Art and Art History

Requirements for the Majors

Courses

Faculty

Overview

The mission of the Art Department at St. Olaf College is to provide liberal arts students with opportunities to produce, view, and learn about visual images so they may better understand themselves, history, and the role of art-making in society. Our traditional commitment to foundation design, art history, and technical expertise is entwined with the challenge of creative, critical thinking, innovation, and the exploration of new ideas in new media.

An independent, national publication, Ruggs' Guide to Undergraduate Education, recently recognized the strength of the St. Olaf art program by naming it as one of the 30 most selective undergraduate art programs in the country of all schools, colleges and universities. Our graduates have moved into many professional fields across the country, e.g. museum and gallery administration, advertising, architecture, conservation, computer graphics, graphic design, illustration, film-making, teaching, and fine art, receiving national acclaim and recognition.

General Education Credit

Distribution Credit

Prerequisites

Requirements for the Majors

Requirements for a Studio Major

Students who have had considerable experience in studio art are encouraged to seek placement in Art 120, Honors Foundation Drawing. Admission is by portfolio and/or slide review only during orientation week. Time and place will be posted.

Prospective majors shall keep portfolio examples of all studio work and schedule a Junior Review with the department in the first semester of their junior year. These works will form part of their final senior exhibit.

Requirements for an Art History Major

Requirements for an Art Education Teaching Major

Special Programs

Off-campus Study:

Many students arrange for part of their work in London, Florence, Rome, New York City, Washington, D.C., Chicago, or Minneapolis. With departmental permission, a qualified junior or senior can enroll in specialized studio courses within the normal 14-course maximum for a major in the following well-known independent art schools as part of their St. Olaf art major: Kansas City Art Institute, Minneapolis College of Art and Design, and the School of the Art Institute of Chicago. Opportunities are also available for internships in specialized fields of study that involve students in the work-a-day world of art professionals. A broad spectrum of opportunity for art history majors is available at the Minneapolis Art Institute, the Walker Art Center, and various galleries; and for studio majors, professional experience is available in graphic design, illustration, architecture, and other areas.

Interdisciplinary Studies:

Liberal arts students can explore the interrelationships of the arts in two special programs, a Fine Arts Major and an Elementary Education-Fine Arts program with a double major preparation for licensed elementary classroom teachers. In the latter, the fine arts major (with emphasis on dance, music, theater, and visual arts) is earned at St. Olaf; the elementary education major is earned at Augsburg College in Minneapolis. See the Interdisciplinary Studies section for more details.

Recommendations for Graduate School or Professional Study

Students interested in studio-related careers or study are strongly encouraged to complete extensive Level III coursework in the media/discipline of their choice to develop a strong portfolio. Also recommended is participation in special programs incorporating advanced work, such as internships or one-semester study at cooperating art schools. The department also offers a unique fifth year program of apprenticeship which provides studio space to a limited number of students wishing to spend an entire year concentrating on developing a strong portfolio in preparation for advanced study.

Art History:

The courses offered begin with two major surveys and continue with courses devoted to more specialized fields. The prospective graduate student, following the completion of one or two surveys, should take subsequent courses in their logical sequence. Art 395: Senior Studies is taught as a seminar with student presentations and discussions patterned on typical graduate school offerings.

The department reserves the right to retain student work for its file.

Courses

Foundation Courses

110 Foundation Perceptual and Conceptual Drawing (1.0)

An introduction to the fundamental technical and perceptual skills of drawing, including the basic elements of mark, line, value, texture, form, space, and their dynamics in composition. Students translate the observed subject onto a two-dimensional surface in both representation and abstraction. Three facets of drawing will be explored: drawing as a means to self-expression; as a springboard to an understanding of how ideas of a culture are given visible form; and as a cornerstone of artistic practice. Lab fee.

111 Foundation Perceptual Drawing (0.5)

Elements of art explored will include line, space, texture, and value, as well as their dynamics in composition. Projects will emphasize translating the observed three-dimensional subject onto a two-dimensional surface. In addition, students will be introduced to the aesthetics of drawing and drawing as a means of self expression through the study of old and contemporary masters. Lab fee.

112 Foundation Conceptual Drawing (0.5)

Emphasizing concepts and ideas and using drawing as a means of expression, this studio course for majors and non-majors delves into the dynamics of composition and design principles through the use of a variety of techniques and media. It couples drawing assignments with viewing and discussing contemporary and old masters in drawing to broaden appreciation and understanding of this widely used method of visual communication. Lab fee.

113 Foundation Color Design (0.5)

Within an art historical context, this course explores an appreciation of color and the interaction of color as it affects one's daily life. Problems are developed to foster investigation and experimentation into the formal properties of color theory and expand creativity in the painter's approach to composition and expressive content. Materials fee.

114 Foundation Sculpture (0.5)

Use your mind and soul to develop ideas and your hands and body to give a physical reality to the things you dream. This beginning studio course in sculpture introduces the major and non-major to the basic aesthetic, conceptual and technical fundamentals of three-dimensional art-making and design. You will learn how to operate tools safely and efficiently and how to construct things with wood and other materials. You will start learning a language you can use to describe and discuss sculpture and other objects and spaces in your world. Students are encouraged to take risks and go beyond trite, cliched or obvious solutions. The course makes use of hands-on instruction, readings, slide talks, field trips and discussion. Lab fee.

115 Foundation Photography (0.5)

In this introduction to black and white photography and to fundamental elements in visual art, students learn camera operation, black and white film processing, printing, and print presentation and are introduced to the aesthetics and history of photography and the role of photography in modern culture. Students must provide their own 35 mm camera. Lab fee. With the exception of art majors, credit not allowed also for Physics 120.

116 Foundation Ceramics -- Handbuilding (0.5)

In this introductory course that employs handbuilding techniques, the primary emphasis of the class will be the student's imaginative approach in solving visual problems. Students will be introduced to historical/contemporary approaches to clay. Included in the course will be clay mixing, kiln loading, various firing procedures, and glaze and surface embellishment. Lab fee.

119 Foundation Ceramics -- Wheel Throwing (0.5)

This introductory course employs wheel throwing techniques in clay. Students will be introduced to historical and contemporary approaches to clay. Course includes clay mixing, kiln loading, various firing procedures, and glaze and surface embellishment. Lab fee.

120 Honors Foundation Drawing (1.0)

In this accelerated course in design, drawing, and color, students who arrive at St. Olaf with in-depth art experience explore the art elements and their dynamics in composition and experiment with a wide range of media and techniques. Students sharpen their skills in rendering as well as developing ways to use drawing to convey personal meaning and ideas. Assignments will range from working with the model, still-life, or landscape to developing non-objective imagery and studying and discussing the technique, content, and the context of works by contemporary artists and old masters. This course meets the requirements of 3/4 of the requirements of the foundation program. One additional course must be taken in three-dimensional studies, chosen from 114, 116 or an interim sculpture or ceramics course. Lab fee. Admission to this course is by portfolio review only.

122 Foundation Sculpture (1.0 credit, only Interim)

Although fundamentally similar to Art 114, this course will cover more ground at a more rigorous pace. This beginning studio course in sculpture introduces the major and non-major to the basic aesthetic, conceptual and technical fundamentals of three-dimensional art-making and design. This course does not assume any previous experience with three-dimensional form. You will learn how to operate tools safely and efficiently and how to construct things with wood and other materials. You will start learning a language you can use to describe and discuss sculpture and other objects and spaces in your world. Students are encouraged to take risks and go beyond trite, cliched or obvious solutions. The course makes use of hands-on instruction, readings, slide talks, field trips and discussion. Lab fee.

Level II Studio Courses

231 Oil/Acrylic Painting

This course will develop and stimulate investigative research into the emotional/expressive properties of art-making in the painting media. Emphasis is placed on thematic compositional and technical problems in developing a personalized approach to ideas and content. Students will learn the importance of process, need for flexibility, how to seek alternatives, and how to recognize that a painting has a life of its own. Prerequisite: 111, 112, 113 or equivalent. Materials fee.

232 Watercolor Painting

This course explores the fundamental principles of design, color and composition through the watercolor medium. Through advanced techniques, strong drawing, and exploration of personal ideas, students will develop a personal, expressive, visual language. Students are encouraged to move past trite and predictable solutions to seek alternatives, take initiative and celebrate creative risk-taking. Prerequisite: Art 111, 112, 113, or equivalent. Materials fee.

233 Sculpture/Metal Casting (Fall Semester only)

Heat, sweat, and camaraderie: this second level course in sculpture will introduce you to the process of lost wax bronze casting. You will learn to cast, finish, and present cast metal work, building upon concepts from the foundation course and exploring the next level of sculpture topics, issues, and concerns. For the major interested in sculpture, this class is a very important piece of your preparation for graduate school or a career in the arts and applied arts. The non-major will discover an art and industrial process that changed the course of human civilization. The course makes use of hands-on instruction, readings, slide talks, and discussion. Lab fee. Prerequisites: Art 114 (mandatory); Art 111, 112, 113, 116 (recommended).

234 Sculpture/Direct Metal (Spring Semester only)

This second level course in sculpture will introduce you to metal forming, shaping, fastening, and brazing and welding, building upon concepts from the foundation course and presenting the next level of sculpture topics, issues and concerns. For the major interested in sculpture, this is a very important preparation for graduate school or a career in the arts and applied arts. The non-major will discover an art and industrial process that has great artistic and practical application. The course makes use of hands-on instruction, readings, slide talks, and discussion. Lab fee. Prerequisites: Art 114 (mandatory) Art 111, 112, 113, 116 (recommended).

235 Architectural Drawing and Design I

Through a sequence of projects, architectural design students learn about drawing (hand drafting and computer-aided drawing and design) and architectural design processes which require the integration of social, artistic, technical, and environmental issues. Prerequisites: Art 111, 112 or equivalent. Lab fee.

236 Printmaking: Relief and Lithography

Emphasizing individual concepts, personal expression, and strong composition, this course explores relief and lithographic means of artistic impressions. Using large-scale, multicolor moveable block, collograph, wood or lino block techniques, and lithography stones or aluminum plates in both black and white and color, students will produce multiple images on one of the art department's three printing presses. By course's end, students will be familiar with the rich heritage of old masters in printmaking as well as with contemporary artists in the recent resurgence of printmaking. Prerequisites: Art 111, 112 and 113. Lab fee.

237 Printmaking: Intaglio and Monoprints

This course provides a strong foundation in the array of copper plate processes of etching, aquatint, lift ground, soft ground, and viscosity color printmaking processes as well as in painterly monoprinting techniques. Students will address personal sources of ideas, experimentation, drawing skills, and compositional concerns and will draw upon examples of master printmakers to discuss how images reflect culture. Critical thinking skills necessary in discussion and critiques. Prerequisites: Art 111, 112 and 113. Lab fee.

238 Computer-Generated Imagery

This course provides an introduction to the computer as a tool for creating visual art. During the semester we will explore digital painting, drawing, scanning, image manipulation, and digitized sound and video. Class projects include digital artist books, posters, and multimedia presentations. Relationships between traditional and electronic art forms are explored. Prerequisite: Foundation 111 or 112, or permission of the instructor. Lab fee.

240 Motion Graphics

This course explores the computer as a tool for creating visual images with movement and sound. Emphasizing concept development and creative expression, students will investigate time-based software, including animation and video capture programs. The course introduces students to the work of traditional and computer animators. Prerequisites: Foundations Art 111, 112, or 115, or permission of the instructor. Lab fee.

242 Figure Drawing

Drawing the human form from life has been a mainstay in the training of artists since the Renaissance because of its unparalleled discipline in the training of the eye. In this course, along with becoming better observers, students will reach a personal understanding of the figure and an appreciation of its art historical uses. To this end various media and techniques will be explored as a means to understand the expressive possibilities of the figure. Prerequisite: Art 111 and 112, 113, or equivalent.

243 Advanced Drawing

This course, designed for students who want to heighten their drawing skills, emphasizes using expressive qualities of drawing by investigating various media, techniques, and content. Assignments will be both traditional and nontraditional within historical perspectives. Experimentation is encouraged. Developing a personal visual language will be stressed, culminating in the production of a series of drawings that relate thematically. Critical thinking and discussion skills are important. Prerequisites: Art 111,112,113. Lab fee.

244 Ceramics

This intermediate level course assumes the student has a substantial understanding of ceramic processes, plus a good awareness of his or her own interests in the realm of ceramic expression. The instructor will help students focus their efforts by proposing specific areas of investigation. Prerequisites: Art 116 or 119. Previous studio experience in ceramics is accepted when approved by the instructor. Lab fee.

246 Graphic Design

Students investigate visual form and patterns as a means of graphic communication. Topics include layout, typography, color separations, preparation of mechanicals, and introduction to the techniques and language of the graphic production world. Prerequisites: Art 111, 112, 113, or equivalent and permission of instructor. Lab fee.

248 Photography

In this intermediate black and white photography course, students develop skills in exposure and printing and explore ideas and techniques in photography through assigned projects. Experimental techniques and nontraditional forms for presentation are investigated. Students develop a critical vocabulary through critiques and the investigation of photography from a broad historical, aesthetic, and social perspective. Prerequisites: Art 115 or equivalent mandatory; Art 111 and 112 recommended. Lab fee.

249 Video Art Production

This course explores video as a creative medium. Students learn basic video production and editing techniques, producing a number of individual and group projects. During the semester we will examine a wide variety of videos and films, exploring experimental, documentary, and narrative approaches. The class will also consider the history of video art and its relationship to other time-based and static art forms. No prerequisites. Lab fee.

294 Art Internship

298 Independent Study in Studio Art

Prerequisites: Foundations and two upper division courses in area of study.

Level III: Advanced Studio Courses

331 Painting II

Advanced painting builds upon the skills and knowledge gained in Beginning Oil/Acrylic and Watercolor. These skills are put to use and supplemented as students investigate further technical and compositional questions of painting. The goal is for each student to work towards a more personal expression and to be adventurous both technically and conceptually. Prerequisites: Art 231 and Art 232.

333 Sculpture II

This class will present advanced topics and techniques with an emphasis on improving and advancing technical skills, developing greater sensitivity to materials, and exploring personal themes or sources of ideas. This course is taught simultaneously with Art 233 and 234 and may be taken as a second course in metal casting or steel working. In addition to allowing for an even greater degree of student-initiated projects, Art 333 will try to respond to new technologies, to new roles for sculpture, and to shared possibilities for sculpture with other disciplines. The course makes use of hands-on instruction, readings, slide talks, and discussion. Lab fee. Prerequisites: Art 233 or 234 (mandatory); Art 111, 112, 113, 116 (recommended).

342 Figure Drawing II

Advanced figure drawing combines intensive work with the model with a more theoretical look at issues raised by the representations of the figure in art. Students will hone their skills of observation and participate in decision-making processes of how to represent the figure. The range of media used will be expanded from that of Figure Drawing I and the assigned problems will be more individually determined. Prerequisite: Art 242.

393 Senior Studies in Studio Art

This capstone course in the studio arts program consists of advanced studio work, a visiting artist series, weekly critiques, and discussions with faculty and peers. Each student's independent work with a faculty adviser culminates in a senior exhibition at Steensland Museum. Weekly sessions also cover such topics as preparing a resume, taking slides of one's work, framing, and producing exhibition announcements and posters.

394 Internship

398 Independent Research in Studio Art

Prerequisites: Art 111, or 112, or 113, and three courses in the area of study.

Art History Courses

150 Ancient through Medieval Art

A broad-ranging survey, this course offers students an opportunity to study the art of Ancient Greece and Rome, Byzantium, early Islam, and Romanesque France. By analyzing such forms as architecture, sculpture, painting, ceramic ware, metalwork, and mosaic, students will come to understand works of art as vessels of cultural and historical meaning. Through lectures, small-group discussions, and student presentations, we will attempt to understand the ways in which art serves as a barometer of religious, political, and social concerns.

151 Renaissance to the Present

This course introduces the major moments in the later history of painting, sculpture, architecture, photography, and performance art. Commencing with the 14th century and culminating in the 20th, students will consider topics such as the evolving role of the artist, the power of the patron, women as subjects and creators, changing theories of art, and the history of artistic training. Students will contribute heavily through discussion and short presentations.

250 U.S. Visions and Identities

Japanese-American sculptor Isamu Noguchi called his life a "permanent contradiction between belonging and non-belonging." We will explore how visual artists of varying heritages (Asian-American, European-American, African-American, and indigenous peoples) have addressed identity. The examples come from select historical times (colonial period, Great Depression, and post-Vietnam) and speak to art's role in giving expression to national identity within a multicultural United States. Open to first-year students with the permission of the instructor.

251 Early Modernism 1776-1880)

The U.S. and French revolutions signaled the beginnings of the Modern Age and inspired the revolutions in Western art that followed. Romantic artists rebelled against Neoclassicists, while Realists and Impressionists expressed a vision for the new, emerging middle class. This course surveys major, international artists working in these traditions and examines how their art reflects valuable new attitudes that define Modernism.

252 High Modernism 1880-1945)

Western culture went dizzy for several decades, drunk on the excitement of Modernism. Abstraction -- the search into nature's inner truths and the character of the human psyche -- generated the wondrous creations of a Munch, Matisse, Wright, Picasso and others. We will survey these artistic developments and then the strange, sobering post-W.W.I rethinking of all of this found in the postmodern art of the Dadaists, Surrealists, and others working during the period when the clouds of a second world war formed and overran Europe.

253 Art Since 1945

When World War II decimated Europe, the United States took the cultural lead with some of the most daring and extreme forms of Modern art that the Abstract Expressionists (Jackson Pollock and Louise Nevelson) and International Style architects (Ludwig Mies van der Rohe) could produce. We will survey these developments and then look at how Pop Artists in the U.S. and leading artists in Europe came to question Modernism. Our survey will continue with an exploration of the new and complex character of art in the postmodern era.

254 Italian Renaissance Art

An intensive introduction to the art of Renaissance Italy, this course offers students parallel exposure to the religious, social, and political concerns which gave rise to works such as Giotto's Arena Chapel in Padua, Ghiberti's Gates of Paradise, Alberti's Tempio Malatestiano, and Michelangelo's Sistine Chapel frescoes. Texts include both primary documents and twentieth-century criticism, and students will make substantial contributions to the course through written essays and class discussions.

256 History of Cinema: 1950

This course considers the development of cinema from its 19th-century origins to 1950. Using a combined historical and aesthetic approach, it examines significant national trends, movements, genres, directors, and individual films. The course explores film as both cultural expression and art form, noting its relationship to myth, to other art forms, to the world of ideas and to politics and society. Students learn to recognize both the established conventions of filmmaking and idiosyncratic nature of artistic production. Through the study of basic film language and practice in viewing and writing about film, the student learns critical skills that may be transferred to other disciplines.

257 History of Cinema: 1950-Present

This course focuses on the Post-World War II expansion of film production around the world, exploring new movements in older cinemas, new European and Asian cinemas, and the rise of film art in post-colonial and Middle Eastern countries. It examines film's use of cultural images and attitudes and its incorporation of political, social, spiritual, and aesthetic ideas. This course moves beyond the basic study of film language to consider the more recent proliferation of approaches and theories applied to the study of film. Students are encouraged not only to write about film in journals and papers but to share their own considered approaches and critical responses with the class.

258 Baroque and Rococo Art

The artistic dialogue among the 17th and 18th century European countries of Italy, the Netherlands, Flanders, France, and Spain will be the focus of this course. Students will be introduced to the works of artists such as Caravaggio, Bernini, Artemisia Gentileschi, Rembrandt, Velazquez, and Poussin. Special topics for class consideration or independent research include the impact of the papacy on Baroque art in Rome, the role of the Counter-Reformation in directing the arts throughout Europe, the contributions of Baroque women artists, and the artist as diplomat/courtier.

259 East Asian Art: China and Japan

The study of Shang bronzes to Ming porcelains embraces universal symbols, imperial rituals, and sacred images found on art objects that reveal 000 years of Chinese culture, including Taoist, Confucian, and Buddhist influences. Evidence of these traditions appears in Japanese culture, which develops its own unique styles in architecture, sculpture, ceramics, garden design, brush painting, and calligraphy.

261 History of World Architecture

This course examines architectural monuments and their symbolic forms combined with evidence of earthly and divine concepts. From cave dwellings to geodesic domes, from Eastern to Western systems, students review sacred and profane structures from a variety of cultures. Each student investigates a living reality of space, function, and form found in human-built environments.

263 Medieval Art

In this course, students will receive an in-depth introduction to the architecture, sculpture, stained glass, and book illumination of Medieval Europe. In considering the Early Christian era and moving through a study of Byzantine, Islamic, Hiberno-Saxon, Romanesque, and Gothic art, we will examine the ways in which Christianity, Islam, and the belief systems of the Barbarian tribes impacted the development of post-Roman art in the West. Student participation -- both written and oral -- will be stressed.

265 The Arts of India and Southeast Asia

This course examines visual forms that reveal Hindu, Buddhist, Jain, and Islamic religious concepts in painting, sculpture, and architecture of sacred precincts and royal palaces of India. Includes monuments that incorporate the axis mundi, as well as religious images carried by monks into Tibetan, Thai, Cambodian, and Indonesian cultures. Students probe into the meaning behind artistic expressions.

266 Arts of Scandinavia

Developments in visual creativity from the Viking Age to the present. Special emphasis on achievements of broader significance in western art: wood carving from the 9th through the 14th centuries, the enigma of the Stave Church, and 19th-century painting with Edvard Munch's pioneering contribution to European Expressionism. Offered alternate years.

270 Issues in Art Criticism

This course gets down and dirty with art produced and shown today. We investigate and argue quality, social values, and philosophy as we encounter them in contemporary criticism and art we often view in the metropolitan Twin Cities area. We seek to encounter what is "new" in art and develop intelligent, sensitive means for evaluating, understanding, and making judgments about that art. Numerous field trips, much discussion, and a mixture of art and philosophy. Students aiming for graduate school in studio or art history have found this course very valuable. This course is writing-intensive.

299 Independent Study in Art History

395 Senior Studies in Art History

Advanced work. Regular critiques and discussion with faculty and peers culminate in a senior thesis and oral presentation.

399 Independent Research in Art History

Art 110

Foundation Perceptual and Conceptual Drawing

Art 121

Foundation Ceramics

Art 122

Foundation Sculpture

Art 238

Computer Generated Imagery

Art 243

Advanced Drawing

Art 250

U.S. Visions and Identities

Art 262

New York City Art Interim (off-campus)

Art 268

Arts of France and Spain (off-campus)

Paracollege Seminars

The following Paracollege seminars, open to general college students, will be offered in 1996-97:

Public Space and Public Art
African Art

Faculty

Wendell H. Arneson (Chair)
Professor of Art, 1978-
B.A., Luther; M.A., M.F.A., Bowling Green
Painting, drawing, design

Katherine Smith Abbott
Assistant Professor of Art, 1992-
B.A., St. Olaf; M.A., Ph.D. Indiana University
Art history

Irve Dell
Associate Professor of Art, Paracollege Tutor, 1989-
B.A., Williams; M.F.A., Minnesota
Sculpture, 3-D design, drawing

Steven Edwins
Assistant Professor of Art, 1987-
B.A., St. Olaf; M.Arch., Yale
Architectural drawing and design

Ron Gallas
Associate Professor of Art, 1987-
B.A., College of St. Thomas; M.F.A., Minnesota
Ceramics, design

A. Malcolm (Mac) Gimse
Professor of Art, Paracollege Tutor, 1970-
B.A., Macalester; M.A., M.F.A., Iowa
Art history

Mary Griep
Assistant Professor of Art, 1988-89; 1990-
B.A., Macalester; M.A., Hamline
Drawing, design, painting

Karen Helland
Curator/Director of the Steensland Art Museum, Assistant Professor, 1991-
B.A., Luther College; M.A., Minnesota (Duluth)

Kate Lenzmaier
Instructor in Art, 1992-
B.A., Kearny State College; M.A., Mankato State
Art education

Margaret Ojala
Associate Professor of Art, 1983-
B.A., Minnesota; M.F.A., Chicago Art Institute
Photography

Patricia Olson
Instructor in Art, 1993-
B.A, Macalester College
Graphic design

Matthew Rohn
Assistant Professor of Art, Paracollege Tutor, 1994-
B.A., George Washington; M.A., Ph.D., Michigan
Art history
John Saurer
Assistant Professor of Art, 1995-
B.F.A., Hope College; M.F.A, Colorado State
Sculpture, drawing

Jan Shoger
Associate Professor of Art, 1980-
B.A., M.A., Minnesota
Drawing, design, printmaking

Evelyn Sonnichson
Instructor in Art, 1994-
B.A., M.A., Ohio State
Art education

Marcella Taylor
Professor Emerita of English, 1975-
B.A., St. Benedict; M.F.A., Ph.D., Iowa
Film studies, creative writing

Judith Yourman
Assistant Professor of Art, Paracollege Tutor, 1993-
B.F.A., Pratt Institute; M.F.A., Minnesota
Computer-generated imagery and video