Tue. November 24, 2015
Jesse Kinbarovsky completed an M.F.A. in Design in 2014 from The University of Texas at Austin. He answered questions by email.
When you completed the graduate Design program, you were working on GlucoCue. Where is that project now?
Jesse Kinbarovsky: I continue to work on my diabetes ‘internet-of-things’ project, and have gotten a decent chunk through development. The utility patent was filed this year but will take a few more months for approval. I’ve pivoted a bit to account for gaps in the market and competition, but it’s more or less the same sort of thing I presented in grad school. I wish I were further on this, but given my schedule I’m happy that I’ve at least gotten this far. In the fall, I partnered with UT School of Biomedical Engineering to help develop, which was a good experience. I recently found a business partner, and it’s looking good for product release sometime in 2016, if I can focus enough time on it.
What work have you been doing since graduating?
JK: After graduating in 2014 I worked as a contract designer, playing lead design roles on a few projects. I spent much of the time focused on a really cool touch wall at a large hospital complex in San Francisco, developing a series of physical and music therapy games and interactive experiences for the Children’s Hospital there. I was extremely gratified to learn that the therapists walk groups of kids to the wall every day for therapy. Following that I moved to Precocity, LLC as a Senior UI/UX Designer on some large-scale software products. After a few months I became Creative Director, leading design and development teams in the U.S., Ukraine, and India on a suite of immigration, investment and tax compliance applications for Deloitte, Apple, Facebook and Google—about one billion in contracts altogether.
It was a real learning experience and full of big problems to solve, but in October I was invited to be Creative Director of UX for North America with KUKA Systems, a robotics and automation firm headquartered in Augsburg, Germany. In this new role I am helping launch a new R&D branch and working with some fascinating emerging technologies to define how people experience and interact with robots and automation systems in a wide range of settings. Starting in 2016 I will be building teams in Austin and San Francisco to design mobile and cloud solutions for industrial robotics applications in general, and healthcare automation more specifically.
It's only been a short time, but what has been the most exciting thing about your work for KUKA Systems?
JK: It’s been thrilling and demanding working with some very sharp people who are building some amazing technologies. But even more than that, it’s energizing to work in a very entrepreneurial environment at this early stage. All of us have the sense of urgency and excitement that comes with the start of a new thing.
How would you describe your practice before you entered the M.F.A. program in Design and how has it changed since you completed the program?
JK: All of the work I listed above has been a direct outgrowth of my grad school experience and output. UT Austin has dramatically improved my career trajectory, and the last year and a half have been filled with rapid growth. Before grad school I was pretty hemmed in to my specific design practice, stuck at a certain level and quite honestly too timid to venture into new areas. But the amazing professors and availability of great courses helped me tailor my education to expand my skill set and build confidence in my abilities. I learned how to think in new ways and engage with a wide variety of subjects, and the result has been having a meaningful impact on people’s lives through my design work.
An excerpt from Eddie Chambers’ paper entitled “We Might Not Be Surprised: Visualizing Slavery and the Slave Ship in the Works of Charles Campbell and Mary Evans”
Tue. November 24, 2015
Associate Professor Eddie Chambers contributed a chapter to the book, Visualizing Slavery: Art Across the African Diaspora (Liverpool University Press, December 2015). An excerpt from Chambers’ chapter entitled “We Might Not Be Surprised: Visualizing Slavery and the Slave Ship in the Works of Charles Campbell and Mary Evans” follows:
One of the most fascinating aspects of contemporary artists’ attempts to visualize slavery is the extent to which such images relate as much to the present-day, as they might to the historical traumas and experiences they seek to reference. Though contemporary artists may lay claim to, or may utilize, 18th or 19th century imagery in their work, the resulting pieces often speak as much, if not more, to late 20th or early 21st narratives of history and identity, than to the historical subject matter the original images depict. There is perhaps a certain inevitability to this, substantially reflected in television or cinematic interventions into narratives of slavery and the slave trade.
The television production of Alex Haley’s Roots probably told us more, or as much about race in mid 1970s United States, as it did about the particular saga of Haley’s family tree. More recently, films such as the biopic Amazing Grace (directed by Michael Apted, and loosely based on the life of antislavery MP William Wilberforce) probably told us more, or as much, about the climate of benevolent liberalism and partiality that by and large characterises the British people’s attitudes to matters of slavery and abolition. The fascinating set of postage stamps issued by the Royal Mail in 2007 probably told us as much as, or more about the Blair government’s questionable Abolition 200 project, as the stamps did about the historical figures they sought to memorialize. Much more recently, Steve McQueen’s own biopic 12 Years a Slave (loosely based on the vivid recollections of Samuel Northup, a free Black man kidnapped into slavery, and his subsequent nightmarish existence) probably told us more, or as much, about the United States in the era of Obama, as it did about slavery in 19th century America. Time and time again, we see the ways in which images of slavery and the slave trade have this fascinating ability to shuttle between considerations of both the past and the present.
Eddie Chambers joined the Department of Art and Art History in 2010, teaching African Diaspora art history. His education includes a Fine Art (Honours) degree from Sunderland Polytechnic (1983) and in 1998 a Ph.D. in History of Art from Goldsmiths College, University of London. Chambers authored Black Artists in British Art: A History Since the 1950s, published in 2014 (I. B. Tauris), now in its second edition.
Fri. November 20, 2015
Professor Anna Collette is featured in a solo exhibition entitled Gathering Ground at Hampshire College's Jerome Liebling Center. Gathering Ground will be on view through December 14.
Mon. November 16, 2015