review of the fine art programs of the university of maine

Review of the Fine Art Programs of the University of Maine at Presque Isle

June, 2013

2

Contents

I. Introduction 3

II. Fine Art Programs Self-Study 4

1. Program Description 4

2. Assessment of Progress Since Previous Review 5

3. Program Resources 6

4. Faculty Developments and Research 16

III. Fine Art Program Developments 17

IV. Numerical Measures 18

V. Conclusions and Recommendations 25

Appendix A: Semester Enrollments (Fall 2003-Spring 2013) 31

Appendix B: Faculty Curriculum Vitae 54

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I. Introduction

The College of Arts and Sciences offers three degrees in Art: a Bachelor of Arts in Art; Bachelor of Fine

Arts, and a Bachelor of Art in Art Education.

As described in the college catalog, the B. A. in Art is designed to provide the individual the opportunity

and the environment for the best possible education in the visual arts. Learning outcomes include the

following: (a) students will demonstrate technical skills in a given medium, through both quality of

execution and presentation; (b) students will analyze and interpret artworks through formal, historical, and

theoretical frameworks; (c) students will create works of art that are intellectually challenging for

themselves and their audience; (4) students will articulate their creative process through oral and written

communication.

The Bachelor of Fine Arts is described as a four-year program intended to provide the student with an

extensive, studio-oriented education. There are no additional or differing outcomes provided for the

B.F.A.

The Bachelor of Art in Education is described as preparing teachers to teach the visual arts in the Public

School System principally in the United States and also in Canada. This preparation has two facets: (a)

learning about the pedagogical implications of art education; (b) developing creative abilities in the

learner, while addressing intellectual, emotional, and moral issues associated with daily living. The GPA

requirements for Art Education are a 3.25 in fine arts courses, art education courses, and general

education courses, and a 2.75 GPA overall. This is significantly higher than the GPA required of any

other education degree offered by the institution (2.5 GPA).

This is the first formal review of the program since 1984, following the addition of the B.F.A. to the

curriculum.

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II. Program Description

a. Mission Statement

Students entering the University's Fine Art programs can expect an engaging atmosphere that encourages

individual artistic and intellectual growth through a stimulating regimen of studio work, combined with

the historical context of a liberal arts core and a wide-reaching series of Art History Courses. Interested

students can earn a Bachelor of Art, a Bachelor of Fine Arts (B.F.A.), and a Bachelor of Art in Art

Education (B.A.A.E.), with concentrations in Sculpture, Ceramics, Photography, Printmaking, Digital

Media, Drawing, or Painting. An Art Minor is also available to other degree majors.

Faculty members in the Art Program, both full and part-time, are outstanding educators as well as

working artists, and all full-time faculty members regularly exhibit their own work. This creates an

exciting creative learning environment that values real-world preparation. Peer and faculty critique is a

cornerstone of the program, one which affords seniors the opportunity to prepare a senior thesis series

culminating with a solo show.

The University campus reflects this passion for the Arts. Galleries as well as campus hallways are

studded with works by students past and present... and if you look carefully, you can catch a glimpse of an

Alberto Giacometti sketch, or an Andy Warhol photograph. We encourage our students to further enrich

their experiences by taking part in one of the annual New York City museum tours, or by participating in

one of the highly popular Spring semester 3-credit Art Study Tour abroad.

The Fine Art faculty also offers an interdisciplinary Film Studies minor that provides students an

understanding of the development of cinema as an art form, as well as knowledge of its global context and

relationship with the other arts.

b. Curricular Options

As noted above, the Art program offers three separate degrees: a B.A. in Art, a Bachelor of Fine Arts, and

a degree in Art Education (B.A.A.E.). It also offers an Art Minor and contributes to the Film Studies

Minor and concentration in the English program.

c. General Education Curriculum (GEC) Role

The Art program provides a number of courses essential to the delivery of the General Education

Curriculum in the following area:

Foundations of Knowledge and Learning; Multicultural Experience

B. Diversity and global issues course (Art 411)

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Approaches to Learning; Humanities and Fine Arts:

A. One course in literary writing and/or analysis (Art/Eng 116: Introduction to Film)

B. One course in visual or performing arts (Art 101: Basic Design; Art 102: Three-Dimensional

Design; Art 103: Drawing 1; Art 107: Experience of the Arts)

The course in category B of the Multicultural Experience component (Art 411) meets the following

objectives within the Essential Learning Outcomes for the General Education Curriculum:

5b. Students will better understand their own society through the study of different world intellectual,

social, political, economic, or cultural perspectives and practices.

The course in category A of Humanities and Fine Arts (Art/Eng 116) meets the following objectives:

1a. Students will be able to use written and oral communication as a means to engage in critical

inquiry by exploring ideas, challenging assumptions, and reflecting on composing processes.

2a. Students will be able to clearly and accurately identify and evaluate problems and arguments.

4a. Students will capably access and manipulate information from a variety of venues.

5a. Students will understand and appreciate the diversity and interrelationship of cultures locally,

regionally, nationally, and internationally.

In category B of Humanities and the Fine Arts, Art 107 meets the following objective:

5b. Students will better understand their own society through the study of different world intellectual,

social, political, economic, or cultural perspectives and practices.

In category B, Art 101, 102, and 103 meet the following objectives:

2e. Students will be able to produce a tangible expression of creativity.

4c. Students will compare and contrast information in order to analyze, synthesize, and create new

knowledge.

Each of these courses has been assessed in terms of its General Education objectives within the past

academic year.

2. Assessment of Progress Since Previous Program Review

There is no formal program review on record in the Office of Academic Affairs since the B.F.A. was

added as a curricular option in 1986. Few curricular changes have occurred in the B.A. and B.F.A. since

1986, either in terms of programmatic structure or specific course offerings, the major difference being a

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general reduction in credit hours necessary for the B.F.A. In 1986, 45 credit hours were necessary for the

B.A. in Art; 71 credit hours were necessary for the B.F.A. As of Fall 2013, 45 credit hours are still

required for the B.A.; 63 credit hours are now required for the B.F.A. The B.A.A.E. requires 71 credit

hours, including Fine Art, Art Education, and Professional Education courses. See Section III for an

assessment of the curriculum of the current program.

3. Program Resources

a. Curriculum

The following tables outline the requirements needed to fulfill a Bachelor of Arts with a major in Art, as

Bachelor of Fine Art, and a Bachelor of Arts, Art Education, along with existing minors (Art, Film

Studies, and Humanities) as described in the UMPI 2011-2012 catalog:

1. Art, B. A.

Fine Arts Requirements – 27 credit hours

Art 101 Basic Design (3)

Art 102 Three Dimensional Design (3)

Art 103 Drawing 1 (3)*

Art 211 Art History I (3)

Art 212 Art History II (3)

Art 311 Modern Art History (3)

Art 411 Aesthetics (3)*

Art 499 Fine Art Senior Exhibition (6)

* = course also fulfills General Education Curriculum requirement

Select one of the following Art History courses:

Art 312 American Art History (3)

Art 313 19th

Century Art History (3)

Art 314 Art of the Near and Far East (3)

Art 413 Renaissance Art History (3)

Emphasis Area—15 Credit Hours: To create an emphasis area, select 9 credits form one of the

following categories and 6 credits from any other categories:

Art History/Film: Art/Eng 116, Art 316, Art 400, Art 416

Ceramics/Sculpture: Art 221, Art 242, Art 321, Art 492

Photography: Art 251, Art 351, Art 451, Art 492

Printmaking/Digital Media: Art 231, Art 235, Art 270, Art 331, Art 370, Art 492

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Painting: Art 104, Art 203, Art 261, Art 285, Art 361, Art 461, Art 492

Complete a Minor for 18-24 credit hours

Select General Electives to bring total earned hours to 120

Total credits required for degree: 120

Minimum cumulative GPA for graduation: 2.00

Cumulative GPA in major and concentration: 2.25

2. Art, B. F. A.









Art 499 Fine Art Senior Exhibition (6)


Select two of the following Art History courses:

Art 312 American Art History (3)

Art 313 19th

Century Art History (3)

Art 314 Art of the Near and Far East (3)

Art 413 Renaissance Art History (3)

Fine Arts Electives—30 Credit Hours: Develop a major emphasis area by selecting 9 credits

from one of the following areas:

Ceramics/Sculpture: Art 221, Art 242, Art 321, Art 492

Photography: Art 251, Art 351, Art 451, Art 492

Printmaking/Digital Media: Art 231, Art 235, Art 270, Art 331, Art 370, Art 492

Painting: Art 104, Art 203, Art 261, Art 285, Art 361, Art 461, Art 492

The remaining 21 credits of Fine Arts electives may be selected from any of the above areas as well as

from Art History/Film electives: Art/Eng 116, Art 316, Art 400, Art 416.

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Cumulative GPA in art courses: 2.80

3. Art Education, B.A.A.E.







Art 261 Painting I (3)




Art Education Courses (30 credits)

Art 281 Foundation for Art Education (3)

Art 381 Art Methods I (3)

Art 382 Curriculum Design (3)

Art 383 Art Methods II (3)

Art 495 Student Teaching (15)

Art 498 Senior Art Education Project (3)

Professional Education Sequence (12 credits)

Edu 150 Exploring Education in Contemporary America (3)

Edu 200 The Learner and the Learning Process (3)

Edu 387 Teaching Students with Exceptional Needs (3)

Edu 395 Internship in Teaching Education (3)

Select Five of the Following 3-credit course for a total of 15 credits:

Art 104 Figure Drawing

Art 203 Drawing II

Art 221 Sculpture I

Art 231 Computer Art I

Art 235 Video Production

Art 242 Ceramics I

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Art 251 Photography I

Art 270 Relief Print and Intaglio

Art 285 Watercolor

Art 321 Sculpture II

Art 331 Computer Art II

Art 342 Ceramics II

Art 351 Photography II

Art 361 Painting II

Art 370 Lithography

Art 451 Photography III

Art 461 Painting III

Art 492 Special Problems in Fine Art




Cumulative GPA in art courses: 2.80

4. Art Minor (21 credits)


Art 103 Drawing 1 (3)



Upper level art electives (9)

Minimum of 12 upper level credits (300 level and above)

5. Film Studies Minor (21 credits)

Art/Eng 116 Introduction to Film (3)

Set One: Select three of the following:

Art 316 Contemporary Film

Art 416 Great Directors

Art 372 Literature and Film

Art 376 Native American Studies (film iteration)

Set Two: Select three of the following:

Art 251 Photography

Art 235 Video Production

Eng 314 Screenwriting

Art/Eng 400 Special Topics in Film

Art 411 Aesthetics

6. Humanities Minor (21 credits)

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Courses in at least three Humanities areas with a minimum of nine upper level credits in two areas.

Areas include Art, English, Foreign Language, or Philosophy.

Four Year Course rotation (based upon actual 2010-2013 delivery of courses):

ART Course Fall

1

Spring 1 Fall 2 Spring 2 Fall 3 Spring 3 Fall

4

Spring 4

101 Basic Design x x x x x x x x

102 Three

Dimensional

x x x

103 Drawing 1 x x x x

104 Figure Drawing x x x x

107 Exp of Arts x x x x x x x x

108 (new course as

of 2013)

x

116 Intro to Film x x x x x x x x

203 Drawing II x x

211 Art His I x x x x x x x

212 Art His II x x x x x x

221 Sculpture 1 x x x

231 Computer Art 1 x x x x

235 Video

Production

x x x x

242 Ceramics 1 x x x x x

251 Photography I x x x

261 Painting 1 x x x x x

281 Foundation for

Art Edu

x x

285 Watercolor x x x x

311 Modern Art

History

x x x

312 American Art

History

x

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313 19th Century Art

His

x

315 Women in Art

(new course in 2013)

x

316 Contemporary

Film

x

321 Sculpture II x

331 Computer Art II x

342 Ceramics II x x

351 Photography II x x x

361 Painting II x x x x

381 Art Methods I x x

382 Curriculum

Design

x x

383 Art Methods II x x

400 Art Study Tour x x x x

403 Film Seminar x x

411 Aesthetics x

413 Renaissance Art

History

x x

416 Great Directors x x

451 Photography III x x x

461 Painting III x x

492 Special

Problems

x x

498 Art Edu Project x x

499 Senior Art

Project

x x x x x x x x

As no formal rotation on record exists for ART courses (historically, rotations have been maintained

informally by individual faculty), this rotation schedule was compiled by examining the latest four

academic years. It clearly illustrates several structural problems with the delivery of the ART curriculum.

Some foundational courses are offered each semester, as one would expect (101, 107). However, some

which are clearly foundational for upper division coursework are offered irregularly or not on a clear

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annual rotational basis (particularly 102). Other courses which are (or should be?) pre-requisites for even

higher level courses are offered less often than would seem structurally sound (e.g., 203, offered fewer

times than 285, which is offered almost annually). Some very high level courses are even offered more

than twice within a four year period (e.g., 451). Some required advanced courses are offered only once

within the four year rotation (411), while non-required courses are offered twice (413, 492). It also

appears that courses such as 316 and 416, which play a limited role in the curriculum, are more available

than those that are required for B.F.A. majors. Finally, several courses in the catalog never appear at all

in the (informal) rotation. These are all structural deficiencies which should be addressed.

Individual course syllabi are available for review electronically, or as hard copy, from the office of the

Administrative Specialist to the College of Arts and Sciences (Nicole Like, Room 210, South Hall).

b. Faculty

Table II.1 Statistical Profile of the UMPI Art faculty, AY 2004-2013

Academic

Year

03-04 04-05 05-06 06-07 07-08 08-09 09-10 10-11 11-12 12-13

Total full

time

equivalency

(FTE)

4.375 4.75 4.125 4.375 4.75 4.25 4.125 4.875 5.375 4.5

Full

Professors

2 2 2 2 2 2 1 1 1.25 1.25

Associate

Professors

0 0 0 0 0 0 1.25 1.25 1 0

Assistant

Professors

0 1 1 1 1 1 1 1 2 2

Lecturers 1 0 0 0 0 0 0 0 0 0

Adjuncts 1.375 1.75 1.125 1.375 1.75 1.25 .875 1.625 1.125 1.25

Percentage

of Adjunct

to Full time

.31 .36 .27 .30 .36 .29 .21 .33 .20 .27

This data indicates that the overall FTE of faculty in the program has remained remarkably constant in the

past decade, even given the reduction in student majors and enrollments (see Numerical Measures below).

In fact, the FTE for adjuncts remains nearly identical in the most recent academic year in comparison to

Academic year 2003-2004. In the last two academic years, .25 FTE of the Full Professor category reflects

courses taught by an ENG faculty member, who now teaches most of the Film courses (formerly taught

by a retired ART faculty member). In terms of staffing, particularly given the drop in enrollments, the

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program certainly maintains sufficient FTEs. However, in light of the declining numbers of majors, the

program will need to think strategically about the specialization areas of any continuing faculty lines in

regards to justifying the institution’s FTE commitment level.

c. Program Budget

The Art programs operate under the combined Arts and Sciences program budget of the University of

Maine at Presque Isle, with a current annual operating budget of $1,222,098.00, as illustrated below. In

addition, a studio-fee based budget is provided to Art faculty with the express purpose of purchasing

materials required for studio courses (or materials providing direct pedagogical/instructional support to

those courses).

Table II.2 Arts and Sciences operating budget for 2012-2013.

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As the chart indicates, the vast majority of operating expenses is assigned to faculty lines, with a very

limited amount of funds available to Art faculty within Arts and Sciences. No in-state travel is allocated,

and out of state travel ($2,000) must be shared by a minimum of fourteen full time faculty members

(Science and Art faculty maintain their own budgets in this area). The supplies and materials and printing

and copying services must be shared by all faculty members (with Science and Art faculty, again, having

some additional funds, see below). Thus, there is virtually no discretionary funding available and no

ability to budget major purchases and initiatives (indeed, even smaller purchases), unless funds may be

procured from other sources (i.e. Technology fee to fund new computers, Professional Development funds

for travel and conference fees, etc.).

The Art program maintains a separate studio fee-based budget, provided each spring and fall semester

following the initial add/drop period. The most recent Fall (2012) budget is provided below as an

example:

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The Art Fees budget is comprised entirely of studio fees paid by students and is to be used exclusively for

items directly supporting such courses and programs. In previous years, a substantial portion of this

budget was expended after the close of the spring academic semester to purchase “large ticket” items such

as Apple computers. Such purchases were done without clearly documented justification as to how they

supported specific courses and programs. This practice has been discontinued, with all purchases now

requiring specific justification (if not immediately apparent from the purchase order itself) from the

College Chair prior to authorization. In the past academic year, the majority of the Art Fees budget was

designated for student travel costs, underwriting major trips to New York City, Philadelphia, and far more

frequent trips to galleries, museums, and educational destinations within the state of Maine.

d. Library Resources

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The library resources for teaching the concentrations within the Art programs are now less than adequate,

reflecting further cuts from those indicated in the Academic Planning Initiative report of 1999-2000.

Expenditures in library acquisitions have been frozen for three years with no foreseeable change in that

status. Previous to the start of the 2011 academic year, any library purchases were “ad hoc,” often having

to be made within the Fine Art budget itself. However, the Library has once again been providing a

“book budget” to all full time faculty within the academic programs, although at a significantly reduced

rate (c. $250/faculty member). Holdings of hard-copy journals have been reduced; the expansion of on-

line journal access has not been able to compensate for these reductions, although the recent addition of

the Illiad Interlibrary Loan program (http://www.oclc.org/illiad/) has provided some necessary assistance.

e. Instructional Technology

The Mac lab installed in Spring 2011 (and updated in Spring 2013) is currently performing well.

However, several software programs are outdated (at least two versions behind the current one) and need

immediate updates. This indicates a need for IT to institute a regular updating procedure for all supported

labs.

4. Faculty Development and Research

Complete curriculum vitae of the full time faculty follows this self study in an addendum.

http://www.oclc.org/illiad/

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III. Art Program Developments

A. Community and Campus Connections

The Fine Art faculty are highly involved in both community and System-wide initiatives, including the

following (see individual faculty vitae for further information):

-participation in Aroostook Partner’s in the Arts Paint Presque Isle- 2 yrs

-Founder/Organizer of the campus-wide (and community) Cardboard Boat Regatta- 2 yrs

-gubernatorial appointment (Member) to the Maine Arts Commission- 3 yr appt

-Chair of the MAC Good Idea Grant review committee- Feb 2013

-Board Member and Secretary of the Board- Wintergreen Arts Center

-Founder/Organizer of the 10x10 and 12x12 Auction

-Founder/Organizer of the upcoming Color Presque Isle 5k

-Founder/Organizer of the Vera Project- worked with the Mark and Emily Turner Memorial Library and

the Presque Isle Historical Society to produce a Reed Gallery Exhibition and Literary Journal plus a series

of events for 2013 Women’s History Month

-Founder, Northern Maine Center for the Cultural Arts- a downtown project that links the campus with

the Downtown community and more specifically Wintergreen Arts Center

-organized a Drawing class to have an exhibition of their work at the Whole Potato Café and Commons

-participated in the Brain Awareness Week activities (me just barely, but Hyrum did much more)

-participant in Aroostook Partners in the Arts Paint Presque Isle, 2yrs.

-Board Member of Aroostook Partners in the Arts, in which I have helped and organized Paint the County

(formerly Paint Presque Isle, Edible Art Night,

-participant in the annual 10x10, 12x12 auction

-participated assisted in the Brain Awareness Week, 2yrs.

-Curated, Craft in the County art show

-regularly participate in each First Friday Art Walk

-Organized the UMPI Art club to have an art show in Wintergreen Art Center

-Participated at the Maple Meadow Farm Festival

-Volunteered at Wintergreen teaching some classes

-given demonstrations about pottery to different groups, such as a Girl Scout Troop, Northern Lighthouse,

and others

-Aroostook Regional Coordinator for the Maine Craft Association

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B. Curricular Developments

There is no previous organized record of curriculum developments in any of the three programs since

their respective founding. See below under “Recommendations” for specific curricular recommendations.

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IV. Numerical Measures

See figure IV.1 for a comparison of Art program graduates over the past eight years.

Table IV.1 Art program graduates

Year Total

Graduates

Art, B.A. Fine Art, B. F.

A.

Art Education,

B.A.A.E.

Elementary

Education (Art

emphasis)*

2004 11 0 7 1 3

2005 7 2 5 0 0

2006 6 1 4 1 0

2007 7 2 5 0 0

2008 11 3 6 2 0

2009 9 1 5 3 0

2010 11 3 5 3 0

2011 8 1 7 0 0

2012 7 0 5 2 0

2013# 2 0 0 2 0

*=program discontinued after 2004 graduates

#=number incomplete as of 6/12/13

Numbers of graduates have dropped 36% since 2004, although no single year has demonstrated fewer

than 6 total graduates (and no more than 11, occurring in 2004, 2008, and 2010). The B.F.A. has

consistently graduated the greatest number of students (49 total), with the B.A.A.E. graduating a total of

14 and the B.A. the fewest at 13.

The number of majors seeking Art degrees is documented below.

Table IV.2 Art program majors

Year Total

Majors/Minors

Art, B.A. Fine Art,

B.F.A.

Art Education,

B.A.A.E.

Art minor

2004 70 14 41 4 11

2005 73 20 38 5 10

2006 70 19 35 10 6

2007 65 18 32 8 7

2008 57 15 25 11 6

2009 56 15 16 15 10

2010 53 15 20 14 5

2011 32 6 12 5 9

2012 43 11 14 6 12

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Statistically, majors have declined in each of the three degrees, with the greatest drop occurring in the

B.F.A. program itself (a 66% decline since 2004). The Art Education program shows a 60% decline in

majors since its strongest enrollment year of 2009; the B.A. shows a nearly 50% decline since 2005.

Combined, all three majors demonstrate a 39% enrollment drop in terms of majors since 2004.

Persistence rates of Art majors (in red) are provided below:

Table IV.3 Persistence rates of incoming first year students, Fall 2007 (most recent set of collected data)

Academic Plan

Description

Persistence Rates

To Second Semester To Second Year To Third Year To Fourth Year

Total

Enro

lled

% gr

ad

To

tal

En

rol

led

% gr

ad

Total

Enro

lled

% g

r

a

d

Total

Enro

lled

% gr

ad

Total

Enro

lled

Accounting, BA 40 35 90

%

1 37 26 78

%

5 36 13 33

%

23 0

%

Art,BA 14 12 86

%

0 15 10 79

%

1 18 4 29

%

19 0

%

Art

Education,BAAE

13 12 10

0

%

1 14 9 77

%

1 16 8 62

%

14 0

%

Applied

Science,BAS

2 1 10

0

%

1 2 1 10

0

%

1 2 0 0% 5 0

%

Athletic

Training,BS

46 40 89

%

1 45 28 70

%

4 50 23 50

%

61 0

%

1 1 10

0

%

0 1 1 10

0

%

0 0 0 0% 0 0

%

Behavioral Science,

BA-Sociology

23 19 87

%

1 19 12 65

%

3 13 8 35

%

17 0

%

Fine Arts,BFA 23 17 83

%

2 17 10 61

%

4 15 11 48

%

16 0

%

Biology, BA 32 29 91

%

0 33 20 72

%

3 33 13 41

%

36 0

%

3 3 10

0

%

0 3 1 33

%

0 2 1 33

%

1 0

%

Liberal Studies,

BLS(postbaccalaur

eate)

154 83 90

%

55 10

1

64 54

%

19 134 1 1% 97 0

%

1 0 0

%

0 0 0 0

%

0 4 0 0% 0 0

%

Social Work, BSW 87 77 89

%

0 80 56 77

%

11 78 33 38

%

78 0

%

Buisness ,BA 117 10

4

94

%

6 11

4

71 75

%

17 103 41 35

%

70 0

%

Criminal

Justice,BA

68 60 88

%

0 68 44 78

%

9 56 30 44

%

53 0

%

Criminal

Justice,AA

11 8 73

%

0 8 4 73

%

4 23 1 9% 15 0

%

Educational

Studies,BS

11 8 82

%

1 9 1 64

%

6 1 0 0% 0 0

%

1 0 10

0

%

1 0 0 0

%

0 0 0 0% 0 0

%

Elementary

Education,BS

126 11

3

95

%

7 11

9

91 75

%

3 124 70 56

%

125 0

%

22

Elementary

Education,BS(post

baccalaureate)

63 34 87

%

21 43 23 57

%

13 44 1 2% 49 0

%

English,BA 26 21 85

%

1 24 19 81

%

2 29 15 58

%

35 0

%

Environmental

Studies, BS

16 15 94

%

0 15 13 81

%

0 13 9 56

%

9 0

%

International

Studies, BA

39 32 87

%

2 36 25 82

%

7 31 20 51

%

21 0

%

Liberal Studies,AA 21 15 76

%

1 21 11 71

%

4 19 3 14

%

21 0

%

Mathematics, BS 4 3 75

%

0 3 0 25

%

1 6 2 50

%

6 0

%

Medical

Laboratory

Technology, AS

11 9 82

%

0 13 4 45

%

1 18 4 36

%

32 0

%

5 0 20

%

1 0 0 0

%

0 0 1 20

%

0 0

%

Physcical

Education,BS

63 62 10

0

%

1 67 41 84

%

12 64 24 38

%

60 0

%

Physcical

Education, BS-

Teaching(postbaccl

aureate)

24 16 10

0

%

8 19 13 63

%

2 21 1 4% 10 0

%

Psychology,BA 63 54 92

%

4 58 37 65

%

4 65 26 41

%

64 0

%

Recreation, BS 18 14 78

%

0 16 11 83

%

4 25 3 17

%

23 0

%

Secondary

Education,BS

36 32 94

%

2 34 29 89

%

3 44 12 33

%

42 0

%

Secondary

Education(postbac

claureate)

61 34 10

0

%

27 37 24 51

%

7 43 2 3% 32 0

%

Transfer 5 3 60

%

0 4 0 0

%

0 2 0 0% 0 0

%

Undeclared,BA 52 37 73

%

1 39 23 44

%

0 39 19 37

%

62 0

%

The above data, the first year of such research made available to programs, indicates that the university’s

Art programs have widely varying retention rates. The Art Education program demonstrates the

strongest, with 77% from the first to second year and 62% from second to third year. The B.F.A.

retention rates is closer to the university medium, with 61% and 48% rates of second and third year,

respectively. The B.A. in Art shows weaker retention rates of 79% into the second year, but only 29%

into the third year. Thus, Art Education achieves retention rates above the institutional average for both

second and third years (70% and 51%, respectively), with the B.F.A. significantly below the average by

its third year. The retention rate among B.A. students is most problematic, however, with its third year

persistence rate well below the average. This indicates that structural barriers to persistence in the

programs are present particularly during the second year of coursework.

Persistence rates for incoming students in Fall 2008 show similar percentages:

Table IV.4. Persistence rates of incoming first-year students, Fall 2008

Category of Academic Plan Description Persistence Rates

23

Programs To Second Semester To Second Year

Total

Enrolled

% grad Total

Enrolled

% grad Total

Enrolled

ACC-BA Accounting, BA 36 32 89% 0 62 22 61% 23

ART-BA Art,BA 18 16 100% 2 16 11 61% 19

ARTED-

BAAE

Art Education,BAAE 16 14 88% 0 17 13 81% 14

ASC-BAS Applied Science,BAS 2 1 50% 0 1 1 50% 5

ATH-BS Athletic Training,BS 50 48 98% 1 51 39 78% 61

BES-BA Behavioral Science, BA-Sociology 13 8 69% 1 12 7 54% 17

BFA-BFA Fine Arts,BFA 15 14 100% 1 15 12 80% 16

BIO-BA Biology, BA 33 30 91% 0 27 22 67% 36

BLS-BLS 2 1 50% 0 1 0 0% 1

BLS-PST Liberal Studies,

BLS(postbaccalaureate)

132 66 92% 55 68 52 39% 97

BLS-TC 4 0 0% 0 8 0 0% 0

BSW-BSW Social Work, BSW 78 72 92% 0 82 51 65% 78

BUS-BA Buisness ,BA 103 75 80% 7 77 57 55% 70

CJB-BA Criminal Justice,BA 56 47 84% 0 54 31 55% 53

CRJ-AA Criminal Justice,AA 23 17 78% 1 14 10 43% 15

EDS-BS Educational Studies,BS 1 1 100% 0 1 0 0% 0

ELE-BS Elementary Education,BS 124 105 90% 6 122 90 73% 125

ELE-TC Elementary

Education,BS(postbaccalaureate)

44 25 89% 14 31 19 43% 49

ENG-BA English,BA 29 24 83% 0 23 20 69% 35

ENV-BS Environmental Studies, BS 13 12 92% 0 14 7 54% 9

HTYPOS-

BA

3 3 100% 0 0 3 100% 9

INT-BA International Studies, BA 31 26 84% 0 31 20 65% 21

LST-AA Liberal Studies,AA 19 10 53% 0 22 5 26% 21

MAT-BS Mathematics, BS 6 6 100% 0 7 3 50% 6

MLT-AS Medical Laboratory Technology, AS 18 15 83% 0 21 11 61% 32

PHE-BS Physcical Education,BS 64 52 92% 7 55 42 66% 60

PHE-TC Physcical Education, BS-

Teaching(postbacclaureate)

21 11 95% 9 12 8 38% 10

PSY-BA Psychology,BA 65 59 91% 0 66 39 60% 64

REC-BS Recreation, BS 25 22 100% 3 19 12 48% 23

SEC-BS Secondary Education,BS 44 38 89% 1 37 27 61% 42

SEC-TC Secondary

Education(postbacclaureate)

43 20 100% 23 26 16 37% 32

TRANSFER Transfer 2 2 100% 0 2 1 50% 0

UND-BA Undeclared,BA 39 31 79% 0 49 23 59% 62

24

This data suggests that a careful review of program goals and curriculum, including collection and

assessment of student success rate data (grades of C or greater within individual courses), as well as the

alignment of individual course objectives with overall program goals and learning objectives, would be

particularly useful in determining appropriate measures for increasing persistence rates. The Chair of the

College of Arts and Sciences will be requesting that resources for such a study be made available in the

upcoming academic year.

Finally, general enrollment numbers in Art courses display a recent decrease similar to that of the number

of majors, as illustrated below.

Table IV.5. Enrollments in Art program classes over last ten years.

Semester Total

enrolled

Art courses Art

education

courses

Fall 2003 420 406 14

Spring 2004 426 412 14

Fall 2004 398 391 7

Spring 2005 381 375 6

Fall 2005 353 344 9

Spring 2006 340 331 9

Fall 2006 361 354 7

Spring 2007 304 298 6

Summer

2007

8 8 0

Fall 2007 286 276 10

Spring 2008 277 261 16

Summer

2008

9 9 0

Fall 2008 299 288 11

Spring 2009 293 284 9

Summer

2009

21 20 1

Fall 2009 310 295 15

Spring 2010 308 296 12

Summer

2010

53 53 0

Fall 2010 318 308 10

Spring 2011 304 296 8

Summer

2011

41 41 0

Fall 2011 312 308 4

Spring 2012 271 269 2

25

Summer

2012

41 41 0

Fall 2012 266 265 1

Spring 2013 272 269 3

See Appendix A for a complete listing of all HTY program-associated courses, enrollments, instructors,

and modalities.

Table IV.6 Art Program enrollments (graph)

1260 1278

1194

1143

1059 1020

1083

912

858 831

897 879

930 924 954

912 936

813 798 816

0

200

400

600

800

1000

1200

1400

410 420 510 520 610 620 710 720 810 820 910 920 1010 1020 1110 1120 1210 1220 1310 1320

cre

dit

ho

urs

ge

ne

rate

d

Semester (Fall 2003 - Spring 2013)

26

Interestingly, this graph illustrates a decreasing rate of credit hour generation since Spring 2007. In other

words, although the number of majors continued to decline after the 720 semester (with an 8% drop

between 2004 and 2007, followed by a 34% drop in majors between 2007 and 2012), overall enrollments

remained not only relatively stable but demonstrated a slow increase until Fall 2011 before a sharp drop in

Spring 2012 (from which the program is beginning to show signs of recovery, with preliminary

enrollments in Fall 2013 courses already higher, two months before the start of the semester, than the total

enrollments achieved in Fall 2012). Logically, one would expect an even greater drop in overall

enrollments after the 0720 semester, mirroring the drop following the 0420 semester, when the number of

majors had in fact declined much less. Several factors may have contributed to the lack of a direct

correlation between falling majors and (relatively) steady enrollments including the development of

online courses, the reduction of overall sections of multi-section courses (i.e., Art 107) and thus the

concentration of greater numbers of students within fewer courses (while still maintaining historical

course enrollment caps), and more strategic offerings of select courses (at times better suited to student

schedules).

27

V. Conclusions and Recommendations

In a letter to President Charles Lyons of August 15, 1986, the Art faculty state that a 72 credit hour B.F.A.

program can be successfully delivered by three full time faculty members. In answering several serious

criticisms of the proposal by the University of Maine, the letter goes on to cite differences between

Orono’s program, which includes an extensive Art Education concentration, and UMPI’s proposed B.F.A

which would not include an Art Education program. In addition, the letter notes a plan to add an art

historian position that would address general concerns in that area. By 2001, no specific art historian

position had been created within the program. However, in 2001, UMPI did in fact add an Art Education

program (B.A.A.E.); of the three full-time faculty members, none had specific experience in teaching Art

Education (although a previous faculty member did have such experience, but left before the B.A.A.E.

appeared in the catalogue). Thus, since 2001, according to the terms set forth by its own faculty, has been

offering programs requiring curricular offerings and specializations well beyond its FTE limits (of three

full time faculty). Prior to 2001, while offering no Art Education program and only six Art History

courses (211, 212, 311—all mandatory courses for all majors—and 312, 314, and 413, of which students

were required to take either one or two courses), the program was able to work within an acceptable four

year rotation schedule. After 2001, however, the addition of Art Education program meant an additional

four courses (on a two-year rotation) had to be assumed by one of the three full-time faculty members,

equaling one quarter of a full time assignment. Not only were no classes deleted from the general rotation

to ensure the stability of a four year schedule (and a reasonable assumption that all courses appearing in

the catalog could be taught within at least a four year period), but additional new courses were added

soon after, including Art History, Film, Ceramics, and Computer Art classes. In conclusion, as early as

2001, the Art program was working well beyond its own self-defined limits of guaranteed curricular

manageability.

In some ways, the overall decline in majors and general enrollments renders this history a moot point.

But it does indicate that three full time faculty were identified as capable of providing the resources

necessary for delivering a B.F.A. (as well as, obviously, a B.A. in Art) program—but not an additional

major within that program requiring yet more resources (the B.A.A.E.). The inability of the B.A.A.E. to

develop a critical mass of majors, and thus its inability to move beyond a subordinate role to the B.F.A.

even when a full time faculty must dedicate an extensive percentage of their teaching to the program,

renders continued support of the program through full time staff impossible. This is not to say that

creative means of continuing the program that do not necessitate the dedication of a full time faculty

member to the four mandatory Art Education courses should not be pursued. But the B.A.A.E. should in

no way be used as a justification for maintaining three full time faculty lines.

Clearly, the Art program must make significant revisions and reallocations of its resources to justify its

continuation of three full time positions. To this end, the faculty offers the following recommendations,

summarized here and detailed below: (a) a general overhaul of the B.F.A. to reflect the need for much

28

greater digital media instruction; (b) a full time position dedicated primarily to meeting such needs; (c)

significant cuts to Art History and Film offerings; (d) dedicate resources to the restoration of the Weiden

Art Studio to bring its functionality up to an acceptable level for a B.F.A. program.

Specific recommendations:

a) Recommended revision to the B.F.A. (including four year completion schedule)

BFA Degree in Fine Art

BFA in 2D Media, with Emphasis in either: Drawing, Painting, Mixed Media, Photography,

Graphic Design

BFA in 3D Media, with Emphasis in either: Ceramics, Sculpture

Areas of Emphasis: Drawing/Painting, Mixed Media, Photography/Digital Media, Ceramics,

Sculpture, Graphic Design

Painting/Drawing Courses: Painting I, II, IIIr

Watercolor

Drawing I, II, IIIr

Figure Drawing

Mixed Media Process I, II

Sketchbook Process

Photography/ Digital Media Courses:

Photo I, II, IIIr

Darkroom Process?

Alternative Photographic Processes?

Digital Media I, II (Digital Animation, Video Production?)

New Media Applications?

Sculpture Courses: Sculpture I, IIr

Sculpture Workshop

Installation Sculpture

Ceramics I

Ceramics Courses: Ceramics I, II, IIIr

Sculpture I, II

29

(anything else?)

History of Craft

Graphic Design Courses: Intro to Graphic Design

Graphic Design I, II, (IIIr?)

Typography, Sequential Design, Packaging

(can we streamline? Suggestion: Design Process, Design History, Graphic Design: Word and Image,

Graphic Design: Brand Experience, Advanced Design Process)

Illustration

Printmaking Courses (Elective): Printmaking I, II

Printmaking Workshop

Art History Courses: Survey I, II

American Art History

Modern Art History

Renaissance Art History

19th

Century Art History

Art of Near and Far East

History of Craft

Women in Art

History of Photography

History of Graphic Design

BFA SEQUENCE

Year 1: ART 101- Basic Design (3 credits)

ART 102- 3D Design (3 credits)

ART 103- Drawing I (3 credits)

ART 211- Survey I (3 credits)

ART 212- Survey II (3 credits)

(Digital Foundations or Color Theory) (3 credits)

18 credits

Year 2: Suggested to take 12-15 credits of Electives- Painting I, Sculpture I, Ceramics I, Photo I, Graphic

Design I, Printmaking I

(Digital Foundations or Color Theory) (3 credits)

300 level Art History (3 credits)

30

Sophomore Portfolio Review- admittance to BFA program

Declare Area of Concentration at end of year

18 credits

Year 3: Suggested to take 12-15 more credits in Area of Emphasis

Upper level Art History (300+)- 3-6 credits

Junior Portfolio Review- prep for senior show

15-21 credits

Year 4: ART 499: Senior Show (6 credits)

Upper level Art History (300+)- 3 credits

Suggested to take 3-6 credits in Area of Emphasis- first semester (3-6 credits)

(Senior Seminar?)

12-15 credits

(a) Total Credits- 63- 72

(need to look at current sequencing and requirements)

b) Recommended position description for Digital/Media specialist

UMPI Fine Art Program- New Position

The University of Maine at Presque Isle Fine Art Department is seeking an individual who can

fulfill multiple departmental needs. The role involves departmental development, collegial

involvement, and community connections. The individual should be comfortable balancing each

of these commitments while continuing their commitment to professional development.

The Department of Fine Art is a small program. Faculty engage in coursework directly related to

their professional emphasis and are encouraged to work cross disciplinary within the department

and the College of Arts and Sciences.

The course work required is teaching all levels of Photography with experience in traditional dark

room methods and sections of Digital Media coursework as well as sections of Art Appreciation

courses. Desired skills but not essential to the position are also experience teaching Painting,

Printmaking, and Art History. Individuals are also expected to mentor upper level students

31

throughout their year-long Senior Thesis coursework. Individuals have the flexibility to develop

specialized special topic types of courses to add to the current curriculum.

The position includes campus involvement. Individuals will be required to serve on campus

committees and participate in campus events- including departmental promotion to incoming

prospective students, make campus and community presentations, and provide leadership for

student events.

The University of Maine at Presque Isle takes its involvement in the community seriously. The

individual should be very comfortable participating in community events and helping to represent

the University scholarship in a positive manner. New and innovative events that tie campus

scholarship to community interests are encouraged.

Candidate is required to have a MFA in Photography or related field/experience and at least three

years post graduate school teaching experience.

c) The course load for the Art History requirement is beyond the capacity for three full time faculty to

deliver as it currently appears in the catalog. The Art faculty recommend that students should be required

12 credits, which includes ART 211 and ART 212 and then 2- 300+ level electives. ART 311 should be

removed as a requirement and changed to an elective. Courses such as ART 314 and ART 313 can be

permanently removed and perhaps replaced with an Art History Topics course. In addition, the Art

faculty should no longer be held responsible for the delivery of any Film courses (currently taught

primarily by an English faculty member).

d) The Weiden studio needs immediate attention. While the ceramics gas kiln has been rebuilt and a

MAC lab installed with current software, the general studio could use funds allocated to better

functionality. This includes: proper storage of paintings, a drawing area with either drawing horses or

easels, lighting- for photographing art work as well as a still life set up, better system for students to store

their materials- although the lockers have much character to them, many are not functioning to the needs

of students. Also, an exorbitant amount of space is consumed with one faculty member’s storage. This

could be much better implemented to restore the functionality of the printmaking area and the revisiting of

an area dedicated completely to Foundations classes. There should also be better access for students to

benefit from the studio computer area- which is outfitted with 5 Mac Computers and an Epson large

format printer. Specifically, the following items in the Pullen studio need attention: (a) removal of current

lockers and better storage provided for secure student storage of materials; (b) better painting storage (i.e.,

vertical racks); (c) an established “Foundations” course area where 2D and 3D design can be regularly

taught; (d) repair and reorganization of the Printmaking area; (e) proper drawing area with drawing

horses, a still life area set up, and appropriate lighting; (f) a movable booth for art work photography; (g)

better ventilation in the dark room; (h) better accessibility to the studio “computer lab.” In addition, the

Weiden studio still has several equipment needs to maintain a meaningful sculpture emphasis, including a

table saw, band saw, compound miter saw, belt sander, drill press, and hand tools. Special training needs

32

to be provided for instructors in regards to the use of raw materials in glazing processes—such training

should be covered by the program budget.

e) Studio course contact hours also need adjustment to bring the B.F.A. into alignment with nationwide

standards. A typical B.F.A. program meets 6 hours per week for a 3 credit studio course while ours

meets 3.5-4 hours.

f) Undertake a thorough revision of the four-year rotational schedule, which should, practically speaking,

move to a two-year schedule.

g) Revision of the categorical and fiscal assignment of student studio fees in the Art Fees budget to better

reflect actual use of such fees (i.e., in state and out of state travel costs). Scrupulous documentation (and

pre-authorization) that all purchases out of this budget will have a direct (if not immediate)

implementation in the classroom and programs.

h) Formal and comprehensive revision of the programs’ mission statements and an assessment of the

programs’ stated learning outcomes/goals. This is particularly important, as the B.A. and B.A.A.E. both

list learning outcomes, the B.F.A. does not, let alone differentiate outcomes from among the three

programs clearly enough.

i) Potential revision to GPA averages and standards, including separate GPA levels for introductory

(fundamental) courses and upper division courses, thus ensuring that students have proficiency in basic

concepts before moving on to advanced work.

33

Appendix A: Semester Enrollments

Fall 2003

AR

T

101 S

T

U

0001 Basic Design 25 25 0 Closed 3.00 E Clifton

Boudman

UMP

I

AR

T

101 S

T

U

0002 Basic Design 20 15 0 Open 3.00 Cheryl Ann

Kittredge

UMP

I

AR

T

101 S

T

U


Kittredge

UMP

I

AR

T

107 S

T

U

0001 Experience of the

Arts

30 31 0 Closed 3.00 Hume Anderson

Giles

UMP

I

AR

T

107 S

T

U


Arts

30 27 0 Open 3.00 Cheryl Ann

Kittredge

UMP

I

AR

T

107 S

T

U


Arts

30 29 0 Open 3.00 J Donald Cyr UMP

I

AR

T

107 S

T

U


Arts

30 33 0 Closed 3.00 E Clifton

Boudman

UMP

I

AR

T

107 S

T

U


Arts

30 30 0 Closed 3.00 J Donald Cyr UMP

I

AR

T

107 S

T

U


Arts

30 30 0 Closed 3.00 Cheryl Ann

Kittredge

UMP

I

AR

T

107 S

T

U


Arts

25 24 0 Open 3.00 Joseph B Zubrick UMP

I

AR

T

116 S

T

U

0001 Introduction to

Film


Boudman

UMP

I

AR

T

203 S

T

U

0001 Drawing II 20 11 0 Open 3.00 Hume Anderson

Giles

UMP

I

AR

T

211 L

E

C

0001 Art History I 30 16 0 Open 3.00 E Clifton

Boudman

UMP

I

AR

T

231 S

T

U

0001 Computer Art I 20 13 0 Open 3.00 Frank Kimball

Grant

UMP

I

AR

T

242 S

T

U

0001 Ceramics I 20 12 0 Open 3.00 Cheryl Ann

Kittredge

UMP

I

AR

T

251 S

T

U

0001 Photography I 20 23 0 Closed 3.00 Hume Anderson

Giles

UMP

I

AR

T

261 S

T

U

0001 Painting I 20 12 0 Open 3.00 Hume Anderson

Giles

UMP

I

AR

T

281 S

T

U

0001 Foundation for Art

Education

20 14 0 Open 3.00 Kathleen A

Leggett

UMP

I

AR

T

311 S

T

U

0001 Modern Art

History


Boudman

UMP

I

AR

T

498 S

T

U

0001 Sculpture III

(Directed Study)


Boudman

UMP

I

34

AR

T

499 L

E

C

0001 Senior Art Project 15 8 0 Open 3.00 Hume Anderson

Giles

UMP

I

Spring 2004

AR

T

102 S

T

U

0001 Three-Dimensional

Design


Kittredge

UMP

I

AR

T

103 S

T

U

0001 Drawing I 20 22 0 Closed 3.00 Hume Anderson

Giles

UMP

I

AR

T

103 S

T

U

0040 Drawing I 20 15 0 Open 3.00 Cheryl Ann

Kittredge

UMP

I

AR

T

104 S

T

U

0001 Figure Drawing 20 20 0 Closed 3.00 Hume Anderson

Giles

UMP

I

AR

T

107 S

T

U


Arts


Kittredge

UMP

I

AR

T

107 S

T

U


Arts


Kittredge

UMP

I

AR

T

107 S

T

U


Arts


I

AR

T

107 S

T

U


Arts


I

AR

T

107 S

T

U


Arts


I

AR

T

107 S

T

U


Arts


I

AR

T

212 L

E

C

0001 Art History II 30 23 0 Open 3.00 E Clifton

Boudman

UMP

I

AR

T

221 S

T

U

0001 Sculpture I 20 20 0 Closed 3.00 E Clifton

Boudman

UMP

I

AR

T

235 S

T

U

0001 Video Production 15 14 0 Open 3.00 Frank Kimball

Grant

UMP

I

AR

T

261 S

T

U


Giles

UMP

I

AR

T

321 S

T

U

CY01 Sculpture II 99 1 0 Open 0.00 UMP

I

AR

T

351 S

T

U

0001 Photography II 20 14 0 Open 3.00 Hume Anderson

Giles

UMP

I

AR

T

381 S

T

U

0001 Art Methods I 20 14 0 Open 3.00 Kathleen A

Leggett

UMP

I

AR

T

400 L

E

C

0001 Art Study Tour 15 12 0 Open 0.00 E Clifton

Boudman

UMP

I

AR

T

413 L

E

C

0001 Renaissance Art

History

30 24 0 Open 3.00 E Clifton

Boudman

UMP

I

AR 416 L 0001 Alfred Hitchcock 25 27 0 Closed 3.00 E Clifton UMP

35

T E

C

(Great Film

Directors Series)

Boudman I

AR

T

497 S

T

U

0001 Adv

Problems/Figure

Drawing

(Independent Study)


Giles

UMP

I

AR

T

498 S

T

U

0001 Photography IV

(Directed Study)


Giles

UMP

I

AR

T

499 L

E

C

0001 Senior Art Project 15 7 0 Open 3.00 E Clifton

Boudman

UMP

I

Fall 2004

AR

T

101 S

T

U

0001 Basic Design 20 19 0 Open 3.00 E Clifton

Boudman

UMP

I

AR

T

101 S

T

U

0002 Basic Design 20 18 0 Open 3.00 Leo-Paul Cyr UMP

I

AR

T

102 S

T

U


Design


Kittredge

UMP

I

AR

T

103 S

T

U


Giles

UMP

I

AR

T

107 S

T

U


Arts


Boudman

UMP

I

AR

T

107 S

T

U


Arts

30 29 0 Open 3.00 Hume Anderson

Giles

UMP

I

AR

T

107 S

T

U


Arts


I

AR

T

107 S

T

U


Arts


I

AR

T

107 S

T

U


Arts

30 32 0 Closed 3.00 Leo-Paul Cyr UMP

I

AR

T

107 S

T

U


Arts


I

AR

T

107 S

T

U


Arts


I

AR

T

211 L

E

C


Boudman

UMP

I

AR

T

231 S

T

U


Grant

UMP

I

AR

T

242 S

T

U

0001 Ceramics I 20 20 0 Closed 3.00 Leo-Paul Cyr UMP

I

AR

T

285 S

T

U

0001 Watercolor 20 9 0 Open 3.00 Hume Anderson

Giles

UMP

I

AR

T

361 S

T

U

0001 Painting II 20 17 0 Open 3.00 Hume Anderson

Giles

UMP

I

AR 383 S 0001 Art Methods II 20 6 0 Open 3.00 Leo-Paul Cyr UMP

36

T T

U

I

AR

T

398 S

T

U

0002 Art Methods I

(Directed Study)


I

AR

T

411 L

E

C

0001 Aesthetics 25 23 0 Open 3.00 E Clifton

Boudman

UMP

I

AR

T

416 L

E

C

0001 Great Film

Directors Series


Boudman

UMP

I

AR

T

492 S

T

U

0001 Directed Study 1 0 0 Open 3.00 E Clifton

Boudman

UMP

I

AR

T

492 S

T

U

CZ01 Special Problems

In Fine Art

(Directed Study)

99 2 0 Open 0.00 UMP

I

AR

T

499 L

E

C


Giles

UMP

I

Spring 2005

AR

T

102 S

T

U


Design

20 18 0 Open 3.00 Leo-Paul Cyr UMP

I

AR

T

103 S

T

U

0001 Drawing I 20 20 0 Closed 3.00 Leo-Paul Cyr UMP

I

AR

T

103 S

T

U

0040 Drawing I 20 8 0 Open 3.00 Cheryl Ann

Kittredge

UMP

I

AR

T

107 S

T

U


Arts


Giles

UMP

I

AR

T

107 S

T

U


Arts


I

AR

T

107 S

T

U


Arts


I

AR

T

107 S

T

U


Arts


Kittredge

UMP

I

AR

T

107 S

T

U


Arts


I

AR

T

107 S

T

U


Arts


I

AR

T

212 L

E

C


Boudman

UMP

I

AR

T

235 S

T

U


Grant

UMP

I

AR

T

251 S

T

U

0001 Photography I 20 18 0 Open 3.00 Hume Anderson

Giles

UMP

I

AR

T

261 S

T

U

0001 Painting I 20 22 0 Closed 3.00 Hume Anderson

Giles

UMP

I

AR

T

270 L

E

0001 Relief Print And

Intaglio


Kittredge

UMP

I

37

C

AR

T

295 L

E

C

0001 Internship 1 1 0 Closed 3.00 E Clifton

Boudman

UMP

I

AR

T

297 S

T

U

0221 Sculpture

(Independent

Study)

1 1 0 Closed 1.00 Raphael I Gribetz UMP

I

AR

T

312 L

E

C

0001 American Art

History


Boudman

UMP

I

AR

T

316 S

T

U

0001 Contemporary

Film


Boudman

UMP

I

AR

T

382 L

E

C

0001 Curriculum

Design


I

AR

T

398 S

T

U

0001 Sculpture II

(Directed Study)


Boudman

UMP

I

AR

T

400 L

E

C


Boudman

UMP

I

AR

T

492 S

T

U

0001 Directed Study 20 0 0 Open 3.00 Hume Anderson

Giles

UMP

I

AR

T

492 S

T

U

CZ01 Special Problems

In Fine Art

(Directed Study)

99 17 0 Open 0.00 UMP

I

AR

T

498 S

T

U

0001 Printmaking

(Directed Study)


Boudman

UMP

I

AR

T

499 L

E

C


Boudman

UMP

I

Fall 2005

AR

T

101 S

T

U

0001 Basic Design 25 16 0 Open 3.00 E Clifton

Boudman

UMP

I

AR

T

103 S

T

U

0001 Drawing I 20 14 0 Open 3.00 Hume Anderson

Giles

UMP

I

AR

T

107 S

T

U


Arts


I

AR

T

107 S

T

U


Arts


Giles

UMP

I

AR

T

107 S

T

U


Arts


I

AR

T

107 S

T

U


Arts


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107 S

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211 L

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Cheryl

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Leo-

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0001 Typograph

y

(Independe

nt Study)

1 2 0 0 0 Closed 1.0

0

Hyrum

Benson

UMPI

AR

T

31

1

LE

C

0001 Modern

Art History

2

0

10 0 0 0 Open 3.0

0

E Clifton

Boudman

WebOnLi

ne

AR

T

34

2

ST

U

0001 Ceramics

II

1

6

13 0 0 0 Open 3.0

0

Hyrum

Benson

UMPI

AR

T

38

3

LE

C

0002 Art

Methods II

1 1 0 0 0 Closed 3.0

0

Heather

L Nunez

UMPI

AR

T

38

6

LE

C

0001 Mixed

Media

(Special

Topics in

Art)

2

0

13 0 0 0 Open 3.0

0

Heather

Sincavag

e

UMPI

AR

T

39

7

IN

D

0001 Graphic

Design

(Independe

nt Study)

1 1 0 0 0 Closed 1.0

0

Hyrum

Benson

UMPI

AR

T

45

1

ST

U

0001 Photograp

hy III

2

0

4 0 0 0 Open 3.0

0

Hume

Anderson

Giles

UMPI

AR

T

49

9

ST

U

0001 Senior Art

Project

2

0

7 0 0 0 Open 3.0

0

Hyrum

Benson

UMPI

Spring 2013

AR

T

10

1

ST

U

0001 Basic

Design

1

8

18 0 0 0 Closed 3.0

0

Heather

Sincavag

e

UMPI

AR

T

10

4

ST

U

0001 Figure

Drawing

1

8

6 0 0 0 Open 3.0

0

Hume

Anderson

Giles

UMPI

AR

T

10

7

LE

C

0001 Experience

of the Arts

2

5

20 0 0 0 Open 3.0

0

Hume

Anderson

Giles

UMPI

AR

T

10

7

LE

C

0002 Experience

of the Arts

2

5

22 0 0 0 Open 3.0

0

J Donald

Cyr

UMPI

AR

T

10

7

LE

C

0003 Experience

of the Arts

2

5

23 0 0 0 Open 3.0

0

Hyrum

Benson

WebOnLi

ne

AR

T

10

7

LE

C

0004 Experience

of the Arts

2

5

12 0 0 0 Open 3.0

0

Cheryl

Ann

Kittredge

Houlton

AR

T

10

7

LE

C

6WK

1

Experience

of the Arts

2

0

19 0 0 0 Open 3.0

0

Joseph B

Zubrick

WebOnLi

ne

AR

T

11

6

LE

C

0001 Introductio

n to Film

1

8

15 0 1

8

1

7

Open 3.0

0

Richard

Lee

Zuras

eng/art

116, sec

0001 x list

UMPI

AR

T

11

6

LE

C

0002 Introductio

n to Film

2

5

17 0 2

5

2

2

Open 3.0

0

E Clifton

Boudman

eng/art

116, sec

0002 x list

WebOnLi

ne

AR

T

20

3

ST

U

0001 Drawing II 1

8

12 0 0 0 Open 3.0

0

Heather

Sincavag

e

UMPI

AR

T

21

2

LE

C

0001 Art History

II

2

5

14 0 0 0 Open 3.0

0

Elizabeth

Flaherty

WebOnLi

ne

55

AR

T

22

1

ST

U

0001 Sculpture I 1

8

7 0 0 0 Open 3.0

0

Hyrum

Benson

UMPI

AR

T

23

5

ST

U

0001 Video

Production

1

8

5 0 0 0 Open 3.0

0

Hyrum

Benson

UMPI

AR

T

24

2

ST

U

0001 Ceramics I 1

8

11 0 0 0 Open 3.0

0

Hyrum

Benson

UMPI

AR

T

25

1

ST

U

0001 Photograph

y I

1

8

18 0 0 0 Closed 3.0

0

Hume

Anderson

Giles

UMPI

AR

T

26

1

ST

U

0001 Painting I 1

8

8 0 0 0 Open 3.0

0

Hume

Anderson

Giles

UMPI

AR

T

31

5

LE

C

0001 Women in

Art

1

8

14 0 0 0 Open 3.0

0

Heather

Sincavag

e

UMPI

AR

T

36

1

ST

U

0001 Painting II 2 2 0 0 0 Closed 3.0

0

Hume

Anderson

Giles

UMPI

AR

T

38

2

LE

C

0001 Curriculum

Design

2

5

3 0 0 0 Open 3.0

0

Heather

L Nunez

UMPI

AR

T

39

7

IND 0001 Altered

Book

Project

(Independe

nt Study)

1 1 0 0 0 Closed 1.0

0

Heather

Sincavag

e

UMPI

AR

T

39

7

IND 0002 Graphic

Design II

(Independe

nt Study)

1 1 0 0 0 Closed 1.0

0

Hyrum

Benson

UMPI

AR

T

39

7

IND 0003 Invstgat

phtgrphc

humn form

(Independe

nt Study)

1 1 0 0 0 Closed 1.0

0

Hume

Anderson

Giles

UMPI

AR

T

39

7

IND 0004 Ceramics

III

(Independe

nt Study)

1 1 0 0 0 Closed 1.0

0

Hyrum

Benson

UMPI

AR

T

40

0

LE

C

0001 Art Study

Tour

2

0

0 0 0 0 Open 3.0

0

E Clifton

Boudman

WebOnLi

ne

AR

T

41

6

LE

C

0001 Tim Burton

(Great Film

Directors

Series)

1

8

15 0 0 0 Open 3.0

0

Richard

Lee

Zuras

UMPI

AR

T

45

1

ST

U

0001 Photograph

y III

1 1 0 0 0 Closed 3.0

0

Hume

Anderson

Giles

UMPI

AR

T

49

9

ST

U

0001 Senior Art

Project

2

0

6 0 0 0 Open 3.0

0

Heather

Sincavag

e

UMPI

56

Appendix B: Faculty Vitae

57

Heather Sincavage

483 Main Street, Apt. 1; Presque Isle, Maine 04769

610.844.8974; www.heathersincavage.com; [email protected]

Education

Master of Fine Arts; School of Art, University of Washington; Seattle, Washington; 2000

Bachelor of Fine Arts; Tyler School of Art, Temple University; Philadelphia, Pennsylvania; 1995

Selected Exhibitions

2013

Mayfair Invitational Art Exhibition; Agricultural Society’s Exhibit Hall, Mayfair Festival of the Arts,

Allentown, Pennsylvania

8th Street Bridge Turns 100; The Gallery at Penn State Lehigh Valley, Center Valley, Pennsylvania

2012

Homefront Heroes, invitational exhibition; Penn State Lehigh Valley Gallery; Center Valley,

Pennsylvania

H(squared): recent work of Hyrum Benson and Heather Sincavage; Reed Fine Art Gallery;

University of Maine at Presque Isle, Presque Isle, Maine

Closer to Home (group exhibition); Centro de Historia de Zaragoza; Zaragoza, Spain

2011

Selections from Iniciar (solo exhibition); Cafe Sorpreso; Presque Isle, Maine

Razon vs. Locura; Periferias Festival; Centro Cultural Del Matadero; Huesca, Spain; curated Artix

Creativo Espacio

58

The Artsquest Resident Artist Annual; Banana Factory Crayola Gallery; Bethlehem, Pennsylvania

Juxtaposed; Six Summit Gallery, Ivoryton, Connecticut; curated by Alyssa Monks

In Our Body- revisited; Painted Bride Art Center; Philadelphia, Pennsylvania

Iniciar (solo exhibition); Croft Art Gallery; Waco, Texas

Architect’s Daughter and the Seamstress (solo exhibition); Galeria Calvo y Mayayo; Zaragoza,

Spain

Heather Sincavage (solo exhibition); Eagle’s Nest Gallery; Nazareth, Pennsylvania

The (fifth annual) Red Show; Banana Factory Third Floor; Bethlehem, Pennsylvania

Banana Factory Exchange; Goggleworks Art Center; Reading, Pennsylvania

Heather Sincavage & Adriano Farinella; Jewish Community Center, Allentown, Pennsylvania

URBN, representing InLiquid for the Philadelphia International Festival of the Arts, Philadelphia,

Pennsylvania

2010

The Banana Factory Artist Annual Exhibition; Banana Factory Crayola Gallery; Bethlehem,

Pennsylvania

More Serious Business; Fowler Art Center, Northampton Community College; Bethlehem,

Pennsylvania

Self; Croft Art Gallery; Waco, Texas

A Pendulum Swings: Featured Artist Exhibit (solo exhibition); Banana Factory; Bethlehem,

Pennsylvania

Aut(e)omatas; Centro de Historia de Zaragoza; Zaragoza, Spain

Architect’s Daughter (installation- solo exhibition); Arts Lehigh, Lehigh University; Bethlehem,

Pennsylvania

The (forth annual) Red Show; Banana Factory Third Floor; Bethlehem, Pennsylvania

2009

59

Visual Notations and Mark Making; Girdler Gallery, Lehigh University, Bethlehem, Pennsylvania

Anything Goes- todo vale-; El Jardin de las Delicias, Zaragoza, Spain

The Banana Factory Artist Annual Exhibition; Banana Factory Kress Gallery; Bethlehem,

Pennsylvania

Baum School of Art Faculty Exhibition; David E. Rodale Gallery, Baum School of Art; Allentown,

Pennsylvania

Heather Sincavage: Curator Showcase (solo exhibition); Asociacion de Venecinos o San Jose,

Zaragoza, Spain

Gift (solo exhibition); Banana Factory; Bethlehem, Pennsylvania

End of winter: Featured Artist Exhibit (solo exhibition); Banana Factory; Bethlehem, Pennsylvania

The (third annual) Red Show; Banana Factory Third Floor; Bethlehem, Pennsylvania

2008

she her i: a portrait of women (solo exhibition); Rodale Family Gallery, Baum School of Art;

Allentown, Pennsylvania

Gemini: Featured Artist Exhibit (solo exhibition); Banana Factory; Bethlehem, Pennsylvania

The Red Show; Banana Factory Third Floor; Bethlehem, Pennsylvania

Releasing Butterflies (solo exhibition); Gallery 908; Reading, Pennsylvania

The Banana Factory Artist Annual Exhibition; Banana Factory Kress Gallery; Bethlehem,

Pennsylvania

2007

18th Annual New Arts Program Salon Invitational; New Arts Program; Kutztown, Pennsylvania

In Response to Healing; traveling nationally to Kutztown University; Gallery 908, Reading, PA;

Penn State University, State College, PA; Ohio State University, Newark, OH; University of

Arkansas

60

2006

Bridging the Divide; Monsoon Gallery, Bethlehem, Pennsylvania

Drawing Conclusions; project Blue Gallery and Workshop; Easton, Pennsylvania

2005

Collector (solo exhibition); North Light Loft; Allentown, Pennsylvania

16th Annual New Arts Program Salon Invitational; New Arts Program; Kutztown, Pennsylvania

Bringing the Outside In; David E. Rodale Gallery, Baum School of Art, Allentown, Pennsylvania

2004

Womenkind; Black Cultural Arts Center, Lafayette College; Easton, Pennsylvania

Crossing the Line: Wearable to Unwearable; Ben Shahn Court Gallery, William Paterson

University; Wayne, New Jersey

(un)Wearable; Williams Center for the Arts, Lafayette College; Easton, Pennsylvania

2003

Armored Vulnerability (solo exhibition); David E. Rodale Gallery, Baum School of Art; Allentown,

Pennsylvania

Ballad (solo exhibition); project Blue Gallery; Easton, Pennsylvania

Marywood Faculty Biennial Exhibition; Mahady Gallery, Marywood University; Scranton,

Pennsylvania

Baum School of Art Faculty Exhibition; David E. Rodale Gallery, Baum School of Art; Allentown,

Pennsylvania

2002

61

28th Annual Juried International Exhibition; Allentown Art Museum; Allentown, Pennsylvania

2001

Nesting/Finding (solo installation); Allentown Art Center; Allentown, Pennsylvania

Selected Artist Residencies, Awards, & Grants

September 2013: Nes Artist Residency, Nes Artist Residency, Skagastrond, Iceland

August 2013: Can Serrat Residency & Fellowship, Can Serrat Centro de Actividades Artisticas, El

Bruch, Spain

July 2013: Arteles Creative Center & Fellowship; Arteles Creative Center, Hameenkyro, Finland

May 2011: Arts Ovation- Outstanding Achievement in the Visual Arts; Allentown Arts

Commission, Allentown, Pennsylvania

August 2010-present: Juried Member; InLiquid; Philadelphia, PA

October 2007- present: Resident Artist; Banana Factory Community Art Center; Bethlehem, PA

January-March 2010: Artist in Residence; Arts Lehigh, Lehigh University; Bethlehem, PA

May-June 2009: Artix Fellowship for Artist in Residence; Artix Creativo Espacio; Zaragoza, Spain

September 2008: Pennsylvania Council on the Arts Project Stream Grant entitled Gift;

Bethlehem, PA

January 2008: VSC Fellowship for Artist in Residence; Vermont Studio Center; Johnson, Vermont

September 2007: Pennsylvania Council on the Arts Project Stream Grant for a project entitled

she her i: a portrait of women; Allentown, PA

September 1999: Gonzales Award; School of Art, University of Washington; Seattle, WA

62

September 1998-2000: Merit Portfolio Fellowship; School of Art, University of Washington;

Seattle, WA

Selected Commissions

May 2010: Mosaic Planter Project; 7th Street Program; Allentown, PA

June 2008: Mural Commission; Fountain Hill Elementary School; Bethlehem, PA

March 2008: Commission; Lehigh Valley Hospital Center- Emergency Room; Allentown, PA

June 2007: Mural Commission- “Imagination Soars at Central”; Central Elementary School,

Allentown, PA.

June 1995: Commission; Ceremonial Candelabra in honor of Former Phillippino Prime Minister

Corazon Acquino; Pearl Buck Foundation; Perkasie, PA; Presented at United Nations, New York,

NY

Professional Experience

2012 to present: Director, Reed Fine Art Gallery and University Collections; University of Maine

at Presque Isle; Presque Isle, Maine

2011 to present: Assistant Professor; University of Maine at Presque Isle; Presque Isle, Maine

Courses include: Basic Design; Drawing 1; Experience the Arts; Introduction to Film; Three

Dimensional Design; Mixed Media Process I, Mixed Media Process II, Sketchbook Process,

Women in Art

2005 to 2011: Adjunct Professor; Lehigh University; Bethlehem, Pennsylvania

Courses Include: Foundation Design, 3D Design

2002 to 2011: Instructor of Record; Baum School of Art/ Lehigh Carbon Community

College/Penn State University; Allentown, Pennsylvania

63

Courses Include: 3D Design, Beginning Sculpture, Beginning Jewelry and Metalsmithing,

Advanced Jewelry and Metalsmithing, Teen Sculpture Workshop, Jewelry for Teens, Color in

Jewelry for Teens.

Also designed and taught workshops in Hydraulic Die Forming Flatware and the Art of Collage

Sculpture: a Study of Joseph Cornell

2005- 06, 2007, 2009-10: Assistant Professor (temporary): Kutztown University; Kutztown, PA

Courses Include: 2D Design, 3D Design

2002 to 2007: Artist in Residence: Lehigh Valley Arts Council; Allentown, PA

Courses include specialized workshops catered to adjucated youth, gifted middle school

students and mentally disabled adults

2003 to 2005: Adjunct Professor; Marywood University; Scranton, Pennsylvania

Courses Include: 2D Design, 3D Design, Sculpture II, Sculpture III, Advanced Sculpture, Graduate

Sculpture.

2000: Visiting Faculty; University of Washington; Seattle, Washington

Courses Include: Beginning Jewelry and Metalsmithing, Independent Study- Metalsmithing

1999 to 2000: Shop Technician (Industrial Design Department); School of Art; University of

Washington; Seattle, Washington

1998 to 1999: Teaching Assistant; School of Art; University of Washington; Seattle, Washington

Courses Include: Beginning Jewelry and Metalsmithing

64

Research Project

March 2010: The Evolving Archetype visual art series; Lehigh University; in conjunction with Arts

Lehigh, Women’s Center, and the Women Studies Program; Bethlehem, PA

Lectures and Public Interviews

November 2010: Facilitator; Building Participatory Culture Art Education Conference, Kutztown

University; Kutztown, PA

November 2010: Guest Panelist; Lehigh Valley Creative Careers 2010: where art and business

merge; Desales University; Center Valley, PA

March 2010: Architect’s Daughter; Arts Lehigh, Lehigh University; Bethlehem, PA

March 2010: Penn State Careers Panel; Penn State University; Bethlehem, PA

March 2010: Guest Speaker; Women in Art Graduate Seminar; Kutztown University; Kutztown,

PA

May 2009: Banana Factory, an example for La Harinera; La Harinera, Centro Cultural y de

Creacion Contemporanea; Zaragoza, Spain

May 2009: Interview; Aragon National Public Radio; Zaragoza, Spain

February 2009: Interview; WDIY Public Radio; Lehigh Valley Arts Salon; Bethlehem, PA

February 2008: Releasing Butterflies; Gallery 908; Reading, PA

March 2007: Heather Sincavage; In Response to Healing exhibition; Ohio State University;

Columbus, OH

October 2007: Saving our Schools; Tempo! WLVT PBS station; PA

September 2006: Heather Sincavage; Berks County Art Alliance; Wyomissing Art Institute,

Wyomissing, PA

November 2005: Collector; North Light Loft, Allentown, PA

June 2002: Artist Spotlight on 28th Annual International Juried Exhibition; Allentown Art Museum;

Allentown, PA

65

Invited Juror, Curator, & Review Panelist

March 2010: Curator; “Chores: a contemporary response to domesticity”; Members Lounge

and Gallery; Banana Factory, Bethlehem, PA

May 2005: Juror; Mayfair Festival for the Arts; Allentown, PA

June 2003, 2004: Juror; Art in the Park, West Park Association; Allentown, PA

May 2004, 2005; Panelist; Marywood University 2nd and 3rd Year Reviews; Marywood University;

Scranton, PA

Selected Bibliography

Profile: Heather Sincavage; Studio Visit Magazine: a juried selection of international artists;

Volume 15; juried by Ian Berry, curator of the Tang Teaching Museum and ARt Gallery at

Skidmore College; December 2011

Artist Profile: Heather Sincavage; Bohemia Magazine; November 2011

Croft Art Gallery explores building identity, image in layers; by Carl Hoover; Waco Tribune;

August 2011

Becoming the Archetype; by Megan Hein; InQ; Summer 2010

Heather Sincavage; by Heather Hanson; Local Flair Magazine; Feb/Mar 2010

A Mental Pinball Machine: by Geoff Gehman; Morning Call; May 8, 2008

66

The Art of Survival; by Ron Schira; Reading Eagle; February 24, 2008

Piecing Together a Sense of Unity; by Melanie Hughes; Morning Call; October 25, 2007

Baum teachers make boxed in feel free; by Geoff Gehman; Morning Call; December 21, 2006

Crossing the Line: Wearable to Unwearable; by Nisha Drinkard; Surface Design Magazine; Spring

2005

Local Children Exhibit Furniture among Books; Allentown Times; May 21, 2004

Project Blue gets off to a great start; by Kenneth Endick; Express Times; November 21, 2003

Sculptor heals by revealing her wounds; by Geoff Gehman; Morning Call; January 16, 2003

review of the fine art programs of the university of maine

Documents