Department of Art and Art History Studio Art

Teresa Hubbard interviews undergraduate Chandler Allen about recent New York Magazine commission

Tue. November 24, 2015

Chandler Allen is an undergraduate student in Studio Art. She recently completed a photo shoot with New York Magazine and answered questions via email.

two people sitting at picnic table look over at camera
Hannah and the Singer, 2015, premium luster inkjet print, 30 x 24 inches. Image courtesy of the artist.

Teresa Hubbard: First of all, congratulations on garnering a paid photography assignment to shoot for New York Magazine. The photography editors looked at photography work being done by undergraduates around the country at a number of different universities, and the editors were very impressed by a number of our photography students working here in the Department of Art and Art History at The University of Texas at Austin who submitted portfolios for their consideration.

Could you tell me about the the experience of working on assignment for such a prominent client?

Chandler Allen: Thank you. I am honored, as I know many candidates across the nation applied. Working for a major publication like New York Magazine was a rewarding whirlwind. From the day I got the job, I was in conference calls with the Photography Director every other morning before attending class and working closely with the Senior Photo Editor on a daily basis. Every night I would go out to fraternities, Co-Op’s, apartments and other parties around campus to photograph elaborate shoots of friends, lovers, strangers and even one self-portrait. It was essentially my job to be at the right place at the right time in the dark hours of the night and orchestrate a narrative depicting that party, sexual encounter or relationship.

TH: I know that the assignment entailed several weeks of very intensive on-location work. What kind of things did you learn about photography and yourself while working on this job?

CA: I learned a great deal regarding technique. I sharpened the intentionality of my subject’s gaze and body language to emote sexuality without having to illustrate sex. It was very important that the work spoke about college life and our sexual journeys in subtle ways like a look of pride, a placement of a hand, a furled brow and not only obvious ways, like nudity. I also learned that as a photographer I constantly want to relate to my subjects. I found myself inadvertently interacting and not just stuck behind the camera; this allowed my subjects to open up and be more vulnerable which produced better results.

two men in pool hug
Angel and Preston in the Water, 2015, premium luster inkjet print, 40 x 34 inches. Image courtesy of the artist.

TH: Has working commercially, for a client, changed how you approach your own artwork, and if so, in what ways?

CA: I knew the work I did for New York Magazine would be published for millions to see. So in my mind, it required a heightened responsibility and ownership. Because the work was about sex and relationships in college, it was important to me to submit a self-portrait and put myself in the shoes of my subjects.

Now in my artwork I take this same approach more often—exposing myself physically and emotionally as much as I ask others to. This has only strengthened my artistic integrity. I think to often college art students reject commercial work because they think in some way it is beneath them. What they don’t realize is that most of the world's most successful artists have at one time or are currently being funded by commercial work and that it is smart to utilize both sides of the market.

The New York Magazine assignment has already begun to open new doors for my career and I thank professors like you, the College of Fine Arts Career Services, and the university, for bringing this opportunity to light and consistently supporting my endeavors.

Q+A with Raul De Lara (B.F.A. Studio Art, 2015)

Tue. November 24, 2015

man in black and white sweater poses for camera
Image courtesy of the artist.

Raul De Lara graduated with a B.F.A in Studio Art with high honors in 2015. He now lives and works in Chicago and answered these questions via email.

Kayla Jones: What sort of opportunities provided by UT Austin did you take advantage of while you were an undergraduate student?

Raul De Lara: While at UT Austin, I took advantage of programs such as the New York Seminar, Ox-Bow, and scholarships within the College of Fine Arts and other areas in the university. I made sure to learn how to properly operate every single tool available at the wood shop and Digital Fabrication Lab. I also took advantage of the faculty and staff’s knowledge and wisdom. I would often ask them for advice and questions about the professional world and life in general.

KJ: Which opportunity you took advantage of had the biggest impact? Why?

RDL: The opportunity that had the biggest impact was the Ox-Bow program. A year before graduating, I was awarded a scholarship to go to Ox-Bow during the summer for a two-week class. The experience allowed me to dive deeply into a sea of opportunities within the Ox-Bow and Chicago community. I remember not being able to believe that I was in a place where every single person was just as excited and passionate about becoming something greater. This opportunity had the biggest impact on me because it created a chain reaction of favorable circumstances that eventually led up to me receiving a fellowship to attend Ox-Bow and moving to Chicago—creating a solid foundation for the first years of my artistic career.

KJ: Why did you decide to move to Chicago?

RDL: During my Ox-Bow fellowship I connected with a lot of Chicago artists, which opened up an abundance of opportunities for me in the city. A Chicago friend and I decided to look for a place together. We wanted an all-in-one living space where we could have living space, studio space and a gallery. Eventually we found the perfect building that would fulfill our visions in the neighborhood of Bridgeport and together we founded Fat City Arts. Having this strong network of people and finding my ideal living situation led me to have no other choice but to move to Chicago to pursue my professional goals and ambitions.

chair with wooden cushions
Thinking Chair, 2015, mahogany and white oak. Image courtesy of the artist.

KJ: How did you get the opportunity to work for Nick Cave?

RDL: After locking down my new space in Chicago, I had in mind the ideal job of working with an artist that I really look up to: Nick Cave. I landed my job working with Nick Cave by networking Ox-Bow and Chicago circles, which eventually led to an interview with him. During the interview I got to see the studio crew in action and the famous Soundsuits; I was hooked immediately.

KJ: How has it been trying to maintain a studio practice since graduating, moving and getting a job with Nick Cave’s studio?

RDL: My studio practice has been very fruitful since moving to Chicago. Learning how to carefully manage my time has been a key factor in all of the following. I have a well-equipped wood shop and a lot of space where I can create work. Having a gallery on site also allows me to host events that showcase my work and the work of other living artists. I live with three incredibly talented artists who just graduated from the School of the Art Institute of Chicago. We help each other and share knowledge on a regular basis.

Collectively we operate Fat City Arts, which is not only a place where we host art and music shows, but also a hot-spot for creatives to engage with one another and further develop the vernacular of tomorrow. Graduating finally allowed me to be able to start big scale solo and group projects. I am currently working on collaborative sculptures with artists from Detroit, Chicago and Ireland. I am also in the process of painting a 44 ft. mural in downtown Chicago. During the first part of my weekdays, I work with Nick Cave at his studio. I love being there because he is a role model for me; that man works harder than anyone I know. I also recently got accepted by Chicago Artists Coalition to be a yearlong resident for HATCH Projects, where I will receive professional development through dynamic exhibitions, one-on-one studio visits, public programs, and community building to develop a sustainable creative practice.

KJ: What advice would you give current undergraduates?


  • Your professors and staff are your most valuable assets. Don’t be afraid to ask questions and favors—they want to help.
  • Don’t underestimate the power of simply being liked.
  • Do not take your place in time for granted. There are thousands of people fighting to be where you are and where you want to be.

Kayla Jones lives in Austin, Texas where she is pursuing a B.F.A. in Studio Art and B.A. in English at The University of Texas at Austin.

Q+A with Eugenie Scrase, Royal College of Art exchange student in Sculpture

Tue. November 24, 2015

screen shot of video of dog
Image still from Powdercoat Footprint/Kevin and Dylan, 2014. Image courtesy of the artist.

What has been the most surprising experience of your time in Austin so far?

Eugenie Scrase: I was surprised to see so many people riding bikes around Austin. As an ardent cyclist back in London I was so happy to see such a strong love for it here in Austin too. I had never seen bike racks on the front of buses either (not even in Copenhagen!); I’ll be pushing that idea onto the mayor of London when I get back to the UK!

In your work, which media do you find yourself working with most? Why do these fit your practices best?

ES: I mostly work in sculpture and film. The metal workshop in the Department of Art and Art History is brilliant—as are the technicians there. I’ve just come back from a week long road trip across Texas over to White Sands National Preserve in New Mexico. Along the way I chose particular locations to shoot some film footage that I’m now editing.

Writing plays a huge role in my practice. Along with drawing, it enables me to percolate thoughts and ideas.

screen shot of video of person's foot with yellow painted footprints
Image still from Powdercoat Footprint/Kevin and Dylan, 2014. Image courtesy of the artist.

Would you describe the themes that you work with? What drives your interest in them?

ES: I often use the term ‘Haptic Visuality’ or ‘Hapicity’ to describe my practice. It is sensuous imagery that evokes memory of the senses (i.e. water, nature); depicting acute states of sensory activity (smelling, sniffing, tasting, etc.). The haptic
image is in a sense, ‘less complete’, requiring the viewer to contemplate the image as a material presence rather than an easily identifiable representational cog in a narrative wheel.

This has stemmed from my previous research into the Phenomenology of Landscape—our perceptions of landscape and our movement within it.

As part of the UT < > RCA exchange program, you will present an exhibition. When and where will your exhibition be on view?

ES: It’s going to be in one of the Long Horn Stadium Squash Courts. I’m immensely excited to have to opportunity to be showing work in a space so heavily associated with the human body. There are some stunning marks on the court’s walls made by the contact of ricocheting squash balls. The date hasn’t been set yet. I’m anticipating it opening in the first week of December.

Beili Liu lectures at Stamps School of Art and Design

Tue. November 10, 2015

white hexagonal and cube outline on green background

Beili Liu lectures at the University of Michigan as part of a professional practice speaker series. Her lecture will take place November, 10 at 12:30 p.m.

Rebecca Ward featured in AnOther

Fri. November 6, 2015

Canvas with threads pulled out in geometric patterns
Image courtesy of the artist.

Rebecca Ward (B.A. in Studio Art, 2006) is the subject of the recent AnOther article "The Female Artist Subverting Male-Dominated Minimalism."

Syndicate content