & Illustration would be my focus. By the time my last year rolled around at the Art Academy, I think I was spending more time with Noel Martin than in my classes. Noel was my hero. He gave me projects to do that allowed me to have “real life” projects for my portfolio and not just class projects. We became good friends and I even got to know his son Reid Martin, who was a good designer himself.

Christine: What do you value most about your education?

Bill: The people. The relationships

Christine: Who were some of your favorite teachers?

b: Two of my favorite people weren’t teachers. Paul (the janitor) and Mrs. Zepf who ran the bookstore. Paul had a great relationship with the students. He was quiet, but you could approach Paul and talk to him about practically anything. I considered him the Academy’s Psychologist that nobody other than the students knew.

Mrs. Zepf was like our mom. She was sweet, but could get after you if she saw you involved in mischief. She looked out for all of us. At times, I didn’t have money to pay for art supplies I needed. She would say, Don’t worry about it, and give me what I needed.

Some of my favorite teachers were: Gary Gaffney, Connie McClure, Anne Mioke, Larry Goodridge, April Foster, Baron Krody, Frank Sotagata, Alex Gellen, Jay Zumeta, Diane Smith-Hurd, Mark Barensfeld

Christine: How do you apply what you learned at the AAC to the work you’re doing today?

Bill: I apply it daily. Relationships are everything. My Art Academy education challenged me to be uncomfortable. It exposed me to what real education looks like when you willing to try different things outside of your strengths. I couldn’t have believed that attending the Academy and the experiences would have a “lifelong” affect in shaping who I am today. I started my career as an Artist, Designer & Illustrator, and now while I’m still doing those things, I’m now a writer, business man, community advocate, teacher and learner, just trying to embrace change for the sake of staying relevant to this ever changing culture.

Christine: As lifelong creative, what are you most passionate about doing?

Bill: Engaging community!

Christine: You are drawn to community building and sharing your love of art with others. What prepared you for creating a cultural arts center from the ground up?

Bill: I wasn’t planning to create a cultural arts center from the ground up. I can truly say that because of my Art Academy experience challenging me to engage in things that I wasn’t comfortable with for the sake of learning and growing, that creating a cultural arts center was just part of my life process. Something I had to do for the sake of creating a gathering place for community. I’m now equally as comfortable as a business man as I am with art.

Christine: If you could say something to your 21 year old self about being an artist, what would it be? 

Bill: I’d give my 21year old self the same challenge that was given to me as I entered the Art Academy : Embace the uncomfortable. Stay relevant to the culture that surrounds you.

Christine: How do you feel about your recognition as the Art Academy’s 2022 Distinguished Alumnus?

Bill: This is soooo humbling. It brought me to tears. This interview can’t really communicate how on so many levels, the Art Academy of Cincinnati prepared me for my professional career, and life. I’ve received numerous awards throughout my career, a number of them from prestigious organizations, but this one by far means the most to me. It has nothing to do with the award itself. I believe that I embody the Art Academy DNA, and what it represents as an institution. One that makes its educational experience unique, and sets it apart, far apart from other art institutions.

About Bill Parrish

William (Bill) Parrish is the Founder and Executive Director of the Eckstein Cultural Arts Center in the Village of Glendale. ECAC is a gathering place for creative and thought leaders, young as well as seasoned, to practice their craft and share collaboratively through education, art, music, theater and more.

It was Bill’s Senior Thesis Exhibit at the Art Academy of Cincinnati, that served as a platform to launch his career. Bill decided to invite a number of local Advertising Agencies, Printing Companies, and Newspaper executives to his exhibit. Among the 25 invitations he sent out, one was to Randy Cochran, Scripps-Howards Graphics Editor for all of their newspapers throughout the country. Mr. Cochran attended Bill’s exhibit, and was so impressed, he offered him his first professional job. Two weeks after graduation from the Art Academy Bill moved to Denver, Colorado to begin his first professional job as an Editorial Illustrator and Page Designer for the Rocky Mountain News, the largest of the Scripps-Howard Newspapers. This opportunity opened other opportunities, that included Bill becoming Art Director of the Cincinnati Enquirers Tristate Magazine, Assistant Features Editor/ Graphics Editor for the Fort Wayne Journal-News, and Graphics Editor for the Hamilton Journal-News.

Bill went on to become Communications Director for Bristol Myers-Squibb during the merger of the two corporate giants. This was where his real educational experience began. Understanding the unique DNA of 2 large organizations, navigating the strengths and weaknesses of both, and developing a strategic plan to leverage two conglomerates into a single brand was a great experience. Managing the communications, design, and production of a consistent look and feel throughout the company required much more than just the design process.

Before devoting his fulltime work to developing the Eckstein Cultural Arts Center, Bill spent two decades as Strategic Communications, Brand Manager, and Design Director for such mega churches as: The Vineyard Community Church in Springdale, Ohio, Perimeter Church, Duluth, Georgia, Westlake Hill Presbyterian Church, Austin, Texas, First Presbyterian Church Edmund, Oklahoma, & Christ Memorial Church, Holland, Michigan. Bill’s career began as a Professional Artist, Designer & Illustrator, but transitioned into Communications Director, Brand Manager, and Design Director.

Aside from his career work, Bill Illustrates and designing books, annual reports, corporate identity signage, posters, is a brand consultant and designer, exhibits his fine art, sings and plays acoustic guitar. 

Bill has received numerous awards throughout his career including a Silver Medal from the Society of Newspaper Design in Design & Illustration, The Indianapolis Art Director’s Show, Best in Design, Denver Art Directors Club, Best in Illustration, First Place Ohio Best in Newspaper Design Associated Press, First Place Ohio Best in Newspaper Illustration Associated Press for the Hamilton Journal News. Communication Arts Bronze Medal in Illustration and Design. Best of Show. Holland, Michigan Annual Competitive Art Show. One person exhibits at The Denver Art Museum, Fort Wayne Art Museum, Congregation Beth Shalom, Chicago, Illinois, Group exhibit at the Bechtler Museum of Modern Art, Charlotte, North Carolina.

Mar
04
ArtSkewl Podcast: Ellina Chetverikova

ArtSkewl interview with Ellina Chetverikova

Art Academy of Cincinnati Alum, Ellina Chetverikova was born in Severodonetsk, Ukraine, in 1989. From a young age, she developed a  love of painting. Her painting practice is deeply grounded in the observation from life. It is an endless practice of experiencing, observing, filtering, and appreciating her surroundings. Through her extraordinary skill and brushwork, she captures the light, sunsets, and twilights with a beautiful intensity that leaves you with an exhilarating feeling of peace and respect for the world around us.

In this interview, we learn about Ellina’s life in Ukraine, how a dream of green grass and a golden retriever fueled her decision to come to America, and how she made the jump to practicing her art full-time. 

*This episode was recorded before Russia’s invasion of Ukraine. Ellina Chetverikova has family living in Ukraine and is working to get them out and to safety. If you’re able to support Ellina in these efforts, please donate to the links below.

PayPal :@echetverikova@artacademy.edu

Venmo: @ellina-chetverikova 

Listen below or click HERE to listen on Spotify. 
Dec
22
Happy Holidays from the Art Academy of Cincinnati
Holiday Card Illustration created by Samara White
Illustration by Samara White (AAC '24) I Poem by Chloë Rain (AAC '23)

Picked up our bones from the ghosts,
leaves still red, a moment in time
where we are building you and I, the bird
and the dog, the peach and the plum:
we sigh, we swoon, we blow kisses to the moon.
There are worlds in our mouths aching
alive, dreams of something sentimental
something sweet, something sugary
to get stuck in between our teeth, mumbling
we drift into dreams.
Flutter on, flushed by, found by impossibilities
growing in our gardens.
Glow soft, soul. Glow sound, soul.
I pinky-swear, we have
forever here.

 
Chloë Rain
Nov
23
Q&A with Chris Myers ’99
Chris Myers graduated from the Art Academy of Cincinnati in 1999. He is now the Animation Director on Funcom’s upcoming DUNE game. Alumni Coordinator, Caroline Bell, sat down with Chris to learn more about his animation journey.
A collection of images that represent different games Chris Myers has worked on.
Games in Chris Meyer's Portfolio
Q&A with Chris Myers

Q: When did you know you wanted to pursue the arts?
A: I had the art bug my entire life! In 2nd grade when asked what I want to be when I grow up I said: “I want to be a cartoonist”. From there it just went down the many paths of being an artist, sometimes it’s graphic design, sometimes it’s sculpting, but I always knew it would be art in one form or another. And I am sure you are the same and a lot of the AAC students are too. When you are growing up you just find yourself at your desk drawing or painting or whatever, so you have the bug. I always basically knew I wanted to be an artist, at some point it was just what discipline.  

Q: What drew you to the Art Academy when you were younger?
A: The largest reason was to be surrounded by artists. I thought it was awesome that everyone fell under this umbrella, so even if one person’s discipline wasn’t necessarily to animation it was still under the art umbrella. It’s amazing when everyone you are hanging out with has a common link to art. It’s great because you are exploring these new artistic visions with each other, and you are all on your journey together it is also exciting to get random critiques from another discipline sometimes just when they are over at your house or studio.  

Q: What was your takeaway from being a student at the AAC?
A: I guess it would be that I felt the Art Academy was setting me up to succeed. I had many friends who I still talk to this very day and some professors I talk to from time to time, so there has been a long-term relationship with the school. I was very fortunate to get an animation job two weeks before graduation at a local Cincinnati company.

Q: Were you always interested in animation? 
A: My first major was drawing in college. I just knew I wanted to be an artist of some sort. There are so many people in their thirties and maybe earlier forties, and they say: “oh I saw Toy Story or Jurassic Park,” for me I was always playing video games. I can’t remember what exactly it was, but I started taking more and more computer classes and then thought: “oh I want to get into animation.” And AAC had an animation class which was a huge draw for me wanting to go there. By the time I graduated I was the first student to do a full 3D animation for my thesis.

Q: How did you get into the industry? 
A: I spent four years working as an animator in Cincinnati. I then went to SCAD and received an MFA in Animation. From there I was hired at Activision in Los Angeles, and that’s when I started making the Guitar Hero games at Neversoft. I got on as an animator without having any video game experience and there I worked on five Guitar Hero games and four Call of Duty games. I started on Call of Duty as a cinematic animator, and that was exciting seeing the huge cinematics because you could be watching TV and see your shot in a commercial.

Q: What is a cinematic animator? 
A: A cinematic animator is often working on the in-game movies or moments. They are typically the things in the game that you do not have control of and it is either a movie that is full screen or a moment that you see in-game that plays out no matter what you do. That is different than an in-game animator that is creating the entire locomotion system that the player uses to control the character. The entire locomotion system for a character can be thousands of animations and those are sometimes broken up by cinematic animation moments. 

Q: How was your experience at SCAD where you received your MFA in Animation?
A: The master’s degree was exciting; I had worked in Cincinnati as an animator for four years and I just thought I wanted to pursue my career further to break into video games or film. I also thought it would be exciting to possibly teach someday and I knew having a Master Degree would add to that.  

Q: Did you pursue any internships?
A: I had two internships in one summer. The first place was at The Human Element, and they were using the same 3D program the school was – Strata 3d. It was a few days a week and it was great! The other internship I backed out of because they just had me stuffing envelopes all the time and didn’t feel like I was learning anything. At The Human Element, I was paying my dues, but I was also being nurtured and taught.  

Q: Tell us a little bit more about your journey in animation and working your way up, what is that like?
A: The journey in animation is compelling. Even on your bad days you just have to remind yourself what else you could be doing besides making video games. It’s the same with all artists, if you are having a bad day with your sculpture, you can just think, “man I’m getting paid to sculpt right now, this is amazing!” Art is a journey, and animation can be a tricky field to get into but, if you stay dedicated and go for it, it is achievable. It is about putting your time in and listening to your mentors; learn from them and keep an open mind. When I was working on my Masters Degree, I made a sign and put it beside my desk that said “somewhere someone is working harder than you”. This was always my motivation when I wanted to quit early for the night.  

Q: Wow that sounds like a lot! How did you balance mental capacity and emotional capacity with the workload when you are starting, did it feel overwhelming? 
A: The first two weeks your head is spinning, it’s like any new job, you have to learn all the new workflows. There are times, especially when you first start, where it is dizzying. After I was a cinematic animator for a few years I went on to an in-game animator, building the AI systems. For me, I thought this would be an interesting way to build on my career. And that did help because when you do want to become a lead or director you have more experience with both sides of the system. So, you know how the entire animation department works more as opposed to staying in cinematics for seven years or just AI animations for seven years, I split mine up over my 10 years at Activision. This helped me then move onto FUNCOM where I went from Senior Animator to Lead Animator to Animation Director.

Q: Favorite part about working for FUNCOM?
A: Well, my favorite part of working at FUNCOM in my current role is having my hands in everything that has to do with animation and helping set up the pipelines, and forming the animation department. My favorite part about the company, in general, is as a Norwegian company they treat their employees extremely well. They give you 5 weeks vacation, 100% health insurance paid, treat everyone with respect and try not to work you to the bone. It can always get intense making video games but they focus a lot on work-life balance.  

Q: What is it like being an Animation Director on a project?
A: Well, it is an interesting transition as you move into a leadership role because you tend to do less and less art. You do more management and more running of the show, but it is a really exciting career progression.

They have roles like a principal animator for people who want to progress their career but don’t want to have to run the team, some people like going that route. One of the main things and difference of being a lead or director is you have your hand on the pulse on everything, so you need to make sure the hair is working, the cloth is working, the animation is where they need to be, and the rigs are coming along correctly. So, it is fun getting to work in all aspects of the animation team and making sure the train is running smoothly.

AC: Is there someone above you who is guiding you for the DUNE game?  
A: It really depends on the different breakdowns at different studios. At Funcom, we have about seven Directors across the game and I’m basically running the animation pipeline and am responsible for the animation team. Of course, when everyone says: “oh that looks awesome!” and I can say oh that was Andre or that was Sean, then when something goes wrong it’s like oh no that was all my fault, and that’s what you need to do to be a good leader. An Animation Director will get guidance from the other directors, and everyone needs to make sure we are all heading toward the same vision. The Game Director, or Creative Director could see something and say: “Hey Chris, I was expecting this to be a little different,” and we may backtrack a little bit to make adjustments. It is always important that the directors are all on the same page. There is a lot of freedom, but you want to make sure you are not steering out of the lane of the other directors.

Q: Favorite Video Game?
A: The first HALO!  

Q: Least favorite video game? 
A: Oh my, well, I don’t remember the name of it I just remember it being horrendous! I typically tend to play the games my son is into because I like to play them with him or games similar to what I am currently working on. So, when I was on Call of Duty I played a lot of first shooter games, for DUNE it is an SOC game which is a survival open world crafting game. I don’t know what I can say about our current game, but SOC is open world so you can go anywhere but it is also survival, so you have to make sure you are drinking water and eating, then the crafting part is making and building things like houses or castles. It is really fun and amazing to see what all the players can build from what you give them.

Q: So, when is the next DUNE game coming out? 
A: Well, I can’t say but what I can say is that a lot of people are working very hard to get it finished! We are hiring for 80 positions though, so if any Alumni are interested, they should check it out!

“I have a Master of Fine Arts degree in animation and have been in the animation industry for 22 years. For ten of these years, I worked for Activision/Blizzard in their Neversoft Entertainment and Infinity Ward studios. During that time I worked on two of the largest selling game franchises in history – shipping 5 Guitar Hero and 4 Call of Duty titles. This has given me the opportunity to work in almost every aspect of animation inside AAA games. I am currently the Animation Director on Funcom’s upcoming DUNE game where I lead the animation team at all 3 of our Funcom studios – North Carolina, Oslo Norway and Lisbon Portugal.

My short films have shown in the SIGGRAPH Animation Theater and film festivals around the world including Japan, Czech Republic, Italy, England, Poland, Brazil, Hungary, Bosnia and numerous festivals in the United States. My work has been featured in Computer Graphics World, Hewlett Packard advertising, and various books on animation including Secrets of Digital Animation: A Master Class. I have taught classes on animation, mentored students and lectured on various animation topics at a wide range of universities and organizations.”

Nov
09
First-Generation College Student Resources
The National Center for Education Statistics defines a first-generation college student as an undergraduate enrollee whose parents do not have a bachelor’s degree. Many first-gen college students come from low-income families and belong to underrepresented ethnic or racial groups and face unique challenges while pursuing their degrees.
If you have any additional resources you would like to see on this list, please submit here.

Stories

A Walk in my Shoes: First Generation College Students Full Documentary 

TedTalk: Lyric Swinton: What I have learned as a first-generation college student

First- Gen and Changing the World

Financial Support + Scholarships 

IFSA Scholarships + Grants

Exclusive Grants + Scholarships, Matched to You

15 Exclusive Scholarships for Black Students 

7 Scholarships Just for Women

Easy Scholarships Through Community Service 

Create A Greeting Card Scholarship

Financial Tools 

Acorns – Invest, Earn ,Grow

YNAB – Budget Builder 

Digit –  Effortless Savings

Intuit – Manage your Money 

Oct
25
Meet Linnea Gartin
The Art Academy of Cincinnati is pleased to announce Linnea Gartin as the Director of the Office of Engagement (formerly known as Community Education). Gartin brings her expertise in public art planning, creative placekeeping, and nonprofit program management to the role.

She is devoted to ethical community practice, youth employment, art education, industry safety, and cross-sector collaboration. In addition to her current role, she is an Adjunct Professor at Art Academy, teaching courses in social practice. We sat down with Gartin to talk about their practice and their vision for the future.
Q&A with Linnea Gartin

Q: How long have you been working in the Arts and what different roles have you had?
I have worked in the Arts for eight consecutive years. I started my career in Arts Administration while completing my undergraduate studies in Fargo, North Dakota. I worked as a Visitor Services Associate and Intern for the Curatorial and Collections departments at the Plains Art Museum. After receiving my Bachelor’s degree in 2014, I moved to Cincinnati and began working at ArtWorks as a Talent Coordinator.

After completing my Master’s degree in 2018, I was promoted to Director of Programming. The following year, I became the Public Art Manager. This was also when I began teaching as an adjunct at AAC. After some organizational restructure at ArtWorks in 2019, the focus of my role shifted to support my passion and expertise, and I was named Director of Community Impact. I stayed in that role until recently, accepting the job at AAC as Director of the Office of Engagement.

Q: Do you have a favorite project/work?
I am most proud of my public art collaborations in Avondale. Beginning in 2017, after the demolition and reconstruction of the Avondale Town Center (which had one of ArtWorks original neighborhood murals), the community strongly advocated for more public art in the neighborhood.

I was assigned to work on murals for the new Avondale Town Center and worked closely with neighborhood leadership to bring the community’s vision of public art for Avondale to life. Year after year, I led mural projects in Avondale with the Community Council and Avondale Development Corporation to enliven the neighborhood with art that promoted cultural preservation, safety, and wellness.

In 2020, I produced a light-based sculpture project behind the Hirsch Recreation Center called Switch on Avondale. This project was funded by the National Endowment for the Arts and was a both a literal and figurative beacon of light in my life during such a challenging year.

Q: You first came to the AAC as an adjunct professor teaching Social Practice. How do you plan to bring what you taught in the classroom to your new role?
In the Office of Engagement, I get to direct projects and programs that make the guiding values of Social Practice Art taught in my classes actionable. Walk the walk and put all my lessons into practice with my team and our students.

Q: Why the Art Academy of Cincinnati?
The Art Academy of Cincinnati is vital for our region. As a lover of school and learning, I am honored to contribute to an organization that is devoted to nurturing and empowering generations of creatives. The world needs artists!

Q: What’s your vision for the department?
Through two divisions, Community Education and Social Impact, the Office of Engagement is uniquely positioned to deliver ongoing programs that require social consciousness, experiential engagement, and harnessing creativity of, by, and for artists in the institution as well as in community at large.

Q: How do you think your department will have an impact on the community?
 I know the Office of Engagement will have impact because our team believes in the power of art as an essential tool for making a difference in the world. We will consistently show up and step up to take part in partnerships that will strengthen our students, neighborhood, and region through accessible art and education.

Q: What is one thing you want the creative community to know about you?
As an interdisciplinary art worker, I view all my labor as art. My practice is centered around participation, education, DIY, and disco.

“As Director of the Office of Engagement, my door is wide open for connection and collaboration.” said Gartin.

A photograph of Linnea Gartin

Linnea Gartin (she/her) is from Southern Minnesota where she first formed values of loyalty, observation, and independence. Growing up on a vast prairie, her roots encouraged exploration and creativity.

Gartin studied Art History at Minnesota State University Moorhead. There she expanded her understanding of the role of art and artists in society. Her undergraduate thesis work, titled Curating As An Artistic Practice, argued the responsibilities of art administrators require as much creative vision and technique as the art and artists they support.

She completed her graduate studies at the University of Indianapolis in Social Practice Art. She honed in on her core beliefs of artistic engagement at a human-scale and further investigated dialogue as an artform through the program. These concepts inspired her podcast project, Arranged Encounters.

Oct
15
Meet Our Board President
A photograph of Christine Carli.

Meet Christine Carli, artist, designer, Art Academy of Cincinnati (AAC) Alum, and now AAC Board President! Carli currently works as an independent communications specialist, combining her design skills with her love of writing to create meaningful online content, speeches, and corporate communications. Formerly, she worked as the Director of Communications for ArtWorks. The Art Academy has played an integral role in her career path from the very beginning. 

She landed her first job in book marketing at F&W Publications based on the skills she learned from the Art Academy’s Community Education classes. She later enrolled full-time at the Art Academy to earn a Bachelor of Arts Degree in Visual Communication Design (2008). She also holds a Bachelor’s Degree in Media Arts with a minor in Spanish Literature from the University of Arizona (1993).

Carli enjoys making ceramics, dabbling in printmaking, and has been a docent at Cincinnati Art Museum for 20 years in her free time.

Q & A with AAC Board President

Q: How did you first become aware of the Art Academy of Cincinnati (AAC)?
I became aware of the Art Academy at a very young age. My grandfather had told me his parents met as students there while taking painting classes. They later went on to marry. My first direct experience with the Art Academy was in the early 1980s. I was in grade school, and I told my mother I wanted to become an artist. She enrolled me in Saturday morning drawing classes through the AAC’s Community Education program. I remember thinking I was making a huge sacrifice—missing cartoons so I could contour draw for three hours! Later, as an adult, I returned to Community Education to take painting and drawing classes after work.

Q: Describe your time as a student?
When I decided to enroll the Art Academy as a full-time student, I was in my early thirties with two small children. Without question, it was one of the best choices I’ve ever made for myself. I spent four years completely immersed in my classes, and I loved every second of it. I am so grateful to my peers and professors who took the time to get to know me as a “non-traditional” student and guide me to new ways seeing, experiencing, and thinking. I felt like I had at least one moment of epiphany every day I was there. I’ll admit at times I was completely exhausted, and I always caught a terrible cold right around finals, but I had such a strong, singular focus on what I was learning and making. To be in that zone of pure creative expression—that is a rare gift, and I continue to seek that place in my work today.

Q: Do you have a favorite memory of the AAC?
I have so many wonderful memories! Some are really specific, like celebrating Absurdity Day with Gary Gaffney, or the first time I succeeded in building a large-scale sculpture using power tools. I always enjoyed the students who engaged in performance art in random places and times. Other fond memories have more to do with the overall atmosphere of the Art Academy. There is such good energy in the classrooms and the hallways. Even though I was an older student, I remember feeling completely at home there. It was and is a safe place to take yourself seriously and explore your deepest thoughts and creative impulses.

Q: How did your time at the AAC shape your life post-graduation?
I can honestly say my experience at the Art Academy informs my life and work every day. I know that if I hadn’t have put my whole heart into the experience, my life would not be as rich and fulfilling as it is. It opened my eyes to new ways of seeing, and it opened my mind to accept a fuller range of possibilities. It taught me that a strong creative process can be applied to solving problems of all kinds. Most importantly, it taught me how to silence the three biggest creativity killers: fear, perfectionism and self doubt, and just keep going.


On a purely artistic level, the Art Academy helped me to become a strong, all-around creative with the skills, experience, and confidence to take my creativity in a number of directions. We all graduate as full-fledged artists, but we also graduate knowing that we’re just getting started. I carry what I learned at the Art Academy with me always. I really cherish the whole experience.

Q: What has kept you so connected to AAC?
That’s a complex question. I have been an active docent at the Cincinnati Art Museum for more than 20 years. Touring the galleries, I have developed a kind of long-term relationship with the artists from the Art Academy who came way before me. I have learned their stories and seen the way they all took ownership of Art Academy throughout their careers—especially Frank Duveneck. I am in awe of his paintings and his dedication to his students. He never stopped teaching, and he never stopped working to elevate the Art Academy to the fine institution it is today. As a graduate, I feel I have inherited a duty to keep the Art Academy going strong, and I take that responsibility very seriously.

 

There’s also something really restorative about returning to the Academy after graduation. It instantly puts you back in touch with that creative energy that can be hard find when you’re working alone day after day. Reconnecting with the Art Academy is good medicine for all alums. I hope they all get the chance to come back soon!

Q: What excites you most about this new role?
It’s great to back at the Art Academy as a fully engaged supporter! The students are a constant source of inspiration for me, and I remain so inspired by the incredible faculty we have. There is amazing work being made all the time. Moreover, our Board support is strong, I am truly excited to see where the Art Academy goes from here. There is so much potential. We are all part of a great institution that’s getting even better. That’s an exciting place to be.

 

Q: You are also the President of the Alumni Council; how will you utilize your experiences with the different facets of the AAC as Board President?
I feel that being an alum gives me the unique experience of knowing our institution from in the inside out. As a former student I experienced firsthand all of the issues we routinely discuss as a board, from recruitment and curriculum to financial aid. I hope to use this knowledge to help our faculty and staff become even more proactive and inspired in their approach to serving our students.

 

Q: You are also the President of the Alumni Council; how will you utilize your experiences with the different facets of the AAC as Board President?
I feel that being an alum gives me the unique experience of knowing our institution from in the inside out. As a former student I experienced firsthand all of the issues we routinely discuss as a board, from recruitment and curriculum to financial aid. I hope to use this knowledge to help our faculty and staff become even more proactive and inspired in their approach to serving our students.

Additionally, our Alumni community has the potential to invigorate our efforts to put AAC students to work in the field as undergrads. In fact, our AAC staff have already made great strides to formalize this practice. I hope my role on the Alumni Council can yield even more connections for our undergrads seeking real-world work experiences. Most importantly, I hope the Alumni Council continues to restore ties with alums both near and far. A robust Alumni network has the power to keep the Art Academy going strong in so many important respects. I look forward seeing more Alums serve in leadership roles, support specific initiatives, or perhaps join the faculty. The more we can build this relationship with our Alumni, the stronger our institution will be.

Q: What is one piece of advice you would give a new student at the AAC?
Just one piece of advice? As a mother, that’s hard for me to do. However, I would tell new students to trust themselves. Each one of our students takes a huge risk to come here—from taking out student loans to leaving home, to choosing art school over a conventional state school. The first semester is the hardest, but if you can learn to silence doubt and surrender to the process, you will feel your mind expand and your skills improve dramatically. 

It can be challenging—even painful at times—to open your work to so much examination, but it’s worth it! Your professors and your peers will make you stronger in the end. On good days, get the most out of every new thing you’re learning. On bad days, just keep going (and try get some sleep!) One day you will look back on your work and all you’ve accomplished during your time at the Art Academy, and you will be proud. And you will be ready for what comes next.

Sep
13
The Leaders Academy
Play Video about A still from the Leadership Academy video.

The Leaders Academy: Building Tomorrow, Today

The Art Academy of Cincinnati (AAC) is pleased to announce the completion of its first Leaders Academy.

This dynamic STEAM program was designed to assist area high school students in their leadership development, professional acumen, and commitment to the community. Support for the program comes from Art Academy of Cincinnati, Carol Ann and Ralph V. Haile, Jr. Foundation, Cincinnati Reds Foundation, For Our Future, and the Gaskins Foundation.

The mission of the prestigious program is to unlock the next generation of innovators, entrepreneurs, and problem solvers by empowering them in an environment that challenges familiar narratives and constructs associated with black and brown communities.

“We believe the next generation of leaders and entrepreneurs are located in communities that have been underestimated and underserved,” said Rob Richardson, one of the founding members of Leaders Academy. “I believe the environment and inspiration you put into students makes all the difference.”

Students lived on the Art Academy’s campus for a week while participating in a rigorous schedule of educational workshops facilitated by local leaders from across various sectors.

Education activities included panel discussions on impact through equity, inspiring the future through music, and realizing change. Speakers included: 

  • Whitney Gaskins Ph.D., CDP, Assistant Dean of Inclusive Excellence and Community Engagement at the University of Cincinnati
  • Eddie Koen, President and Chief Executive Officer at Urban League of Greater Southwestern Ohio
  • Kick Lee, Executive Director at Cincinnati Music Accelerator
  • Tyra Patterson, Community Outreach Strategist at Ohio Justice Policy Center
  • Rob Richardson, International Rep, LIUNA and Producer/Content Manager, Disruption Now Media
A photo of Dr. Whitney Gaskins
Dr. Whitney Gaskins
A photo of Eddie L. Koen
Eddie L. Koen
A photo of Kick Lee
Kick Lee
Tyra Patterson
Rob Richardson

Leaders Academy culminated in conceptualizing a mural that will be painted on the corner of 12th and Jackson street led by artists’ Jenny Ustick, Anissa Lewis, and Dan Reidy.

Students worked with Ustick, Lewis, and Reidy to break down their thoughts about real challenges facing their communities. The group demonstrated their awareness, empathy, and mutual accountability in working together on the project.

The following prompts were provided to the students to choose a pathway of interconnectedness and problem-solving.

  • How can I make a difference in my neighborhood?
  • How can I be a voice of positive change for my neighborhood?
  • How can WE make our neighborhoods better?
  • How can I make the world better?
  • What does ‘justice’ mean to me?
  • How is justice being tarnished in my neighborhood?
  • What is a second chance? Who deserves it?
  • What does ‘equity’ mean to me?

“This time spent together is an acknowledgment of the power young people hold and an invitation for them to harness it for the benefit of their communities,” said Jenny Ustick, project lead.

Leaders Academy demonstrates the Art Academy’s vision to become an open door for problem-solving in the city while leveraging the college’s academic programming and unique location in the thriving arts district of Over-the-Rhine.

“The world needs diverse creative thinkers, artists, and designers now more than ever,” said Joseph Girandola, president of the Art Academy. “It is important that with give back to the community we are in and support the future generation of leadership in Cincinnati.” 

To see the creation of the mural, visit the Art Academy September 25-26, and October 2-3 from 10am-3pm. 

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Sep
02
The Edge Effect: Rebecca Nava Soto
Rebecca Nava Soto is a mixed media painting, digital and installation artist. Rebecca received her B.F.A. In Painting from University of Cincinnati School of D.A.A.P. and her M.F.A. in Painting from Boston University.
Her art practice foregrounds the artistic roots, processes and ideologies of the indigenous roots of the Latinx population interwoven with contemporary issues. She has also been the Lead Teaching Artist for 11 public murals through the Artworks organization over the past two decades.

A photograph of Rebecca Nava in front of her work.

Learning From the Edge Effect 

Art Academy of Cincinnati (AAC) adjunct professor Rebecca Nava Soto recalls her earliest art-making experiences as a kid, making paper flowers and wood-shaving paintings for Catholic festivals within Cincinnati’s Latinx community.

Her parents immigrated from Mexico, met in Chicago, and then settled in Cincinnati where Nava Soto grew up and eventually studied painting at U.C College of Art & Design (B.A. ’00) and Boston University (M.A. ’04.)

Nava Soto’s paintings and multimedia work today are animated by a fascination with the indigenous roots of the Americas. But as an art student, it wasn’t until taking a senior-year class in Mesoamerican art history that Nava Soto encountered these lineages. She was struck by how pre-Columbian art was classified as “other” art history, even while technically being American art history.

“I found really fascinating that I would study ancient art in my art school curriculum canon, but we’d go all the way to Greece, ancient Greece,” recalls Nava Soto. “[Meanwhile] there was this extraordinarily extensive ancient art history [here in the Americas], which is still so alive today.”

The class was pivotal. Nava Soto immediately pursued a travel grant to Mexico where she began re-examining a familiar country through a brand new lens.

“Even though I’d been to Mexico many times, this was like another world within that country—the indigenous world,” says Nava Soto, who was also taken with the interplay between worlds and the creative persistence of indigenous communities.

Nava Soto incorporates many Mesoamerican elements into her current artistic practice, including the motif of ancient writing systems, which she has pursued through independent study. When Maya: The Exhibition came to the Cincinnati Museum Center last year, Nava Soto went regularly to research and to teach Maya glyph writing. Through the exhibit, she was struck by the Maya’s agrarian lifestyle so intimately tied up in the natural world. This provided inspiration for her installation The Edge Project, now on display at the Freedom Center, which looks toward natural processes—as ancestors worldwide have done—for perspective on present-day tensions and conflict.

“The Edge Project [reflects] an ecological effect where the boundary of two distinct environments come together and meet,” Nava Soto explains. “We can see that with a forest and a lake, or a river and a savannah, a cenote and the jungle… And in that edge we see nature at its most creative. Where we see conflict, clashing, and chaos […] we also see synergy, innovative synergy of biological life. And we see a robustness. This area is the ‘edge effect.’ The edge is the area where we see ideal conditions for a new species to sprout.”

“I just thought that we’re all experiencing these ‘edge effects’ pretty intensely right now. Within ourselves […] within families […] A lot of problems that we’ve had that have just been quieted or pushed down or able to be in the background [when] we’re going about life as usual. But now that we’ve had that stillness, we see so much of that coming to the surface. And it’s effecting us I know in many different ways.”

On the floor of the installation is a snake made of colored wood-shavings, surrounded by hands holding writing tools. “The snake is a symbol of death and rebirth in Mesoamerica— of transformation— and so this is what we’re feeling right now. This is the death of our current incarnation of this world. Especially the death of problematic paradigms in our world.”

At the end of September, the snake will be ritualistically destroyed, and the hands suggest the opportunity we have to write new stories moving forward.

The Edge Project is part of a larger citywide ArtsWave exhibition featuring 27 Black and Brown artists across mediums, each responding to the theme of “truth and reconciliation” in light of the past 18 months.