Ed Lathy, Bill Hunt, Richard Aschenbrand, and Carl Garant at the Teaching Excellence Award ceremony.

The end of this school year was bittersweet as five members of the CCAD family (including three deans) retired from the college.

Deans Richard Aschenbrand, Carl Garant, and Edward Lathy have given a collective 126 years to CCAD. In addition to the deans, faculty Steven Botts and Bill Hunt also joined the ranks of retirees.

Richard Aschenbrand has served CCAD for 45 years. He joined the faculty in 1967 and became dean of Visual Communications in 1995. He has taken on a variety of roles at the college, from gallery manager to director of arts and grants. In addition to his CCAD work, Aschenbrand has maintained a robust graphic design business and schedule of exhibitions and guest lectures.

Carl Garant bestows an Outstanding Senior award.

Carl Garant joined the CCAD faculty in 1974 and became dean of Industrial and Interior Design in 1991. After 38 years with the college (where he is known affectionately as Big Dog), he retires having authored three books and dozens of academic papers on design, in addition to his countless hours working with students. The Industrial Designers Society of America honored Garant with its 2005 National Educators Award.

Ed Lathy joined CCAD’s faculty in 1969 and became dean of Liberal Arts in 1981. He has taught courses in writing, criticism, and metaphor and the arts, as well as serving numerous academic leadership roles during his 43 years at the college. Lathy has presented papers regionally and nationally on post-modern criticism and symbolism in writing. He is also a jazz drummer (and in that capacity is fondly known as Fast Eddie).

Ed Lathy at the 2012 Teaching Excellence Awards

Steven Botts is a CCAD alumnus (1970) who graduated with a degree in Illustration and went on to teach in that major.  In addition to his teaching career, Botts has maintained a successful freelance illustration business. His client list includes Bank One, Ross Labs, 20th Century Fox, Ohio Historical Society, Warner Communications, Zaner-Bloser, and numerous other educational publishers.

Professor Bill Hunt has balanced his professional ceramics work with full-time teaching in the Fine Arts and Graduate Studies departments. His studio work has been represented in numerous national and international exhibitions and collections, including the permanent collections of the Saga (Japan) Prefectural Art Museum, the American Museum of Ceramic Art, the Taipei Fine Arts Museum, and the Canton Museum of Art, as well as in a variety of books and magazines. Hunt also has extensive experience as a curator, editor, and writer in the art and craft fields.

The retirees were honored at the 2012 Teaching Excellence Award (TEA) reception, which was capped by the announcement of this year’s recipient, Liberal Arts Assistant Professor Ariana-Sophia Kartsonis.

In addition, the deans were awarded honorary doctorates during the 2012 commencement ceremony.

Richard teaching a class at CCAD

Vice President of Academic Affairs Kevin Conlon underscored the impact each dean had on his department.

“Richard Aschenbrand is known for his energy, commitment, and passion about no-compromise design, and he’s literally inspired generations of students here at CCAD. Alumni consistently ask about Richard because, whether they loved him or hated him, they learned from him. The continuing quality of the programs he supervised was evidenced in this past year’s work, and those major’s continuing growth is a testament to the hiring, guidance, and development of the faculty that he recruited over the last several years.”

“Carl Garant has been impressive as a force within both Industrial and Interior Design for several years, looking for creative ways to integrate those two majors while at the same time offering other majors across the college the opportunity to understand “Big D” design. It’s not just making things that matters to him, but a way of thinking about problem-seeking and problem-solving.  His way of thinking about design—manifested most recently in his biomimicry course—and the partnerships that he helped to think about and forge, will continue.”

“Ed Lathy’s sense of humor and quick mind has entertained faculty and students for years.  But he’s more than just a fun and funny guy. He’s been a strong mentor to many great faculty within the Liberal Arts department and has created a legacy there that will endure through the leadership he created within the program.  So whether students are taking courses in writing, philosophy, science, or art history, a little bit of Ed exists in each of those courses.”

While CCAD is sad to see such wonderful colleagues depart, there is no doubt their retirement will bring many more accomplishments in their art and design fields.

Kayane Kouzoujian in her studio

The end of spring is always an exciting time around CCAD’s campus. Although we have to say farewell to another group of graduating students, we also get to welcome them all into our talented group of alumni.

This year, there was something different about our new alumni, a new breed you could say; we had the first students graduate from our multidisciplinary MFA program.

Our 11 candidates came from all over—some local, some out of state, and some international.

Kayane Kouzoujian traveled the farthest to attend CCAD, coming from her home of Qatar in the Middle East. She was able to not only enhance her artistic skills, but also experience a completely different culture.

Elena Harvey Collins in her studio

“I am surrounded by people who are not only practicing, but living art,” Kouzoujian said. “This program exceeded all expectations. I was able to have creative freedom with my work and really prove to myself that I can do anything.”

For her final thesis, Kouzoujian compiled a video piece that broke down memories and other moments in her life into short narratives.

Elena Harvey Collins did not travel as far, but she had specific reasons for choosing CCAD.

“I came to CCAD because I wanted and needed to be able to work on a wide range of projects and mediums,” Harvey Collins said. “I liked the multidisciplinary element. I had no limitations, and this group has been very supportive. I have two kids and the program understood that; I was able to have a comfortable and safe environment for them and a flexible program for me.”

Nicole Crock in her studio

Like Kouzoujian, Harvey Collins also made a video installation. She documented everyday occurrences in an abandoned parking lot—everything from driving lessons to trash blowing in the wind.

During her time at CCAD, Harvey Collins taught an honors course on art and social practice. She is now applying for residences, fellowships, and exhibitions.

“I just want to get out and continue to learn and teach,” she said.

Nicole Crock pulls her inspiration from moving around a lot during her childhood, having never experienced the feeling of having permanent roots.

Nathan Gorgen working in his studio

“I gained a lot of confidence during my time here,” Crock said. “Art is a way of communicating an idea and I was able to voice my ideas here at CCAD and really grow as an artist.”

Crock works in a range of mediums, so the multidisciplinary aspect of the program was key to her completing her MFA.

“All of us in the program worked very closely with one another, and we were able to pull knowledge not only from our professors, but also each other,” Crock said.

She plans to stay in Columbus for the time being and wants to focus on being a full-time artist, finding studio space, and enjoying the city.

Nathan Gorgen was unsure about Columbus and what the artistic environment would consist of outside CCAD. Having lived in lively cities such as New York and Baltimore, he was used to the constant creative energy in a bustling city. He decided to study at CCAD and see what Columbus had in store—and he was impressed.

Cosby Lindquist in front of his work

“The Short North area and everything around here is focused toward the creative community, and CCAD is somewhat the epicenter of it all,” Gorgen said. “The support you have throughout this program is truly amazing. I was able to tackle ambitious projects and get a better conceptual understanding of art.”

For his final thesis, Gorgen completed an installation structure that demonstrates his combined interests in architecture and painting.

Cosby Lindquist’s final thesis project was a series of collages that wove together landscape images of Columbus and New Mexico, where he plans to move after graduation.

“Over the summer I will be teaching art classes to children at the Fuller Lodge Art Center in Los Alamos,” Lindquist said. “I will then look for adjunct teaching positions and galleries to show my work—it’s a very exciting time.”

Lindquist told himself throughout the program that he would not limit himself. He knew he had to take risks and possibly make mistakes in order to break out of his comfort zone and make the most of his MFA experience.

Woodrow Hinton III

Lindquist wasn’t the only one who thought big when it came to the program. Being part of the first graduating MFA class, Chris Harman, a Columbus native, knew he had to step it up.

“I liked being the first of this program; we set the bar high and I think that was our job,” Harman said. “We were supposed to be an example of the best artist that CCAD can produce, and I think we did that.”

Harman embraced the multidisciplinary nature of the program in his thesis project, in which he combined his glasswork with a social experiment. Glass vases and bowls were displayed in rows. Harman invited gallery visitors to step up on a podium and smash one with a gold hammer, all while being filmed.

“I really want to see how many heartstrings I can pull before one snaps,” he said. “Is the art the act of smashing the glass or the result of smashing it? That is something I want to explore and answer.”

Woodrow Hinton III agrees, believing that the overall question that an artist is always trying to answer “what is art?”

“I really enjoyed not only working alongside my peers, but also learning a lot from them and showing them my art skills and illustration niche,” Hinton said.

Amanda Rouse in her studio

His final project was a graphic novel he wrote and illustrated based on Shakespeare’s play As You Like It.

“I was able to learn so much during my time here,” Hinton said. “Even though my final thesis didn’t incorporate screen printing or photography, like my classmates, I enjoyed spending time and learning alongside them. There is something to say about a learning environment when you are with artists and people who have the same interests and passions and help drive you to succeed.”

Amanda Rouse spent her time at CCAD fine-tuning her work in printmaking.

Crystal Tursich in her studio

“I actually heard about CCAD while studying abroad in Italy,” Rouse said. “A couple of my friends had either visited or attended here, and I loved the entrepreneurial aspect of the school. I wanted to step up my skills and not only focus on my work, but teach and really get involved with pumping up my resume.”

Rouse will be venturing off to the west coast after graduation, planning to teach and continue her own work—and eventually hoping to open her own printmaking shop.

Crystal Tursich focused on photography for her final thesis, exploring the emotions that she has dealt with as a result of growing up as the child of an alcoholic.

“The biggest reason I chose CCAD was so I could be a part of this new MFA class,” Tursich said. “It is something to say when you can be the first of something as great as this, and you can come in on a clean slate and help build the program.”

Virginia Kistler in front of her installation

Tursich’s time here in Columbus left an impact, and she plans to stay in the city for a while, ultimately wanting to teach at the collegiate level.

Virginia Kistler has lived in Columbus for the last 13 years, and her final thesis project reflected her time in Columbus quite literally.

Kistler’s project was centered around a light impression taken of Columbus that she expanded into a large installation piece.

Alex Conrad in front of his final thesis project

“I liked that the program at CCAD was project based, and I had an overall good vibe about my decision when I came and visited campus,” Kistler said. “During my time here I was able to get a better understanding of where I would like my work to go and develop a more contemporary feel to it.”

Inspiration can also be pulled from childhood memories, as in Alex Conrad’s case. His father was a radiologist, so Conrad would often play with X-rays and their backlighting while his father was on call. For his final project he took X-rays and MRIs of himself and embedded them in resin.

“I not only got to focus solely on my work while here, but I also was able to fine-tune how to talk, present, and write about my work, which are all important aspects in becoming a successful artist,” Conrad said.

As our new MFA graduates join the already strong group of CCAD alumni, we know they will be heading in different directions—but what will always tie them together is that CCAD was a key part of their artistic journey.

Kittikhun Ter Charoenkitnapa

By Kendra Hovey

Even as the corners of the world are drawing closer together, there’s still room for an occasional small-world surprise. For example, how exactly did a teenager in Bangkok find out about an art school in the American Midwest? Was it research? Recruiters? The Internet? No. It was word of mouth. In high school, Kittikhun Ter Charoenkitnapa made no secret of the fact that he wasn’t going to go to any, as he put it, “normal school.”

“I was deciding between art school and music school,” he said, “and a friend told me about CCAD.”

Now 28, Charoenkitnapa is a CCAD alumnus, having graduated in 2006 with a degree in Industrial Design. In 2009, he returned to Thailand and joined Dusit International, where he is now a senior manager in design and marketing.

Dusit International is one of Thailand’s leading hospitality companies, with five different lines of luxury hotels and resorts. One meaning of the word “dusit” refers to a utopian city conceived in 1918 by King Rama VI. The king’s idea combined the best of the contemporary West and traditional Thailand. For Dusit International, this blend is key to the brand, and it is Charoenkitnapa’s job to be the discerning eye that ensures all collateral materials reflects this brand. Designing templates and reviewing marketing pieces is, in his words, “always a work in progress,” and even more so as the company expands. With a presence already stretching from the Philippines to Dubai and across the Nile to Egypt, Dusit is soon coming to the U.S. Their new Pasadena, CA, hotel will open this year.

As his company prepares to cross continents, we asked Charoenkitnapa about his own continental crossing.

“I fit in pretty comfortably within the CCAD crowd,” he said, remembering four years of “sleepless nights, strong friendships, and deciding which class to skip to finish another class’s project.” He offered his thanks to the college for a “well-rounded design education” and “amazing, close-to-real-world experience.” He added that the ability to communicate design concepts in English is invaluable, but just as essential were those benefits that are a little harder to pin down.

Kittikhun Ter Charoenkitnapa

“Interacting with other students and teachers, I absorbed their way of thinking,” he explained. “I believe that different nationalities have different methods of life, and experiencing more than one type gives me a better understanding of what ‘life’ really means.”

This thinking informed his advice both to those coming to CCAD internationally—“go in open-minded, study the foundations seriously, then decide your major. Oh, and practice English”—and also to those working internationally: “Different countries have different personalities…don’t try to force your design or your concepts. Be humble yet confident. Present yourself professionally. Be brave.”

Charoenkitnapa shared that in Thailand art is central to the culture. It is appreciated. “You can see it in the dances, jewelry, and architecture.” But, in almost an inversion of American culture, there is less fluency when it comes to design.

Though his work at Dusit keeps him busy, Charoenkitnapa somehow found the time to start a small, but growing side photography business with a friend.

About life in his hometown, he said, “I’ve always compared Bangkok to New York City…except I’m only a couple hours from the tropical ocean!”

CCAD alumni pictured in front of the Disney Animation Studios

Disney Animation has created beloved movies such as Tangled, Winnie the Pooh, and Bolt, and CCAD alumni have worked on story boarding, sketching, and programming for all of these hit features. We got a chance to talk to seven of our graduates about what it’s like to work with CCAD peers in this creative environment.

Meet Director Nathan Greno (Illustration 1993–1996), Story Artist Ben Lane (Illustration 1996), Character Designer Chris Oatley (Illustration 2001), Story Artist Ryan Green (Media Studies 2003), Story Artist Fawn Veerasunthorn (Media Studies 2005), CG Layout Artist Joaquin Baldwin (Media Studies 2006), and Stereoscopic Artist Trainee Darren Simpson (Media Studies 2011).

Q)  What is it like to work with other CCAD alumni?

Nathan Greno (NG): For me, it’s always a pleasure to be working with CCAD alumni. CCAD teaches a strong work ethic and a strong work ethic, gets the job done on time.

Ben Lane (BL): It’s a bit like old soldiers who can share war stories of late nights, rubylith, and scars from dull X-Acto blades. We grumble about the young punks who have it so easy these days with them computers, unseasonably warm winters, and the ability to tote their entire portfolio on miniscule flash drives. In all seriousness, it’s nice to have a common background with people, especially when starting a new job in LA. It’s comforting to know there are people who have been in the same trenches.

Chris Oatley (CO): The CCAD alumni who have made it to Disney are top talent. Ryan Green and Fawn Veerasunthorn are not only some of my best friends at the studio, but they are also some of the most talented people I know. It’s ridiculous and inspiring.

Ryan Green (RG): I feel that we have a bond, not just because we came from the same school, but because the animation jobs we wanted were unfortunately in a city other than Columbus. We all had to venture away from home, a little naive of the rules of the LA animation industry. Some of us had more roundabout career paths than others, but in the end, we kept learning and making connections until we were finally invited into the Disney family. By the nature of our school’s distance from LA, every CCAD animation student who wants to work for Disney will have to deal with a similar journey, and I think all alumni are aware and empathetic to that fact.

Fawn Veerasunthorn (FV): Most of the people I work with went to school in southern California, so I feel this instant bond whenever I meet another CCAD alum working at Disney or other studios. It is a small group of us, but a strong one. Even if we’re from various majors, we all fought through the same tough foundation year that allowed us to be where we are today.

Joaquin Baldwin (JB): Because we are all in different departments, I don’t really work directly with any other CCAD alumni. It’s great to know that they are around in the same studio.

Darren Simpson (DS): It’s exciting knowing that there are people in the same building that graduated from the same college. I have a friend here in particular that graduated the same year as me, and we were roommates freshman year. To eventually reconnect in a professional environment is very nice.

Q)  Why do you think Disney Animation has a lot of CCAD alumni?

NG: CCAD focuses on teaching the fundamentals. Every artist that works at the Disney Animation Studios need a strong fundamental structure to succeed. It’s been over a decade since I attended classes at CCAD, but what I learned there I use every day. The technology will change over the years, but the fundamentals stay the same.

BL: CCAD has a great program. Any artist could benefit from the foundation year alone. I think Disney recognizes that quality in the students and sees the school as a good source to draw its future employees.

CO: Disney Animation is still all about strong drawing and painting. If you submit a portfolio to Disney, people will go nuts for beautiful life drawings or plein air paintings. A high value is placed on classical art skill because it’s an inextricable part of the Disney legacy, regardless of the pervasive obsession with [Computer Graphics].

RG: Disney artists who come from CCAD embody the school’s foundation program. These individuals have found strength in their drawing, painting, or design skills and deliver high-quality craftsmanship on the job.

FV: CCAD focuses so much on the strong foundation in drawing, color, and design. Those are very important skills to have regardless of the department you’re working for. Not many schools emphasize them. Technology will always be changing, but the principles you learned from color concept classes will always be relevant in your career.

JB: I have no clue! I think it’s all due to random chance, depending mostly on the amount of available positions. Our studio has been hiring a lot of new people lately.

DS: There are a lot of passionate artists from CCAD doing many great things. I feel that having a desire to be in your respective profession will get you anywhere you want to be.

Q)  Any advice for current students or fellow alumni who want to become involved with Disney?

NG: It takes a lot of hard work to become an artist at the Disney Animation Studios. It’s not easy to get in the door, but it’s a goal worth fighting for. At Disney it’s possible to create films that will be loved worldwide. Tangled is a film I will be proud of for the rest of my life. Our animated films inspire toys, theme park rides, and attractions. It’s an amazing place to work. Aim high and never stop fighting for your goals.

BL: Many people who work in the animation industry, including some of Disney’s best artists, have websites, post on twitter, and regularly blog. Google search these guys and study their work, read what they have to say, contact them (if their contact info is readily available), and get their opinion of your work. The only caveat I would add is that they may not respond—these guys are busy. If you don’t hear anything, don’t get discouraged, but don’t become a pest, either. Also, start a website, or a blog or anything accessible via the internet. It doesn’t entirely replace having a portfolio, but it comes in handy when getting opinions of your work.

CO: Do great work and be great to work with. Every investment of time, money, and energy that you make as a professional artist should be in service of one or both of these goals. So the next time you start to get overwhelmed or depressed, just ask yourself:  Is this (time, energy, emotional, financial) investment helping me to focus on one of the two principles for success in the industry?

RG: Get personally involved with artists who do what you want to do. Be proactive. Use the internet to your advantage. If you want to be a Disney story artist, find a current Disney story artist’s website, study his/her work, and email him/her questions about what it takes to get into that specific position. Show your work and ask for a brutally honest critique. If that professional feels you’re not quite up to par yet, then make new samples and get a new critique in a few months. Ultimately, keep communicating with professionals and don’t stop making new art.

FV: The internet has opened up a new world full of great references to study. I’d recommend for students to look up artist’s blogs that are currently working in the industry, and don’t be shy to ask for their advice. Lastly, keep on practicing and never be discouraged by rejections.

JB: Definitely try for the talent development program. I would say it’s even better than being hired regularly, because they train you, give you tons of free classes, have you meet other departments and great people, and they pay you for it all. It’s also easier to get in since they expect you to prove yourself once in, rather than depend entirely on previous work experience like most of the other standard positions.

DS: It’s not required, but it helps living close to the studios. I think being around the studios and creative people fuels creativity further. Also, be persistent when trying to achieve a goal, and be open minded. You will never know which skill of yours will eventually get your foot in the door—It took me by surprise.

Q)  Why do you love your job/working in a creative environment?

NG: I can’t imagine not working in a creative environment. I don’t have an easy job, but I have a very rewarding one. I can’t imagine doing anything else in the world. I’ve been at Disney Animation for 16 years. There’s no other place I’d rather work.

BL: I love working with like-minded people. It’s amazing to be surrounded by so many artists who are passionate about animation, telling stories, and creating entertainment. The caliber of talent at Disney is humbling, and I can’t help but be inspired to be a better artist.

CO: I make a living from my imagination. It’s what I was born to do, so the privilege to do that 24/7 is overwhelmingly awesome. I’m also a people person. Some folks are made to go off into the woods, live life in a log cabin and paint lakes—that’s not me. I am made to collaborate, encourage, challenge, argue, etc. So to be released to just be myself in an environment where I can learn from and be challenged by everyone…well, it’s a dream come true.

RG: Animation is a collaborative medium, especially at a studio like Disney. For me, doing my art amongst creative peers is not only inspiring and informative, but in a racehorse kind of way, keeps me focused on being the best I can be, offering the best solutions for our films.

FV: Disney Animation has a long line of legacy and knowledge that has been passed along from one generation to the next. I learn so much from my colleagues each day, and they inspire me to be better at my craft.

JB: I feel like I can provide a lot of creative input into the films we are making. There is a hierarchy here, but it doesn’t mean that only the directors and producers have a say on it all. I tend to be very vocal and push new ideas. I feel that if I was just creating the shots that I was assigned to without questioning them, I’d get bored very quickly.

DS: I love it because I get to be creative. In any creative environment with passionate people, you will get sucked up in a whirlwind of creative magic—and it feels great.

Q) What past experiences do you share and remember from being a student at CCAD? How has this impacted your professional career?

NG: CCAD really taught me the importance of getting the job done on time and putting the most into everything I do. I learned work ethic and skills at CCAD that I apply every day at the studio. Without CCAD, my artistic toolbox would be empty. I owe a lot to all of my instructors at CCAD. I worked hard while I was in Columbus, and my reward has been a successful career at the Disney Animation Studios.

BL: I had to explore a few different directions in art before settling on animation. CCAD exposed me to many different artistic paths and helped me discover where I wanted to go. Specifically, Ron Saks’ class on storyboarding opened my eyes to an exciting new world that I had never considered before.

CO: When I was at CCAD, the animation industry was getting turned upside-down by the likes of Woody, Buzz, and Shrek. Meaning, CG [Computer Graphics] was changing everything and art schools everywhere were trying to figure it out. The internet wasn’t really “The Internet” yet, so information moved more slowly. My teachers at CCAD knew something that has been proven true in my life over and over and over, that regardless of what changes are happening in any area of commercial art, the art part should always be your main focus. CCAD taught me to set unreachable high standards for myself and to focus on drawing and painting above all else. It took me six years to break into the industry, but ever since then I haven’t had a single day without work. I owe a great deal of that consistent success to CCAD. CCAD is unlike many art schools in that they don’t chase software trends. They focus on drawing, painting, color, composition, etc. That’s the important stuff. That’s the stuff that will get you through the long haul.

RG: Around my junior year, the Media Studies department invited Dr. Stuart Sumida, a paleontologist and animal locomotion expert, to give an intensive seminar at our school. In his “You Are What You Eat” presentation, he broke down and defined the differences between herbivores and carnivores and how their anatomy affects their movement and behavior. Fast forward to my current Disney project, a movie involving a fictitious animal. In what started as a casual conversation with my director about this animal’s movement, I was eventually asked to create a presentation for the team that would clarify how this animal would move and what features needed to be changed so the character would be more believable to the audience.

FV: During my junior year at CCAD, I took Mr. Tardino’s illustration class, despite being a Media Studies major. I learned so much about character development and story, that I went back and took it again the next semester. The knowledge I gained then has been very helpful to me as a story artist today.

JB: I remember a lot of cheap ramen. I remember freezing my butt off. I remember cleaning the ceramics lab as a student worker, and growing clay stalactites in my nostrils. I also remember picking the hard teachers on purpose so I’d be pushed harder, and always trying to do a bit more than what any assignment asked for. I think that CCAD was as much about learning art concepts and skills as it was about learning to be self dependent and self driven. In a creative work environment they look for people that can handle the tools well, but that are also able to take initiative and improve the tool set and quality of the work.

DS: Foundation year. We all have our own experiences and memories from foundation year, but it was a huge stepping stone for me. I learned a lot about so much, and I still have a lot of learning and growing to do. I’m always trying to better myself and discover/learn new ideas, techniques, etc.

Check out our alums’ websites for more information:
Ben Lane
Chis Oatley
Ryan Green and Fawn Veerasunthorn have Bluefoot Studios
Joaquin Baldwin
Darren Simpson

Add the following dates to your calendar.

Per usual there is a lot going on at CCAD. Whether you’re local or planning a trip back to Columbus, here are a few things coming up that might interest you.

SAVE THE DATE FOR HOMECOMING!

Oct. 12-13
Family Weekend & Homecoming
Plan on coming back and seeing old friends and faculty. A full schedule will be on the event page soon.

AND Heads up! It’s time to submit your nominations for the Annual Alumni Excellence Award. Nominations are due July 20 and can be submitted via the online form. The winner will be presented with the award at homecoming.

Also at CCAD…

Sept. 27
Exhibition Opening, Todd Slaughter: American Primatives, Canzani Center Gallery

Sept. 28
Guest Lecturer Roger Martin.
Ticket prices and details coming soon.

Oct. 3-6
Mix 2012: Comics Symposium with Keynote Speaker Chris Ware.
CCAD is currently accepting proposals for papers, roundtables, and workshops; more info here.

Dec. 1
CCAD Art Sale, sign-up dates TBD

Find a full listing of events at CCAD, on the website.

Be sure you are getting emails from CCAD about events and alumni specific notices, by signing up.

Richard Cowdrey’s illustration for the children’s book “Searching for the You We Adore”

We do our best to get most of the news you submit to us onto the CCAD News Blog, but since there are more than 10,000 of you making news all over the world, not everything can make it into the blog. We’re glad to have another venue where we can share everything with you—this newsletter’s classnotes.

You can submit classnotes via the easy-to-use form on the alumni landing page. We only post career-related successes, awards, exhibitions, and publications, but we’d also love to know when you move, get married, or have children—just use that same form.

Now, without further ado, your classnotes from March, April, and May 2012.

Eileen Mueller Neill ’65 had an exhibition, Imaginaries, at the University of Wisconsin-Parkside’s Fine Arts Gallery. Read more here.

Richard Cowdrey ’81 illustrated Searching for the You We Adore, written by Valerie Westfall. Read more here.

Janet Sopp-Sims ’85 was a finalist in the 2012 Hunting Art Prize. Read more here.

Anthony Baker ’86 presented at a conference about the importance of art in the classroom. Read more here.

Creative Arts of Women (CAW) members Helma Groot ’89, Roxanne Smith-Mansell ’87, Kristin Morris ’94–’02, Mary Ann Crago ’95, and Cat Sheridan ’03 were in a group exhibition honoring Women’s History Month. Read more here.

Richard Hughes ’88–’95 was chosen to create a poster for the eighth annual Art Affair on the Square in Urbana, OH. Read more here.

Don Slobodien ’88 earned first place in the Art at the Arnold competition. Read more here.

Chris Cosnowski ‘92 had a solo exhibition at Lyons Wier Gallery in New York City. Read more here.

Daniel Hopper ’94 had a chandelier chosen to be displayed in Coup d’Etat, a design showroom in San Francisco.

Jason Moore ’96 was named to Columbus Business First’s 40 under 40 2012 Honorees list. Read more here.

Danielle Julian Norton ’99 was in a group exhibition in New Jersey. Read more here.

Nicole Bruckman ’00 co-curated Cella Gallery’s exhibition Femme Fatale in North Hollywood. Read more here.

Irina Grebennik ’02 exhibited work in the  Orville J. Hanchey Gallery at Northwestern State University in the Inaugural 40 under 40 show.

Michael Bonardi ’04 had a solo exhibition in Columbus, OH. Read more here.

Eliza Kinkz ’04 premiered her film Chocolate Milk at the 2012 South by Southwest® (SXSW®) Film Conference and Festival. Read more here.

Michael Litzau ’04 was offered a two-week residency at Ragdale in Illinois. Read more here.

Steve Weinzierl ’05 became the creative director at Favorite Color in New York City.

Anna Porreca ’06 was hired as an apparel graphic designer for Victoria’s Secret Pink in New York City.

John O’Reilly ’07 had his first solo exhibition at RH Gallery in New York City. Read more here.

These are Things, founded by Jen Adrion ’08 and Omar Noory ’08, was featured in two trade publications (read more here) and was used as a case study for a New York Times bestselling author’s book (read more here).

Ashley K. Alexander ’09 published her second novel, The Hanged Man’s Ghost. Read more here.

Annie Kocher ’09 was featured in Alive! Read more here.

Rachel Ridgley ’10 had her photography and personal story featured in Wolfdogs magazine. Read more here.

Mason Miller ’11 was hired as a graphic designer for Big Red Rooster, a multidimensional brand experience firm.

Pallavi Sen ’11 was awarded the Lifchez/Stronach nine-month, paid curatorial internship with the Antonio Ratti Textile Center of The Metropolitan Museum of Art. Read more here.