UpdatedAugust2018

BachelorofFineArts

BFASTUDENTHANDBOOK2018-2019DepartmentofArthttp://www.uaa.alaska.edu/art/BFAProgramhttp://www.uaa.alaska.edu/art/programs/bacheloroffinearts.cfm

TABLEOFCONTENT LETTERFROMCHAIR 1ARTSTUDENTASSOCIATION 2 ARTFACULTY&STAFFCONTACTINFORMATION 3-4ARTPROFESSORSANDFULLTIMEINSTRUCTORS 5-11

INTRODUCTION 12PROGRAMSTUDENTLEARNINGOUTCOMES 12MAJORREQUIREMENTS 13

BFACOMMITTEE 15OfficialCommitteeActionsRoleoftheCommitteeRoleofBFAAdvisorADMISSION 15-16EligibilityRequirementsCatalogYearChangeofMajorTransferCredit BFAAPPLICATION 17-18HowtoSubmitApplicationFilesWhattoIncludeintheApplicationFilePortfolioThumbDriveOriginalWorkApplicationReviewACADEMICPROGRESS 18-207-YearLimitBiographicalDataResidencyRequirement

BACHELOROFFINEARTSPROGRAM 12

GPAArtFacultyAdvisorContactSemesterReviewsBFACheck-InMeetingsBFAThesisProposal&ExhibitionLeaveofAbsenceART491:SENIORSEMINAR(FallSemesteronly) 20BFATHESISPROPOSAL 20-22PurposeofThesisProposalCoverSheetThesisProposalOutlineProposalExamplesPlansofYourThesisExhibitionProposalScheduleandDistributionThesisProposalReviewsMeetings1stThesisProposalReviewMeetingProposalAcceptance/UndergraduateResearchGrantApplicationART499:BFATHESISEXHIBIT(SpringSemesteronly) 22-24AttendanceRequiredSatisfactoryProgressMeetingPresentationWork-in-ProgressDevelopaTimeline/OtherMeetingsBFATHESISEXHIBITPROCESS 24-27ScopeofProject

► Time,Focus,Money,Marketing&Promotion,Posters,etc.BFATHESISEXHIBITIONEVALUATION 27-28GradingProcedureGradingCriteriaGradingPointGalleryCleanupandRepairAwardingtheGradeCOMPLETIONOFTHEBFAPROGRAM 28GRADUATIONREQUIREMENTS 28

RESPONSIBILITIESANDINFORMATIONRECEPTIONINFORMATIONANDRESPOSIBLITIESCONTRACTSANDBFARELEASEFORM

► KimuraArtGalleryLightsContract► DamageWaiverforBFAExhibitionintheKimuraGallery► KimuraGalleryBFAReleaseForm

KimuraGalleryMap 36BFAProgramProcess(FlowChart) 37BFAProgramChecklist(Form) 38BFAPlanofStudy(Sample) 39BFAApplicationforAdmission(Form) 40BFAProceduresandRequirements(Form) 41BFAImagesListandLabels(Format) 42BFASemesterSchedule(Sample) 43BFACheck-inMeetingSchedule(Sample) 44BFAThesisProposalFormat 45BFAThesisProposalCoverSheet(Format) 46BFAThesisExhibitionInvitation(Sample) 47BFAThesisExhibitionPoster(Sample) 48BFAThesisExhibitionGroupPosterI(Sample) 49BFAThesisExhibitionGroupPosterII(Sample) 50BFAThesisExhibitionArtistStatementFinalDraft(Sample) 51BFAThesisExhibitionArtistStatementFinal(Sample) 52ART499ThesisExhibitionEvaluationForm(FYI) 53ART499ThesisExhibitionTallySheet(FYI) 54ART499ThesisExhibitionChecklist(Form) 55BFACopyrightReleaseForm 56ArtLockers 57

KIMURAGALLERYGUIDELINE 29-34

APPENDIX 35

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LETTERFROMCHAIRAs Chair of the Department of Art, I welcome you to the University of AlaskaAnchorage.Ourprogramoffers11areasofstudyandawiderangeofcoursesthatcanleadtoaBachelorofArtsinArtdegree,aBachelorofFineArtsinArtdegree,andaminorinart.Ourmission as the Department of Art is to prepare and empower students to usetheir creative abilities to make a difference in our community. A comprehensivemulti-studioapproachencouragesindependentthinking,strengthenscreativity,anddevelops knowledge of the critical and historical aspects of art. Students acquiretechnical skills and gain confidence to work with a variety of materials whileexploringandevaluatingthebroadanddiverseheritageofartanddesign.Ourgoalistotrainandgraduatestudentswhoareempoweredartists,focusedonexcellenceincreative activity, learning and teaching and who are essential to the continueddevelopmentofourvibrantculture.Our full-time, term, and adjunct faculty have terminal degrees in their areas ofexpertiseandcontinuetoengageinresearchanddevelopmentrelatedtotheirartisticpractice. As faculty, we are committed to student success. To accomplish thisobjective, we advise all of our students majoring in art to develop a strategy toachievetheirgoals.Ourjobasfacultyistoengagein“educatingimaginations.”Thisisaseriouscommitmentonourpart.Weareyourmentorsandareheretohelpyouasmuchastochallengeyou.Wearededicatedtoanundergraduateeducationthatpreparesstudentstobeartistsand designers. Students who graduate from our program elect to practice asartists/designers, or pursue their terminal degree in the visual arts at prestigiousuniversitiessuchasUCLA,PrattSchoolofArt,UniversityofColorado,OhioUniversity,ArizonaStateUniversity,andAlfredUniversitySchoolofArtandDesign.Onceagain,welcome.Ifyouhaveanyquestions,feelfreetocontactme.Sincerely,StevenGodfreyChair,DepartmentofArtThe University of Alaska Anchorage is an accredited institutional member of theNationalAssociationofSchoolsofArtandDesign.

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ARTSTUDENTASSOCIATIONART STUDENT ASSOCIATION (ASA) is a student art organization that participates,plans,promotesandsolicits funding forstudentartevents/exhibitions,artprojects,visitingartists,workshops,etc.ASAservesthestudentbodybyorganizingactivitiesandservesasaliaisonbetweenstudentsandfaculty.Wearealwaysinterestedinnewmembership,leadershipandideasthatincreasethesense of community among art students of all disciplines and heighten creativeopportunitiesatUAA.ContacttheChairoftheDepartmentofArt,ifinterested.

WoodblockprintsbySusanBybee,2016

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DEPARTMENTOFARTCONTACTINFORMATIONDEPARTMENTOFART,CHAIRStevenGodfrey GHH108A 786-6920ProfessorofArt,Ceramic smgodfrey@alaska.eduBFAPROGRAM&COMMITTEECHAIRHerminiaDin,Ph.D. Arts308 786-1785ProfessorofArt,ArtEducation hdin@alaska.eduKIMURAGALLERYDIRECTORRivaSymko,Ph.D. Arts306 786-4704AssistantProfessorofArt, rsymko@alaska.eduArtHistory CASACADEMICADVISORRhiannonElliott Arts332B 786-4841AcademicAdviserforthe rajennings@alaska.eduPerformingandFineArts ARTFACULTYADVISORSAlvinAmason NATIVEARTS 786-1766TermAssociateProfessor aeamason@alaska.edu

ThomasChung PAINTING,DRAWING 786-1738AssistantProfessor tpchung@alaska.edu

AlannaDeRocchi CERAMICS,GENERAL 786-1246TermInstructor aderocchi@alaska.edu

HerminiaDin ARTEDUCATION 786-1785Professor hdin@alaska.edu

StevenGodfrey CERAMICS 786-6920Professor smgodfrey@alaska.edu

MarianoGonzales ILLUSTRATION,COMPUTERARTS786-1783Professor mgonzales@alaska.edu

GarryMealor PAINTINGANDDRAWING 7861736AssociateProfessor grmealor@alaska.edu

KristySummers SCULPTURE 786-1003AssistantProfessor kasummers2@alaska.edu

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RivaSymko ARTHISTORY 786-4704AssistantProfessor rsymko@alaska.edu

DeborahTharp PHOTOGRAPHY 786-1983AssociateProfessor dktharp@alaska.edu ADMINISTRATIVESTAFFFORDEPARTMENTOFARTNicholeA.Rose Arts356 786-1575Assistanttothe narose@alaska.eduDivisionalAssociateDean AsiaBauzon Arts354 786-1683AdministrativeAssistant ambauzon@alaska.eduforPublicity&SocialMediaMeghanOwens Arts302 786-1766AdministrativeAssistant meowens@alaska.eduforStudentSupport CedarCussins Arts333 786-4890Performing&FineArts cedar@alaska.eduBuildingManagerARTSTUDIOSDRAWING Arts101 (nophone)PAINTINGArts102 786-1352CERAMICS-HANDBUILTArts106 786-1246CERAMICS-WHEELTHROWNGHB108 786-6917SCULPTURE/3DArts109 786-1003PRINTMAKING Arts313 786-1578PHOTOGRAPHY Arts315 786-17882DDESIGN Arts330 (nophone)COMPUTERARTS Arts331 786-1317

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ARTPROFESSORSANDFULLTIMEINSTRUCTORSAlvinAmasonwasraisedonKodiakIsland.His familywas involved in fox farming,commercial fishing, and bear guiding. After high school he attended CentralWashington University where he received a Masters degree in painting. He thenattendedArizonaStateUniversityandearnedanM.F.A.Heworkedforseveralyearsfor theNavajoNationasArtDepartmentChairand instructoratNavajoCommunityCollege. He has had studios in Rhode Island, New Hampshire, California, andWashingtonState.In1992,hewasofferedapositionasDirectorofNativeArtsattheUniversityofAlaska,Fairbankswhereheserved forseventeenyears.After retiring,hewasaskedtojointheArtDepartmentattheUniversityofAlaska,AnchorageanddevelopaNativeArtscurriculumandstudio.HeservesontheboardofdirectorsfortheAlaskaNativeArtsFoundationandhasastudioinMountainView.ThomasChungwasborn inNew Jersey andgrewup inHongKongandNewYorkCity. He received his Bachelors of Fine Arts Degree from the San Francisco ArtInstitutein2010andhisMastersofFineArtsDegreefromYaleUniversityin2013.HehasparticipatedinnumerousgroupandsoloshowsthroughouttheUnitedStates.Hismultidisciplinarywork has beenwritten about inArt inAmerica, TheNewYorker,and Modern Painters Magazine. In addition to traditional art shows, Chung hasnumerouspermanentmuralsandsculpturalinstallationsaroundthecountry.In2013hewasthefirstartstudentinYaleUniversity'shistorytoreceivetheUniversity-wideTheron Rockwell Field Prize for "poetic, literary, or religious scholarship," for hisgraduate dissertation. Influenced largely by his education and interest in culturalanthropology,TomChunghasconductedfieldworkaroundtheworld:mostrecentlyreceivingtheYaleUniversitySchoelkopfTravelGranttolivewithandstudyisolatedindigenous tribes in the Amazon Basin. He has taught art at a wide variety ofinstitutionssuchastheTruroCenterfortheArtsatCastleHill,YaleUniversity,AlaskaCreativeCeramicsandasavolunteerdrawinginstructorattheNYUTischPsychiatricWardandtheYale-NewHavenPsychiatricHospital.PresentlyTomChunghasjoinedthe FineArts faculty atUAAwhile conducting research ofNativeAmerican cultureandmythology.Alanna DeRocchi is originally from Petersburg, Illinois. She received a BFA fromWesternIllinoisUniversityin2004,andanMFAfromtheNewYorkStateCollegeofCeramics at Alfred University in 2010. Since finishing her education, she hasparticipated in several ceramic artist residency programs, including the ClayArchGimhaeMuseumCeramicArtsResidencyinJilllye,SouthKorea,andtheArchieBrayFoundationfortheCeramicArtsinHelena,MT.Alannahasexhibitedherlarge-scaleceramicsculpture innumerousmuseumsandgalleriesacrosstheUnitedStatesandinternationally. In 2013, she came toAlaska to accept a position atUAA as a terminstructorandtechnicianoftheceramicsarea.Sincethen,ShehasreceivedafacultydevelopmentgranttoresearchwalrusintheirhabitatonRoundIslandofthecoastof

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westernAlaska.HerminiaDin isaFullProfessorofArtEducation.ShewastheWebproducerattheChildren's Museum of Indianapolis and education technologist at the IndianapolisMuseumof Art. Sheworkedwith theUniversity of AlaskaMuseumof theNorth inFairbanks on LearnAlaska project—an educational tool to sort, display and sharedigital museum objects and historical images selected from the Alaska DigitalArchives, and facilitated a docent-training program using Internet2videoconferencing for a traveling exhibit in Alaska, Light Motifs: AmericanImpressionistPaintings from theMetropolitanMuseumofArt. ShehadpresentedatSIGGRAPHEducator’sProgram(2005-2007)oneducationalgamingformuseumsanddeliveredaspeechonusinganimationandinteractivevirtualtechnologytoenhancemuseumlearningatSIGGRAPHASIA2008.Recently,shecollaboratedwithcolleaguesattheMetropolitanMuseumofArt,AmericanMuseumofNaturalHistory,CaliforniaAcademyof Sciences, and de Young FineArtMuseum to offer teacher professionaldevelopment programs focusing on art and science integration. She co-edited TheDigital Museum: A Think Guide that offers museum professionals an in-depthinvestigationintohowandwhymuseumsareexperimentingwithnewtechnologyin2007.Mostrecently,sheco-authoredUnboundbyPlaceorTime:MuseumsandOnlineLearning (2009) andAll TogetherNow:Museums andOnline Collaborative Learning(2011), published by the AAM Press, focus on the interactive principles of onlinelearning and the pedagogies. She was on the board of the Media and TechnologyCommitteeofAmericanAssociationofMuseums(AAM)for9years,andchairedtheMUSEAwards for threeyears.Her long-termresearchplan focusesonobject-basedlearningandevaluationoftheeffectivenessofmuseumonlineresources.Lately,herresearch addresses the transformation of teaching and learning by using newtechnologies, and aspects of emerging technology for implementing creativeinitiativestoenhancemuseumeducation.SheholdsadoctorateinarteducationfromOhioStateUniversityandpresentsregularlyonmuseumandtechnologyatnationalandinternationalconferences.SteveGodfreygrewupinthetownofEastLongmeadow,Massachusetts.Hereceivedhis Bachelors of Fine Arts Degree from the Hartford Art School in 1993 and hisMasters of Fine Arts Degree from New York State College of Ceramics at AlfredUniversityin1996.In1998,SteveGodfreyspenttheyearasaresidentartistatTheArchieBrayFoundationforCeramicArtsafterspendingtimeteachingceramicsattheHartford Art School. In 1999, he accepted the position of Term Instructor andCeramics Area Technician at the University of Alaska Anchorage. In 2004, GodfreywashiredastheareacoordinatoroftheCeramicsAreaatUAA.Astheco–curatoroftheKimuraGalleryandtheArcGalleryontheUAAcampus,hehascuratednumerousexhibitions such as the National Figurative Sculpture Invitational, Interface: ASelection of Contemporary Ceramics, and Re Pair: The Photographs of Asia FreemanandMichaelWalsh.Asthecoordinatorof theCeramicsAreaVisitingArtistProgram,Stevehasbeenresponsiblefororganizingover35workshopswithininternationallyknown artists such as Andrew Martin, Beth Cavener Stichter, Chris Staley, KristaAssad,SunkooYuh,andAkioTakamori.Underhisleadership,theUAAceramicsarea

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hasbecomeamajorcontributortotheBowlsforBeansCaféFundraiserinAnchorage.Beyond teaching, he has been consistent inmaking and showinghis ceramicwork,participating in numerous exhibitions throughout Alaska and the lower forty-eightstates.Recently,hewasinvitedtoparticipateintheNorthAmericanPotteryFestivalatthe Northern Clay Center in Minneapolis MN and the Florida Heat CeramicsConference in St. Petersburg FL. In 2015, Professor Godfrey presented a soloexhibitionattheSchallerGalleryinBentonHarbor,Michigan.MarianoGonzales receivedhisBA inPainting fromUniversityofAlaskaAnchorageandhisMFAinMetalsmithingfromRhodeIslandSchoolofDesign. HeisthestudiomanagerofDigitalDesignandGraphicsandtaughtFoundation,Photography,DigitalArts, Metalsmithing, Sculpture and Painting courses at UAA. He has conductednumerousartworkshopsand lecturesacrossSouthCentralandWesternAlaska.HehasexhibitedextensivelyinthestateofAlaskainbothsoloandgroupexhibitions.Hewashonoredas theOutstandingIndividualArtist,2010AnchorageMayor’sAwardsfor the Arts, and received the Excellence in Photography Award in 2004 from theAlaskaPhotographicSociety.HisworkisinthecollectionsoftheAnchorageMuseumat Rasmuson Center, the Alaska State Museum in Juneau, the University of AlaskaMuseum in Fairbanks and the School of Business at the University of AlaskaAnchorage. Gonzales also has served as panelist inmany symposiaonAlaskanArt,andasatertiaryreviewerforeducator’sprogram,SIGGRAPHASIAin2009. HewasfeaturedinanarticleinTikkun,Fall2012,entitled“ASalvoAgainstWar,TortureandRacism,theArtofMarianoGonzales”byPaulVonBlum.Mostrecently,hisworkwasincluded in the COMPASS juried exhibition at the Orange County Center forContemporaryArtandtheElectronSalon invitationalat theLosAngelesCenterForDigitalArt.GarryMealormovedtoAnchorage,Alaskain1994fromFloridawherehewasonthefaculty of the Ringling School of Art and Design, Garry is currently Head ofFoundations for the University of Alaska Anchorage and is an Assistant Professor.Garry’s paintings have been selected in more than 140 national and regionalexhibitionsin26states,25college/universitygalleriesand31museumexhibitions.Ashort listof exhibitions include theAnchorageMuseumofHistory&Art, Societyofthe Four Arts (Palm Beach, FL.),Neville Public Museum (GreenBay), University ofFlorida, Springfield Museum (Missouri), University of South Dakota, BostonUniversity,UniversityofNorthDakota,MississippiMuseumofArt,FineArtsMuseumof theSouth(Alabama),UniversityofKentucky,MarylandFederationofArt,FloridaStateUniversity,MuchenthalerCulturalCenter (California), and theHolterMuseum(Montana).A recipient of several grants and awards including a Pollock-KrasnerFoundationGrant, Florida Individual Artist Fellowship andAlaska State Council ontheArtsGrant.Garry’spaintingsare in thepermanent collectionsof theAnchorageMuseum of History & Art, Alaska Arts Council, Florida Arts Council, Neville PublicMuseum, Tampa Public Arts Council and the Florida Artist Collection (Orlando). Inaddition to teaching at the university level, Garry has been an instructor for theAnchorageSchoolDistrict’sArtist inResidencyprogram, instructor forVerySpecialArts Alaska: Transition Through the Arts, and has conductedworkshops in Alaska

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and Florida. Garry received his Bachelor’s Degree in Filmmaking (ABJ) from theUniversityofGeorgiaandaMastersofFineArtsDegree(6/07)fromtheArtInstituteofBostonatLesleyUniversity.KristySummersbornandraised inthemidwest foundherwaytoAlaska in2014.ShegraduatedwithherBFAfromtheUniversityofKansasin2002,andherMFAfromAlfred University in 2006. Following her studies at Alfred University, Kristy wasaward a Fine Art Fellowship position at Southern Illinois University Carbondale,where she continued towork as a visiting assistant professor of sculpture and 3Dfoundations. Exhibiting her work, Kristy has been included in a number of showsaround the country. She has exhibited work in a number of sculpture park’s, cityoutdoorsculptureprograms,aswellasinuniversities,andgallerysettings.Kristyhascompletedmultiple large-scale commissions for theBotanicGarden of Chicago andthePeggyNotebartNaturemuseum,participatedinandco-ledresidencyprogramsatFranconia Sculpture Park,was part of the steering committee for the InternationalConferenceofCastIronArt,inLatvia2014.Riva Symko is Assistant Professor of Art History. Her primary areas of researchinclude twentieth and twenty-first centuryWestern visual culture,NorthAmericanindigenous creative practices, newmedia histories, as well as critical and culturaltheory including post-colonial theory, feminist theory, theories of authenticity andoriginality, appropriation, copyright, and historiography. Previously, Dr. SymkohastaughtattheUniversityofLethbridge,MemorialUniversity,andQueen’sUniversity.ShehaspublishedcriticalwritingonartwithLumaQuarterly,SNAPline,Latitude53Artist-RunCentre, theUniversityofLethbridgeArtGallery,ModernFuelArtist-RunCentre, and the Union Gallery. In addition to research, writing, and teaching, Dr.Symko hasmaintained an active career as an arts administrator and curatorwithinstitutions such as the University of Alberta Museums, [x]curated curatorialcollective, Nuit Blanche Edmonton, Modern Fuel Artist-Run Centre, and ArtLabGallery.DeborahTharpisanAssociateProfessorandtheHeadofthePhotographyProgramintheDepartmentofArtat theUniversityofAlaskaAnchorage.ShereceivedaBFAdegree inPhotographyandVisualCommunications fromthe JohnHerronSchoolofArtinIndianapolis,Indiana.ShereceivedaM.A.degreeinPhotographyatCaliforniaStateUniversityatFullertonandaM.F.A.degreeinPhotographyfromtheUniversityofIllinoisatChampaign-Urbana.TharptaughtforfiveyearsintheDepartmentofArtat Louisiana Tech University before moving to Alaska in 1994. She has receivedseveral University Development Grants and Alaska State Arts Council Grants. Herworkispublishedinthetextbook,ExploringColorPhotographybyRobertHirschandshe has exhibited her photographic artwork in numerous solo, groups and juriedexhibitionsregionallyandnationally.

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ADJUNCTINSTRUCTORSINARTMichaelContiisaphotographerandvideoartistbasedinAnchorage,Alaska.HewasborninSanFrancisco,raisedinPennsylvaniaandcametoAlaskaatage23insearchofadventure.HeearnedaBFAfromtheUniversityofAlaskaAnchorage,andanMFAfrom the Art Institute of Boston. He has received numerous awards for hisphotography and video including Best of Show in both No Big Heads 2011 andRarifiedLight2006.Hehasearnednumeroushonorablementionsinstatewidejuriedshows such as Alaska Positive, Rarified Light and the All Alaska Juried Show. Hisvideoworkhasbeenshownat theNamJunePaikArtCenter inSeoul,SouthKorea,ContainR at the Winter Olympics in Vancouver, Canada and won awards at theAnchorage InternationalFilmFestival. In2012,hemountedsoloshowsatboth theNewBritainMuseumofAmericanArtinConnecticutandattheStudentUnionGalleryatUAA. IncollaborationwithRichardCutrona,heco-curatedashowof10Alaskanartists to be shown in Brooklyn, NY at the Good Question Gallery under the title“ProcessAlaska.”TheShowwilltraveltoManhattan,Homer,AKandAnchorage,AK.HereceivedaprojectawardfromtheRasmusonFoundationin2006andisaConnieBoocheeverFellow fromtheAlaskaStateCouncilon theArts in2011.HepresentlyteachesphotographyandvideoartattheUniversityofAlaskaAnchorage.Steven Gordon grew up in Dubuque, Iowa, located in the scenic Mississippi RiverValley.FromchildhoodSteveshowedan interest innatureandart.His father,GeneGordon,anarchitecturaldesigner,promotedhisinterestsbyprovidinghimwithartsupplies and classes. At Dartmouth College he continued studying art whilecompletingadegree inbiology.Therehemethiswife,Karen,andwasmarried justbeforegraduationin1979.ThenextfiveyearsStevestudiedartattheUniversityofIowaSchoolofArt,earninghisMFAinPaintingin1984.UpongraduationSteveandKaren packed their belongings into a U-Haul and headed up the Alcan Highway toAnchorage,Karen’shometown,wheretheycontinueto livewiththeir fourchildren,Ben, Amy, Peter, and Laura. Since 1992 he has worked full-time as a professionalartistpaintingthesouthcentralAlaskanlandscape.Hehasreceivedseveralpublicartcommissionsandhashadnumerousone-manshowsacrossthestate.HisworkcanbeseenattheAnchorageMuseumofHistoryandArtandinmanycollectionsacrosstheU.S.LanceLekandergrewupInAnchorage,Alaskawherehespentlonghourslookingatbugsinhisbackyardandreadingcomicsunderablanketwithaflashlight.Nowadays,ifheisn’tcreatingsomekindofart,hecanusuallybefoundinhisworkshopstudyingtheplansofagiantrobothefoundinthewreckageofanalienspacecraft!Helikestocombinehisinterestsintexturesandpatternsalongwithmanyofhisusualsubjectsofoceancreatures,insect,robots,andskeletons.HeisinspiredbyAfricanandSouthAmerican tribal/primitive art as well as Mexican Folk Art, retro design, old sci-fimoviesandcomics.Hopefully,thearthecreatesreflectstheseideasandsubjectsinanew and unique way. Lance received his BFA from the University of Oklahoma.

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Besides teachingGraphic design and Illustration atUAA, Lance also does book andmagazineillustrationaswellasotherfreelanceartprojects.EnzinaMarrariwasborninChicago,IlandmovedtoAnchorage,Alaskain1999.ShereceivedherMAinStudioandMixedMediaArtsfromNewYorkUniversityandherBAinSculpturefromtheUniversityofAlaskaAnchorage. SheisCo-DirectorfortheInternationalGalleryofContemporaryArt.SheisalsotheArtDirectorfortheMiddleWay Cafe's art space. Marrari is an Adjunct Instructor for the Women’s StudiesDepartment and Department of Fine Arts at the University of Alaska Anchorage.MarrariisarecipientofaRasmusonFoundationIndividualArtistAward,TheAlaskaStateCouncilontheArtsCareerOpportunityGrantandaprojectgrantfromRadicalArts for Women. Marrari was awarded a residency through Proyecto Ace ArtistResidencyCenter inBuenosAires,Argentina in2011. Shehasreceived twoBest InShow awards in the No Big Heads National Self Portrait Competition through theUniversity of Alaska Anchorage and placed in Top 5 for four consecutive years inObject Runway; placing First in 2010, Fifth in 2011, Third and People’s Choice in2012andFourthin2014.MarrariexhibitsherworkregularlythroughoutAlaskaaswellasinternationally.SheisahighlightedartistintheAlaskaPublicMediaoriginalPBS series, IndieAlaska.Whennotartmaking,Marrari enjoysyoga,dance, cookingwith friendsandexperiencingall of thevastbeautiesAlaskahas tooffer.Herworkaddresses themes of the social, personal and political elements of the humanexperience.Throughsculpture,drawingandmixedmedia,shepushestheboundariesofpersonalvs.socialspace,normsandbehaviors.Thisresultsinasenseofexposure,vulnerability and investigation that is consistent throughout her work. Marrariconsistentlyworksintheareasofsculpture,drawing,mixedmediaandperformance.Marrari is also interested in merging fashion design and sculpture to create bodyworks.Sheincorporatespainting,drawing,craft,fiberartsandsculptureintotwoandthree-dimensionalforms.ThisprovidesadifferentavenueforMarraritoinvestigatetheconnectionsbetweenprocessandoutcome,personandobject.Becky Ann White is an Adjunct Instructor of Art History at University of AlaskaAnchorage. Her teaching experience includes History of Art I & II (2012), and ArtAppreciation (2014). She holds a BFA in Graphic Design from Northern ArizonaUniversity (herBFAshowconcentratedon synestheticblendingof text, andnatureimagery, influenced by Kandinsky and Magritte); a Master of Arts in Studio Art,PaintingandDrawingwithaminoremphasis inArtHistory fromOxfordUniversity(England) and Northern Arizona University (her Thesis and its accompanyingartwork(charcoalcolorpastel)concentratedonpsychologicallyinspiredbenevolentcritterportrayingadisturbinginnerlifejourney,inspiredbyFranzMarc,pulpfiction,film noir and Walt Disney); Master of Education, emphasis in Counseling andGuidance from Northern Arizona University (her Thesis concentrated on skillbuilding using the arts, accompanying artwork included graphite renderings ofnaturalobjectssuchasleaves);and,MasterofScienceinCounselingPsychologyfromAlaska Pacific University (Intern sites included in-patient mental health hospitalsettings, The Vet Center and the Anchorage Police Chaplain’s pastoral counselingsite). She is a Licensed Clinical Therapist (MentalHealth), inwhich she utilizesArt

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Therapy and other artistic and therapeutic techniques for the best interest of herpatients, and shehasbeendoing thiswork since shegraduated fromAPU in2000.Her current academic endeavor is that of obtaining a GerontologyMinor, as she ismoving into Geriatric counseling. She is combining this with her research andartwork (pastel, graphite, exploring various other mediums) into a cohesiveexploration of Dementia, and the psychotic journey of Delirium. Elderly patientssuffer terriblywhile falling into thisnetherworldand it’sheraimtohelpeaseboththe patient and their families’ path into this vast unknown, andmake sense of it ifpossible.

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BACHELOROFFINEARTS,ART

INTRODUCTIONSeeUAA2018-2019Catalogdetailsathttp://catalog.uaa.alaska.edu/undergraduateprograms/cas/art/bfa-arts/The Bachelor of Fine Arts, Art program encourages students to concentrate theirefforts in the studio arts. Students who exhibit the potential for success throughstrongcoursework in the first twoyearsof theirpre-BFAstudy, areencouraged tosubmitanapplicationandportfolioforadmissionintotheBFAprogramduringtheirjunior year. Admission into the Bachelor of Fine Arts (BFA) program is a selectiveprocess—requiringacceptancebyboth theUniversityofAlaskaAnchorageand theDepartmentofArtBFACommittee.BFAcandidatesareexpectedtodevotealargemeasureoftimetostudioworkastheyplanforaprofessionallifeinart.TheBFAprogramprovidesthecandidatewithmanyopportunities for interactionwith the department faculty and fellowBFA students,encouraging close working relationships and mentorships. A written thesis andexhibitionattheKimuraGalleryintheFineArtsBuildingculminatesthecompletionoftheprogram.All whomeet the eligibility requirements can apply to the BFA program. Studentswhoexhibit, throughcoursework, applicationmaterials, andportfolio, thepotentialforsuccessareadmittedtotheprogram.This handbook has been written in order to make the process easier and to helpanswerquestions.However,youneedtoworkwithaCASAcademicAdvisorforthePerforming and Fine Arts first, and then your Art Faculty Advisor closely. TheirsignatureisrequiredontheapplicationandtheywillrepresentyourabilitytoengageintheBFAprocesstotheBFACommittee.KeepcontactwiththeArtsOffice(ARTS302):

• ForthecurrentBFAschedule• Toupdateyourcurrentcontactinfo(email,phone,andmailingaddress)

PROGRAMSTUDENTLEARNINGOUTCOMES

StudentsgraduatingwithaBachelorofFineArts,Artwillbeabletodemonstrate:• Masteryoftechniques,composition,andtheuseofmaterialstoexpressideas

inacohesivebodyofwork• A comprehensive knowledge of contemporary and historical contexts in the

visualarts

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• Critical thinking, writing, and research skills in the discovery of originalapproachestocreativeproblemsolving

• Effectiveprofessionalskillstobeapracticingartistasappliedtoartproposals,exhibitions,andbusinessmatters.

MAJORREQUIREMENTSFoundationCoreCourses 24ARTA105 BeginningDrawing ARTA111 Two-DimensionalDesign ARTA112 ColorDesign ARTA113 Three-DimensionalDesign ARTA205 IntermediateDrawing ARTA261 HistoryofWesternArtI ARTA262 HistoryofWesternArtII ARTA307 LifeDrawingandCompositionI BeginningStudioElectives 9Chooseone two-dimensional course,one three-dimensional course, andone coursefromeitherlist: Two-DimensionalAreaARTA212 BeginningWatercolorARTA213 BeginningPaintingARTA215 BeginningPrintmakingARTA224 BeginningPhotographyARTA257 ComputerArt&IllustrationThree-DimensionalAreaARTA201 BeginningHandbuiltCeramicsARTA202 BeginningWheelthrownCeramicsARTA211 BeginningSculptureArtHistory 9Selectthreeofthefollowing: ARTA361 HistoryofGraphicDesignARTA362 HistoryofModernArtARTA363 HistoryofContemporaryArtARTA364 ItalianRenaissanceArtARTA367 HistoryofPhotographyARTA492 ArtHistorySeminarPrimaryandSecondaryStudioEmphasisSelect primary and secondary studio area of emphasis for concentration from thefollowing:

• Ceramics • Drawing

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• Illustration• Painting• Photography

• Printmaking• Sculpture

PrimaryStudioConcentrationSelect aprimary studioareaof emphasis for concentration from the list aboveandcompletethefollowingstudiocoursesinthesameconcentration:200levelstudiocourse* 3300levelstudiocourse 6400levelstudiocourse 6Selectasupportcoursefromthefollowing: 3ARTA390 SelectedTopicsinStudioArtARTA490 SelectedTopicsinStudioArtARTA498 IndividualResearchOthercoursebypermissionSecondaryStudioEmphasisSelect a secondary studio area of emphasis from the list above and complete thefollowingstudiocoursesinthesameemphasis:200levelstudiocourse** 3300levelstudiocourse 3Selectasupportcoursefromthefollowing: 3300levelstudiocourse400levelstudiocourse ARTA390 SelectedTopicsinStudioArtARTA490 SelectedTopicsinStudioArtARTA498 IndividualResearchOthercoursebypermissionThesisRequirementsARTA491 SeniorSeminar(fallsemestersonly) 3ARTA499 Thesis(springsemestersonly) 3AdditionalRequirements ARTA203 IntroductiontoArtEducation 3PHILA401 Aesthetics 3Complete6creditsofelectivesselectedfromarthistory, 6orartstudiocourses.TotalCredits 87*Studentsmustchooseabeginningcourseintheiremphasis.

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NOTE:Studentswithadrawingemphasis/concentrationmaychoosefromany200leveltwo-dimensionalclasslistedunderBeginningStudioElectives**MustbeotherthanacourseselectedtofulfilltheBeginningStudioElectives.A totalof121credits isrequired for thedegree,ofwhich42creditsmustbeupperdivision.Atotalof84creditsinArtmaybeappliedtothedegree.

BFACOMMITTEEThe BFA Committee ismade up of all full time and term art faculty. Studentswillwork with many art faculty but choose one full time art faculty in their primaryconcentrationareaastheirArtFacultyAdvisorwhomentorsthemduringtheirtimein the BFA program. Adjunct faculty are not contractually obligated to attend BFAmeetings.However,studentscanmakearrangementswithadjuncts todiscusstheirworkduringscheduledofficehours.OfficialCommitteeActionsOfficialactionsoftheBFACommitteewilltakeplaceduringtheregularlyscheduledmeetings,andrequireaquorumofsixvotingfaculty,includingthestudent’sadvisor.RoleoftheBFACommittee

• HostBFAOrientationinthefallsemester• ReviewandprocessBFAadmissionapplications• MonitorprogressofBFAcandidates• FacilitateBFAThesisProposalapprovalprocessduringthefallsemester• FacilitateproposedBFAthesisexhibition,andoverseeworkinprogressinthe

springsemester• MonitortheuseoftheKimuraGallery• ApprovestudentartforUAA’spermanentcollection

RoleofBFAArtFacultyAdvisor

• RepresentCandidatetoBFACommitteeconcerningabilitiesandplansforBFAcompletion

• AssistBFAThesisProposalandBFAThesisExhibitiondevelopment• Answer informedquestionsby studentswhohave thoroughly reviewedBFA

Handbook. It is the candidate’s responsibility toknowall aspectsof theBFAprogramandtheHandbook.

ADMISSION

SatisfytheApplicationandAdmissionRequirementsforBaccalaureatePrograms.

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AdmissionintotheBFAprogram,withdrawalfromitandgrantingofthedegreearedoneatthediscretionoftheBFACommittee.AfterbeingfullyadmittedintotheBFAprogramstudentsmustcompleteaminimumof24Artcredits(upperorlowerdivisioncourses)inresidenceatUAA.Transfer students need a minimum of 12 resident Art credits: 9 credits must becompletedintheprimaryareaofstudioemphasisforconcentration,andaminimumof3residentArtcreditscompletedinthesecondarystudioarea.EligibilityRequirements

1. ApplyforUAAAdmissionathttp://uaonline.alaska.edu• DeclareDegree:PRE-BFA• DeclareMajor:ART

2. Attend UAA a minimum of one semester prior to admission to the BFAprogram.

3. CompleteallArtFoundationCoreCourses• ART105BeginningDrawing• ART205IntermediateDrawing• ART1112DDesign• ART1133DDesign• ART112ColorDesign• ART307LifeDrawing• ART261HistoryofWesternArtI• ART262HistoryofWesternArtII

4. CompleteBeginningStudioElectives(9credits).Thesemustbedifferentfromcourses selected to fulfill primary and secondary studio concentrationrequirement.

• TwoDimensionalStudioCourse:A212,A213,A215,A224,A252,A257• ThreeDimensionalStudioCourse:A201,A202,A211,A270

5. Meet with a CAS Academic Advisor for the Performing and Fine Arts andcompletea“ProjectedPlanofStudy”formwithsignature

6. Compileadigitalportfolioofyourartwork7. ObtaintheminimumacademicGPA:

• 2.5allcoursework/3.0artcoursework• Maintain3.5inprimarystudioconcentration

8. ApplyforadmissiontoaFull-MajorBFAstatusafterbeingacceptedtotheBFAProgrambytheBFACommittee

NOTE:StudentscanbeadmittedonprobationintotheBFAprogramifenrolledrequiredcoursesinthesemesterofapplication.CatalogYearThefirstsemesteryouareadmittedtotheuniversityonaPre-MajorBFAstatus,thiswilllockyouintoyour“catalogyear.”Thereisadifferentcatalogpublishedeachyear.

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This catalog yearwill not changewhen youmove into Full-MajorBFA status fromPre-MajorBFA, however, if changing fromBA toBFA status, your catalog yearwillchange.ChangeofMajorIfyourdegree isaBA inArtandchange it toBFAinArtwiththeChangeofDegreeForm,itwillupdateyourcatalogyeartothecurrentyear.TransferCreditBefore you apply for a Full-Major BFA status, the UAA Admissions Office mustcompleteanofficialTransferCreditEvaluation,whichcantakemonths.Withenoughnotice, the Transfer Credit Evaluation and Academic Petitions (for credits nottransferredwiththeEvaluation)canbecompletedintimefortheapplicationreview.

BFAAPPLICATIONTheBFACommitteewillreviewapplicationsinthefallsemesteronly.Generally,yourArt Faculty Advisor should be notified one full semester prior to your BFAapplication.HowtoSubmitApplicationFilesBFAapplicationsaresubmittedtotheArtsOffice twoweeksprior to thescheduledcommitteemeeting.WhattoIncludeintheApplicationFiles

1. BFAApplication for Admission Form signed by you and yourArt FacultyAdvisor(page38)

2. BFA Procedures and Requirements Form signed by you and your ArtFacultyAdvisortoindicateyouunderstandBFAproceduresandrequirements(page39)

3. LetterofIntent:AddressedtotheBFACommitteewithastatementofcareerobjectives, reasons forpursuingaBFAdegree, anddifferences betweenBFAandBA

4. Copies of all College Transcripts available at UAOnline or ask your CASAcademicAdvisorforacopy

5. ProjectedPlanofStudysignedbyaCASAcademicAdvisor6. Art Portfolio: Submit a minimum of 15-20 digital images including both

primary and secondary concentrations on a thumb drive. Each descriptionshould correspondbynumber to the sequenceof images including:Title (oruntitled),Artist(candidatename),Yearcompleted,Courseforwhichtheworkwasdone,andanoteonmaterialsorprocess(optional).Theportfolioshouldexemplify:► Senseofdesignandartisticapproach► Technicalskillsinprimary/secondaryareas► Potentialtodevelopaconceptualvisioninartwork

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NOTE: Candidates will not be present when portfolios are reviewed by the BFACommittee,soidentifyeachpieceasfollowsonanimagedescriptionsheet.ThumbDriveStudentsarerequiredtosubmitdigitalimagesonaThumbDriveinJPEGformatat150dpiorhigher,andaphysicalsizeof5x7.Pleasesaveeachimagewiththe“number,yourinitial,andtitleoftheartwork”inthesameorderasthecorrespondingimagelist.

• 01_SM_Self-Portrait.jpg• 02_SM_IceCrystalsonPond.jpg• 03_SM_MemoriesofOldCars.jpg

OriginalWorkBFA Committee prefers to review your work digitally. If you need to submit youroriginalworkforreview,youneedtosendarequestlettertotheBFAChairpriortothe application due date for approval. If the committee has accepted your request,youneedtobringoriginalworktoArts342by10amontheapplicationreviewday.All originalworkmust be presented as a body ofwork and labeled. Please contactBFAChairforfurtherinstruction.ApplicationReviewThe BFA Committee reviews applications in executive session and votes to accept,acceptonprobation,ornottoaccepttheapplicantasaFull-MajorBFACandidateintotheprogram.AdmissiondecisionsaredeterminedbyaconsensusofBFACommitteeinthefallsemester.NOTE:Applicant’sArtFacultyAdvisormustbepresentduringthereview.Afterapplicationsarereviewed,studentswillbenotifiedoftheCommittee’sdecisionwithintwoweeksbymail. Ifnotaccepted, youwillbegivenadetailedexplanation.Circumstancespermitting,youcanresubmityourapplication.NOTE:YoucanonlysubmityourBFAapplicationforreviewtwice.

ACADEMICPROGRESS7-YearLimitCandidatemust finishBFADegreeProgramno longerthan7yearsafterattainingaFull-MajorBFAstatus.BiographicalDataUpdate current contact information (email, phone, mailing address) with the ArtsOfficeinArts302andwiththeBFAProgramChair.

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ResidencyRequirementComplete aminimumof 24ART credits in residence atUAA after attaining a Full-MajorBFAstatus.GPAMaintaina3.5GPAinPrimaryStudioConcentration.ArtFacultyAdvisorContactMaintainclosecontactwithyourArtFacultyAdvisor,andscheduleameetingmeetatleastonceasemester.SemesterReview/BFACheck-inMeetingsTheBFAcommitteewill review theprogressofBFAcandidatesonceper semester.CheckwithArtsOfficeandtheBFAChairformeetingschedule.Failuretoattendmaycauseasuspensionorremovalfromtheprogram.The BFA Check-in Meeting will be a group meeting (in different studio areas).Candidateswillset-upinComputerDesign,Printmaking,Drawing,Painting,Ceramic,Sculpture, or Photo studio. Other first floor studiosmay also be used. See yourArtFacultyAdvisorabouthowtosetup.NotifyyourArtFacultyAdvisorwellinadvanceof your setup time, especially if presenting a video or other digital-basedwork soequipmentcanbearranged.Removeyourworkfromthereviewroomthesameday,usuallyby5pm.You will have 15 minutes with the BFA Committee that includes a short oralpresentation(5minutes)todiscussyourcurrentworkinprogressand10minutesforQ&A. This is an opportunity to update and gain feedback from theBFACommitteeandyourfellowBFAstudents.NOTE:AttendanceismandatoryforallBFACandidates.BFAThesisProposal&ExhibitionDuring the last year of your academic study, you need to take ART491 in the fallsemester and ART499 in the spring semester in a sequential order. Aside from allother required courses, as a BFA Candidate, you need to prepare yourBFA ThesisProposal and get approved by the BFA Committee at the end of the fall semesterbefore you can enroll in the ART499 Thesis Exhibition. (See detailed informationbelow)LeaveofAbsenceAsaBFACandidatewithFull-MajorBFAstatusaLeaveofAbsencemayberequestedfrom theCommittee.Your reason to ceaseBFAstudiesmightbe illness,pregnancy,employment,and/ortheneedtoconcentrateonMathorGERs,etc.ThislettertotheBFACommitteeshouldstate:

• Yourreasonfortheabsence

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• ThesemesteryouwillreturntoactiveBFAstatus• Howyouwillremaincommittedtoyourstudies

NOTE:ALeaveofAbsencemaybetakenonlyonceandfornomorethanoneyear.YourBFAdegreeProgrammustbecompletednolongerthan7yearsafterbeingadmittedtoFull-MajorBFAstatus.Whenyouarereadytoresumethestudyandproductionofart,informtheBFAChairandtheBFACommitteewithwrittennotificationnolaterthan30daysbeforethefirstdayofthesemesteryouplantoreturntoactivestatus.

ART491:SENIORSEMINARThisUAAintegrativecapstonecourseMUSTbetakenbyallBFAstudentsduringthefallsemesteronly,andcompleteallassignmentsrequiredbythecourse.Thiscourseincludeslectures,discussionsandprojectsintegratingtheknowledgeofprofessionalpractices for the artist, the development of effective communication skills to be apracticingartist, thenecessary critical tools to resolveandassess creativeproblemsolvingart-relatedissues,andtheabilitytoresearchtheneededinformationtomakereasonabledecisionspertinenttoartpractices.Youneedtopassthecoursebeforeyoucanenroll in theART499ThesisExhibition.BFA candidates must complete this course with a passing grade of B or better.PrerequisitesareART262andPHIL401.If youwere accepted into the BFA program under probation, youmust clear yourprobationstatuspriortoenrollinART491.BFATHESISPROPOSALBFAThesis Proposal begins in the fall semester of the last year of your study. YoushouldhavesomeideasdevelopedforyourBFAThesisExhibitionprior.Duringthefirst3-weekof the fallsemester,youneedtoworkverycloselywiththeBFAChair,andyourArtFacultyAdvisortorefineyourBFAThesisProposal,andsubmitdraftsforCommittee’sapprovalaccordingtoeachdeadlines.YouarealsorequiredtoattendtheBFAThesisProposalWritingWorkshopscheduledduringthefirstweekofthefallsemester.PurposeofThesisThepurposeofthethesisproposalistoexplainanddefineabodyofartworkthatwillbepresentedintheBFAThesisExhibition.Thisexplanationshouldinclude:

• Theconceptualdevelopmentoftheworkisvital• Howitrelatestopreviousworkandartistswhohaveinfluencedyourwork

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Youproposalshouldbewritteninthemannerofaresearchpaper,andpresentedinastyle that would be acceptable for publication in the leading art journals. ThesisProposalshouldcontainthefollowingelements:

• Whatareintendedquantity,size,medium,andimagery?• Wherewillworkbeinstalled?• Howwillworkbeinstalled?• Whydidyouchoosethisconceptandmedium?• Whenwillitbecompleted,installed,exhibited?

ThesisProposalOutlineAproposalmaydescribemanydifferentkindsofprojects,buttypicallyitisafocusedbody of work in your primary studio area. Proposals that suggest a focus outsideprimaryareaareapprovedatthediscretionoftheCommittee.TheProposalrequirescompletesentencestructure,andproperEnglishgrammar,spellingandpunctuation.Write in clear and precise language. SeeBFAThesis Format in theAppendix (page45).ProposalCoverSheetUsetheBFAThesisProposalCoverSheet in theAppendixwhensubmityourthesisproposal(page46).ProposalExamplesPast students’ projects with proposals and images are archived in the Arts Office.Theymaybecheckedoutforreviewbutcannotleavetheofficearea.PlansofYourThesisExhibitionProposalshouldcontainplansforprojectpresentationintheKimuraGallery,orotherpre-approved location. Prepare to discuss logisticswith the Committee at the firstThesisProposalReviewMeeting.ProposalScheduleandDistributionRefer to “BFA Program and Thesis ProposalMeeting Schedule” for the deadline ofeachdraftproposalsubmissions.

• Emailyourdraftproposalsto:DepartmentofArtAdministrativeAssistantby4pmofeachduedateofyourproposalsubmission

• PickupsuggestedchangesfromBFAMailboxinthemailroomoneweekaftereachreviewmeeting

• DiscussdirectlywithyourArtFacultyAdvisorforfeedbacksandcommentsNOTE:TheCommitteewillNOTconsiderlatesubmissions.ThesisProposalReviewMeetings

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TheBFACommittee generally reviewsThesisProposals three times during the fallsemesteronly.Yourattendance isrequiredonlyat the firstThesisProposalReviewMeetingwithfaculty.1stThesisProposalReviewMeetingIt is arequired in-personmeetingwith theBFACommittee.A sign-up sheetwillbeavailable.Youneedtobringacopyofyourproposalandplantotakenotes.ThefirstBFAThesisproposalreviewmeetingisageneralreviewandallowsforimprovement.Bythesecondand/orthethirdreading,yourThesisProposalshouldbereadyfortheBFACommitteefinalapproval.ProposalAcceptanceTheproposalmustbeacceptedbyamajorityoftheBFACommittee.Avoterequiresaquorumof6membersandmustincludethestudent’sArtFacultyAdvisor.NOTE:IfyoudidnotgetyourBFAThesisProposalapprovedbytheBFACommittee,youcanresubmitamodifiedoranewBFAThesisProposalinthefollowingfallsemester.IfyouwerenotabletogetyourBFAThesisProposalapprovedbytheBFACommitteeatthesecondtime,youwillbenolongereligibletobeincludedintheBFAprogram.Youhaveonlytwoattempts.WorkcloselywiththeBFAChair,andyourArtFacultyAdvisorforassistance.UndergraduateResearchGrantApplicationAftertheBFACommitteehasacceptedyourBFAThesisProposal,allBFAstudentsareexpected to submit a grant proposal toUAAOffice ofUndergraduateResearch andScholarshipwhosupportundergraduateresearchandcreativeactivity.Therearetwoindependent deadline grant review cycles for the fall semester: October andDecember.Thisprestigiousgrant fundsprojectbudgetsup to$2,000. Studentswillalsoreceivea$500studentstipenduponthesuccessfulcompletionof theirproject.AwardedstudentswillalsobeexpectedtoparticipateintheUndergraduateResearchSymposiumwhichtakesplaceinthemiddleofApril.

ART499:BFATHESISEXHIBITThepurposeofthecourseistodevelopandexecuteafocusedbodyofvisualworkinprimarystudioarea(mayalso includework fromsecondaryareaofconcentration).Candidatesmust complete 3 credits of ART499Thesis Exhibition and a grade of B(80%)orbetter is consideredapassinggrade.Also, youarerequired toattend theBFAThesisExhibitOrientationmeetingscheduledduringthefirstweekofthespringsemester.NOTE:Thiscourseisofferedinthespringsemesterofeachacademicyearonly.RegisterforART499justlikeothercoursesatUAA.Remember,thesemesterpriortoenrollment inART499,BFACommitteemustaccept andapproveyourwrittenBFA

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Thesis Proposal. If your BFAThesis Proposal is not accepted, you cannot enroll inART499.NOTE:StudentswhohavenotattainedaFull-MajorBFAstatusareineligibletoenrollinART499.Duringthespringsemester,youwillbefocusedoncompletingabodyofworkfortheBFAThesis Exhibition in theKimuraGalleryor other pre- approved location. YourBFAThesisProposalwillguidethebodyofworkyoucreate.NOTE:Thebodyofworkcannotbeforandfromanyothercourses.AttendanceRequiredART499BFAThesisstudentsarerequiredtoattendallBFAExhibitionMeetingswiththe BFA Committee to review your progress during the spring semester. The BFACommittee Chair must be notified in advance in case of an unavoidable absence.FailuretoattendallscheduledBFAThesisExhibitionMeetingsmayresultinafailinggradeforART499.CheckwithBFAChairandArtsOfficeformeetingschedule.NOTE:Thisalsoapplies toCandidateswithadeferredgradewhohavenotcompletedtheirthesisprojectasyet.SatisfactoryProgressTheBFAChairandyourArtFacultyAdvisorwillnotifyyou,if,atanytimeduringtheBFAThesisExhibitionsemester,theCommitteedeterminesthatyourprogressisNOTsatisfactory. In some cases, this determination may be reached during businessdeliberations at the BFA Committee meeting. The Committee might recommend aDeferredGradetocontinuetheprojectinfuturesemesters.ADeferredgrademustbecompletedwithin 2 years. Please note that as long as you are enrolled in ART499Thesis, all requirements must be met including attendance at all BFA ThesisExhibitionMeetings.NOTE:BFACandidatesnot yet enrolled inART499Thesisare required to attendBFAThesisExhibitionMeetingsasapartoflearningexperience.MeetingPresentationEachBFAcandidateswillhave15minuteswiththeBFACommittee.Youareaskedtogiveathorough5-10minutesoralpresentationofyourThesisExhibitionaddressedtotheCommitteeandothers,andleave5-10minutesforQ&A.Work-in-ProgressBringallwork-in-progressrelatingtoyourThesisExhibitionproject.Iflogisticsareaproblem, discuss alternative methods with your Art Faculty Advisor and/or BFACommittee Chair. Photographs are not ideal for evaluating work, but a shortvideo/DVDmaybeacceptable.AsktheArtsBuildingManagerinadvancetoreserveamonitor.

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DevelopaTimelinePrepare a brief project production schedule, which outlines intended progress foreach of the scheduled meetings during the first BFA Thesis Exhibition Check-inMeeting,OtherMeetingsAteachsubsequentBFAThesisExhibitionCheck-inMeeting,continuetobringwork-in-progressfordiscussionandcritique.AsktheBFACommitteeanyquestions,asthisisanopendiscussiontimebetweenalltheBFAcandidatesandtheCommittee.

BFATHESISEXHIBIT:PROCESSART499 BFA Thesis culminates in a gallery exhibition at the Kimura Gallery. Thecommittee prefers a group showwith students graduating at the endof the springsemester.Shortertimeslotsmightbeavailableforaninstallationexhibition.ScopeofProjectIt is important to have a schedule and consider the time necessary to have asuccessfulthesisexhibition.Considerthefollowing:

Time:Thesemesterhas13weeksbeforetheexhibition.Forexample,youmustconsiderall aspects foryourthesispresentation: exhibitiongalleryandwindowboxsignage,announcements,lighting,placementofworkinthegallery,pedestals,andyouropeningreception.Whatevertimeyouthinkitisgoingtotakemultiplyitby3.Focus:Keepyourprojectwithin the limitsofwhatyoucando.Don’t learnnewtechnicalskillsforyourexhibition.Don’tveeroff-courseinnewartisticdirections.Yourexhibition isbasedonyourthesisproposalstatementsomakecertainyoufollowit.

Money: Seriously consider your financial resources. Consider submittingapplicationforartscholarshipand/orUndergraduateResearchGrant.

Marketing and Promotion: Your exhibition signage for the Kimura Galleryincludes (a) individual poster with your title, image and other relevantinformation, (b) your artist’s statement and (c) the window-box group posteroutsideofthegallery.TheymustbeproducedattheUAAGraphicDesignCenter.UAA graphic designer will layout the necessary information for your posters,artist’sstatementandwindow-boxposter.Therearedesignatedtemplatesforthisthatmustbeused.Theartworkyoudisplayinthegalleryisyouruniqueformofexpression not the signage. You represent the Department of Art and theUniversity as well as yourselves. See specifics below and the appropriateappendices.(Seepage47-52)

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Posters:Allofthesepostersare11x17.Samplesofthepostersareprovidedintheappendices. For the exhibition in the gallery you will need two posters to bedisplayed on the left inside of the gallerywall (one consistsof the title of yourexhibition,datesandallotherrelevantinformationandtheotherisyourartist’sstatement.Thepostersforthegalleryaretobedry-mountedonfoamcore.Donotlaminatethem.YouwillalsoneedtwootherindividualposterstobelocatedintheFineArtsBuilding.OneofthemistobeattachedtotheArtStudent’sInformationBoard on the 1st floor and the other is to be given to the Department of ArtAdministrative Assistant to be posted at the office on the 3rd floor. These twoposters are not to be dry-mounted. A total of four (3 individual and 1 group)postersareneeded.Ifyouwanttoproducemorepostersforyourownportfolioortodistributemoreoncampus, it is youroption.Whenyouhavepostersprintedyoumust make sure you indicate the quantity when you order them from thegraphicdesigner.

Artist’s Statement:Thestatement is formattedto fitan11x17sheet. It is tobedry-mountedon foamcore forpresentationpurposes in thegallery.Theartist’sstatementalongwithyourposterwillbedisplayedtogetherontheleft insideofthegallery.WindowBoxSignage:Thedeterminationofthewindowboxposterisbasedonhowmanystudentsareexhibitinginthegallery.Atthistimetherehavebeentwotypesofpostersproduced.One is a two-personposterand theother is a three-personposter.Whenyouhavethreeormorestudentsexhibitinginthegallerythedesignismoreproblematic.Problemsofspacingandimagescomeintoplayinthisinstance.Foranexampleofa two-personexhibitposter for thewindowboxseetheappendices(page49).Foranexampleofthreeartistsexhibitinginthegalleryseetheappendices(page50).Itissuggestedthatinsteadofovercomplicatingtheprocessfromadesignstandpointregardingathreepersonexhibitjustusingtextwouldbethemostpracticalwaytopresenttheartistsinthewindowbox.Ifyouoptjustforatext-basedposterthenthereisnoproblemofproducinganimagefortheposter.Itisyourchoiceastohowyouwanttodesignyourposter.Itismoreexpensive in terms of cost to design a three-artist poster as indicated in thesample. Layout costs can prove to be more expensive in terms of time andproofing.For thewindowboxposter, youare touse the samplesprovidedoracomparableformat.Thisposteristobe11x17andcenteredanddry-mountedona22x20pieceoffoamcore.Itisnottobelaminated.

Announcements (Invitations/Postcards): Your announcements must also beproduced at the UAA Graphic Design Center. There are templates thatmust beused. See specificsbelowand theappropriateappendices (page47).Youdecidethe quantity you want. Usually one distributes announcements to the faculty,familyandfriends.Thesizeoftheannouncementsis6x8½.

Proofing:Proofingyourtextsisveryimportantandtooffsetmorecostsyouwillturn your copy to the BFA Chair for proofing. You must provide your artist’s

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statement and all other information needed for production to the BFA Chairaccordingtoasetdeadline.Youmustalsoprovidethedigitalimagejpgyouplanonusing. Itmaybethatyouwantan imagewitha fullbleedoradetail.Seetheexamplesintheappendices.Youmustapproveanycorrectionsmadeatthisstage,andyouaretoinformtheBFAChair.Withthis,youhaveproducedafinalroughdraft.Once finalizedby theBFAChair, yourpostersandannouncementswillbesent to theUAAGraphicDesignCenter,andyouwillreceiveanoteofyour finalproofs,andmakechangesatthispointifitisneeded.BFAChairwillaskforyourfinalapprovalbeforetheyareprinted.Ifyouwantmorechangesafterthispoint,thenyouwillhavetopaymoreforlayoutchanges.ProductionTime:Timeiscriticalinproducingyourpostersandannouncements.Since theBFAexhibitionsare the last twoweeksof the spring semester,pleasefollowthescheduleasindicated. Yourjpgs,textandallmaterialsforproductionpurposesmustbesenttotheBFAChair5weeksbeforeyourexhibition.Thejpgsshould be of high quality with good resolution. Correspondence regardingproductionofyourannouncementsandposterswillbedonebye-mail.Mostlikelythiswill be around twoweeks to complete this process. If you approve at thisstage,thenyoucangoaheadandprintthepostersandannouncements.

Thereisatwo-weekturnaroundtimeframefromthetimeyousubmityourfinalproof.Youaretomakearrangementsforpaymentforyourpersonalpostersandannouncements. As to the window box poster you are to work out the sharedcostsamongyourselves.YouwillpickupthepostersandannouncementsandpayforthematthecounterofUAAPrintandCopyCenteratthebasementoftheUAABookstore.Itisimportantthatyourespondimmediatelytotheproofingphaseforyourpostersandannouncements.Delaysand lastminuteadjustmentscandelayproductionparticularlyifyoudecidetomakechanges.TimeframeChecklist:

• Five-week before yourBFAThesis exhibition submit jpgs and text for yourpostersandannouncementstotheGalleryDirector

• Two-week turnaround time for the first proof to be forwarded to you forapprovalandanyotheradjustmentsthatneedtobemade

• Two-weekturnaroundtimeafteryourapprovalof the finalroughdraft.Thetimemaybe lessdependingontheUAACopyandPrintCenter’sscheduleofproduction.

Cost,PaymentandPickup:Youwillbechargedforthetimetodesignthelayoutforyourpostersandannouncement,dry-mountingandprinting.Eachofyoupaysforyourownpostersandannouncementsthatyouhaveprinted.Thewindowboxposterisasharedcostbetweenthestudentsexhibitingtogether.Usuallythecostwill be determined during the first phase of your submission of yourmaterial.This will not change unless you make adjustments to the quantity ofannouncements and posters or havemade further changes in your proofs afterthefirstsubmissionofyourmaterial.TheCopyandPrintCenteratUAAislocatedatthebasementoftheUAACampusBookstore(Phone:786-6860).

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Publicity (Press Releases, Reviews, Newspapers): Be assertive and solicitEditors forashowreview, images in thepaper,orpossiblyan interview. It isattheirdiscretiontopublishanarticle.TheEditorshaveannouncementandreviewdeadlines. Expedite the reviewing process including a few high quality digitalimagesofyourartintheexhibition,artist’sstatement,artistresume,newsreleaseandmediaadvisory.

• UAANorthernLights:(907)753-1333• UAAUniversityAdvancement:(907)786-4847• AlaskaDispatchNews:Newsroom@adn.com

BFATHESISEXHIBITIONEVALUATION

GradingProcedureUponproject completion, theCommitteewillevaluate theexhibitiononaPASS/NOPASSbasis.AgradeofB(80%)orbetter isconsideredapassinggrade.FacultywillsubmitacompletedThesisEvaluationForm(page51-52)totheArtsOffice.NOTE:If,atanytimeduringtheThesisExhibitionsemester,theCommitteedeterminesthat your progress is NOT satisfactory, the Committee might recommend a DeferredGradetocontinuetheprojectinfuturesemesters.ADeferredgrademustbecompletedwithin2years.GradingCriteriaThegradeisapercentageofallpointsawardedbytheCommitteein3areas:

1. ExpressiveProperties:SuccessinthevisualrealizationoftheThesisProposal2. ConceptualProperties:Quality,originality,andgrowthofthoughtsandideas3. FormalProperties:Technicalmasteryofmaterials,andqualityofExhibition

GradingPointsThegradeisbasedonthefollowingpoints:

• 90-100% =A/Pass• 80-89.99% =B/Pass• 0-79.99% =NoPass

GalleryCleanUpandRepairCoordinatethecleanupwiththeGalleryDirector.Thepost-exhibitionconditionoftheKimura Gallery must be acceptable by the Gallery Director prior to awarding thegrade. Failure tomeet expectationsmay result in an Incomplete (I) or, in extremecases,afailinggrade(F).Expectationsinclude,butarenotlimitedto:

• Removingallartworkfromgallery,hall,lobby,andstorageareas• Fillingallholesandpatchingthewalls,floor,andceiling• RepairingandreturningthepedestalstotheGallerystoragearea• ReturningalltheGallerytoolstostorage

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• Lighting,aspercontractinAppendixAwardingtheGradeIn order to receive your grade and the Committee’s comments, you must submitrequireditemslistedinART499ThesisExhibitionChecklist(seepage55)totheArtsOffice immediately by the following Monday immediately after the close of yourexhibition.

COMPLETIONOFTHEBFAPROGRAMUpon completion of all coursework required for graduation, and before ART499ThesisExhibitiongradeisgiven;thecandidatemustsubmittotheArtsOffice:

1. AFinalCopyofThesisProposal2. AFinalCopyofArtistStatement3. 10-20DigitalImagesoftheThesisExhibitionworkonanArchivalGoldCDora

ThumbDrivewithimagelist4. 2ExhibitionPostcards5. ReceiptofStudioFeesPaid6. Keys and Gallery Condition Contract sign-off (including storage/lighting

contractrelease)7. CopyrightReleaseForm(seepage54)

GRADUATIONREQUIREMENTS

• SatisfytheGeneralUniversityRequirementsforBaccalaureateDegrees• CompletetheGeneralEducationRequirementsforBaccalaureateDegrees• CompletetheMajorRequirementsbelow

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KIMURAGALLERYGUIDELINETime is set-aside in the Kimura Gallery at the end of the spring semester for BFAExhibition. Shorter individual time slots might be available for installation-basedexhibitions depending on scheduling. All BFA candidates who participate in theART499BFAThesis Exhibitmust sign the appended contracts. The final documentneededfortheBFAstudenttoreceivetheirART499BFAThesisgradeistheKimuraGalleryBFAReleaseFormsignedbytheGalleryDirectorof theKimuraGallery(Seebelow).

RESPONSIBILITIESANDINFORMATIONKimuraGalleryContacttheGalleryDirectorfortheproceduresneededtosecurethegallerykeysforinstallingartwork(seebelow*)andaccessto tools forpurposesof installation.Youmustmeetwith the Gallery Director and othermembers of the ACE Committee todiscuss your exhibition plans and needs. Prior to meeting the Kimura Gallerycommittee you will have met with your Art Faculty Advisor and BFA Committeemembers on how the space is best utilized. If you are involved in a group show,closelycoordinateallofyourneedswiththeotherstudentsexhibiting.KimuraGallerySignageOutsideofthegalleryisawindowboxtotherightoftheentrancetothegallery.ItisusedtodisplayinformationpertinenttotheBFAThesisexhibition.Youmustusethesame informationon thebackofyourannouncement cardand includean imageofyourworkonyourexhibitionposter. In thecaseofagroupexhibitionthestudentsmustdecideamongthemselvesthebestwaytodisplaytextandimagesontheposter.ArtistStatementYou are to provide a personal statement illustrating your ideas relevant to yourthesis.Thestatementshouldbeaminimumofonepageandnotmorethantwopagesin length.Your statement shouldreflectwhat theBFACommitteeandyouradvisorhaveapproved.SchedulingSet-UpTimefortheThesisExhibitionAtthelastBFAThesisExhibitionMeetinginthespringsemester,pleasereconcileanyset-up problems.Map out individual spaces in the gallery and address any specialneeds. This may require providing designs for display needs like pedestals, walls,specialized lighting, electronics, etc. You will be required to purchase thematerials/equipment needed for installing yourwork (hanging devices, specializedtools,wallmounts,projectors,mediaplayers,etc.),andbuildinganydisplayelements(pedestals,screens,walls,etc.).

It is important to arrange set-up times with the Gallery Director and your fellowexhibition colleagues, so make it a priority. The set-up time is usually 2-3 days

30

(Friday through Monday). All exhibitors will meet with the Gallery Director as agrouponthefirstdayoftheinstallationperiod.

GalleryKeysTheGalleryDirectorwillsign-outonekeytoyourexhibitiongroup.Ifthekeyislost,thegroupisresponsibleforitsreplacement.Thekeyistobereturnedattheendofyourexhibition toaccommodate thenextgroupof studentsexhibiting. If thekey isnotreturned,ahold isplacedoneachof thecandidate’saccountandgrades.WhenleavingthegalleryeachdaybesuretoLOCKbothgallerydoorsaswellasthestorageroomdoor.Installation/Site-SpecificandPerformanceExhibitionsIfdiscussedandapprovedduringtheThesisProposalReview,yourprojectmightbean installationorperformance-basedexhibition. Installation,site-specificwork, andperformanceartexhibitionsmustbe located intheAnchoragearea.TheCommitteemustbeable towitnessperformancepieces,or tovisit installationandsite-specificpieces as a group at a scheduled time initiated by the student. It is the student’sresponsibility to find a space that can accommodate their performance work andvisualwork.Spaceisatapremiumduringthelasttwoweeksofthesemestersoonecannot reserve theHarperDanceStudioorRoom150 in theFineArtsBuilding.Torent spaces on campus or find possible space on campus, please contact Facilities(786-1100). You should also try to find alternate venues in the Anchorage area.Advancepreparationisessentialforthistypeofpresentation.EquipmentNeedsYoumay need projectors, audio systems and other technical support. You need toplanwell inadvanceofyourexhibition toaccommodate theseneeds.This includesmaking an appointmentwith theGalleryDirector at least twoweeks prior to yourinstallationdatetodemonstratethatyouhavetestedyourelectronicequipmentanditisinworkingorder.Ifyouwishtouseuniversityequipment,andifitisavailable,you must contact the Fine Arts Building Manager (786-4890) and/or the GalleryDirector.Schedulingandplanningisessentialsoitisnecessaryforyourecognizetheneed for making reservations for equipment needs. You must give the Fine ArtsBuildingManageraminimumoftwoweeksnotice.Itissuggestedthatyoucontactthebuildingmanagerearlyinthesemestertomakereservations.GalleryCleanupRequirementAstheexhibitionisremoved,repairtheGallerywallsandpaintthemwhereneeded.Repair,paintandstorethepedestalsandplacethembackinthestoragearea.IfallofthisisdoneproperlyandapprovedbytheGalleryDirectorthatyouhavefulfilledthisobligation, you will receive a grade for completing your ART499 BFA ThesisExhibition.MakecertainyouarrangeatimewiththeGalleryDirectortolookoverthecleanupofthegallery.ThegallerycanprovideyouwiththeSpacklepaintandotherneededmaterialstofacilitatethecleanup.

31

TheGalleryandstorageareamustbecleanedandallartremovedwithintwodaysofyour exhibition’s closing. If the student does not remove thework in the requisitetimethegallerycommitteewilltakedownthework.Allprecautionsandcarewillbetaken not to damage any work. However, if the work is taken down and there isdamagetotheartwork, theGallery,DepartmentofArtandUniversityarenotliablefordamages.Itisalwaysthestudent’sresponsibilitytoremovethework.Itisnotthegallery’sfunctiontodoso.Iftheartworkisdamagedthestudentwillbenotified.Carewill always be taken to remove artworks carefully. All studentswho takeART499BFAThesisExhibitionmustsigntheDamageWaiverforBFAExhibitionintheKimuraGalleryreleasingthegalleryfromliabilitiesifdamageoccurstotheartworkwhenthetime frame is not adhered to and the gallery committee has to take down theexhibition.

RECEPTIONINFORMATION&RESPONSIBILITIESYou need to prepare food, beverages, napkins, and cups and coordination of theopeningreceptionwiththeotherstudentsintheexhibition.Thegallerycanprovideyouwithatablecloth,punchbowlandladle.TheFineArtsParkingAreacanbeusedbyguestsandfriendsforyourreceptionandis free after 5pm on the day of the reception. The BFA Chairwill fill out a SpecialEvent Parking Request Form (http://www.uaa.alaska.edu/parking/upload/Special-Event-Parking-Form_Pro.pdf)andsubmitittoParkingServicestwoweeksinadvanceofyourreception.NOTE:Noalcoholcanbeservedatthereception.

CONTRACTSANDBFARELEASEFORMAllstudentsmustsignthecontractsbelowandturnthemintotheGalleryDirectornolaterthantwoweekspriortotheThesisExhibition.Therearefourcontracts:

1. KimuraArtGalleryLightsContract2. DamageWaiverfortheBFAExhibitionintheKimuraGallery3. KimuraGalleryReleaseForm

Thereasonforthecontractsisduetostudentsrepositioningandcausingdamagetothe light canisters, not cleaning up the gallery properly and not returning ordamagingtheitemsusedforthereceptioninatimelyfashion.

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KIMURAARTGALLERYLIGHTSCONTRACTI__________________________,willberesponsibleforreplacementcostsofanylightcanisters that aredamagedregardingmyexhibition in theKimuraGallery. I understand that my grades and transcripts will not beprocessedbytheuniversityuntilthecostsforreplacementcanistershavebeenpaid.PaymentistobemadetotheKimuraArtGallery.Thegallerywillprovide thecostsandvendor forreplacementandprovide receiptstotheexhibitorforanyneededcanisterpurchases.BFAStudentSignature:____________________________Date:_____________GalleryDirectorSignature:________________________Date:_____________

Bachelor of Fine Arts

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DAMAGEWAIVERFORBFAEXHIBITIONINTHEKIMURAGALLERYI _______________________________understand that thereare twodays to takedown the Thesis Exhibition. If I amdelinquent in not taking down theexhibitionand theGallerycommitteehas to takedowntheartwork theGallery, Department of Art and University are not responsible for anydamage done to the artwork. The gallery will always take the utmostcare in taking down the work of a student’s if they do not meet therequisitetimeframe.Thestudentwillbenotifiedifthereisanydamage.BFAStudentSignature:____________________________Date:_____________GalleryDirectorSignature:________________________Date:_____________

Bachelor of Fine Arts

34

KIMURAGALLERYBFARELEASEFORMThe undersigned has passed inspection regarding the gallery cleanup,use of canisters, reception items and the return of keys for the Thesisexhibition.Ifnotacceptablethestudent’sdegreeandtranscriptswillberetainedbytheuniversityuntiltheserequirementsaresatisfied.BFAStudentSignature:____________________________Date:_____________GalleryDirectorSignature:________________________Date:_____________

Bachelor of Fine Arts

35

APPENDIX

36

Bachelor of Fine Arts

KIMURAGALLERYMAP

37

Bachelor of Fine Arts

BFAPROCESS

APPLYFORADMISSIONTOTHEBFAPROGRAM

• PrepareBFAapplicationfiles• MeetwithyourArtFaculty&CASAdvisor• Prepareadigitalportfolioofyourartwork• SubmitanapplicationtotheBFAcommittee• Registerinupperdivisionartstudiocourses

FRESHMAN

SOPHOMORE

PRE-BFA• CompleteartfoundationcorecoursesART105BeginningDrawingART205IntermediateDrawingART111TwoDimensionalDesignART113ThreeDimensionalDesignART112ColorDesignART307LifeDrawingART261HistoryofWesternArtIART262HistoryofWesternArtII

• Completebeginningstudiocourses(9credits)• Selectprimaryandsecondaryconcentrations• Compileadigitalportfolioofyourartwork• ObtainaminimumacademicGPA:2.5allcourseworkand3.0artcoursework

SENIOR

SPRING SEMESTER

FALL SEMESTER PREPAREBFATHESISPROPOSAL• EnrollinART491SeniorSeminar• MeetwithyourArtFacultyAdvisor• GetyourBFAThesisProposalapprovedbythe

BFACommittee• AttendBFACheck-inMeeting(oncesemester)• Registerinupperdivisionartstudiocourses

ENROLLINART499THESIS• ApplyforGraduation• AttendBFAThesisMeetings(2timesduringthe

semester)• CompleteBFAThesisExhibit

JUNIOR

38

Bachelor of Fine Arts

BFAPROGRAMCHEKCLIST

NOTE:KeeptheBFAChairandtheArtOfficeUpdatedwithYourCurrentContactInformationPRE-MAJORSTATUS

• FilloutapplicationforadmissiontoUA• SelectanArtFacultyAdvisor–usuallyinyourprimaryarea• CompleteallArtFoundationCoreCourses• CompletetheBeginningStudioElectives(atleast9credits)• SelectPrimaryandSecondaryConcentrations• Developadigitalportfolioofartworkthatexemplifiesyourpotentialforsuccessinboth• PrimaryandSecondaryareas

SUBMITTINGBFAAPPLICATION

• Obtainacopyofcurrent“BFAMeetingSchedule”fromtheBFAChairatthebeginningofsemester

• MeetwithyourArtFacultyAdvisor• Obtaina“BFAStudentHandbook”andreadit• MeetwithaCASAcademicAdvisertocompletea“ProjectedPlanofStudy”(w/signature-

required)• Assembleapplicationmaterials(See“ProceduresandRequirementsForm”formore

details)• SubmitapplicationmaterialstotheArtsOfficebeforeorbythedeadline

FULLMAJORSTATUS

• Completea“ChangeofMajor”formtoFull-MajorBFAstatusafteryouareacceptedintotheprogram

• ReviewBFAStudentHandbookandcheckwithArtOfficeforcurrentmeetingtimes• MeetwithyourArtFacultyAdvisoraminimumof2timespersemester• AttendBFACheck-inMeetingonceasemester(attendanceisrequired)• Assembleworkinprogress

DURINGSENIORYEARINTHEFALLSEMESTER

• EnrollinArt491SeniorSeminarandyourneedtopassthecoursebeforeArt499Thesis• AttendThesisProposalWritingWorkshopandThesisProposalReviewMeeting

(attendanceisrequired)• DevelopyourBFAThesisProposalandgetapprovedbytheBFACommittee• AttendBFACheck-inMeetingtopresentworkinprogress(attendanceisrequired)• SubmitUAAUndergraduateResearchGrantProposal

DURINGSENIORYEARINTHESPRINGSEMESTER

• EnrollinART499ThesisExhibit(springsemesteronly)uponapprovalofyourBFAThesisProposal

• AttendBFAExhibitOrientationMeeting(attendanceisrequired)• AttendTwoBFAThesisExhibitMeetings(attendanceisrequired)• Prepareabodyofwork,BFAexhibitposter,artiststatement,andgroupexhibitposter• ParticipateinBFAThesisExhibition• SubmitApplicationforUAAGraduation• Submitrequireddocuments(listedin“ProceduresandRequirementsForm”)totheArt

officebeforeART499Thesisgradeisgiven

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Bachelor of Fine Arts

BFAPLANOFSTUDY(Sample)

1STYEAR FALL ART105 BeginningDrawing 3 ART111 TwoDimensionalDesign 3O ENGL111 WrittenComposition 3

GeneralEducationRequirement 3

GERORALCOMMUNICATIONS 3

15

SPRING

ART205 IntermediateDrawing 3

ART113 ThreeDimensionalDesign 3

ARTA112 ColorDesign 3

O ENGL211 WrittenComposition 3

GERQUANTITATIVESKILLS 3

15 2NDYEAR FALL

ART Beginning2Dor3DStudio 3

ART Beginning2Dor3DStudio 3

ART203 IntroductiontoArtEducation 3

O ART261 HistoryofWesternArtI 3X GeneralEducationRequirement 4

16

SPRING

ART Beginning2Dor3DStudio 3

ARTA307 LifeDrawingCompositionI 3

ART PrimaryConcentrationBeginningStudio 3

O ART262 HistoryofWesternArtII 3

GeneralEducationRequirement 3

15 3RDYEAR FALL

ART PrimaryConcentrationIntermediateStudio 3

ART SecondaryConcentrationBeginningStudio 3

ART UpperDivisionArtHistory 3

GeneralEducationRequirement 6

SPRING

ART PrimConcenInterStudio 3

ART Sec.ConcenInterStudio 3 ART UpperDivisionArtHistory 3O Phil401 Aesthetics 3 GeneralEducationRequirement 3 15 4THYEAR FALL

ART PrimaryConcentrationAdvancedStudio 3

ART PrimaryConcentrationSupportCourse 3

ART SecondaryConcentrationAdvancedStudio 3

ART491 SeniorSeminar 3 15 SPRING

ART PrimaryConcentrationAdvancedStudio 3

ART UpperDivisionArtHistory 3 ART499 BFAThesis 3 ART ArtElective 3 ART ArtElective 3 15

O:SemesterduetoschedulingmethodsX:Indicatesthesemesterwhenthe1creditNaturalSciencelaboratorycoursemightbetaken.NOTE:Atotalof121creditsisrequiredforthedegree,ofwhich42creditsmustbeupperdivision.Atotalof84creditsinARTmaybeappliedtothedegree.

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Bachelor of Fine Arts

ForOfficeUseOnlyReceivedby:Date:

BFAAPPLICATIONFORADMISSION

PERSONALITEMSName:___________________________________________ StudentID:_____________________________________

Email:___________________________________________ CurrentPhone:________________________________

Address:_________________________________________ City,St,Zip:____________________________________

PrimaryStudioArea:___________________________ ApplicantSignature:_______________________________________

SecondaryStudioArea:_________________________ AdvisorSignature:______________________________________

StudioAreasAvailable:Ceramics,Drawing,DigitalArtandGraphicDesign,Painting,Photography,Printmaking,Sculpture

AdvisorsAvailable(CircleOne):AlvinAmason,ThomasChung,HerminiaDin,SteveGodfrey,MarianoGonzales,SeanLicka,GarryMealor,KristySummers,RivaSymkoDebTharp,Other:____________________________

APPLICATIONITEMSThefollowingitemsmustbeattachedtothisform:

1. LetterofIntentaddressedtotheBFACommitteeincluding:(a) StatementofCareerObjectives(b) AwarenessofdifferencesbetweenBAandBFA

2. Copiesofallcollegetranscripts 3. “ProjectedPlanofStudy”–listofallcollegeARTcoursestakenand

thegradesawarded(signedbyaCASAcademicAdvisor) 4. BFAAdmissionProcedure&RequirementDocument(signed) 5. Portfolioindigitalform(refertoBFAHandbookforcorrectformat)

FORDEPARTMENTUSEONLYEligibilityReview:

• GPAREQUIREMENTS:______2.5overallcoursework______3.0generalartcoursework• ______ApplicanthasbeenenrolledatUAAforatleastonesemester______Art491taken

CompleteLowerDivisionCoreRequirements(24credits):Done/Enrolled/Need Done/Enrolled/Need__________________Art105BeginningDrawing __________________Art1133-DDesign__________________Art205IntermediateDrawing __________________Art307LifeDrawingI__________________Art1112-DDesign __________________Art261HistoryofArtI__________________Art112ColorDesign __________________Art262HistoryofArtII

CompleteLowerDivisionCoreElectives(9credits):Done/Enrolled/Need __________________ArtTwoDimensionalStudioCourse(A212,A213,A215,A224,A252,A257)__________________ArtThreeDimensionalStudioCourse(A201,A202,A211,A270)__________________ArtTwoorThreeDimensionalStudioCourse_______________________________

ActionByCommittee:______Accepted ______AcceptedonProbation:Conditionsbelow______NotAccepted:Commentsbelow

41

Bachelor of Fine Arts

BFAPROCEDURESANDREQUIREMENTSFORM

NOTE:Readthefollowingandprovidetherequiredsignaturesatthebottom.PreparetheapplicationwithyourArtFacultyAdvisor.AdmissionRequirements• OfficiallyadmittedintotheCollegeofArtsand

Sciences(pre-BFAmajor)• CompleteallArtFoundationCoreCoursesand

BeginningStudioElectives(9credits)• EnrolledatUAAforonesemester• MinimumacademicGPArequirementsof2.5

overallcoursework,3.0overallartcoursework,andmaintain3.5inprimarystudioconcentration

ApplicationandAdditionalMaterialsSubmittheseitemstotheArtOfficeaccordingtotheBFAApplicationReviewMeetingschedule.• ApplicationForm(inHandbook)• LetterofIntenttoBFACommitteestating

“CareerObjectives”and“DifferencesbetweenBA&BFAprograms”

• CollegeTranscripts(UAOnline)• Signed“ProjectedPlanofStudy”byaCAS

AcademicAdvisor(FormatisinHandbook).• BFAProcedureandRequirementsForm(this

document)• Applicant’sPortfolio:Includingproperly

labeled15-20digitalimagesincludingbothprimaryandsecondaryconcentrationsstudioareasororiginalworksandImageDescriptionSheet.

ApplicationReview• BFAApplicationsacceptedduringtheFall

Semesteronly• TheBFACommitteereviewsapplicationsin

executivesessionandvotestoaccept,acceptonprobation,ornottoaccepttheapplicantasaFull-MajorBFACandidate.

• Applicant’sArtFacultyAdvisormustbepresentduringthereview

• ApplicantwillbenotifiedoftheCommittee’sdecisionwithintwoweeksofthereview.

AcademicProgressTheBFACommitteeoverseesacademicprogressforallFull-MajorBFAcandidates.

• CandidatesarerequiredtomeetwiththeirArtFaultyAdvisortwicepersemester

• Completea“ChangeofMajor”Form• Completeallupperdivisioncoursework• EnrollinART491SeniorSeminar• EnrollinART499ThesisExhibition• AttendBFACheck-inmeetings• AminimumGPAof3.50intheprimarystudio

emphasisisrequired.CompletionUponcompletionofallcoursework(includingART491SeniorSeminar)requiredforgraduation,theBFAThesisExhibit,andbeforeART499Thesisgradeisgiven;thecandidatemustsubmitfollowingdocumentstotheArtoffice:• AFinalCopyofThesisProposal• AFinalCopyofArtistStatement• 10-20DigitalImagesoftheThesisExhibition

artworkonanArchivalGoldCDoraThumbDrivewithimagelist

• 2ExhibitionPostcards• ReceiptofStudioFeesPaid• KeysandGalleryConditionContractsign-off

(includingstorage/lightingcontractrelease)• CopyrightReleaseFormBFACommitteeTheBFACommitteeconsistsofvotingArtFacultyandischargedwith• Reviewingandrulingonallapplicationsfor

BFAProgramAdmission• ApprovingallBFAThesisproposals• MonitoringtheprogressofresidentBFA

candidates• OverseeingandevaluatingallART499Thesis

Exhibitions• Approvingtheselectionofartworkforthe

ART499ThesisExhibition• Providingrequisiteapprovalforanysoloart

studentexhibitionatexhibitionspacesotherthanKimuraGallery

• DiscretionaryselectionofstudentartacquisitionsfortheUAAPermanentCollection

Signature:BysigningbelowIsignifythatIhavereadthisdocumentandinordertoreceiveaBFADegreefromUAAImustcomplywithalltherequirementslistedhereaswellasthoseintheOfficialUAACatalogissuedatthetimeIdeclaretheBFADegree(pre-majorBFA)

__________________________________________________ __________________________________________________StudentSignature Date ArtFacultyAdvisorSignature Date

42

Bachelor of Fine Arts

IMAGELISTSANDLABELS

ARCHIVALGOLDCDORTHUMBDRIVEForBFAAdmissionand/orBFAThesisExhibition,studentsarerequiredtosubmitdigitalimagesonaThumbDriveinJPEGformatat150dpiorhigher,andaphysicalsizeof5x7.Pleasesaveeachimagewiththe“number,yourinitial,andtitleoftheartwork”inthesameorderasthecorrespondingimagelist.EXAMPLEFILELABELS

• 01_SM_Self-Portrait.jpg• 02_SM_IceCrystalsonPond.jpg• 03_SM_MemoriesofOldCars.jpg

DIGITALIMAGELIST

YourName: ____________________

Date: ____________________

1. ShawnDouglasMcIntosh

Self-Portrait(CustomCrazinessinHDF)ColorPhotograph8.5”x11”2017

2. ShawnDouglasMcIntosh

IceCrystalsonPondColorPhotograph8.5”x11”2016

3. ShawnDouglasMcIntosh

MemoriesofOldCarsColorPhotograph8.5”x11”2016

43

Bachelor of Fine Arts

SEMESTERSCHEDULE

ATTENTION STUDENTS BFA Program, Check-in, and Thesis Proposal Meeting Schedule

UAA Department of Art / FALL 2018

Date

If you are a Pre-BFA Student

Applying for admission to the BFA

Program

If you are a BFA Student Enrolled in

ART491 & Planning to enroll in Thesis

Exhibition Art 499 in the Spring of 2019

If you are a BFA Student

NOT in ART491

Wednesday Aug 29

BFA Thesis Proposal Writing Workshop 11:30-12:45pm (Arts 342)

Monday Sept 17 BFA Thesis Proposal DUE (1st

Draft) by 4pm in Arts 302

Wednesday Sept 19

BFA Orientation 11:30-12:45pm (Arts 342)

BFA Orientation 11:30-12:45pm (Arts 342)

Friday Sept 21

BFA Thesis Proposal (1st Draft) and Meeting with Art Faculty (NO artwork) 12:00–1:45pm (Arts 342)

Monday Sept 24 BFA Thesis Proposal Return to

Students (1st Draft)

Monday Oct 8 &

Dec 3

Application Deadline for OURS Undergraduate Research Grants

Monday Oct 15

BFA Application DUE By 4pm in Arts 302 * Please submit digital artwork for review only

BFA Thesis Proposal DUE (2nd Draft) by 4pm in Arts 302

Deadline to sign up for BFA Check-In Review Meeting

Friday Oct 19

BFA DAY

Faculty Review BFA Application

BFA Check-In Review Meeting 1:00–2:45pm (15 min per student), Art Studios

BFA Check-In Review Meeting 1:00–2:45pm (15 min per student), Art Studios

Friday Oct 22 BFA Thesis Proposal Return to

Students (2nd Draft)

Monday Nov 12

BFA Applicants Notified of Committee’s Decision

BFA Thesis Proposal DUE (Final Draft) by 4pm in Arts 302

Monday Nov 26

Notified Students of BFA Final Thesis Proposal Acceptance

44

Bachelor of Fine Arts

BFACHECK-INMEETINGSCHEDULE(Sample)

FALLSEMESTERBFACOMMITTEEMEETINGAGENDA

10:00-11:30 FacultyMeeting11:30-12:00 ReviewBFAThesisProposal/2ndDraft(FacultyOnly)12:00-12:30 ReviewNewBFAApplication12:30-1:00 Lunch 1:00-2:00 BFACheck-InMeeting(15min.each)

TIME STUDENT STUDIO

1:00-1:15 XXXXXXXX Drawing

1:15-1:30 XXXXXXXX Painting

******************************************************************************

SPRINGSEMESTERBFACOMMITTEEMEETINGAGENDA

1:00-1:45 Art491BFAExhibitionMeeting(15min.each)

TIME STUDENT STUDIO

1:00-1:15 XXXXXXXX Ceramics

1:15-1:30 XXXXXXXX Photography

2:00-3:00 BFACheck-inMeeting(15min.each)

TIME STUDENT STUDIO

2:00-2:15 XXXXXXXX Sculpture

2:15-2:30 XXXXXXXX ComputerLab

45

Bachelor of Fine Arts

BFATHESISPROPOSALFORMAT

NOTE:Theproposalistobeonsize8.5x11whitepaper.Max3-5pages.PURPOSEOFTHESISANDTHESISOUTLINEThepurposeoftheseniorthesispaperistoexplainanddefinetheartworkpresentedinyourthesisexhibition. This explanation should include the conceptual development of the work in terms ofpreviousworkyouhavedoneandartistswhohaveinfluencedyourwork.Itshouldbewritteninthemannerofaresearchpaper,andpresentedinastylethatwouldbeacceptableforpublicationintheleadingartjournals.Thethesisshouldcontainthefollowingelements:

• Whydidyouchoosethisconceptandmedium?• Whatistheintendedfinalresultinquantity,size,medium,andimagery?• Wherewilltheexhibitbeinstalled?• Howwillyouinstallthisexhibit,andhowwillitinteractwiththespace?• Whenwillyourprojectbecompleted,installed,exhibited?

I.INTRODUCTION (1-2paragraphs)Theintroductionshouldstatethebasicconcept/contentofyourwork,whatyouhavedoneandwhy.Later,youshouldbeabletodrawfromyourthesisforyourArtistStatement.II.BODYOFPROPOSAL

CONCEPT:ProposedProject (2-3paragraphs)Discussyourcurrentbodyofworkanditsdevelopment.Describetheprojectyouintendtocompleteandwhy.Beasspecificaspossiblewhileallowingfortheproject’snaturalgrowthandchange.Whatistheconceptbehindthework?Pointoutinfluences,connectiontopreviouswork,howtechniquesandmaterialsareappropriatefordevelopingtheconcept,howuseofimages,colors,shapes,andtheallaroundprocessetc.supporttheconcept.Thisshouldbethemajorportionofthethesisandshouldexplainanddefineyourwork.Youshouldreferencetitlesandnumberedimagesofyourwork.

BACKGROUND:HistoricalReferences (2-3paragraphs)Discusswhichartistsinfluencedyourworkwithreferencesandendnotes.(Checkwrittencritiquesandessaysinartjournalsforproperreferencingforthosejournals.Youpapershouldbeinthestyleofthemajorjournalsforyoudiscipline).DiscussyourworkfortheThesisandpreviouswork.Youmayreferencecolorcopiesofworksyoudiscuss.Developanexplanationofhowtheproposedprojectrelatestotheworkofotherartistsortoareasofspecialinterestthatinfluenceyou.Tellyourreaderhowthisinformationandknowledgehasinfluencedyouandsupportsyourproposal.

III.EXHIBITION:PRESENTATIONANDINSTALLATION (2-3paragraphs)ART499Thesiswillculminateinagalleryexhibitionorformalpresentation.ItispreferredbytheBFACommittee thatallpresentationsoccur in theKimuraGalleryduring theBFAGroupShow,which isscheduledattheendofthespringsemester.Shorterindividualtimeslotsmightbeavailable.Explainthe logistics of the installation by summarizingwhatwill be shown and how it will be installed. Atimeline of developing your body of work is required. As a reminder, you will need to coordinatelogisticswiththeBFACommitteeduringBFACheck-In.Thelogisticsdiscussedinyourproposalwillbeyour“syllabus”forART499Thesis.Theplansdescribedinthissectionwillbethecriteriaforyourfinalgrade,andultimatelyforgraduation.**NOTE:ItispreferredbytheCommitteethatallpresentationsoccur in the Kimura Gallery during the BFA Group Show. Shorter individual time slots might beavailableforinstallationtypeexhibitions.IV.SUMMARY (1paragraph,ifneeded)Restate, inabbreviatedform,whatyouhavedoneandfutureprojects.Whatdoyouplantodonext?Howwillitsupportthenextstepsinyourcareer?

46

Bachelor of Fine Arts

BFATHESISPROPOSALCOVERSHEET(Sample)

Note:Thesisproposalshouldbeprintedon8.5x11whitepaper

BFA Thesis Proposal *Title of Project* *Your Name* *Your Advisor’s Name* Primary Concentration: Secondary Concentration: ______

*(area for visual if desired)*

University of Alaska Anchorage * Date Submitted* * Current Semester * Indicate if 1st, 2nd, or Final Draft

47

Bachelor of Fine Arts

BFATHESISEXHIBITIONINVITATION(Sample)

ImageSide

InformationSide

48

Bachelor of Fine Arts

BFATHESISEXHIBITIONPOSTER(Sample)

Visceral Visions BFA Thesis Exhibition

An exploration of emotion throughlarge scale ceramic vessels by Lukas Easton.

May 1, 2017 - May 5, 2017Opening Reception: May 1, 5:30pm, Kimura Gallery, FAB

Lidded Jar, Stoneware, 55”x26”, 2017.

49

Bachelor of Fine Arts

BFATHESISEXHIBITIONGROUPPOSTERI(Sample)

50

Bachelor of Fine Arts

BFATHESISEXHIBITIONGROUPPOSTERII(Sample)

51

Bachelor of Fine Arts

ART499BFAEXHIBITIONARTISTSTATEMENTFinalDraft(Sample)

OurBodies,OurStoriesLadiesinTheirEightiesMulti-mediaPortraitsbyNancyLaurelArtistStatement:

OurBodies,OurStories explores the inhabitation of a physical bodyover a lifetime,

includingtheinevitablemalfunctions,injuriesandjustplainwearingoutofitsparts

overtime.Havingpassedthemidwaypointofmyownlife, Iaminterestedtolearn

from thewisdomand insightsofmy foremothers.What physical and psychological

impactsdotheyexperienceasaresultof thegradual transformation fromyouthto

age? Are they beautiful? Healthy? Strong? Wise? Whether we like it or not, our

contemporaryculturecontinuestoplaceanemphasisonfemalebeautyandphysical

perfection as an important source of a woman’s identity. How do these women

embrace or transcend cultural pressures? What roles have been theirs to play

throughouttheirlivesandhowhavetheyintegratedthevariousandoftenconflicting

aspectsofidentitytomanifestwholeselves?

The installation emphasizes traditionally feminine materials and processes,

presenting the female figure in the context of thewoman’s experience of her own

body, both in its aged condition and looking back over her lifespan. Each of these

womenhassharedherstoryandparticipatedinitstransformationintoaworkofart.

Asyoucontemplate three specific instancesof feminineexperience in twentieth-to-

twenty-firstcenturyAmericancultureand inhabit theirstories forabrief interval, I

hopeyouwill imagineandappreciate the joysthesewomenknow, thechangesand

challengestheyhavefacedandthewisdomtheypossess.

52

Bachelor of Fine Arts

ART499BFAEXHIBITIONARTISTSTATEMENTFINALFinal(Sample)

The Presence of Dystopia

By Jenna Gus Gerrety

Artist Statement:

Dystopia: [from the Greek δυσ- and τόπος] A community or society that is undesirable or frightening. Dystopian societies appear in many artistic works, particularly in stories set in the future. Dystopias are often characterized by dehumanization, totalitarian governments, environmental disaster or other characteristics associated with a cataclysmic decline in society.

We live in a dystopian reality obfuscated by claims of ‘fake news’ and government sponsored ‘alternative facts’. In a world where people don’t trust the media, don’t trust science, and don’t trust the government, people increasingly rely on their own observation and intuition. While this is understandable, and in many cases justified, it begs the question, how do we inspire individuals to look beyond their personal experiences and become active in issues facing us as a whole?

My ultimate goal as an artist is to connect the personal to the universal. Each subject I selected to convey the ‘presence of dystopia’ were places I have seen evolving since my childhood; places effected by loss, declining wealth, neglect and the desire for immediate gratification, climate change and adaptation, corporate power and unsustainability. While these scenes are real and personal, they are also common to Alaska and often go unnoticed.

While climate change and poverty are already heavily impacting our state, many people don’t want to take action to mitigate their effects, either because they value short-term economic gain over long-term prosperity, or because it is easier to pretend problems don’t exist. I know several people who believe climate change is a hoax, because they don’t recognize they have seen the effects personally. It is easy to ignore ugly things. But by depicting painful topics through respect and beauty, I hope my work can be a catalyst for dialogue about how our world is changing.

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Bachelor of Fine Arts

ART499THESISEXHIBITIONEVALUATIONFORM

BFACandidate: Semester/Year:/ FacultyReviewer:___________________________________Note forBFAStudents: This is a form foruse by each facultymember of theBFACommitteeattending the final Thesis Evaluation Session. Evaluation pointswill be awardedwithin eachcategory (using decimal fractions ranging form 0 to 10). The final Thesis grade will becalculatedbytheBFAChairasapercentagefromthehighestpossibletotalofevaluationpointsawarded by the BFA Committee. Award of the thesis grade will be based on the followingpercentagesofevaluationscores.AgradeofB(80%)orbetterisconsideredapassinggrade.POINTSAWARDEDBYTHISREVIEWER

(ForExample,10points=100%,92points=92%,etc.) ExpressiveProperties SuccessinthevisualrealizationoftheThesisProposal Specificcommentsonothersideofthissheet ConceptualProperties Quality,originalityandgrowthinideas/thoughts Specificcommentsonothersideofthissheet FormalProperties Technicalmasteryofmaterialsandpresentation Specificcommentsonothersideofthissheet

BFACOMMITTEECOMBINEDTOTALSCORETotalNumberofEvaluators: Highestpossiblescore: (10xNo.ofEvaluators)Totalactualpointsawarded: TotalPercentage:

BFACandidatehassubmittedtheChecklistforA499ThesistotheArtoffice(required).

YES NO

THESISGRADE

PASS NOPASS(80%orabove) (79.99%andlower)

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Bachelor of Fine Arts

ART499THESISEXHIBITIONTALLYSHEET

BFACandidate:Semester/Year:/ Note:ThisisaformforusebytheChairoftheBFACommittee.ThefinalThesisgradewillbecalculatedbytheBFAChairasapercentagefromthehighestpossibletotalofallevaluationpointsawardedbytheBFACommittee.AgradeofB(80%)orbetterisconsideredapassinggrade.Evaluators Expression Conceptual Formal1. 2. 3. 4. 5. 6. 7. 8.

Totals:

Points Evaluators Points Percentage

CategoryTotals: EXPRESSION: ÷ = & %

CONCEPTUAL: ÷ = & %

FORMAL: ÷ = & %

OverallTotals: TOTAL TOTAL

POINTS: & PERCENTAGE %

NumberofEvaluators:_________ Possiblepoints:________x30=________

PointsAwarded:__________ GRADE:___________%÷3=__________%

BFACandidatehassubmittedtheChecklistforA499ThesistotheArtoffice(required).

YES NO

THESISGRADE:

PASS NOPASS(80%orabove) (79.99%andlower)

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Bachelor of Fine Arts

ART499THESISEXHIBITIONCHECKLIST

NOTE:OncethefollowingrequirementsaremetforART499Thesis,youwillbeeligibleforagrade.SEMESTERBEFOREYOUHAVEENROLLEDINART499► ReceivedanapprovalofyourBFAThesisproposalfromtheBFACommittee► CompletedandpassedART491SeniorSeminar► SubmittedasignedApprovalFormforpermissiontoenrollinART499toArtOffice► EnrolledinART499DURINGTHESPRINGSEMESTERWHENYOUAREACTIVELYENROLLEDINART499WORK► AttendALLART499ThesisExhibition

Meetings► CreateabodyofworkforyourBFA

ThesisExhibitionoutlinedinyourapprovedthesisproposal

► ReceiveapprovalfromtheBFACommitteeonexhibitioncontentduringeachArt499ThesisExhibitionMeeting

MEDIA► CreateExhibitionInvitations,Postcards,

andExhibitionPoster► DistributeMediaAdvisoryandNews

ReleaseEXHIBITION► SetandScheduleyourBFAExhibition

Week► PrepareanArtistStatement► SignKimuraGalleryContract► ObtainKimuraGallerykeysfromArt

Office► InstallBFAExhibition

► HoldanOpeningReceptionandcleanupafterthereception

► RestoreKimuraGallerytoitsoriginalconditionafterthecloseofyourexhibition

GRADATIONSubmitthefollowingitemstotheArtofficebythefollowingMondayimmediatelyafterthecloseofyourexhibition:► AFinalCopyofThesisProposal► AFinalCopyofArtistStatement► 10-20DigitalImagesoftheThesis

ExhibitionworkonanArchivalGoldCDorThumbDrivewithimagelist

► 2ExhibitionPostcards► ReceiptofStudioFeesPaid(ifapply)► KeysandGalleryConditionContract

sign-off(includingstorage/lightingcontractrelease)

► CopyrightReleaseForm

► ART499Checklist(thisform)withArtFacultyAdvisorSignatureRequired

NOTE:TurninthisformandallotherneededmaterialstoArts302bythefollowingMondayimmediatelyafterthecloseofyourexhibition:StudentSIGNATUREBysigninghereIverifythatIhave:► fulfilledGalleryobligations► completedallART499checklistitems

FacultySIGNATUREBysigninghereIverifythatthisstudenthas:► fulfilledGalleryobligations► completedallART499checklistitems

________________________________________________ ________________________________________________BFACandidateSignatureDateArtFacultyAdvisorSignatureDate

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Bachelor of Fine Arts

COPYRIGHTRELEASEFORM

COPYRIGHTRELEASEFORBFATHESISSTATEMENTSANDIMAGES

I,theundersigned,givepermissiontotheDepartmentofArttouseimagesandtextsfrom

my BFA Thesis Exhibition for future publicity releases pertinent to recruitment and

accreditationpurposes.IalsogivepermissionforfutureBFAstudentstolookatmyfolioto

viewinformationpertinenttotheBFAThesisExhibition.

Name:_____________________________________________________

YearofBFAThesisExhibition:_________________________

Date:______________________________________________________

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Bachelor of Fine Arts

ARTLOCKERS

TheRedArtLockersintheSculptureAtrium(firstfloor)oftheArtsBuildingareavailableforrenteachsemester.Sign-upSheetforLockersisavailablethroughtheARTSTUDENTASSOCIATIONStudentsshouldprovide theirownCOMBINATION lockandareresponsible forcontentsoflocker.Notoxic,flammableorodorousmaterialsshouldbestoredinredlockers.Removalofallmaterialsfromthelockerisrequiredattheendofeachsemester.AdvancepaymentoflockerforfollowingsemestercanbearrangedthroughASAOneweekafter SemesterFinals, if lockers arenot emptied, theASAwill remove locksanddisposalofcontents.Feesmustbepaidinadvanceofusingalocker.SEMESTER/YEAR: STUDENTNAME: EMAIL: TELEPHONE: ADDRESS: LOCKERNUMBER: FEE:$10.00 CHECK:

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OTHER: PAYMENTRECEIVEDBY_______________________________DATE___________CONTENTSREMOVEDBY______________________________DATE___________NOTE:PleasecontactARTSTUDENTASSOCIATIONformoreinformation

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