Alumna Rachel Simone Weil collaborates with Rhizome
Fri. April 24, 2015
Founder of FEMICOM Museum, Rachel Simone Weil (MFA in Design, 2014) works with Rhizome to preserve work by Theresa Duncan. The project and work was featured in artnet news.
Solo Exhibition of work by Ian Pedio, MFA Studio Art 2002
Fri. April 24, 2015
Ian Pedigo (MFA in Studio Art, 2002) presents work in The Arrows Like Soft Moon Beams, his fourth solo exhibition at 65Grand in Chicago. The exhibition will be on view April 17 – May 23, 2015.
Juliet Whisett talks about the challenges of raising a family while completing graduate school
Wed. April 29, 2015
Juliet Whitsett is a graduate student in Art Education and is writing her thesis on the principles that guide and motivate those who direct the Public Programs at the Friends of the High Line in New York. She is investigating how the recognition of these principles contributes to understandings regarding the development of art education in a community.
Whitsett received a BA in Art Education and certificate in Art in Special Education from the University of Wisconsin–Madison. She is proud to call herself as a teacher, public program coordinator, community arts educator, Salsa and Texas Swing dance instructor, plant lover, traveler, cancer survivor, stepmother to 13-year-old Kai, and mother to 3-year-old twin girls, Fischer and Sequoia.
She answered questions from Professor Paul Bolin by email.
Paul Bolin: Tell us about your background and what led you to the Art Education program at UT Austin.
Juliet Whitsett: When I was finishing my bachelor’s degree in Art Education, I told myself "There's no way I am applying for a job as an art teacher after graduation. I want to have some more adventures first.” So that’s what I did.
I moved from Madison to Austin and became an AmeriCorps VISTA Volunteer teaching gardening to children. VISTA really shaped my life. I made contacts in the environmental education world, and I took a position as an Environmental Educator at the Lady Bird Johnson Wildflower Center. I infused the arts into my entire curriculum, and I saw how they could be used to teach about the natural world.
After the Wildflower Center, I took a job as a guide with an international organization that leads trips for young adults to various parts of the world. Journeys focused on adventure travel, volunteerism, and language study. My work with them took me to the South Pacific and Central and South America. I landed in Mexico, where I lived for two years polishing up my Spanish and learning how to teach Salsa, and directing an art, dance, and Spanish camp for U.S. teens.
In 2009, I moved back to Austin. While working for a high-end landscape business, I discovered I had cancer. I spent six months in chemotherapy and one month undergoing radiation.
One day after a chemo session, I was listening to a piece on the radio about John Cage, and something about it made me reflect on creativity in a new and different way. I marveled at how he was so rewarded for his divergent thinking and how he followed so many visions. Hearing that flipped a switch and rekindled an interest in returning to my roots as an art educator. I took the GRE while undergoing radiation. A few months after I completed treatment, I began the Art Education program in the fall of 2010!
PB: What were the most challenging parts of the program, and conversely, the most rewarding?
JW: In the summer of 2011, I wanted to find an incredible internship. I wanted to work for the High Line in New York; however, the Public Programs Department of The Friends of the High Line did not have an internship program. I was fairly persistent and, recognizing that my experience with both art education and environmental education was the perfect fit, they accepted me as their first summer intern.
A few weeks before leaving for New York, I found out I was pregnant — with twins! Determined to fulfill my dream of living in New York for a summer, I spent the first three months of my pregnancy away from home, writing curriculum and executing public programs.
I encourage graduate students to find an internship that they really want. I learned so much and gained incredible contacts. I ended up working for Friends of the High Line the following year, writing some of their summer curriculum — Babies in Tote — from Austin. Eventually, the High Line's public programs became the subject of my thesis.
It is now 2015 and most of my classmates graduated in the spring of 2012. It has been a long haul. Writing a thesis while juggling sweet and inquisitive twins — now preschoolers — and a tween stepson, as well as working full-time and writing a thesis is challenging.
Now that I am in the throes of my final thesis edits and my last classes are wrapping up, it's starting to sink in that I really did this! I couldn't have done it without my loving husband's support or without the patience and confidence of you, my faculty adviser.
PB: Do you have plans once you finish the program?
JW: I’m going to do is celebrate my master's degree with my family and friends! I will continue to contribute to the world in a creative way, and right now, I’m enjoying teaching art and gardening at Austin Discovery School. In my younger years, I avoided Art Education in search of adventure. I'll be 40 this year and I have had my fair share of adventures, so I’m excited to embrace this next step.
Alumni Spotlight: Adrian Parsons, BFA in Design, 2010
Wed. April 29, 2015
Gloria Lee: It's been a long time! I will confess that I occasionally do check in on people via social media networks (yes, lame non-FB-embracer I am) and so I was really happy to learn of your move to New York and your design evolution these past five years. I last worked with you during your senior year, when you were working with both Donoho Designs and League of Technical Voters — both tech-oriented internships and rather radical for design students at the time.
How did your experience in the undergraduate program lead you to both those internships, and what relevancy does your experience as a student relate to your current position now?
Adrian Parsons: The program was really open to me following my curiosity and asking questions about the design of governments and constitutions. That investigation and research led me to discover the League of Technical Voters. I needed an internship to graduate, so I cold-emailed their founder and asked if they needed a designer. It was a slightly sneaky way to get involved in something I care about: "I'll make things pretty for you!" I ended up helping them create a coherent story about how they wanted the government to change — and I got to present it at SXSW, which was really cool!
One of my senior year projects involved designs for an iPhone app. The iPhone was really new at the time, but the design instructors were enthusiastic about integrating new technology and new kinds of interactions into our work. That project led me to working on an iPhone app at Donoho Design Group. When I moved to New York, the app we released at DDG served as a primary portfolio piece while I was job hunting.
One of the more useful things I learned as a student was how to work creatively with a group of people to solve a problem. I came out of school thinking everyone knew how to do this, but it's a rare and valuable skill. The critical thinking skills I developed and the ability to ask fundamental questions like: Why are we doing this? What are we trying to achieve? — are hugely important. In addition, the ability to see the possibilities in a situation — to look beyond the obvious and to question assumptions — is something I use every day. The mindset of embracing process over outcomes hasn't filtered into many communities and is one of the most important things I learned.
GL: Have there been any major changes or constants in your methods of practice over the years?
AP: I've really expanded my technical expertise (most of my day is now spent writing code). I love the problem solving aspect of it but also the power that comes with being able to build digital services from end to end. The creative potentials are endless.
From a design perspective, the thing that has surprised me about the workflow in startups is speed. We deploy changes to Meetup.com multiple times a day. We can iterate incredibly quickly. The other surprise is data, and how it informs the design process. We have 20 million users at Meetup, and about 1 million visitors to the site every day. We do a ton of split testing (A/B testing), and our design decisions are informed by patterns we see in these millions of interactions. It also makes testing very low-risk. If you have a crazy hunch that something would work better a different way, you can deploy it as a test to a few thousand users, get immediate feedback in the form of behavior and data, and iterate on it until you've confirmed or denied your theory.
GL: It sounds like you have found a really interesting way to start a 'side-project' with Orbital Boot Camp. Can you tell me more about your project, and also why you choose to go with Orbital — what was appealing (and different) about this think-tank/accelerator (I know, they really aren't an accelerator in the commercialization sense)?
Absolutely. We're not sure what to call it either. "Pre-accelerator" is somewhat accurate, but it's hard to pin down. I had heard of orbital through friends — but it was ultimately a blog post by Fred Wilson (co-founder of Union Square Ventures) that convinced me to apply.
Gary Chou, the founder of Orbital, is really well regarded in the tech community. He's friends with John Kolko of the Austin Center for Design and an advisor there. Gary teaches Entrepreneurial Design, an MFA course at SVA in New York. We share a lot of the same values, and his deep understanding of the intersection of design, technology, and entrepreneurship is compelling.
My project is called The Lazy Philanthropist, and its an easy way to donate regularly to nonprofits. I found myself wanting to donate regularly, but not knowing where to donate (and not wanting to do the research to find out). I also found the process of donating — especially in smaller amounts — unfulfilling. I assumed other people had the same desire, so I created a subscription donation service. I'm still developing it, but it's been a really fun project and I've learned a lot from it.
GL: Any advice you would give to the undergraduates in the Design program, and in particular to the seniors?
I never thought I'd say this, but it's been incredibly valuable to work in the business world, especially the technology sector. Partially because the landscape is shifting so quickly, but partially because the values and the working methods of the sector are so smart. You can have a lot of positive effect on people's lives and still make money.
Overall, I've had a lot of success working with people who are smarter than me. When I say smarter, I don't necessarily mean raw intelligence, but smarter in a particular skill or category. One of my colleagues at Meetup has an uncanny ability to distill difficult technical details down to important and actionable facts for engineers and non-engineers alike. Some people are incredibly good at conducting user interviews, motivating teams of people, generating press coverage, etc.
As far as overall career advice, I think it's important to understand and utilize your networks (and to facilitate new ones). You have a built-in network with the Design program, which will help a lot when you graduate (in New York, UT Austin Design alumni meet about once a month). Additionally, I went to a lot of tech Meetups when I lived in Austin and after I moved to New York. People I met at those events are still good friends, and have had a huge impact on my career. More than that, though, I've been able to find "my people", the people who care about the same things I do and who deal with the same problems. My network is great for my career, but it's even better for my creative growth.
Alumni Spotlight: Melissa Warak, PhD in Art History, 2014
Wed. April 22, 2015
Linda Dalrymple Henderson: Readers will be interested to hear about your interdisciplinary research focus. Can you talk about that and what led you to your interest in music and art, even before arriving at UT Austin?
Melissa Warak: I grew up in a musical household. My mother had trained as a classical pianist and we listened to classical music on the radio all the time when I was a child. In college, I worked in college radio and loved learning about experimental music, which tied nicely to my studies of art history and English. I found all of these great connections among artists, composers, and musicians that interested me enough to want to write about them.
LDH : How did the graduate program at UT Austin help you develop your interests in art history and other fields?
MW: My graduate coursework in modern and contemporary art really helped me hone my interests in the 1960s and in sound art. I took courses in Music, Germanic Studies, History, and American Studies to develop my research skills in cultural histories and production. I found that my Art History professors encouraged my outside interests in music and metaphysical philosophy and even arranged introductions to faculty members across campus. I also learned that many other departments at UT Austin value the interdisciplinary research skills developed in the art history graduate program.
LDH: What role did your time as a Vivian Smith Fellow at the Menil Museum play in your graduate work?
MW: This fellowship allowed me to work firsthand with objects and archival material related to my dissertation. I was able to dive into my work completely. I proposed an exhibition (Takis: The Fourth Dimension, on view until July 2015) that was approved even after I finished the fellowship. I also had the opportunity to organize a two-day symposium on art and music, for which I invited prominent scholars in the field. My fellowship at the Menil Collection also allowed me to develop professional connections and relationships with artists, art historians, and other specialists across Texas, which has served me well in my present position at the University of Texas at El Paso.
LDH: How did the program at UT Austin prepare you for your current position at UT El Paso and your work as a liaison between the university and the Judd Foundation?
MW: I teach art from 1850 to the present at UTEP, so having access to a broad range of graduate classes in modernism, theory, and contemporary art has served me well. UT Austin has had several graduates write on Donald Judd, including Adrian Kohn and David Raskin, and of course, Dr. Richard Shiff is a wonderful source for any students investigating Judd's legacy in Marfa. One of the books featured front and center in Judd's library in Marfa is Dr. Linda Henderson's book on the fourth dimension and non-Euclidean geometry, so I have always felt that there are advantageous connections among scholars at UT Austin and Marfa.
Graduate students in Art History at UT Austin develop strong speaking agendas through conferences, symposia, and invited talks, so creating community becomes second nature to many of us. I also earned quite a bit of valuable teaching experience as a graduate student. As soon as I arrived at UTEP, I began to nurture the relationships between my department and the Chinati Foundation and Judd Foundation in Marfa. Given my relatively close proximity to Marfa (a three hour drive), I can take students every semester. My comfort in working with undergraduates allows me to get to know students so I may support their internship applications to the arts organizations in Marfa.
LDH: What advice would you give to students completing their graduate work at UT Austin?
MW: It feels so good to finish that thesis or dissertation and move forward. I loved teaching at UT Austin — it is an incredibly valuable experience — but it is also time-consuming to create courses and lectures. I was able to finish only through the support of outside fellowships that allowed me to write exclusively, so I would encourage graduate students to seek external funding. In applying for jobs, cast a wide net. In addition to seeking career advice from faculty members, graduate students should also take advantage of the wide network of Art History alumni.