School of Art

The presence of acclaimed artists—who have lived and worked in major cultural centers across the country—enhances the educational opportunities for both undergraduate and graduate students enrolled in the University of Tennessee School of Art. With daily contact over the course of a full semester, resident artists develop a unique relationship with the student body which complements the creative stimulation offered by guest lecturers and the School of Art’s faculty. Representing diverse ethnic, cultural, educational, and professional backgrounds, these resident artists introduce another layer of candor and a fresh artistic standard for the students who, though early in their formal art studies, are beginning to develop their own perceptions, skills, and theories in connection with the making of art. The 2020 exhibiting artists were Dana Lok, Fox Hysen, Tracy Thomason, and Caitlin MacBride

This exhibition featured the work of current professors in the University of Tennessee School of Art. Exhibiting faculty were: Joshua Bienko, Emily Bivens, Sally Brogden, Jason S. Brown, Paul Harrill, Paul Lee, Sarah Lowe, Beauvais Lyons, Frank Martin, Althea Murphy-Price, John Powers, Deborah Shmerler, Jered Sprecher, Cary Staples, Claire Stigliani, David Wilson, Karla Wozniak, Koichi Yamamoto, and Sam Yates

The presence of acclaimed artists—who have lived and worked in major cultural centers across the country—enhances the educational opportunities for both undergraduate and graduate students enrolled in the University of Tennessee School of Art. With daily contact over the course of a full semester, resident artists develop a unique relationship with the student body which complements the creative stimulation offered by guest lecturers and the School of Art’s faculty. Representing diverse ethnic, cultural, educational, and professional backgrounds, these resident artists introduce another layer of candor and a fresh artistic standard for the students who, though early in their formal art studies, are beginning to develop their own perceptions, skills, and theories in connection with the making of art. 2018 exhibiting Artists were Dana DeGiulio, Ezra Tessler, Clare Grill, and Caitlin Cherry

The presence of acclaimed artists—who have lived and worked in major cultural centers across the country—enhances the educational opportunities for both undergraduate and graduate students enrolled in the University of Tennessee School of Art. With daily contact over the course of a full semester, resident artists develop a unique relationship with the student body which complements the creative stimulation offered by guest lecturers and the School of Art’s faculty. Representing diverse ethnic, cultural, educational, and professional backgrounds, these resident artists introduce another layer of candor and a fresh artistic standard for the students who, though early in their formal art studies, are beginning to develop their own perceptions, skills, and theories in connection with the making of art. 2014 exhibiting artists were Michael Berryhill, Jaya Howey, EJ Houser, and Patricia Treib

The presence of acclaimed artists—who have lived and worked in major cultural centers across the country—enhances the educational opportunities for both undergraduate and graduate students enrolled in the University of Tennessee School of Art. With daily contact over the course of a full semester, resident artists develop a unique relationship with the student body which complements the creative stimulation offered by guest lecturers and the School of Art’s faculty. Representing diverse ethnic, cultural, educational, and professional backgrounds, these resident artists introduce another layer of candor and a fresh artistic standard for the students who, though early in their formal art studies, are beginning to develop their own perceptions, skills, and theories in connection with the making of art. 2016 exhibiting artists were Molly Zuckerman-Hartung, Caitlin Keogh, Dominic Terlizzi, and Aliza Nisenbaum

This exhibition featured the work of current professors in the University of Tennessee School of Art. Exhibiting faculty were: Joshua Bienko, Emily Bivens, Sally Brogden, Jason S. Brown, Paul Harrill, Paul Lee, Sarah Lowe, Beauvais Lyons, Frank Martin, Althea Murphy-Price, John Powers, Deborah Shmerler, Jered Sprecher, Cary Staples, Claire Stigliani, David Wilson, Karla Wozniak, Koichi Yamamoto, and Sam Yates

I. CALL TO ORDER T. Boulet called the meeting to order at 3:33 p.m. II. REVIEW OF MINUTES B. Lyons requested that the words "with Board policy" be added to the material on the Faculty Handbook after "ensures not in conflict." J. Nolt said that on page 4, second full paragraph, the second sentence should indicate the wording came from the TUFS "discussion." The corrected minutes were moved by D. Bruce, seconded by D. Birdwell, and approved.

While the communicative nature of early modern Italian portraits becomes increasingly overt during the 15th and 16th centuries, the continued, and increasing, prevalence of the portrait medallion might at first seem to stand against the tide of period advances in creating portraits that engage with the viewer by looking out of the image. Although the portrait medallion, in its sculpted, metallic form, certainly creates a more physically-lasting work, the object’s lack of a transitive, communicative sitter (as these sitters are nearly always in strict profile) might lead one to assume that the work is less capable of creating any such connection. Taking account of these things, this study challenges this assumption, examining the way that a portrait medallion, in its three-dimensionality, may actually provide a different, yet equally communicative, connection with the mind of a period viewer. Considering the Aristotelian belief that an image might be capable of ‘impressing’ itself in a viewer’s memory – a belief reexamined in the late medieval and early modern periods – this article suggests that patrons of portrait medallions sought to make an impact on the beholder by way of the artwork’s very form. Drawing from the belief that images impress themselves in the mind, as a seal impresses wax, this article adds to readings considering the appeal of portrait medallions in early modernity. By embodying a medium and genre of representation particularly equipped to produce memories, the portrait medallion could metaphorically ‘stamp’ itself on the beholder’s mind, thereby working towards a primary goal of early modern portraiture – perpetually commemorating period sitters.