Current Illustration faculty member Motomichi Nakamura participated in the 11th Governors Island Art Fair this past September. Motomichi showed the Projection Mapping Installation Mush Marsh at the fair this year, which was mentioned as a highlight in Hyperallergic.
We’re reinvigorating the BFA Illustration blog for Fall 2018 with this post on 2014 BFA Illustration alumni Hannah Drossman who has recently been interviewed by AI-AP for Dart: Design Arts Daily. The interview delves into her personal practice and source of inspiration. To read the full interview, click here.
(under)REPRESENT(ed) Community BrunchSaturday, October 21 from 11am-2pm6 East 16th Street, Wolff Conference Room 1103
Alumni of color and Students of color are invited to break bread, reflect and strategize around experiences of race and identity at Parsons and within creative industries.
Please RSVP: tinyurl.com/underrepresentedbrunchFb event:……………………………..(under)REPRESENT(ed) Portfolio ReviewsThursday, October 26 from 6-8pmStudents of color are invited to receive critical feedback on work that addresses race and identity from alumni of color.
……………………………..(under)REPRESENT(ed) ClosingFriday, October 27 at 6 PM – 8 PM66 Fifth Avenue, Arnold and Sheila Aronson GalleriesExhibiting alumni reflect on their work. Open to the public.
October 17, 6-8 PM
Sheila C. Design Center, Arnold and Sheila Aronson Galleries
66 5th Ave, Ground Floor
New York, NY 10003
Closing reception with artist talk: October 27th, 6-8pm
(under)REPRESENT(ed) is an exhibition that features Parsons School of Design alumni of color whose creative practices explore the lived experience of race and aim to dismantle systems of racism. Initiated and organized by a collective of alumni of color, this exhibition features a range of disciplines which simultaneously address and resist the systemic exclusion that prevails in educational and professional institutions and practices.
A video from a digital and physical archive that affirms the future of people of African descent; a design research project lessens the impact of hurricane season on one alum’s hometown in the Dominican Republic; a children’s book fable reveals an allegory of the dangerous journey migrants often face to enter the United States; an online syllabus resource explores the intersections of fashion and race; photographs reflect on the historic status symbol and power of hair in Korean culture, which resonates in communities across the globe; and a multimedia project promotes citizen journalism and challenges the normalization of police violence.
“We are moved by an urgency to foreground the power generated by creative practices,” said the curators of the exhibition. “Our own experience as students, practicing artists, designers, educators and cultural organizers tells us that this work isn’t always given its due criticism or celebration in the classroom and other institutional spaces.”
People of color have been pioneers in fields of art and design, although they continue to be significantly underrepresented in positions of power and compensation. Despite the rich foundational contributions by Black, Latinx, Asian, and Indigenous communities to these industries, they are often rendered invisible. The curators of this exhibition stake a claim for the centrality of those most deeply impacted by these oppressive frameworks in an era which challenges our existing tools of resistance.
The Parsons alumni featured in the exhibition are (AMT Alums in bold):
Salome Asega, MFA Design and Technology ’14
Rikki Byrd, MA Fashion Studies ’16
Raquel de Anda, MS Design and Urban Ecologies ’15
Nelson de Jesus Ubri, BFA Architectural Design ’15
Patricia Encarnación, BFA Communication Design ’14
Noelle Flores Théard, MFA Photography ’14
Scherezade Garcia, BFA Illustration ’90
Alston Green, CGRD Illustration ’72
Kim Jenkins, MA Fashion Studies ’13
Leslie Jimenez, BFA Fine Arts ’12
Sara Jimenez, MFA Fine Arts ’13
Yuni Kim Lang, BFA Communication Design ’09
Jeana Lindo, BFA Photography ’17
Joy McKinney, MFA Photography ’14
Joiri Minaya, BFA Fine Arts ’13
Ron Morrison, MS Design and Urban Ecologies ’15
Inyegumena Nosegbe, BFA Communication Design ’16
Ayodamola Okunseinde, MFA Design and Technology ’15
Isaac Paris, BFA Communication Design ’78
Kaitlynn Redell, MFA Fine Arts ’13
Jeff Staple, Illustration
Ken Tanabe, MFA Design and Technology ’04
James Terrell, MFA Painting ’02
Duncan Tonatiuh, BFA Integrated Design Curriculum ’08, BA Liberal Arts ’08
Robert Liu-Trujillo, BFA Illustration ’10
Christopher Udemezue, BFA Integrated Design Curriculum ’08
Organized by a collective of Parsons Alumni of Color
Havanna Fisher, BFA Fashion Design ’14, BA The Arts ’14
Scherezade García, BFA Illustration ’90
Joelle Riffle, BFA Communication Design ’13
Yelaine Rodríguez, BFA Fashion Design ’13
Sable Elyse Smith, MFA Design and Technology ’13
Nadia Williams, BFA Fashion Design ’01
(under)REPRESENT(ed) equity + social justice advisor: Gail Drakes
(under)REPRESENT(ed) research assistant: Claudine Brantley, BFA Candidate of Photography ’18
(under)REPRESENT(ed) research assistant: Barbara Byrd, BFA Fine Arts ’17
Contact us at email@example.com
The exhibition will run from October 14, when an opening reception for Parsons alumni will be held, until October 29.
More info here.
Joe Hwang is a recent graduate of Parsons BFA Illustration program. The work pictured here is from his thesis project.
The Q&A: Joe Hwang
By Peggy Roalf Monday, July 24, 2017
Q: Originally from South Korea what are some of your favorite things about living and working in the New York area?
A: I lived in Seoul, South Korea till 2010. In the summer of that year, I came to New York to study art. New York has much to see. I like wandering around the city, especially West Village and Upper East Side, watching people and the cityscape. I like those two neighborhoods because there are many elderlies, which is the main subject of my work. To me, elderlies in New York City are like beautiful historic buildings that have aged well. I also like that they have their own styles and live at their own pace, balancing out the overall pace of the city against the fast pace of younger generations.
Q: Do you keep a sketchbook? What is the balance between art you create on paper [or other analog medium] versus in the computer?
A: I use the back of used copy paper for sketches. Most of the times, I first sketch on paper, scan it to my computer, and work on it digitally in Adobe Illustrator. To me, both paper sketches and digital paintings are equally important. In the paper sketch process, I draw objects in detail, learning characteristics of them. In the digital process, I try to simplify the objects, leaving only the essence. I like digital painting because of the vividness in color and its cleanness. Meanwhile, I also make paintings based on my digital works because I also like working in the traditional way.
Q: What is the most important item in your studio?
A: My iPhone. I take lots of photos of people with it, which is the first stage of my work process.
Q: How do you know when the art is finished?
A: When I feel that the image I had in my head has been fully rendered.
Q: What was your favorite book as a child? What is the best book you’ve recently read?
A: The Insect World of J. Henri Fabre. He was a man of curiosity, wanting to know everything about insects. It was interesting that insects could be appealing to someone, instead of scary or gross. For a while, I wanted to be an entomologist. Recently, I mostly read the Bible.
Q: If you had to choose one medium to work in for an entire year, eliminating all others, what medium would you choose?
A: Acrylic paints. I like matte and fluid type acrylics because I like my paintings flat and bold.
Q: What elements of daily life exert the most influence on your work practice?
A: I try to go out every day. I like walking around the city, watching people and taking photos of elderlies I like. Elderlies with great style or interesting look are my inspiration for my work.
Q: What was the [Thunderbolt] painting or drawing or film or otherwise that most affected your approach to art?
A: I am very interested in fashion, so I get inspired by works in which fashion plays a big part. I especially like classic style and vivid colors in clothing such as the ’60s and ’70s styles and preppy style.
I like films from those years because I like what actors are wearing and the atmosphere in them. Breakfast at Tiffany’s is my favorite movie. In it, the styles of actors, scenes of New York City, and music by Henri Mancini make a perfect harmony. I also like Jean-Pierre Léaud’s style from the movie Stolen Kisses.
When I look at Alex Katz’s portraits, I get a similar impression. I like the combination of the classic style of models he portrays and the vivid and bold colors he uses. Even when I was in kindergarten, I think I was influenced by the style of Mr. Rogers’ style from his show Mr. Rogers’ Neighborhood. Especially, his closet filled with colorful cardigans was a big inspiration for me. I try to reflect those in my illustrations and paintings.
Q: Who was the [Thunderbolt] teacher or mentor or visiting artist who most influenced you early in your training or career?
A: When I was a kid, my mother and I would draw characters from commercial products and shows such as the man on the Pringles ads, Tony the Tiger on Frosted Flakes, and Chester on Cheetos. She is not an artist by profession, but she is fond of the arts. Also many relatives from my maternal family were artists: singer, fashion model, artist, etc. Watching their artistic activities laid a foundation of how to approach arts.
One day when I was a student at Parsons, I was struggling with a design for a postcard competition. My wife, who was my girlfriend at the time, saw me struggling and said, “Why don’t you use your sense of color and humor?” That was a lightening moment for me. I immediately came up with an idea for the design and finished it within a few hours. I even won the competition. The design was used for holiday cards by Aid for AIDS that year. From that moment on, that is my motto: to use my sense of color and humor.
Some of my teachers at Parsons were also good mentors, especially Noël Claro and Jordin Isip. They helped me broaden my perspective in illustration.
Q: What would be your last supper?
A: Anything with my wife.
Joe Whang is an artist and illustrator, born in Seoul, Korea and living in Jersey City, NJ. He graduated form Parsons School of Design with a BFA in Illustration. He is fond of vintage clothing and items. He likes to illustrate elderlies. His works have been recognized by Society of Illustrators, American Illustration, 3×3 Magazine, Applied Arts Magazine, and World Illustration Awards.
World Illustration Awards Exhibition at Somerset House, London. July 31 – August 28, 2017 Info
Group Exhibition Melted City 4 at RISD, July 22 – August 4, 2017 Info
Randall Enos: A Life on the Slanted Board.
Randall Enos talks about his 60 year career of explorations into new directions for comic art.
Known for his unique linocut illustrations, Randall Enos has been drawing “funny pitchers fer the peeple for 60 years.” His work has generally been lurking in the pages of practically every magazine and lots of newspapers in America but forays into the land of comic strips, animation and children’s books have also been noticed.
He lives on his horse farm in Connecticut with his wife of 60 years (who is starting to get on his nerves).
Anna O’Meara – Ja ja ja!: Isidore Isou on destroying words and pictures for their realization
The cinema is where words meet moving images in a continuum. Films seamlessly merge music, dialogue, narrative, and images. In 1951, Isidore Isou made a violent attempt to break film’s seamless continuum in Treatise on Drool and Eternity. An inspiration to filmmakers like Stan Brakage and Guy Debord, Isou’s film manifesto was a precursor to both American and French avant-garde art and politics. After working on a new translation of Isou’s film for Annex Press, I will discuss Isou’s methods in breaking traditional art forms in order to create new aesthetic and ideological standards. This discussion will use texts by Isou, many of which are untranslated, that wrestle with the creation of new forms through the deconstruction and reconstruction – through the merging and breaking – of the relationship between text and image in film.
Anna O’Meara is a French to English translator and historian based in Albany, NY. Her translations include a forthcoming publication with Annex Press of Isidore Isou’s Treatise on Drool and Eternity in partnership with translators Ian Thompson of Brisbane, Australia and Nadège LeJeune of Paris, France. She has also translated The Works of Arthur Cravan, which has appeared in Maintenant by Three Rooms Press. O’Meara received her M.A. in Art History from the University of Notre Dame in 2013 for which she wrote The Marxist Critique of Religion in the Films of Guy Debord. Currently, she serves as a Research Assistant to the New York State Historian, Devin Lander. O’Meara has conducted branding research and website development for a New York City production firm, Archivist Media, as well as exhibit development research for the Children’s Museum of Indianapolis. Previously, she served as the Director of Outreach & Development for the Museum Association of New York, and the Assistant Administrator of the Albany County Historical Association.
The 187th meeting of the NY Comics & Picture-story Symposium will be held on Tuesday, May 2, 2017 at 7pm at Parsons School of Design, 2 West 13th Street, in the Bark Room (off the lobby).
Free and open to the public.