Heart, Head, and Hand: Making and Remaking at Berea College Student Craft was the first exhibition I worked on at the Center for Design and Material Culture. The curators had a strong sense of how the exhibition would flow narratively and I assisted in adding design details and mounts to highlight each object's story.
I also oversaw the design of the online exhibition.
Throughout the exhibition, I organized multiple programming events including a broom-making workshop and a panel discussion on arts pedagogy.
Acknowledgments
Heart, Head, and Hand was collaboratively curated by Aaron Beale, Associate Vice President of Student Craft, Hunter Elliott, Director of Apprenticeships, and Erin Miller, Director of Weaving at Berea College and Danielle Burke, a Ph.D. student in Design Studies and the Jane Graff Fellow in the Center for Design and Material Culture at the University of Wisconsin-Madison.
The project was made possible through the efforts of a large and creative team of students, faculty, and staff at both institutions. The Berea team includes Colleen Ambrose, Family Historian; Chad Berry, Vice President for Alumni, Communications, and Philanthropy; Emerson Croft, Weaving Manager and Class of 2021; Sean Hall, Student Videographer; Walter Hyleck, Professor of Ceramics from 1967-2008; Dwayne Mack, Vice President for Diversity, Equity and Inclusion, Professor of History; Kelsey Malone, Curator of the Doris Ulmann Galleries and Berea College Art Collection; Chris Miller, Curator of Appalachian Artifacts and Associate Director of the Loyal Jones Appalachian Center; Lori Myers-Steele, Collections Archivist, Berea College Special Collections Caitlyn Rachschulte, Research Service Specialist, Berea College Special Collections; and Justin Skeens, Videographer.
The CDMC team at the UW-Madison team includes Sarah Anne Carter, Executive Director of the Center for Design and Material Culture; Emma deVries, Engagement Manager; Carolyn Jenkinson, Collections Manager; Laura Sims Peck, Operations Manager; Roberto Torres Mata, Preparator; and Sophie Pitman, Pleasant Rowland Textile Specialist and Research Director. The CDMC exhibition installation team includes dedicated student workers Heidi Bechler, Sarah Czech, Kate Davidson, Claire Lamoureux, Clara Landucci, Christine Koch, Estella Roddy, Danitza Rodriguez Jimenez, and Ava Schueller. Graphics and production by Creative Vixen Design, Alpha Graphics, and Digital Publishing & Printing Services.
Remaking the Renaissance offered a new way of looking at historic textiles through reconstructed objects based on extensive research of early modern sources. The star object of the show was a newly conserved Chasuble that was repaired during its use (1400-1600, lining; 1500-1700, outer fabric). I worked with the curator and collections manager to create a fully enclosed, freestanding case that would allow the object to be viewed in the round. My final design was a 4 foot by 6 foot structure with acrylic sides and top.
The thesis of the exhibition focused on disrupting visitors' preconceptions of the Early Modern period and what are typically associated with the "Renaissance". The main colors in the front area were a deep burgundy-red contrasted with gold accents. The curator was interested in visitors moving through a portal to the main
Curator Dr. Sophie Pittman with support from PhD candidate Maeve Hogan. Preparator Roberto Torres Mata. Collections Manager Carolyn Jenkinson.
Designed to accompany the popular exhibition Building a Narrative, this catalog features all of the original artwork exhibited in the show, as well as, installation photos, section text, and a foreword by the show’s curator.
Featuring original artwork from popular films, animated television, comic books, and trading cards, Building a Narrative reveals the multidimensional format of television and film, its creative process, and the impact video media and storytelling have on popular culture and our identities.
Building a Narrative is evidence of how ingrained popular culture is in our lives. The timeless cartoons, cult classics, and childhood memorabilia included in the exhibition speak to audiences across generations and spark personal emotions and nostalgic connections.
Over 1,100 visitors explored the hidden artistry of iconic film and television shows during the exhibition’s four-month run.
In the media:
“Unique exhibit shows off art from cartoons and movies of your childhood” - L. Kent Wolgamott; Jun 19, 2022
“From Lincoln to ‘Captain America’ and back —visual effects artist Trent Claus makes movie magic” - L. Kent Wolgamott; Jun 19, 2022
Friday LIVE: Extra: Trent Claus, Emily Frenzen, and Beth Dotan - Jun 9, 2022
Cel Talk 10: Trent Claus gives a tour of his art museum exhibit - Jul 22, 2022
Acknowledgments
Building a Narrative: Production Artwork from Popular Culture exhibition and catalog are made possible through the generous support of the Hixson-Lied College of Fine and Performing Arts, the School of Art, Art History & Design, Dan Howard, Emeritus Faculty, and the Johnny Carson Center for Emerging Media Arts.
A special thanks to Trent Claus for generously sharing his collection along with his expertise and knowledge about the film industry. Warren Cradduck of Cradduck Productions crafted the custom-made frames used throughout this exhibition. Clay Smith kindly loaned pieces from his extensive lunch box collection at Speedway Motors Museum of American Speed. Tim Matthews and Ave Pickering for facilitating the loan.
Emma deVries; curator and gallery director; the Gallery Management students, installation assistance; Asher Rey, audio mixing and installation prep; Daniela Chávez, research and content writing; Ashleigh Kawaoka, graphic identity and label design; Annie Wang, video editing; Sandra Williams, sparking the conversation; Ash Smith, narrative and video expertise; Reid Martin, installation assistance; Andrea Gruber, administrative support; Drew Davis, technical support; Kathe Andersen, public relations and advertising; and Francisco Souto, fundraising and academic leadership.
In collaboration with artist Sandra Williams, this community arts project focused on teaching 4th and 5th graders to use stencils for street art. This project occurred during the tail-end of the pandemic and provided an activity that could safely be performed outside. Allowing children the opportunity to work together after being apart for so long.
I ensured that the final vector images were faithful to Sandra’s hand-painted illustrations, while also fulfilling the need for strong bridges and minimal vector points so laser cutting time could be maximized.
In the media:
Quilts of Emotion was an exhibition at the International Quilt Museum that focused on the differrent emotional experiences the quilt’s creators had while making the object and the response the viewer’s had to seeing the artwork and reading the quiltmaker’s stories. Each quilt showed an emotional journey, wthether it was made to work through personal grief or was a moment for socializing and coming together, each quilt had a story to tell visitors.
Repurposing materials from a previous show allowed the exhibition to stay under budget yet still remain visually engaging. Some quilts were accompanied by quotes that spoke to the imagery used within the quilt. The large printed portraits further humanized the topic.
The Assemblage is a private art gallery featuring the collections of the Karen and Robert Duncan Collection and Kathryn and Marc LeBaron Collection. With the direction of the lead curator Anne Pagel, I designed several art catalogs of past exhibitions. This is an ongoing collaboration.
A renowned quilter, Emiko Toda Loeb’s quilts are meant to be viewed freestanding to display their double-sided artistry. I presented the curator with two structural options: the first was cantilevered metal poles from a central post and the second a wooden-frame cross. The natural material better complimented Toda Loeb’s log cabin designs. Additionally, the wooden crosses would be easier to reuse and store after the exhibition ended.
As the lead designer on the Dualities: Emiko Toda Loeb exhibit at the International Quilt Museum (IQM), I created a CAD model using SketchUp. I drafted the manufacturing specs for the wooden-frame crosses and collaborated with the assistant curator of exhibitions to produce the frames within the project timeline. Like many projects, there were unexpected moments—objects needed to be swapped out—and necessary accommodations—stanchions had to be added onto the custom display—that needed to be integrated as the project progressed. During the installation process, I was responsible for organizing personnel and developing the schedule.
I researched, designed, and created a structure for a robust traveling exhibitions program at the International Quilt Museum (IQM). After conducting thorough market research and evaluating compatible case studies, I outlined the six shows that would make up the inaugural program.
I worked with the curators, exhibition staff, and collections management team to review and update the materials necessary for each exhibition rental. In the end, I developed a physical pamphlet featuring gallery shots, object highlights, and example text. This corresponded with the website material I had prepared for a joint launch of the program.
The goals of the program were to create an engaging product that was accessible to both the target audience and the wider public, and finally reflected the core values and identity of the IQM.
To promote an upcoming temporary exhibit Guts and Glory: a Parasite Story, I designed fun, light-hearted Valentine’s Day cards to mail to museum members.
I developed the idea and copy, puns that featured parasites central to the exhibition. West Schomer drew the heartworm and liver illustrations, while I contributed the tongue-eating louse and tapeworm.
Guts & Glory: Love Notes was awarded the Merit Award at the 2018 AMA Lincoln Prism Awards Ceremony
Mandy Haase-Thomas - Chief Communications Officer
West Schomer - Illustrator
Emma deVries - Graphic Designer
Investigate was a monthly science program for families. To encourage repeat visits, incentives were created to distribute to children who attended a certain number of events. I designed a poster, trading cards, and field notebook as well as online promotions and print advertisements.
Context gives verbal and visual communication meaning. Without context, signals can be misinterpreted and messages can be miscommunicated. Give It Context explores how a simple shape can be interpreted differently from person to person. While one may see the beak of a bird, another sees a peak waiting to be conquered.
My senior capstone research became a collaborative process as I used the imagination of the audience to complete my project’s context.
After designing a rounded, friendly typeface reminiscent of fridge magnets, and aptly named Melted Magnets, I designed a project that would put my type into context. Choosing animals that ranged from extinct to least concern, shows the magnitude of what it will really mean when the world loses its biodiversity.
The world may have lost the golden frog, but there is still hope for the hirola and other endangered and vulnerable species. These cards are meant to bring attention to species that are not as well known and highlight how many amazing creatures inhabit every corner of the world.
During my second year-long self-guided research project I collaborated with educators at the International Quilt Study Center and Museum and a fellow student to create cross-generational guides.
The pamphlets were designed to work with the museum’s rotating collections and act as an exciting introduction to the world of quilts for first-time visitors. Buttons and stickers were created for a museum event to promote the guides.
