The Alumni Coordinator is a vital role to the Art Academy of Cincinnati (AAC). Fostering an environment of success and support reflective of the AAC’s mission and vision by working with the AAC Alumni Council. As Alumni Coordinator will represent the AAC in our community and promote new and existing alumni policies and programs. The Alumni Coordinator will work with the Alumni Council in developing, coordinating, and evaluating programs and projects that promote alumni relations. The Alumni Coordinator will also be facilitating and overseeing any alumni related event or fundraiser.
Pull Club Studio
Pull Club Studio (PCS) is a printmaking and design studio made up of Chelsey Hughes (AAC ’10), Amy Scarpello (AAC ’10), and Linda Winder (AAC ’09.) PCS was formed in 2015. Pull Club focuses on textile and paper rint goods, with screenprinting as the central process.
Tyra Patterson was born and raised in Dayton, Ohio. On December 25, 2017, she walked out of prison after serving 23 years for crimes she did not commit.
Today, Tyra travels the country speaking at law schools, colleges, prisons, conferences, and high schools, leveraging her story to educate people on social justice, mass incarceration, and wrongful convictions.
She currently lives in Cincinnati and works at the Ohio Justice & Policy Center, where she serves as the Director of Community Outreach. Tyra also maintains paralegal duties at OJPC working on cases on behalf of people, both guilty and innocent of the crimes for which they have been convicted. She is also an Ambassador for Represent Justice.
I was kind of a born naturalist and could draw, and my family realized both of those situations and they geared me towards that,” said wildlife artist John Ruthven, often called “the 20th-century Audubon.”
“I rented one room on Gilbert Avenue, right near downtown, and called it ‘Ruthven Studio,'” he said. “I put a sign in the window, ‘I paint anything and everything.’ That really did it. I wasn’t too self-conscious about it because I really could draw. Someone walked into my studio one day and said, ‘I saw your sign in the window. Do you do cartoons?’ I said, ‘Absolutely.’ He said, ‘Well, I’m starting a new business. It’s going to be called Play-Doh. I need a Play-Doh boy.’ And I said, ‘I’d love to do that.’ Talk about an opportunity. And so, for 15 years I did most of the Play-Doh company’s artwork.”
In 1960, Ruthven painted the Federal Duck Stamp, and his career took off. He specialized in wildlife paintings, especially birds. “I knew birds very well,” Ruthven said. “From my early association with Audubon and studying wildlife in general, I was never without my binoculars, studying birds.”
Ruthven’s formal relationship with the Great Parks began in 1973 when he dontated an original painting of a chipmunk to the park district for use promoting the successful 1973 park levy campaign. Though Ruthven says he crafted the painting at Woodland Mound, it, fittingly, is displayed at the Sharon Centre in Sharon Woods. Sharon Woods was a favorite park of Ruthven as a child and it remained his favorite county park throughout his life.
Cincinnatians may be most familiar with Ruthven’s mural “Martha, the Last Passenger Pigeon” at the corner of Seventh and Vine streets. The original painting was created to commemorate the 100th anniversary of Marth’s death, and the extinction of the species
In 1972, Ruthven earned the distinction of being named the first Artist of the Year by Ducks Unlimited. Ruthven contributed paintings for prints that have raised nearly $2 million to protect and preserve wetlands in North America. His painting of a cardinal for Ohio’s most popular license plate raised more than $5 million for the Ohio Division of Wildlife.
“The symbolic act of looking at a Black and Brown womyn state her experience, then approaching her to impose your views, and touch her body without consent is an unfortunate reality Black and Brown womyn/people deal with all the time.
The person who felt empowered to do this is not original. They feel comfortable violating Black/Brown bodies, and they do not care about the Black/Brown experience, which is the point!
Black/Brown bodies (especially womyn ) coddle your guilt. We bend to protect your feelings, your opinions, and your egos. Instead of observing, listening, holding your tongue, stilling your hand, reflecting on your role, your response to our voice is this.
It may seem minor to you, but actions like these perpetuate the same misogynistic, racist, aggressive, and harmful things Black/Brown people deal with on a micro and macro level. So doing this, especially when no one can see you, doesn’t make you a bigger person, it only makes you smaller than you already are. Do better. Unlearn….. and for once, bend. “
David Michael Butler, AAC Illustration Chair
“So most of us Black creatives love it when we get the chance to celebrate ourselves living our lives, enjoying our communities, connecting with one another, building with one another. Celebrating Black joy and showing the world that we are here, now!” – David Michael Butler