Pierce, E. (2017). 148-year-old Art Academy reflects on building a Cincinnati where art grads want to stay. Retrieved from http://www.soapboxmedia.com
Watching his grandfather amble around the family farm hunting for bent nails is a memory that’s clung to Chris Sickels.
This regular quest was motivated not by safety or cleanliness but thrift. He was going to use them again. Bent nails. Something most would drop into the category of useless garbage before tossing them into the trash. But after the long day’s work was “done”, the nails would be pulled from his pocket and placed in an anvil for straightening. Chris recalls he’d also perfected a technique for effectively driving them post-anvil that involved spitting on the hammer’s head and rubbing it on his pants to ensure a clean strike.
This inclination to see the possibilities in that which is worn and weary also inhabited Chris’ father. As a dairy farmer living on the edge of success and survival, he had the ability to look at cows that were thin and/or ill and devise a plan to restore them to health. He does the same and more with horses today.
All of this recycling, hard work and perseverance was not lost on Chris. Though it’s been over 20 years since he left that small farm in Indiana for the big city of Cincinnati to attend the AAC, he finds himself on his own quest to reshape reclaimed items. His motivation is a mix of thriftiness, a willingness to try and fail combined with a courageous creativity that allows him to envision and build extraordinary worlds with everyday items. And though he’s back living in another small Indiana town with his wife and four kids, memories from his time at the Art Academy have not only clung to him but played a part in reshaping him as well.
Chris remembers entering his freshman year with an insecurity that sprung from his rural upbringing and what he thought would be his limited art education. But he soon realized that Terri Martin, who was his sole art teacher through both middle and high school, had more than equipped him. Her attention and dedication even set him ahead of the curve. She also went well beyond the obligatory classroom instruction when she helped him put his portfolio together for reviews and drove him to different art schools including the AAC where he ultimately enrolled after accepting a helpful scholarship. And though he was thoroughly versed in the inner workings of farm life including the birthing process of its animal residents, he was unaware of all the options and opportunities that lay before him artistically.
As he listened to and learned from his fellow students and dedicated professors, Chris began to see how the seeds they were planting in his already fertile mind were beginning to take root and produce strange but wonderful fruit. Susan Curtis, an adjunct professor from England, took him under her wing and pushed him out of the nest at the same time. Their trip to the Public Library of Cincinnati and Hamilton County opened his eyes to new forms and styles of illustrating he wasn’t aware of. She also “locked” him in a room with two VHS tapes with compilations of stop motion animation work by the Quay brothers. Former marine and then AAC student, Sean Wallace, brought him to a magazine stand to show him illustrations of C.F. Payne in Rolling Stone. Checking out the shows of avant-garde puppeteers Mark Fox and Anthony Luensman and experimenting with his own drew out of him the desire to push beyond the two dimensions of illustration and painting into a three dimensional universe with nearly infinite directions.
These experiences and more were opening up borders, allowing Chris to explore and travel without ever leaving Cincinnati. This spirit of exploration is something Chris sees as unique and profoundly helpful about his time at the AAC.
“That’s what the Art Academy afforded me. You could take stone carving, woodworking, etching, printing making and oil painting. You could be a communication design major but you could still go weld. I was hungry to see all that.”
He didn’t know how it would apply to what he wanted to do down the road but he was grateful for the exposure. AAC’s intentional cross-pollination was highlighted when he spent a semester at another well-known art school for an exchange program of sorts.
“I went there to study scientific illustration but I remember trying to use their photography department but you couldn’t go shoot your flat work because you weren’t a photography student. I remember trying to make frames but I couldn’t use the wood shop because I wasn’t an industrial design major.”
The farm boy from Indiana had been given a passport with no travel restrictions and he had no intention of giving that up.
In the years after graduating in 1996, Chris has added more stamps to that passport as he’s ventured into projects ranging from magazine covers, children’s books, short videos, and sculptures which coaxe you from the real into the surreal (visit www.rednosestudio.com). The AAC honored him with the Distinguished Alumni Award in 2010.
Currently, Chris is busy making new memories with his family as he strives to stay open to all the ways they can inform his work and shape his heart. Combined with those from the farm and the AAC, these new memories are bound to birth creations which cling to those privileged to enjoy his work.
He’s still pushing. Still exploring. Trying and failing.
Always hunting for the next, bent nail.
Sarah Stolar found her creative voice; you can too
Bill Knief, For The Taos News Sep 16, 2016
Sarah Stolar, the newly appointed director of the UNM-Taos art department, has been a practicing artist and art teacher for a good part of her life. Her mother, Merlene Schain, a college professor, holds a master’s degree and owns an art school in Cincinnati. Nevertheless, Stolar started out wanting to be a concert violinist – that is, until the day she came face-to-face with her true calling.
“I was living with my mom in Cincinnati, and one day I was walking through the lobby of the Art Academy of Cincinnati and I saw all of these amazing drawings on the walls and I had an epiphany,” Stolar said. “There was something about the energy of that building, and it kind of hit me all at once that I wanted to be there. I ended up getting my undergraduate degree in painting at the Art Academy and immediately went to grad school at the San Francisco Art Institute as a painting major.” Stolar said that, about halfway through the program, she changed to a new medium — new media, installation, performance and sound art — all mostly considered to be “non-traditional” forms of fine art.
“I’m a traditional painter in some sense, as I work with the landscape and the figure, but I make installations,” she said. “I do video art, sound art — I was a costume designer for a very famous artist named Annis Sprinkle and her equally notable partner Beth Stevens. So you could say I’m interdisciplinary and art has consumed my life.”